Tag: oscars

7 Great Audiobooks That Inspired 2024’s Most Nominated Films

February 23, 2024

Sometimes a story is too good to only exist as a book, which has inspired countless directors to turn must-read novels into feature-length films. And quite often, those movies end up nominated for awards.

To celebrate this year’s award-nominated (and award-winning) movies, Spotify’s audiobooks team has highlighted their favorite picks that inspired a number of 2024’s nominees. From gritty true crime accounts to uplifting memoirs to biting satires or fantastical literature, the entire range of literary genres is represented on this list. 

So take a deeper dive into seven of this year’s top films by listening to the audiobooks that inspired them.

Killers of the Flower Moon 

Written by David Grann

Narrated by Will Patton, Ann Marie Lee, and Danny Campbell

(Inspired Best Picture nominee Killers of the Flower Moon)

From New Yorker staff writer and New York Times bestselling author David Grann, Killers of the Flower Moon revisits a shocking series of crimes in which dozens of people were murdered in cold blood. Based on years of research and startling new evidence, the book is a masterpiece of narrative nonfiction, as each step in the investigation reveals a series of sinister secrets and reversals. But more than that, it is a searing indictment of the callousness and prejudice toward indigenous Americans that allowed the murderers to operate with impunity for so long. 

American Prometheus 

Written by Kai Bird and Martin J. Sherwin

Narrated by Jeff Cummings

(Inspired Best Picture nominee Oppenheimer)

Robert Oppenheimer is one of the iconic figures of the twentieth century, a brilliant physicist who led the effort to build the atomic bomb for his country in a time of war and who later found himself confronting the moral consequences of scientific progress.

In American Prometheus, a Pulitzer Prize–winning biography 25 years in the making, authors Kai Bird and Martin J. Sherwin capture Oppenheimer’s life and times, from his early career to his central role in the Cold War.

Society of the Snow

Written by by Pablo Vierci

Narrated by Elliot Fitzpatrick

(Inspired Best Foreign Language Film nominee Society of the Snow)

In this alarmingly gritty, moving, and powerfully told story, journalist Pablo Vierci recounts the unsettling tales of the 16 who survived the Uruguayan Air Force Flight 571 crash in 1972. Drawing on exclusive interviews, Society of the Snow delves into the tragedy of the crash and how it radically redefined the rest of the survivors’ lives. Ultimately, however, the book is a touching testament to the strength of faith and friendship and the resilience of the human spirit.

Poor Things 

Written by by Alasdair Gray

Narrated by Russ Bain and Kathryn Drysdale

(Inspired Best Picture nominee Poor Things)

In Alasdair Gray’s Poor Things, one scientist’s ambition to create the perfect companion is realized when he finds the drowned body of the beautiful Bella, whom he brings back to life in a Frankenstein-esque feat. His dream is then disrupted when his protégé develops a jealous love for Bella—but Bella has her own thoughts on the matter.

This story of true love and scientific daring whirls the reader from the private operating theaters of late-Victorian Glasgow through to aristocratic casinos, the dark corners of Alexandria, and a Parisian bordello before reaching an interrupted climax in a Scottish church.

The Zone of Interest 

Written by Martin Amis 

Narrated by Sean Barrett

(Inspired Best Picture nominee The Zone of Interest)

In this love story that transpires in a violently unromantic setting, The Zone of Interest provides a searing portrait of life—and, shockingly, love—in a concentration camp. Powered by both wit and pathos, Martin Amis’ novel excavates the depths and contradictions of the human soul. Can love survive after we’ve seen who we really are?

Find a Way

Written and narrated by Diana Nyad 

(Inspired Best Lead Actress nominee Nyad)

In Find a Way, author Diana Nyad engages us with her unique, passionate, personal story of heroic adventure and extraordinary life experiences as she swam 111 miles from Cuba to Florida. Previously failing to accomplish the feat in her twenties and giving up on swimming altogether, Diana’s accomplishment 30 years later provides the backdrop for a galvanizing meditation on facing fears and living our lives with no regrets.

Erasure 

Written by Percival Everett

Narrated by Sean Crisden

(Inspired Best Picture nominee American Fiction)

A blistering satire about race and publishing, Percival Wright’s Erasure looks into the life of a writer whose career has bottomed out and left him seething on the sidelines of the literary establishment. 

In a fit of rage and despair, Thelonious “Monk” Ellison writes a novel under a pseudonym that he never intended to be published, but soon it becomes the next big thing. How Monk deals with the personal and professional fallout galvanizes this audacious, hysterical, and quietly devastating work.

Looking for more audiobooks that were caught on camera? Check out our list of book-to-screen adaptations.

Oscars Music Director Rickey Minor Reveals His All-Time Favorite Nominated Songs

March 10, 2023

On Sunday night, movie fans around the world will tune in to the 95th Academy Awards—aka the Oscars—to celebrate Hollywood’s exceptional talent. Once the show begins, it’s the musical numbers that help create the magical atmosphere the event is known for. 

