By Ray Pride Pride@moviecitynews.com

91 Original Songs Tune Up For Oscar

91 ORIGINAL SONGS VIE FOR 2016 OSCAR®

LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced that 91 songs from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Song category for the 89th Academy Awards®.

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

“Just Like Fire” from “Alice through the Looking Glass”
“Rise” from “American Wrestler: The Wizard”
“Friends” from “The Angry Birds Movie”
“Flicker” from “Audrie & Daisy”
“Seconds” from “Autumn Lights”
“A Minute To Breathe” from “Before the Flood”
“Glory (Let There Be Peace)” from “Believe”
“Mother’s Theme” from “Believe”
“Somewhere” from “Believe”
“The Only Way Out” from “Ben-Hur”
“Still Falling For You” from “Bridget Jones’s Baby”
“F That” from “The Bronze”
“Torch Pt. 2″ from “Citizen Soldier”
“Drift And Fall Again” from “Criminal”
“Take Me Down” from “Deepwater Horizon”
“Land Of All” from “Desierto”
“Sad But True (Dreamland Theme)” from “Dreamland”
“Angel By The Wings” from “The Eagle Huntress”
“Blind Pig” from “Fantastic Beasts and Where to Find Them”
“One Frame At A Time” from “Floyd Norman: An Animated Life”
“I’m Crying” from “Free State of Jones”
“Gold” from “Gold”
“Champion” from “Hands of Stone”
“Dance Rascal, Dance” from “Hello, My Name Is Doris”
“I See A Victory” from “Hidden Figures”
“Runnin” from “Hidden Figures”
“Sixty Charisma Scented Blackbirds” from “How to Let Go of the World and Love All the Things Climate
Can’t Change”
“My Superstar” from “Ice Age: Collision Course”
“Seeing You Around” from “Ithaca”
“The Empty Chair” from “Jim: The James Foley Story”
“Audition (The Fools Who Dream)” from “La La Land”
“City Of Stars” from “La La Land”
“Start A Fire” from “La La Land”
“Cateura Vamos A Soñar (We Will Dream)” from “Landfill Harmonic”
“Better Love” from “The Legend of Tarzan”
“Never Give Up” from “Lion”
“Equation” from “The Little Prince”
“Turnaround” from “The Little Prince”
“Moonshine” from “Live By Night”
“Loving” from “Loving”
“Hurry Home” from “Max Rose”
“Gone 2015″ from “Miles Ahead”
“Wish That You Were Here” from “Miss Peregrine’s Home for Peculiar Children”
“I’m Still Here” from “Miss Sharon Jones!”
“How Far I’ll Go” from “Moana”
“We Know The Way” from “Moana”
“Even More Mine” from “My Big Fat Greek Wedding 2″
“Waving Goodbye” from “The Neon Demon”
“I’m Back” from “Never Surrender”
“Find My Victory” from “Olympic Pride, American Prejudice”
“On Ghost Ridge” from “100 Years: One Woman’s Fight for Justice”
“Ordinary World” from “Ordinary World”
“Devil’s Girl” from “Outlaws and Angels”
“Levitate” from “Passengers”
“Ginga” from “Pelé: Birth of a Legend”
“Nobody Knows” from “Pete’s Dragon”
“Something Wild” from “Pete’s Dragon”
“Dancing With Your Shadow” from “Po”
“I’m So Humble” from “Popstar: Never Stop Never Stopping”
“Stay Here” from “Presenting Princess Shaw”
“Celebrate Life” from “Queen Mimi”
“Back To Life” from “Queen of Katwe”
“Let The Games Begin” from “Race”
“Think About It” from “The Red Pill”
“The Rules Don’t Apply” from “Rules Don’t Apply”
“The Great Beyond” from “Sausage Party”
“Faith” from “Sing”
“Set It All Free” from “Sing”
“Drive It Like You Stole It” from “Sing Street”
“Go Now” from “Sing Street”
“The Veil” from “Snowden”
“Hymn” from “Snowtime!”
“Kiss Me Goodnight” from “Southwest of Salem: The Story of the San Antonio Four”
“Holdin’ Out” from “Storks”
“Heathens” from “Suicide Squad”
“Flying Home” from “Sully”
“Montage” from “Swiss Army Man”
“Petit Metier” from “They Will Have to Kill Us First – Malian Music in Exile”
“Letter To The Free” from “13th”
“Down With Mary” from “Too Late”
“Can’t Stop The Feeling” from “Trolls”
“Get Back Up Again” from “Trolls”
“Smile” from “The Uncondemned”
“We Will Rise” from “Veeram-Macbeth”
“LA Venus” from “We Are X”
“New Dogs, Old Tricks” from “What Happened Last Night”
“Runnin’ Runnin'” from “What Happened Last Night”
“What’s Happening Today” from “What Happened Last Night”
“Who I Am” from “What Happened Last Night”
“The Ballad Of Wiener-Dog” from “Wiener-Dog”
“Try Everything” from “Zootopia”

During the nominations process, all voting members of the Music Branch will receive a Reminder List of works submitted in the category and a compilation of the song clips.  Members will be asked to watch the clips and then vote in the order of their preference for not more than five achievements in the category.  The five achievements receiving the highest number of votes will become the nominations for final voting for the award.  A maximum of two songs may be nominated from any one film.

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.

Nominations for the 89th Oscars® will be announced on Tuesday, January 24, 2017.

The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center®in Hollywood, and will be televised live on the ABC Television Network at 7 p.m. ET/4 p.m. PT.  The Oscars also will be televised live in more than 225 countries and territories worldwide.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 7,000 of the most accomplished artists, filmmakers and executives working in film.  In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures, which is under construction in Los Angeles.

FOLLOW THE ACADEMY
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One Response to “91 Original Songs Tune Up For Oscar”

  1. poet67 says:

    Nothing from “Hail Caesar”?

    Pity. Channing Tatum repeating his dance number would have been the high point of the awards ceremony.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas