Worked with? Everybody basically said yes, and it was a fun song to do.ĭebbie Harry is the most surprising of the group. How about Cyndi Lauper? How about Gloria Estefan, who I’ve done a lot of songs for? And how about Debbie Harry, who I’d never And I was working with Belinda Carlisle on her EP, so Belinda was a great call, too. I met her at her former manager’s house, probably 20 years ago. The first person I thought of was Dolly Parton, of course. I wanted to get 80-year-old divas who are still eternally cool and badass, just like Jane Fonda, Rita Moreno, Lily Tomlin and Sally Field. Since 80 for Brady has an all-star group of women at its center, was it immediately obvious to you that your song would also involve a group of A-list performers? She’s from L.A., and she didn’t know people in the business either. For this one, I said, “I’m going to write a really cool reggaeton song.” Literally the next day after I saw the movie, I sat down at my keyboards and came up with that chorus. I write everything for all kinds of artists, and this song had to have that Latin vibe. What was it like to write an upbeat reggaeton song? On soundtracks especially, you’re best known for ballads. Anna Kooris/Searchlight Pictures/Courtesy Everett Collection Jesse Garcia (left) and Dennis Haysbert in Flamin’ Hot. I have a fire inside that took me from Van Nuys, California, not knowing anybody in the music business, or certainly in the movie business. This is probably one of the songs closest to me. It’s the fire inside you that makes things happen when everyone is slamming doors in your face. It’s so uplifting, and the first thing I thought of was “The Fire Inside.” It was like a double entendre with Flamin’ Hot, but the fire inside is all about passion. Finally, she did the movie and said I could come see it. I loved the idea, as somebody who comes from nothing, that you create yourself by the fire inside. He was a janitor who created this amazing product on his own. I kept saying, “So, when are you going to do that movie?” I kept bugging her, because it sounds like such an amazing story. What were the marching orders for these two movies in terms of the songs you were going to write?Įva Longoria was renting space in my building, and I knew she was going to direct Flamin’ Hot because DeVon Franklin, I worked on 2019’s Breakthrough, told me about this movie and how he was trying to get Eva to direct it. When I write a song like that, I write the song I want to hear at the end of the movie. To me, an end-title song is super important because it ties everything together emotionally. But I don’t look at an end-title song as something superfluous. I kind of figure it’s going to be somewhere in the movie or the end titles. When you’re approached to write a song for a movie, are you generally given a sense of how the song will be used before you start writing? THR talked to Warren about how she wrote the numbers, what it’s like to have such impressive Oscar statistics without ever winning, and the two losses that most disappointed her. And “Gonna Be You,” a collaboration among Dolly Parton, Debbie Harry, Gloria Estefan, Cyndi Lauper and Belinda Carlisle, is a buoyant ode to friendship befitting 80 for Brady’s central football-obsessed clique.Įva Longoria Says Most Painful Part of Strikes Is Not Being Able to Support "Amazing Work That Our Community Is Doing" Amid Wave of Latinx Projects “The Fire Inside,” empowerment pop performed by Becky G, concludes Eva Longoria’s biopic about Richard Montañez (Jesse Garcia), a Frito-Lay janitor who rises through the ranks after creating the Flamin’ Hot Cheeto. But instead of the romantic ballads for which she’s best known, like “How Do I Live” and “I Don’t Want to Miss a Thing,” they have other preoccupations. This year, Warren has two tracks up for grabs: Flamin’ Hot’s “The Fire Inside” and 80 for Brady’s “Gonna Be You.”īoth songs are typical Warren: soaring and earnest. She’s claimed 14 nominations in that starry Oscar category, and umpteen other movies have made her a contender since the early 1980s. At this point, it’s rare to see a best original song shortlist without Diane Warren’s name on it.
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