This year’s musical director for the show is Rickey Minor, who previously worked on tours for the likes of Whitney Houston, Beyonce, and Ray Charles, and also served as the musical director and bandleader for The Tonight Show with Jay Leno. Rickey’s job for the Oscars is to plan out the music that will play throughout the show, and then work with the house orchestra to bring it all to life.

Ahead of the big night, we teamed up with Rickey on a special Oscars-themed playlist. From classics like Whitney Houston’s “I Will Always Love You” to Encanto’s “The Family Madrigal,” this playlist is not only a collection of Rickey’s favorite Oscar past nominees, but also a look back at the show’s rich musical history.

For the Record recently sat down with Rickey to discuss his work leading up to the Oscars, this year’s nominees, and what excites him most about working on this iconic show. 

What do you work on in the lead up to the Oscars?

There’s a lot of music to prepare. It’s upward of 170 pieces, so my team and I have to get through it all in two days of pre-recordings and rehearsals. And then we get in, perform sound check, and it’s time to go. But it’s all exciting.

Thankfully, this is a show with a rich, 95-year legacy. You don’t have to rewrite the book. You just have to come in and infuse a different perspective. This is my third time doing the show, and so I look at the years before and bring that inspiration to this year’s incredible films. When it comes to the music, I think a lot about ways to be more inclusive—not just with different eras, but also with different countries and genres—because all of us make up this world. So my thought is that if you’re in South America or Europe, how cool would it be to hear a cue that references a movie from your part of the globe?

How is working on the Oscars different from working on a tour, a TV show, or other projects?

The pressure is bigger because there’s a lot riding on it. Generally speaking, for all of us working on the show, we have one chance to get it right. And when an article goes out, or a book goes out, or a record goes out, this is what will be remembered as our best work. It requires a mix of paying attention to detail, but also letting go. If it feels right, it’s right. If it feels wrong, it’s wrong.

There might be times when my team and I debate whether a certain decision might be too on the nose. Like, is it patronizing to introduce someone from another part of the world with music from their country? But I just try to approach it with respect and offer a sense of representation. Because if we don’t support each other and celebrate our differences, they’re not there.  

How does the music featured during the Oscars help to set the tone for the entire show?

Music is life. Life is music. We speak in rhythm, we walk in rhythm, and our hearts beat in rhythm. And so, with the Oscars, the tone of the show really starts with the music. Yes, it’s all about the films, but it’s also all about the great music from these films that takes you back. And so, having these iconic musical moments helps everyone feel the moment—the joy, sadness, and triumph.

Can you tell us about your creative process?

When I start a process like this, I listen with my eyes closed so I can really get a sense of what the music makes me feel and then decide whether or not it’s an emotional moment I want to include.  

The show has to have a lot of different styles and diversity in the music, but it also has to have a flow. So there’ll be a time where I have a very romantic moment, and it’s lush and beautiful, and then I’ll drop into some hip-hop. Then I’ll jump right out of that into classical. I’ll go wherever the flow feels right. 

If you have someone that’s an iconic artist, then you’re going to want something grand and beautiful, and to give them their due and give them time to walk out. There’s no rush to get them there. And I have to keep in mind not only the television audience, but the audience in the building. It’s really a chess game.

When it comes to the music from this year’s Oscar nominees, is there anything that stands out to you?

I was inspired by a lot of it. Just looking at the songs alone, “Naatu Naatu” from RRR was a very exciting and fun number, and it made me feel proud of the inclusion that we have, and that we’re looking at art from a different way. Same thing with Rihanna’s “Lift Me Up” from Black Panther: Wakanda Forever. I mean, just put her in front of a microphone and I’m good. Then there’s “Applause” from Tell It Like A Woman, which was written by Diane Warren. I’ve known her my entire musical life and it makes me proud to see her receive an honorary Oscar. I also loved “This Is a Life,” from Everything Everywhere All At Once. 

Really, I feel like the winner because I get to do all five of these songs as well. 

Each year, as the show starts, what do you find you’re most excited about?

I have to be honest, every moment is amazing. Once the show starts, there’s a lot that I have to stay on top of and I’m watching so that I don’t lose track. There’s so much going on in the headset in between the director and the shots and the cues coming in. But I really just want to be present for every single moment and not miss a thing. I love seeing all the emotions, like the joy people express during their speeches. And sometimes I have to pull myself out because I have to say I’m on it, but I’m still so in it.

What’s your takeaway for fans? 

I say, get dressed up and get ready to party. Put your dancing shoes on, because we’re giving you all that energy. And make sure you have some tissues, because there are going to be some tears. Tears from the winners—and tears from everyone else.

Behind the Scenes on Roma’s Double Soundtrack

March 7, 2019

If you were to create a movie based on your past, what music would you choose to accompany it? That’s the question Alfonso Cuarón faced with Roma, his recent Oscar-winning film that pays homage to his childhood in the titular upper-middle-class neighborhood in Mexico City.

The autobiographical film was more personal than any of Cuarón’s more recent big-budget Hollywood productions, like Gravity and Harry Potter and the Prisoner of Azkaban. It primarily focuses on the relationship between Cuarón’s family and their nanny Cleo, played in the movie by Yalitza Aparicio, who cares for the household as the parents navigate a painful separation. “I wanted to open some family wounds,” he told Variety.

