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It’s official: On Thursday (Aug. 24), Barbie topped The Super Mario Bros. Movie to become the highest-grossing film in the U.S. for 2023, according to boxofficemojo.com. Barbie has grossed $575.4 million in the U.S., compared to $574.3 million for The Super Mario Bros. Movie. Barbie became the year’s box-office champ in just a little more […]
Barbie has delighted audiences and critics alike – and has made history in the process. The Greta Gerwig-directed film has become the highest-grossing film that was directed or co-directed by a woman in U.S. box-office history, according to boxofficemojo.com. Barbie has grossed $526.3 million in the U.S. as of Monday (Aug. 14), which puts it […]
Casey McQuiston’s Red, White & Royal Blue – an LGBTQ romcom novel about the Prince of England and the U.S. president’s son falling in love despite a despising each other at first – was a smash hit when it came out in 2019, quickly becoming a New York Times bestseller and creating a devoted fanbase. Captivated by the international screwball romance, the book’s enthusiastic fanbase has created everything from artistic renderings of swoon-worthy moments between main characters Alex and Henry to playlists based on songs McQuiston wrote into the plot.
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But even for the most devoted readers, there will be a few surprises when the Red, White & Royal Blue film – starring Nicholas Galitzine, Taylor Zakhar Perez and Uma Thurman — comes out Aug. 11 on Amazon Prime Video.
“Casey was never insistent that I make Casey’s Book: The Film,” Matthew Lopez, the film’s director and co-writer, tells Billboard. “She always wanted me to make Matthew’s movie. She trusted that someone who loved the book was in charge of the film.”
The cinematic adaptation is Lopez’s directorial debut after conquering Broadway, earning a Tony for his acclaimed 2019 play The Inheritance and earning a second Tony nom this year for co-writing the book to Some Like It Hot, a musical based on the gender-bending 1959 film. He first encountered McQuiston’s book pre-pandemic and recalls that it “refused to be ignored – it absolutely stayed in my imagination.” After successfully lobbying for the director’s chair on the movie adaptation, Lopez began working with music supervisors Kristen Higuera and Maggie Phillips on the soundtrack.
While many of the songs mentioned in the book do feature in the film (Queen’s “Don’t Stop Me Now”; Lil Jon’s “Get Low”), Lopez followed his muse — and not the page — in certain instances.
In one key scene, the star-crossed lovers slow dance in London’s Victoria & Albert Museum, despite it being after hours (one of the many perks of being a prince). In the book, Elton John’s “Your Song” plays, but cinematically, that didn’t track for Lopez.
“I love Sir Elton — he’s been such a supporter of mine throughout my career — but the scene I envisioned, I couldn’t hear that song,” he tells Billboard. With the help of his music supervisors, the aching, lovelorn voice of Mike Hadreas found its way into the film via Perfume Genius’ 2016 cover of “Can’t Help Falling in Love.” It was originally supposed to be an on-set placeholder until Hadreas recorded a new, different cover, but after living with it for months, Lopez decided he couldn’t see or hear the scene any other way.
“I felt terrible calling Mike,” Lopez says. “[I told him] ‘I have good news and bad news. The bad news is I don’t need a cover from you. The good news is I already have one [from you].”
Another cover that prominently features in the film is a fresh reimagining of Rodgers & Hammerstein’s Carousel classic “If I Loved You” performed by Vagabon. “I knew her voice and her sound, married to that classical music theater, was going to be the right match,” says Lopez, who describes himself as “a huge musical theater nerd.” When he approached Vagabon (Laetitia Tamko) with the idea, she wasn’t familiar with the song, which made him doubly sure of the decision. “It was great, because she had no associations,” he reasons. “It’s a new way of looking at it.”
Having familiar songs with new voices was important to Lopez for this queer romcom. “This movie was always about, for me, new ways of doing old things — that was the ethos of the film, so I wanted to try and get a couple covers in there.”
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Another example of putting a new twist on something familiar came via Oliver Sim. The filmmakers asked the solo artist and The xx member for an original composition, but after he watched an early cut of the film, he told Lopez, “I think I’ve already written the song for the movie.”
“It was his idea to take the song ‘Fruit’ from his most recent album and completely re-orchestrate it,” Lopez explains. “He said, ‘I made the acoustic version; now I want to make the cinematic version.’ He took something very delicate and blew it up to these epic proportions. It sounds so swoon-y and hopeful. That was a big win, for me, to get him to do that — I have my own bespoke version of an Oliver Sim song,” he adds with a smirk.
You can see what else made its way into the film when it begins streaming on Prime Video on Aug. 11.
For years during their concerts, contemporary christian music sibling duo For King & Country — brothers Joel and Luke Smallbone — have been sharing the story of their family’s immigration from Australia to the United States. Explore Explore See latest videos, charts and news See latest videos, charts and news Now, their story is coming […]
As they began working on music for Barbie, director Greta Gerwig, music supervisor George Drakoulis, executive soundtrack producer Mark Ronson and Atlantic Records executives Kevin Weaver and Brandon Davis started a text chain titled Barbie Weave.
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“It was quite the lively chat. It was pretty much active 24 hours a day, seven days a week,” says Weaver, Atlantic’s west coast president. “It was a very inspiring, colorful, creative chat group,” agrees Ronson.
The chat, which was supplemented with bi-weekly Zoom calls, became their non-stop repository for their wish list of artists and moonshot musical ideas for the fantastical Warner Brother movie, which, like the soundtrack, arrives Friday (July 21).
The result is an often frothy, upbeat, immersive soundtrack full of pop gems from a wide-ranging, global who’s who of top pop hitmakers including Lizzo, Dua Lipa, Billie Eilish, Nicki Minaj & Ice Spice, Sam Smith, Karol G, FIFTY-FIFTY and Tame Impala, among others.
At their first in-person meeting, Ronson played some themes and Gerwig showed several images, both of which served as an entry point for the musical curation, says Davis, Atlantic’s EVP and co-head of pop/rock A&R. “Seeing some of those scenes, and even some of the stills early one was really inspiring to us to help paint the picture from the musical point of view.”
The first song to come together was Lipa’s “Dance the Night,” which is performed in the movie and serves as a tentpole musical moment. Gerwig had sent Ronson a disco-inspired playlist that included the Bee Gees, leading Ronson, who lined his New York studio shelves with Barbie and Ken dolls, to come up with “Dance the Night,” co-written with Andrew Wyatt, Caroline Ailin and Lipa.
“I didn’t want to make the Barbie song too bubble-gummy or something that would have been really obvious,” Ronson says. “There’s a toughness to it,” he says of the retro, infectious tune. (The other song performed in the movie is “I’m Just Ken,” written by Ronson and Wyatt, which serves as a humorous, existential ode for Ken — played by Ryan Gosling — as he tries to navigate his life in Barbie’s shadow. )
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As they began to cast the soundtrack, the music team reached out to individual artists, not with the mandate to write a song specifically about Barbie or Ken. Instead, Weaver says, “We said, ‘Watch the scenes and spend time with Greta and Mark and us and let’s talk about what the musical vision is for that bespoke need, and then come back with ideas.’”
The music and film fed off each other. “As [Greta] was meeting with artists and showing them scenes and artists were coming back with demos, it was really informing how she was working with the film and the cut,” Weaver continues. “It felt like there was this really reciprocal, cool thing happening between how she was making the film and how music was forming that process for her.”
Some artists wrote very specifically to Barbie’s brightly colored world. For example, Lizzo’s opening track, “Pink,” even namechecks Barbie’s best friend Midge. Others went for broader themes that captured the spirit of their scenes, like Charli XCX’s “Speed Drive,” which incorporates elements from Toni Basil’s 1982 hit, “Mickey.”
