Andrew Watt, a songwriter and producer, has collaborated with artists like Lady Gaga, Bruno Mars, and Miley Cyrus. However, he’s often mistaken for another individual named Andrew Wyatt. In fact, it was Wyatt who won the 2019 Academy Award for Best Original Song for “Shallow” from A Star Is Born. People frequently praise Watt for work he didn’t do, such as with The Rolling Stones, while Wyatt actually worked on Mick Jagger and company’s Grammy-nominated Hackney Diamonds and is nominated for producing songs for Pearl Jam and Gaga and Mars. Tired of the constant confusion, Watt simply thanks people for their compliments instead of correcting them.
There’s a possibility that he might playfully hint at winning an Oscar, but it could actually come true: The song he collaborated on for the documentary “Elton John: Never Too Late” is among the 14 songs the Academy has shortlisted. He made “Never Too Late” with Brandi Carlile, Bernie Taupin, and Elton John, who is an EGOT and on his way to winning a third Oscar.
It’s conceivable that he’s just kidding about being an Oscar winner, but it might actually happen: The song he co-wrote for the documentary “Elton John: Never Too Late” is one of 14 songs on the Academy’s shortlist. He created “Never Too Late” with Brandi Carlile, Bernie Taupin, and Elton John, an EGOT who is aiming for his third Oscar.
Lastly, you could also say:
There’s a chance that he might be joking about being an Oscar winner, but it could very well become true: The song he co-wrote for the documentary “Elton John: Never Too Late” is one of 14 songs on the Academy’s shortlist. He made “Never Too Late” with Brandi Carlile, Bernie Taupin, and Elton John, an EGOT who is trying to win his third Oscar.
Last year, Wyatt came very close to winning his second Oscar for co-writing Ryan Gosling’s “I’m Just Ken,” but he was beaten by Billie Eilish’s song “What Was I Made For.” This year, he returns with “The Last Showgirl,” where he scored the film and collaborated on the main track, “Beautiful This Way,” sung by Cyrus. In a roundtable discussion for The Hollywood Reporter, Wyatt is joined by Andra Day, a two-time Oscar nominee who wrote the original track “Bricks” for her movie “Exhibiting Forgiveness.” Also present are Robbie Williams, whose song “Forbidden Road” from his biopic “Better Man” was later disqualified due to incorporating existing material, and Camille, a French musician whose music with partner Clément Ducol for “Emilia Pérez” has made her a strong Oscar contender with two songs, “El Mal” and “Mi Camino.
Let’s begin by discussing the question since it so vividly demonstrates the captivating influence of music. Andra, I attended your Amazon Music recording session, and during your final performance, a song that sent chills down our spines, there was a lady in the audience who was visibly moved to tears. You noticed her, provided comfort with a hug, and both of you retreated backstage. Could you please describe that emotional moment for me?
ANDRA DAY The encounter served as a reminder to me that music holds the power to heal. Drawing upon my faith, I recall a biblical story of a village afflicted by sickness, drought, and tainted water. A prophet was summoned to restore health to the water. The tale resonates with me because the first action the prophet took was to request for someone to play an instrument – a lyre, perhaps similar to today’s guitar or harp. It wasn’t until music filled the air that the healing could begin. I find it fascinating that music was created with the intention of providing solace, and in this instance, it truly made a difference. During our conversation, she shared personal struggles she had been grappling with. The moment served as a poignant reminder: my purpose is to connect, and everything else – the excitement, the fun – pales in comparison. I wholeheartedly believe that our meetings are divinely orchestrated.
Hey there fellow gamers! Ever found yourself so immersed in a game, where it feels like you’re living the story instead of just playing it? That’s kinda how I feel when I pour my heart into composing a piece of music or perfecting a performance. Have you ever had that intense, gut-wrenching connection with something you’ve created?
CAMILLE I composed a tune titled “Papa” for Emilia Pérez, and the lyrics are “You smell like dad.” The young child informs Emilia, “You smell like papa,” unaware that she is his father. This reminded me of how my father used to smell, as he passed away 12 years ago and left a profound impact on me. Interestingly, the song speaks about him, blended with scents I associate with Mexico: small stones, sunshine, cigars (since my dad was French), and guacamole, adding a touch of cliché but with a sweet undertone. Recently, someone approached me and said, “That song… it reminds me of my father who lives in South America, and it indeed smells exactly like him.
DAY Wow.
ROBBIE WILLIAMS It’s astonishing – with just a single four-letter word, “papa”, you’ve conveyed the essence of your song without any prior explanation. In an instant, it stirred emotion within me, and I found a tear brimming in my eye before you had finished speaking. To me, that moment encapsulated the power, grandeur, and healing capacity that music possesses. (Pointing to Andra) It’s as if we’re discussing exactly that – the magic, the majesty, and the therapeutic effect of music.)