To solve the challenge of scoring his cinematic vision, Cuarón worked with music supervisor Lynn Fainchtein to create the perfect musical backdrop to his memory of Mexico City in the ’70s. Fainchtein, who spoke to us recently over the phone and grew up in the neighborhood of La Condesa, which is right next to Roma and similar in many ways, said of the experience: “[Alfonso and I] share the same memories, and we share the same TV shows, so it was something close to me. It was part of my memory as well.”

Unlike most movies, where the music that sets the mood often happens outside the film’s universe, in Roma the music is a part of what’s actually happening within the film. This means the whole soundtrack had to be true to the music people in Mexico in the ’70s had access to, what was popular at the time, and what would make sense for their characters to enjoy.

To create this level of detail, Fainchtein and Cuarón divided the film into scenes and created playlists for each one. The bulk of the movie’s action takes place around the family home—there are scenes of the parents and kids eating dinner or watching TV with Cleo; there’s even a sequence focused on the father trying to park his car in the garage. And so, each room was given its own distinct musical flavor. “We created playlists for the kitchen, for the playroom, for Cleo’s room…” said Fainchtein.

This specificity allowed the pair to create smaller universes within the film’s larger one, adding to Roma’s authenticity. In the kitchen, for example, while Cleo and another nanny prepare food and wash the dishes, Latin Grammy Award-winning pop and ranchera singer Rocío Dúrcal sings “Más Bonita Que Ninguna” in the background. Fainchtein admitted it’s not the music she would have listened to when she was ten years old, but she knows it’s similar to the music her nanny might have had on in the background. Elsewhere, the soundtrack features other Mexican pop anthems of the era, including Leo Dan’s “Te He Prometido” and Juan Gabriel’s “No Tengo Dinero”—songs that Fainchtein confirmed were on the radio in 1970 and 1971, the years when the movie takes place.

And while Fainchtein had a rich memorial archive to draw on, she also dove into the various music archives available in Mexico City, including those of Televisa and the Filmoteca at the National Autonomous University. She looked at old magazines that held television show listings and researched radio programs, advertisements, and even the DJs of the era. Each song was chosen “because Alfonso liked it and because it pertains to the memories, and to the period,” she said. Her goal was to evoke a vision as close to Cuarón’s recollection as possible.

To accompany the Roma soundtrack, Cuarón and Fainchtein also commissioned the album Music Inspired by the Film Roma. They compiled the album with Randall Poster, another storied music supervisor who is best known for his work on Boardwalk Empire and collaborations with Wes Anderson. Poster and Fainchtein approached artists “close to Alfonso’s heart,” Fainchtein said, and offered them free rein to create a song inspired by the music or the sounds from the film. The results capture a variety of elements and atmospheres. T Bone Burnett, for example, built the off-tune steam whistle of the camote (sweet potato) vendors and the shrill flute of the knife sharpeners offering their services on the city’s streets—captured vividly in the movie—into the rhythmic “Roma.” Laura Marling, on the other hand, created a choir-backed, lush and folksy cover of The Ray Conniff Singers’ “Those Were the Days,” one of the songs Fainchtein included in the film.

Since the film was announced at the end of 2016, Fainchtein and Cuarón have worked very closely to evoke the world of Roma. When asked what it was like to be tasked with the music for such an intensely personal project, Fainchtein said she relished the opportunity. “It was like a chance to put a soundtrack to my family’s story.” And despite having over 100 film and TV credits to her name—she is credited on all of Alejandro González Iñárritu’s films, including Birdman and The Revenant—Fainchtein described working on Roma as one of the most unique experiences of her career and likened the process of building out the movie’s world to the construction of a building. “Luckily,” she said, “I didn’t have to build the building; I only put in the lights on each of the rooms and the floors.”

Relive the movie with Roma (Original Motion Picture Soundtrack) or hear the songs it inspired on the album Music Inspired by the Film Roma.

Which Movies’ Music Strikes More of a Chord?

February 22, 2019

Two of the biggest box office hits this year were about music: the Queen biopic Bohemian Rhapsody and A Star Is Born, which featured new, original tunes by Lady Gaga and Bradley Cooper. Both films have been nominated for several Academy Awards®, but which movie’s soundtrack struck more of a chord with audiences after the credits rolled? Even though Bohemian Rhapsody isn’t up for an award in the music categories, just for fun we checked our streaming data to find out.

We also looked at the streaming totals to speculate the winners in the Best Original Score and Best Original Song categories. The nominees for the best soundtrack are Black Panther, BlacKkKlansman, If Beale Street Could Talk, Isle of Dogs, and Mary Poppins Returns. For the top tune, the nominees are “Shallow,” from A Star is Born, “All the Stars,” from Black Panther, “I’ll Fight,” from RBG, “The Place Where Lost Things Go,” from Mary Poppins Returns, and “When A Cowboy Trades His Spurs for Wings,” from The Ballad of Buster Scruggs.

Check out who our data suggests will take home the statue in these two categories—and the streaming numbers—in the infographic below.

Tune in to the 91st Academy Awards ceremony Sunday, February 24, at 8:00 p.m. on ABC.