Not surprisingly, given Barbie’s ubiquity since Mattel rolled her out in 1959, many of the acts had a deep affinity for Barbie from their youth that they brought into the creative process with them. “The only VHS that [Haim] were allowed as kids was [from Barbie] probably from the early ‘90s. They knew every song, and they started singing them over the phone,” Ronson says.
Mark Ronson, Kevin Weaver and Brandon Davis attend the World Premiere of “Barbie” at the Shrine Auditorium and Expo Hall on July 09, 2023 in Los Angeles, California.
Eric Charbonneau
One goal from the start? Land Minaj, whose fans are known as Barbz. “I was like, ‘I don’t know how we have a Barbie soundtrack without Nicki Minaj on it?’” Ronson says. “How do you not have the person who’s kept the word ‘Barbie’ alive in music culture the past 15 years?” However, securing Minaj, her duet partner Ice Spice (Ronson met Ice at midnight in his studio to show her the movie) and samples of Aqua’s 1997 hit “Barbie Girl” included in their song, “Barbie World,” required some high-level negotiation and persistence, as did landing many of the artists.
Ronson says he’d never been so involved in the behind-the-scenes administrative process before in his movie work, and Weaver’s diplomatic skills left him in awe. “He could honestly just become chief negotiator at the U.N.,” Ronson jokes. “Some of the things he pulled off to get the soundtrack over the finish line [between] samples and egos and superstars and other record labels…. All Greta and me had to do was dream it up and get it over the finish line, but the clearances and the playing détente with Sony and Universal… and labels being like, ‘This is happening over my dead body,’ to like, two weeks later getting these things. What he pulled off to get the actual soundtrack is insane.”
For Weaver, who has served as soundtrack album producer for such film and TV projects as The Greatest Showman, Suicide Squad, Furious 7 and Daisy Jones & The Six, navigating with the labels, the studio and Mattel was all in a day’s work.
“Mattel was very involved in the making of the film, but they trusted Greta implicitly,” Weaver says. “Greta really backed and supported us in our music vision. We were able to navigate through whatever the challenges might have been around that to come out the other side with this incredible end product. Ultimately, it’s a family brand and a kid’s brand. We wanted to be very sensitive to that; but at the same time, Greta has made a very forward thinking non-traditional film.”
The offerings for the soundtrack are as colorful as the movie itself. The album comes in several configurations, including hot pink, blue and transparent pink cassettes, as well as CD and hot pink vinyl. There are covers featuring Barbie, as well as a dedicated Ken CD cover. The idea was to appeal to fans of the movie, Barbie collectors and fans of the individual artists.
“We worked really closely with our incredible marketing team here and at the studio and at Mattel to make as many unique music offerings as we could that could reach different parts of the Barbie and the music audience,” Davis says.
Though many of the songs already out, Weaver and Davis are excited to have fans see them in their natural setting. “These records are all strong enough to live in a world by themselves,” Weaver says. “But what’s so amazing is people are now going to get to experience the songs within the four walls of the film and it’s going to give them a whole new life.”
For Ronson, the movie’s release is the culmination of more than 12 months of intense work, as he and Wyatt ended up scoring Barbie as well. The pair had written temporary music for the opening credits, but once Gerwig saw they had some themes, “They started giving us a few more bits to score at a time,” to the point where “we didn’t want anyone else to touch the music of this film,” he says. “We were like, ‘This is ours!’ It was a ton, ton, ton of work. [The movie] overtook my life for a year, but it was completely worth it.”