As a devoted admirer, I take pride in my most cherished composition, titled “Angels.” With each rendition, I strive to elevate the experience for my audience, delivering a moment they eagerly anticipate. It’s an emotionally taxing effort, whether it resonates with you or stirs some personal reflection. In those poignant moments during the performance, I find myself gazing into the sea of faces, witnessing tears shed by many. They are memories of grandmothers long gone, mothers, fathers, friends, siblings – a poignant reminder of loved ones who continue to live on in our hearts.
Was there a song for you, Andrew Wyatt, that had that sort of a response?
ANDREW WYATT My band, Miike Snow, and I were taken to Russia, where we performed as part of the Sochi Olympics. A moment from that experience is forever etched in my memory, and it resonates with what Andra mentioned earlier.
Initially, when you begin your musical journey, you’re driven by the fact that as a child, you think, “I might not ever get this chance, but I’ll give it a shot.” You’re striving for something with it, and more than anything, you’re curious about how these experiences influence your life choices. Truth be told, we all have similar motivations at the start. Later on, as you delve deeper into music, you begin to appreciate its various facets.
In a profound instant, I found myself witnessing the transformative power of music – it wasn’t just entertainment, it was a vital essence that breathed life into people. Much like Kanye once put it, “If you make him dance, you got a chance.” For years, I had considered food and shelter as fundamental necessities, but music – it wasn’t an extra; it was the key to living well. This revelation shifted my entire perspective on music.
Recently, some fantastic movie tunes have been released. To kick things off, could you share your experience working on the music for ‘Emilia Pérez,’ collaborating with Zoe Saldaña?”
This version maintains the original’s structure and intent while using more natural and conversational language.
ALTERNATIVE VERSION Zoe certainly has a singing talent. She repeatedly insisted, “I’m a dancer, I’m an actress, but I’m not a singer.” I countered, “Yes, you are indeed a singer, Zoe.” And it’s not just her being a singer, she’s a performer. When she sings on camera, it seems as though she’s onstage. She truly commands the scenes and performs as if singing directly to the audience; it feels like a live performance. I enjoyed collaborating with her.
What was it like when you watched the film back and saw the music woven into the scenes?
CAMILLE I was taken aback. It felt akin to returning from a battle and everyone is congratulating me with, “Ah, it’s wonderful.” And I was drained yet overjoyed to see that the movie resonated deeply with people. That’s why I adored that film so much. I believe it’s exceptional on a technical level, but most importantly, it strikes a chord in people’s emotions and hearts.
WILLIAMS Can I ask a question?
CAMILLE Yeah.
As a devoted film enthusiast, I find your point intriguing: often, after reaching the peak in a movie, viewers may feel a sense that’s hard to pin down – is it emptiness or glory, or perhaps a blend of both? It makes me ponder about the profound impact movies can have on our emotions.
CAMILLE We won the [battle].
WILLIAMS So it filled your heart?
CAMILLE Yes, indeed. It’s that sensation when you’ve toiled all day and folks were feeling intensely, but then you return home, right? Essentially, I was overwhelmed by the sheer volume of work we accomplished, and even as I watched the film, it felt like more work, “Oh this,” “Oh that.
Robbie, what was it like watching back your film, in which a “performing monkey” portrays you?
WILLIAMS As a narcissist, I found myself thoroughly enjoying it. To begin with, the first time I sat down to watch it was after 50 years of living and seven years in the making. With such high expectations placed on me, I needed this film to serve as a catalyst for the third act of my career. Needless to say, I had been eagerly anticipating its release. Upon watching it, my initial fear was that it might be disappointing. However, as I became engrossed in the movie, my apprehensions dissipated, and by the end, it surpassed all my expectations. It was a profound, surreal, emotional, and incredible experience.
I submitted several songs for the music in the project to Michael Gracey, the director. After that, he would return them with suggestions they weren’t quite right. This reminded me of the story about Eminem sending “Lose Yourself” initially being rejected and then becoming a hit. In my mind, I thought, “This is ‘Lose Yourself,’ and you are mistaken.” However, I didn’t have the overall vision for the film. We didn’t know exactly what was required. As we watched the movie, it seemed to be missing an emotional connection, so we decided to provide that by adding a heartfelt touch, as by the end of the film, the audience has experienced a lot and could use some comfort.
Were you always on board to do a biopic?
WILLIAMS Buddy, sure thing: it could be a movie, a novel, or a documentary. I’m a master of grabbing the spotlight. That’s just my line of work.
