By David Poland poland@moviecitynews.com

63 ORIGINAL SONGS TUNE UP FOR 2009 OSCAR®

Posted Wednesday, December 16th, 2009 - Comments Off on 63 ORIGINAL SONGS TUNE UP FOR 2009 OSCAR®
Be Sociable, Share!

Beverly Hills, CA -Sixty-three songs from eligible feature-length motion pictures are contending for nominations in the Original Song category for the 82nd Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.

The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by song title:

” “All Is Love” from “Where the Wild Things Are”
” “Almost Over You” from “My One and Only”
” “Almost There” from “The Princess and the Frog”
” “AyAyAyAy” from “The Maid”
” “Back to Tennessee” from “Hannah Montana The Movie”
” “Being Bad” from “Duplicity”
” “Blanco” from “Fast & Furious”
” “Brothers in Arms” from “Brothers at War”
” “Butterfly Fly Away” from “Hannah Montana The Movie”
” “Cinema Italiano” from “Nine”
” “Colorblind” from “Invictus”
” “Depression Era” from “That Evening Sun”
” “Don’t Walk Away” from “Hannah Montana The Movie”
” “Dove of Peace” from “Bruno”
” “Down in New Orleans” from “The Princess and the Frog”
” “Fly Farm Blues” from “It Might Get Loud”
” “Forget Me” from “I Love You, Beth Cooper”
” “God Bless Us Everyone” from “Disney’s A Christmas Carol”
” “Here” from “Shrink”
” “Hideaway” from “Where the Wild Things Are”
” “Hoedown Throwdown” from “Hannah Montana The Movie”
” “I Bring What I Love” from “Youssou N’Dour: I Bring What I Love”
” “I See You” from “Avatar”
” “(I Want to) Come Home” from “Everybody’s Fine”
” “If You’re Wondering” from “The Lightkeepers”
” “Impossible Fantasy” from “Adventures of Power”
” “Innocent Child” from “Skin”
” “Invictus 9,000 Days” from “Invictus”
” “Legendary” from “Tyson”
” “Let Freedom Reign” from “Skin”
” “Loin de Paname” from “Paris 36″
” “Ma Belle Evangeline” from “The Princess and the Frog”
” “My One and Only” from “My One and Only”
” “Na Na” from “Couples Retreat”
” “Never Knew I Needed” from “The Princess and the Frog”
” “New Divide” from “Transformers: Revenge of the Fallen”
” “New Jersey Nights” from “Adventures of Power”
” “New York Is Where I Live” from “Did You Hear about the Morgans?”
” “No Time for Love” from “Simon & Malou”
” “One Day” from “Post Grad”
” “Only You” from “The Young Victoria”
” “Other Father Song” from “Coraline”
” “Petey’s Song” from “Fantastic Mr. Fox”
” “Ponyo on the Cliff by the Sea” from “Ponyo””
” Possibility” from “The Twilight Saga: New Moon”
” “Raining Sunshine” from “Cloudy with a Chance of Meatballs”
” “Running Out of Empty (Make Ourselves at Home)” from “Lymelife”
” “Smoke without Fire” from “An Education”
” “Somebody Else” from “Crazy Heart”
” “Stu’s Song” from “The Hangover”
” “Take It All” from “Nine”
” “Through the Trees” from “Jennifer’s Body”
” “Trust Me” from “The Informant!”
” “Un Bouquet des Violettes” from “New York, I Love You”
” “We Are the Children of the World” from “The Imaginarium of Doctor Parnassus”
” “We Love Violence” from “The Imaginarium of Doctor Parnassus”
” “The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart”
” “When You Find Me” from “Adam”
” “Winter” from “Brothers”
” “The Word Is Love” from “Oy Vey! My Son Is Gay!”
” “You Got Me Wrapped around Your Little Finger” from “An Education”
” “You’ll Always Find Your Way Back Home” from “Hannah Montana The Movie”
” “You’ve Been a Friend to Me” from “Old Dogs”

On Tuesday, January 12, the Academy will screen clips featuring each song, in random order, for voting members of the Music Branch in Los Angeles. Following the screenings, members will determine the nominees by an averaged point system vote. If no song receives an average score of 8.25 or more, there will be no nominees in the category. If only one song achieves that score, it and the song receiving the next highest score shall be the two nominees. If two or more songs (up to five) achieve that score, they shall be the nominees.
A DVD copy of the song clips will be made available to those branch members who are unable to attend the screening and who request it for home viewing. A mail-in ballot will be provided.

A maximum of two songs may be nominated from any one film. If more than two songs from a film are in contention, the two songs with the most votes will be the nominees.

To be eligible, a song must consist of words and music, both of which are original and written specifically for the film. A clearly audible, intelligible, substantive rendition of both lyric and melody must be used in the body of the film or as the first music cue in the end credits.

The 82nd Academy Awards nominations will be announced on Tuesday, February 2, 2010, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2009 will be presented on Sunday, March 7, 2010, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
Be Sociable, Share!

Posted in Awards Watch, Note Pad | Comments Off on 63 ORIGINAL SONGS TUNE UP FOR 2009 OSCAR®

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon