94 Songs vie for the Oscar

by Cláudio Alves

ORLANDO: MY POLITICAL BIOGRAPHY is an unlikely contender but you gotta love its boldness.

The Academy has released a couple of eligibility lists, including one for the Best Original Song race. Ninety-four different tunes have been submitted for the Oscar. It's three maximum for each movie, from which only two can be nominated for the same title. Barbie, The Face of the Faceless, A Good Person, The Little Mermaid, State of the Unity, and Wish have submitted three, while many other projects went for double trouble. There are no significant surprises in terms of omitted contenders, but some submission choices delight with their boldness, and others shock because their origin is so obscure. For example, I quibble with the one song chosen from Dicks: The Musical and Carmen. I'm also delighted that Orlando: My Political Biography threw its hat in the race and just found out some of these movies even exist.

From American Symphony to Wonka, come discover the complete list of submissions…

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Queering the Oscars: Calamity Jane's "Secret Love"

For Pride Month Team Experience is looking at LGBTQ+ moments in Oscar history. 

by Nathaniel R

When we decided to do this series we left it up to contributors to pick their topics. Does an movie achievement qualify as queer because of an aesthetic sensibility? Because the artists involved were LGBTQ+? Because of subject matter or characters? Any of those! With Old Hollywood movies one of the most common 'qualifying' reasons -- it's all very subjective of course -- is whether or not a movie or singular element of a movie was 'adopted' by the queer community. In this regard "Secret Love," the Oscar-winning ballad from the western musical comedy Calamity Jane more than qualifies...

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Podcast: Oscar Season Finale (and Career Futures)

It's all over but the post-mortem and the huge sigh of relief that another awards season is over. Team Experience has a multiple time zone conversation to talk about the 95th Academy Awards and the season in general: Nathaniel in NYC, Ben Miller in Texas, Chris James in Los Angeles, and Baby Clyde in London. Hope you enjoy and do carry on the conversation in the comments, wherever you are.

1 hr and 10 minutes
00:01 Intros & Oscar parties
05:00 Length of the season / staying power of Everything Everywhere All At Once
19:00 Original Song performances / Acceptance speeches
33:00 The internet turning on Jamie Lee Curtis
38:00 Career futures: Paul Mescal, Hong Chau, Stephanie Hsu, Austin Butler, Colin Farrell
46:00 Miscellania: Kidman, Malala, Kimmel
1:02:00 Final thoughts - which acting nominee returns first? 

You can listen to the podcast on iTunes, Stitcher or Spotify or download the attachment below. 

Goodbye to the Oscar Season

Oscar Volley: "Naatu Naatu" vs Pop Divas for Best Original Song

Team Experience is discussing each Oscar category in the lead up to the ceremony. Here's Baby Clyde and Chris James to talk Costume Design.

CHRIS: A round of APPLAUSE for my volley co-host, Baby Clyde. Now, let's Tell It Like A Pundit - what is going on with the Original Song race? On the surface, it seems like "Naatu Naatu" has this category in the bag after winning this prize at the Golden Globes and Critics Choice Awards. RRR's grand dance number is one of the most memorable scenes of the year and would make for a worthy winner. However, one can't forget that it is against some heavy hitters, such as Rihanna and Lady Gaga, both for films that made over a billion dollars at the box office. Are we underestimating them?

And do you have any favourites that weren't nominated?...

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Year in Review: Best Music and Soundscapes

by Nathaniel R

Are all cinephiles "visual" people or are some more sonically attuned? I ask this because in order to draw up my own lists of "bests" in the aural categories, I have to really focus to note the soundscapes. In some cases, as with the sinuous alien creepiness of Nope and the haunted bold swings of TAR, the genius is hard to miss even for those of us who are more visually oriented. If any of you have theories as to how Oscar's sound branch didn't include either in even their finalist lists, I'm all ears... no pun intended.

For the most part it's the images I remember which may explain why I am so allergic to end credit songs over a dark screen being hailed the "Best" of any given season in Original Song. Marry the images and sound and it's far more memorable and valuable to the overall film experience...

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