Barbie track listing:
Lizzo, “Pink”Dua Lipa, “Dance the Night”Nicki Minaj & Ice Spice, “Barbie World” (with Aqua”Charli XCX, “Speed Drive”KAROL G, “WATATI” (feat. Aldo Ranks) Sam Smith, “Man I Am”Tame Impala, “Journey to the Real World”Ryan Gosling, “I’m Just Ken”Dominic Fike, “Hey Blondie”Billie Eilish, “What Was I Made For”The Kid LAROI, “Forever & Again”Khalid, “Silver Platter”PinkPantheress, “Angel”GAYLE, “Butterflies”Ava Max, “Choose Your Fighter”FIFTY FIFTY, “Barbie Dreams” (feat. Kaliii)Brandi Carlile & Catherine Carlile, “Closer to Fine” (BONUS TRACK)
Mark Ronson, who is a member of SAG-AFTRA, completed this interview before SAG-AFTRA went on strike.
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In a new interview, John Boyega talks about his experience in the upcoming Netflix film They Cloned Tyrone as well as the increasing concerns of AI & acting.
The star actor spoke at length in a recent LEVEL cover story about his process of preparing for the lead role of Fontaine for the Netflix film, which also stars Jamie Foxx and Teyonnah Paris: “I was excited at the idea of multiple roles, the idea of playing someone significantly older. I love the idea of different looks because whereas the normality is to play a heightened version of yourself, this gives you a real opportunity to jump into what acting truly is.”
The London native and star of the recent Star Wars trilogy did also touch upon how the film challenges viewers to shed preconceived notions while watching. “When you’re in a modern society where we watch the news and the details of the news are packaged [for] TV, sometimes the nuance is lost,” Bodega said. “In order for us to comprehend the world, it’s easier to generalize.” Referencing Paris’ character of Yo-Yo, who is a sex worker, he elaborated: “Accepting that duality and using our brains to scan people more than just going on generalized stereotypes is a commentary that this film makes. I’m proud that this film does that.”
When asked about the growing usage of AI and the complexities behind it in the film industry and beyond, Boyega replied, “I’m at the stage now where I’m like, Oh crap, I didn’t know you can do that.” He continued: “In filmmaking, it will help us in some way. On the flip side, in terms of individuality, ownership, [and] fairness, that’s going to be a discussion that people are going to have to figure out.”
Of course, the discussion also turned to the idea of conspiracy theories which are interwoven into the plot of They Cloned Tyrone compelling the 31-year-old to state “maybe the truth in certain scenarios is not as extreme or interesting. Some of it is boring truth. But the funny thing about stimulation as a human being, we still love to discuss it” He also joked about his own conspiracy beliefs regarding celebrities: I was like, They probably got to get into some cult to get to a certain level of power. Then I became a celebrity and went, “That didn’t happen.” At least it doesn’t happen to me!”
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On Friday, ODESZA‘s concert film/biopic The Last Goodbye Cinematic Experience will have its one-night run in more than 700 theaters worldwide.
The movie, directed by the Seattle-based duo’s longtime friend and creative director Sean Kusanagi, captures the grandeur of the pair’s recent tour behind their 2022 album, The Last Goodbye, while also unpacking the backstory behind ODESZA’s rise and the team behind the project.
The film emphasizes the incredible amount of work and attention to detail that went into the live show, for which the guys and their team took the album they’d just finished then completely revamped it for the tour, crossing the new music with older material and figuring out how to best present the ODESZA catalog in spectacle of lights, lasers, confetti and a drum line.
In an exclusive clip of the film below, the pair’s Harrison Mills and Clayton Knight hash out some of the most granular details of the show. The clip finds the guys parsing out details in the studio, with Mills acknowledging the high stakes to what they’re doing given the time that’s passed since their last tour.
“I’m a little nervous for sure,” Mills says, “it’s been three years.”
The Last Goodbye Cinematic Experience works for both old and new fans of ODESZA, with the movie composed of stunning, inventively shot concert footage from the Last Goodbye Tour that offers new views of the show even to those who’ve seen it. This footage is interspersed with the making of the show and archival material going back to the earliest days of ODESZA.
“Our long-time friend Sean Kusanagi has been with us from day one of ODESZA and it’s incredible to see what footage he pulled together from the past ten years of our careers,” Mills and Knight tell Billboard.