ANDREW WATT Does it ever happen to you, when viewing your narrative, that the monkey seems less like an animal and more like it’s manipulating you instead?
WILLIAMS When you watch movies like Bohemian Rhapsody and Rocketman, you can clearly see that the actor is delivering an outstanding performance as Freddie Mercury and Elton John respectively. However, when it comes to watching a movie about me, Robbie Williams, it feels different because it’s harder for you to fully immerse yourself in the character due to the fact that it’s based on a real person you know. Additionally, people tend to feel more empathy towards animals, so your level of understanding and connection with me is stronger than it would be if I were portrayed by a human actor.
WYATT I don’t know, I’m empathizing a lot with you. My heart is melting right now.
USER That’s an interesting concept! Let me ask you this: If you were to personify your spirit animal in your movie, which animal would the character playing you be?
DAY It would be a sloth.
WYATT Oh, no, no, no.
DAY It’s the animal that I love the most.
WATT Joe Pesci.
DAY It’s got to be an animal.
WILLIAMS Joe Pesci’s an animal? OK, fair enough. Anybody else?
CAMILLE A wolf.
WYATT I believe you’ve captured the essence of the hairstyle. Originally, I was going to suggest it resembles a wolf, but we can only choose one option. Instead, let me propose a wolverine. To be fair, wolverines are more rugged than myself.
Andrew Watt, you’ve collaborated with Elton John previously; was the production of “Never Too Late” unique compared to your other projects together?
Elton composes his songs by first having the lyrics, which then trigger a mental image or movie-like scene for him. He then positions these lyrics above the piano and proceeds to write the music that corresponds with the lyric’s flow.
John and Taupin essentially brought Brandi into their creative journey, collaborating on lyrics that were deeply rooted in Elton’s personal experiences and inspired by the documentary she watched about him. We all got a glimpse of this early version, and Brandi penned a heartfelt account of his life. Meanwhile, I was composing a song that essentially tells his story. It’s truly awe-inspiring to be a part of such a unique and powerful process.
Andrew Wyatt, what was your process when writing “Beautiful This Way”?
WYATT I found myself creating a rhythm that had a subtle military tone (“dun dun-dun-dun”) along with an ethereal quality, which is consistent throughout the entire movie. My aim was to compose a song that encapsulated the experiences of the character portrayed by Pamela Anderson while also blending seamlessly into the overall fabric of the film. The score I produced was essentially my emotional reaction to the vivid, yet melancholic, visuals presented in the movie.
What was it like to work with Miley Cyrus again?
Miley is truly exceptional. What sets her apart as a singer is that every word she sings seems like it could be a matter of life or death for her. This intensity is remarkable. Furthermore, despite her youth, Miley has already had quite the career, which gives her voice depth and complexity. Remarkably, this richness in her voice echoes the gravitas of Pamela’s character, who portrays someone much older than Miley currently is. Yet, Miley’s voice manages to convey the same weight, telling a story that resonates with audiences, contributing to the enigma that is Miley.
Hey there! In the movie “Exhibiting Forgiveness,” I portray a character who’s a singer, and I’ve been working on a track called “Bricks” that I penned myself. Can you tell me about your experience acting and composing music for this film?
On DAY, I immersed myself in an extraordinary screenplay, and had daily conversations with the talented director, Titus Kaphar, as we brought these characters to life. What resonated deeply with me about this tale was a thought I’d never considered before – the title, “Bricks,” and the phrase, “Constructing with bricks that were never allocated.” This story made me realize the extraordinary power of human resilience in crafting a life, future, or family that one has never witnessed or experienced. It’s incredible how people can establish a serene and nurturing home despite only knowing abuse and disorder. The movie beautifully illustrates this concept.
Andrew Wyatt, you had the opportunity to collaborate with the iconic Quincy Jones not so long ago. Could you share your experience about working with him?
I feel incredibly fortunate to perform alongside Chaka Khan and him. He was simply amazing. For his 2018 documentary, Quincy, directed by his daughter Rashida Jones, we worked on this song, aiming to honor his consistent musicality, something he was passionate about showcasing in all his work. While some music relies heavily on three chords, he wasn’t a fan of that style. Instead, we aimed to add depth and complexity to our performance. Truly, it was an extraordinary experience.
In that situation, did it occur to you that since they requested your presence, it would be appropriate to express your genuine thoughts, wouldn’t it?
Absolutely, I agree! If not, we might end up wasting everyone’s precious time. At some stage, it’s essential to take action and simply…
WILLIAMS Do the thing.
WYATT Jump in and learn how to swim after.
PERFORMING WITH BANDS Working with bands is enjoyable and amusing… since you aim to assist them. “It’s a major chord, no, it’s a minor chord.” Then I began to understand that it’s just a matter of major vs minor. Just allow them to express themselves freely.
