Oscars’ Best Original Song Nominees Sound Off on ‘Disappointing’ Decision to Omit Performances From Telecast in Songwriters Hall of Fame Panel

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2025 Academy Award-nominated songwriters gathered virtually for a Songwriters Hall of Fame conversation, which goes live today online. They talked not just about the motivations behind their award-winning melodies but also shared their thoughts on the Oscars’ recent decision to remove performances of these songs from this year’s broadcast.

A one-hour-long talk (available until March 3 on the SHOF website), which is free to attend, involves Abraham Alexander and Adrian Quesada, authors of “Like a Bird” from Sing Sing; Brandi Carlile, who collaborated on “Never Too Late,” from the documentary Elton John: Never Too Late; Clément Ducol and Camille, who won twice for their work on Emilia Pérez songs, “El Mal” and “Mi Camino”; and Diane Warren, a regular in this category with her 16th nomination for “The Journey” from The Six Triple Eight.

This panel is jointly moderated by Nile Rodgers, who holds the position of Chairman at the Songwriters Hall of Fame, and Paul Williams, a recipient of the SHOF Johnny Mercer Award and an Oscar winner for the 1977 original song “Evergreen,” which he co-wrote with Barbra Streisand.

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The panel is led by Nile Rodgers, who is currently the Chairman of the Songwriters Hall of Fame, and Paul Williams, a Johnny Mercer Award honoree from the SHOF and an Oscar winner for the 1977 original song “Evergreen,” which he co-wrote with Barbra Streisand.

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Nile Rodgers, currently the Chairman of the Songwriters Hall of Fame, and Paul Williams, a Johnny Mercer Award recipient from the SHOF and an Oscar winner for the 1977 original song “Evergreen,” are hosting this panel together.

Towards the end of the discussion, Rodgers enquired from the panelists about their opinions regarding the Oscars omitting the best song performances from this year’s broadcast, a decision that is unusual given its rarity in past years. The Academy has occasionally hinted at excluding these songs but usually gave in due to public pressure; however, they seem determined this time around. While some songs might be less missed by viewers than others, the most significant loss in terms of attracting widespread interest would likely be the absence of Elton John and his co-nominee Carlile from the performance lineup.

Carlile expresses a deep sense of sadness and disbelief, stating that she’s unsure if she’ll ever get another chance to perform at the Oscars. This sentiment is particularly poignant for her because it involves Elton John. Back in the ’90s, when Elton was winning an Oscar for ‘The Lion King,’ Carlile recalls being amazed and dreaming of one day attending his Oscar party if she could find the right outfit. Now, the chance to perform alongside Elton at the Oscars feels like a dream that hasn’t come true.

She expresses,”Simultaneously, it provides me immense relief to dress up elegantly, observe others, mingle with well-known figures, arrive escorted by Elton, explore the scene and not experience much pressure since being nominated is almost surreal. It’s a mixed bag of emotions for me. There are moments that sadden me, but there are instances where I think to myself, ‘Perhaps I’ll just enjoy a drink tonight. Maybe I’ll get dressed up and have a drink for once without feeling the weight of existential dread.’ Yet, I remain undecided. Frankly, I can hardly fathom being in this discussion.

Rodgers expresses, “You’re simply fantastic! I truly believe you’re extraordinary. If only I could have shared that experience with you. So, I must admit, I’m somewhat disheartened. Nevertheless, I admire your musical performances.

As a dedicated fan, I can’t help but echo Warren’s vocal stance on this matter. Just like before, when the Academy suggested downplaying or even scrapping traditional song performances, she didn’t mince her words.

Warren expressed to the SHOF panel that it’s highly disrespectful to the nominees for songs. Last year, their performances were aired in a pre-show that wasn’t widely promoted and only shown within America. These shows featured some truly captivating performances, but there was no music involved. As songwriters, we pour our hearts into composing pieces that are crucial to the movies they’re in. It’s unjust not to let audiences hear these songs during the Oscars. This is my 16th time attending, and I consider myself fortunate, but this might be the only opportunity some nominees have to showcase their work on the Oscars stage. Aren’t we all eager to see all these songs at the Oscars? I believe it’s fundamentally wrong that we were informed about this just the night before the nominations. It’s a shock, really! This year, they aren’t even holding a pre-show, so they’ve effectively eliminated the songs entirely.