Highlights of the movie include the guys returning to the dilapidated basement of the college house where they began the ODESZA project, the older footage that demonstrates the friendships at the heart of the project, new material that reveals more of the emotion and psychology behind The Last Goodbye (try not to cry in the scene where Mills talks with him mom about the death of her parents), and the impact this music has had on fans.
“We wouldn’t be where we are today without our fans,” Mills and Harrison add. ‘That’s why we are extremely excited to share this film… to give those who have been with us a look behind the curtain for the first time and to let them know how grateful we are for their support over the years.”
Ultimately, The Last Goodbye Cinematic Experience functions in the same way as ODESZA’s previous output, providing a massive show with emotional punch. The 27-date tour after which the film is named hit arenas and amphitheaters across North America, grossing $25.6 million and selling 395,000 tickets, according to numbers provided by Billboard Boxscore.
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Mahyar Abousaeedi – Turning Red, Incredibles 2
Tom Berkeley – An Irish Goodbye, Roy
Toni Bestard – Background, Foley Artist
Kimberley Browning – Certified, Waiting for Ronald
Alex Bulkley – Guillermo del Toro’s Pinocchio, Hell and Back
Bruno Caetano – Ice Merchants, The Peculiar Crime of Oddball Mr. Jay
Dean Fleischer Camp – Marcel the Shell with Shoes On, Catherine
Kenneth A. Carlson – Diner Formal, Dating Avi
Trent Correy – The Godfather of the Bride, Drop
Joel Bryan Crawford – Puss in Boots: The Last Wish, The Croods: A New Age
Claire Dodgson – Minions: The Rise of Gru, Despicable Me 3
Fabian Driehorst – Night, The Chimney Swift
David DuLac – Captain Underpants: The First Epic Movie, Happy Feet Two
Maureen Fan – Namoo, Crow: The Legend
Tiffany Frances – Dot, Hello from Taiwan
João Gonzalez – Ice Merchants, Nestor
Sara Gunnarsdóttir – My Year of Dicks, The Pirate of Love
Mark Gustafson – Guillermo del Toro’s Pinocchio, Fantastic Mr. Fox
Travis Hathaway – Incredibles 2, Brave
David Jesteadt – Inu-oh, Belle
Daniel Mark Jeup – Finding Nemo, Toy Story 2
Thomas Jordan – Lightyear, Up
Charlie Mackesy – The Boy, the Mole, the Fox and the Horse
Ian Megibben – Lightyear, Soul
Cyrus Neshvad – The Red Suitcase, The Orchid
Jaime Ray Newman – Skin, Life, Unexpected.
Richard O’Connor – My Friend Nearly Killed Patti Smith, Marianne
Lachlan Pendragon – An Ostrich Told Me the World Is Fake and I Think I Believe It, The Toll
Jesús Pimentel Melo – Miramelinda, Un Bel Morir
Emmanuel-Alain Raynal – Steakhouse, Easter Eggs
David Ryu – Luca, Coco
Nidia Santiago – Negative Space, Oh Willy…
Mónica Santos – Between the Shadows, Amélia & Duarte
Nelson Shin – Empress Chung, The Transformers: The Movie
Eirik Tveiten – Night Ride, Other Lives
Nathan Warner – Encanto, Zootopia
Ross White – An Irish Goodbye, Roy
Composer Mychael Danna received a lifetime achievement award at the SoundTrack_Cologne, which was held at the Comedia Theater in Cologne, Germany, on Friday. Previous recipients of the award include Rachel Portman, Bruce Broughton, Cliff Martinez and Michael Nyman. Danna is best known for his score for Life of Pi, for which he won an Oscar […]
Acting, singing and getting slapped across the face by global superstar Rihanna — what can’t Michael Cera do? The Tony Award-nominated actor took some time to reflect on the filming process for his 2013 film This Is the End in a new interview with Rolling Stone. “I thought it would look a lot better if […]