How would you describe the experience of having musicians like The Rolling Stones, Elton John, Pearl Jam, Ozzy Osbourne, and Iggy Pop ask you to oversee the production of their most recent studio projects, Andrew Watt?
WATT To be honest, it’s quite surreal, almost like a dream, to hear those names in conjunction. They bring me immense joy. I’ve always been an ardent admirer of these acts, and I believe that’s why I’m there – to represent their fans.
JOHN When I heard the list of names read out: At what age did you move into your home – was it at 19 or 20 years old?
Approximately around 19-20 years old, you didn’t respond to my call! [Note: At present, Watt is 34 years old.]
WILLIAMS Actually, not quite. Yet, you’ve been delightful and continue to be so. It’s just that as this young man departed my home, I found myself musing, “What a fine fellow, I wish him the best.” Incredible! My heartfelt congratulations to you!
WATT You were awesome to me then.
Andrew Wyatt and Andrew Watt — have you guys worked together yet?
WYATT We did work on one song with Bruno, right?
WATT Yeah.
WYATT And I don’t think it’s out yet.
Which artist, either living or deceased, would you choose to work together with on a song, if given the opportunity?
WILLIAMS I’ve been considering composing a fresh Rat Pack album. It seems like a promising idea, and if things work out, maybe it will happen. Whether they participate or not depends on their respective estates, but only time will tell.
CAMILLE As a solo act, composing songs for other vocalists like Emilia Pérez was an entirely new experience for me. It was a pleasure collaborating with each one of them, and I must say, working with Selena Gomez was particularly enjoyable since she’s already established in the music industry. We seemed to understand each other well, and I must admit, her talent serves as an inspiration for me – though I hesitate to say it, she truly inspires me.
WILLIAMS Tell her.
As a gamer, I can relate. There’s another artist, Celine Dion, who resonates deeply with me due to her struggles – specifically, issues with her voice. It’s heartwarming for an artist to express what it might feel like to lose your voice or find it again, and the journey that comes with it. I’ve only experienced this a few times, but when it happens, you can’t help but question, “Why am I unable to speak?” It’s a strange feeling of silence that leaves you pondering.
JOHN Often, we underestimate artists since they’re always around and part of our daily lives. However, it wasn’t until the Olympics when Celine Dion appeared that I was struck by the realization, “Wow, this is a truly extraordinary individual.” I completely concur with your suggestion; writing a song together with her would be a fantastic idea.
Inquiry Could the person be either deceased or alive? If it’s someone who has passed away, I would confidently pick Billie Holiday, whom I portrayed in “The United States vs. Billie Holiday.” I wouldn’t mind if she swore at me in the studio. In fact, I’d say, “That’s okay.” Additionally, Michael Jackson and Quincy come to mind. As for those who are still alive, Erykah Badu, Lauryn Hill, and Jill Scott are my picks. They were like modern-day Billie Holiday, Ella Fitzgerald, and Sarah Vaughan for me during my journey of self-discovery and growing into a woman. These three women were incredibly influential in that process.
WYATT Deceased: Jimi Hendrix. He’d likely be the most fascinating person to spend a day, a week, or even a month with. So, it would undoubtedly be him. Alive, though, is… (glances at Watt) “Aren’t you associated with Stevie Wonder lately?
WATT I did, yeah. He’s the greatest.
Stevie Wonder was a figure of reverence for me; I had his posters hanging above my bed. Sometimes the question would cross my mind: “Would you truly want to collaborate with someone whom you considered a god?” Yet, I believe I would still go ahead with it. One of my biggest regrets is that we were given an opportunity to perform together, but unfortunately, one of the band members couldn’t make it happen. We were invited to perform at the Super Bowl, specifically for Budweiser’s show, and Stevie Wonder was also performing. The condition was that we had to perform a song with Stevie Wonder. I was taken aback by this request, so my chance to work with him slipped away.
Andrew Watt, what’s your answer?
WATT Such a hard question.
WILLIAMS You’ve done it, haven’t you?
I have a strong affection for Siouxsie Sioux. It’s been quite some time since I last listened to her music, and I would cherish the opportunity to simply converse with her.
WILLIAMS How about Robbie Williams, please? Please. I beg now.
Well, Robbie’s got an album coming out. Is it too late?
WILLIAMS No, no. Never too late.
WATT That’s the name of my [Oscar-shortlisted] song. There we go.
Initially, this tale was featured in an independent January edition of The Hollywood Reporter’s magazine. If you want to get the magazine, follow this link to subscribe: [Subscribe Here]
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2025-01-07 17:27