Williams points out that although the Academy plans to keep the Best Original Song category in the broadcast, it will be presented through pre-recorded segments rather than live performances. This decision appears to be aimed at providing more time for the songwriters, allowing for a chat and offering insights into their personalities.

As I, a humble movie critic, recorded my thoughts on SHOF last week, Warren made it clear that she hadn’t been informed about any changes in their plans personally. She added intriguingly, “I haven’t received any messages from anyone regarding the new course of action. Have any of you heard differently? I’m curious if they’ve contacted you too.” In essence, as of now, it seems that the songwriters are involved in something, but apparently none of us know what exactly.

She also notes, “These songs, in particular, resonate strongly with our current situation due to their messages. Music can be healing, and stripping that away from the context is not right.

Alexander explains that he believes the decision to cancel the shows was made in order to draw attention to those impacted by the fires, and to ensure there was sufficient time dedicated to this important topic.

“But I have a feeling there’s going to be other musical performances,” says Warren.

As a fresh face at this year’s Oscars, it’s undeniably unfortunate, but Abe and I can’t help but feel grateful for the opportunity to be here among cinematic giants. Yet, we wholeheartedly resonate with everyone else’s sentiments about Diane’s absence. Rest assured, Diane, you have our unwavering support, and your voice is heard loud and clear.

Warren expresses that everyone on their team was nominated by their exceptional peers in the music industry, which is a significant honor for them. He’s not diminishing this achievement, but emphasizes that getting nominated feels like they’ve already won. It’s truly incredible. However, beyond the recognition, what matters most to him is for the songs to be heard, particularly during these challenging times. These are healing songs – there’s nothing quite like music to heal, and what other option is there? A show without music would hardly be worth watching, right?

The remainder of our discussion follows the path taken by the selected tunes, as Carlile shares anecdotes about collaborating with her musical hero and friend, John, marking the beginning of their creative journey together.

Upon watching that documentary and seeing everything compiled, including that archival footage, when I reached the end, I was struck by his immense resilience – a trait about Elton John that I believe more people should know. He is like a real-life Iron Man, she remarks, referencing a term from one of her song’s lyrics. ‘I went away and composed a poem,’ she continues, unsure if it would ever become a song. ‘I presented the poem to him for the first time, unaware if he could transform it into a song or not. When he did, it felt like all my dreams from being 11 years old until that moment had come true – it was an instant realization.’

Williams wonders aloud, “One of the fantastic aspects of being a songwriter is that we get to keep our fan pass. For instance, if it’s Quincy Jones I’ve known for 40 years, I might experience a moment of awe and exclaim, ‘Wow, there’s Q!’ So, imagine walking into a room to collaborate with Elton. It’s an extraordinary situation because not only am I working with Elton, but we’re crafting a deeply personal tale… But I’m curious about how Elton felt about revealing this intimate story?

In simpler terms, Carlile explains that when a person writes lyrics expressing their feelings towards someone or what they believe the other person feels about themselves, it can have a profound impact on them, even before the recipient understands the message. For example, Elton John and his songwriting partner Bernie Taupin have written songs about each other that hold deep significance. Some of these songs have been critical, yet Elton has had to sing them, which in turn, allowed him to accept and understand those feelings. In this documentary, Carlile wanted to express her feelings for Elton, as he often didn’t listen to her in real life. However, these feelings eventually became about how Elton feels about himself. When Elton faced a health challenge, he referred to himself as an ‘Iron Man,’ signifying that her message had reached him on some level.

Alexander discusses composing an exclusive, unique tune featured in the prison drama titled “Sing Sing.

Adrian showed me the trailer and mood board, which immediately resonated with me, particularly a specific scene in the movie. Adrian and I exchanged ideas back and forth, feeling it essential to convey the emotions portrayed in the film through symbolism. We decided on a bird as it perfectly encapsulates the idea of being prevented from fulfilling one’s natural purpose – like caging a bird hinders its ability to fly, similarly, imprisonment strips humans of their humanity. This metaphor, we believed, captured the essence and emotions evoked by the film. With Adrian going on tour with The Black Pumas and me preparing for my own tour, we had limited time to develop this concept. As a result, our focus was intense, ensuring that the symbolism shone through brightly.

Warren expresses that writing “The Six Triple Eight” ranks among his absolute favorites, if not his all-time most cherished compositions in his musical journey.

The speaker highlights the main characters of the movie, stating, “These women faced every challenge imaginable. Yet they persevered and fulfilled their duties, accomplishing feats that many doubted they could achieve. This resonates with me because I often encounter those who question my abilities. But I always strive to disprove them. What I admire about these characters is their ability to defy expectations amidst adversity, racism, and difficult circumstances. They not only proved everyone wrong but did so swiftly. To me, the movie encapsulates their journey – the struggle, the determination, and the triumph, despite going through hell, ultimately reaching their destination.

While composing this, I’m reflecting, ‘This piece is ideal for the film, yet it has potential beyond it.’ Since we all embark on our unique paths, navigating various challenges that aren’t always easy. The song contains a line that resonates deeply with me: ‘When you follow your heart, you can surpass what you ever thought possible,’ which is my favorite part of the song. This sentiment rings true for every songwriter; we’ve all had to disprove skepticism, and though the journey isn’t simple, I’m honored to contribute to this film. It’s a wonderful production. It’s high time this story was shared. Tyler Perry has done an exceptional job.

Warren mentions that H.E.R., upon reaching out to him on Instagram, expressed a desire to collaborate. This happened shortly after Warren had written “The Journey.” He was taken aback, commenting that there were no coincidences. When composing a song for a film, he serves as a casting director, ensuring the artist is genuine and fitting not just for the music but also the movie. H.E.R., who has experienced various hardships, had an inspiring journey. Impressed by her resilience, Warren invited her to the studio. At noon that day, she came over to the piano in this very room where he played her the song. She was moved and immediately decided to record it right then and there. According to Warren, her vocal performance was reminiscent of Whitney Houston’s talent.

Camille and Ducol delve into the seven-year saga they embarked upon to see “Emilia Perez” come to life on screen, as well as their two years dedicated to crafting the music for it.

According to Williams, “Mi Camino” and “El Mal” are two contrasting tunes crucial to the narrative. However, he finds a deep personal resonance in “El Mal”. Given his affection for both tracks, could we discuss the creative hurdles involved in penning such disparate songs with distinct emotional undercurrents?

According to Ducol, writing ‘El Mal’ proved particularly challenging as the theme was intense and singing about it in front of corrupt individuals was tricky to put into music. They experimented with cynicism, irony, distance, and lyricism for several songs before finally settling on a rock opera-style rap tone. Jacques was influenced by Prokofiev’s Cantata October and the use of Emilia’s voice in the background through a microphone, which served as a contrasting counterpoint to the hall. Ultimately, it was Zoe’s energy that guided them towards the perfect arrangement for this song.

In terms of picture editing, the production took on a more digital approach, and Jacques Audiard instructed us saying, “Let’s make it more rock, more aggressive.” So we reworked the entire piece live with a rock band accompanying Zoe’s performance. The process of composing this song was lengthy as the subject matter is quite intense.

Camille notes that their other song, linked to Selena Gomez in the movie, can be seen as a love song: “Most songs are deeply rooted in love, I believe. And while ‘El Mal’ may not initially seem like a love song, we’re discovering today that loving others includes setting boundaries. This is a form of love for the world, is simply saying no to certain things. It was crucial for us to compose this song, and the director felt the same way. He’s deeply concerned about corruption, and corruption is prevalent worldwide, which is the song’s theme. ‘Mi Camino,’ however, is a love song, but it’s a song about self-love, self-respect. It’s about a woman finding peace within herself.

She might be perceived as someone who lacks strength due to her excessive partying, neglecting her parental responsibilities during that time, and living a life of luxury without generating income. However, in one of her songs, she expresses self-love while being in a nightclub setting, suggesting that she values herself despite her mistakes. This also serves as a counterargument to the notion that partying equates to superficiality. The song’s depiction of the nightclub transforms it into a sacred space where love prevails, making the party experience more tender and spiritual.

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2025-02-10 20:18