AceShowbiz - At the Eastwood Scoring Stage within Warner Bros. Studios in Los Angeles, just six days before the 98th Academy Awards, Michael Bearden is leading a live orchestra through a variety of musical pieces in preparation for Hollywood’s biggest night. This marks the second day of pre-rehearsals for the telecast, where the musicians seamlessly transition across different eras and genres, performing around 20 pieces in 30 minutes under Bearden’s confident guidance.

As the Oscars ceremony centers on celebrating films and their stars, the music plays a vital role in setting the evening’s tone. Bearden explains to Rolling Stone that the orchestra has a substantial workload throughout the show’s three-and-a-half-hour runtime. “I think last year we had 111 to 112 pieces of music,” he shares via Zoom a few days later. He mentions working on a brand new piece that the orchestra had yet to rehearse during his initial observation, calling the final musical lineup “a constant moving target” that evolves right up until showtime.

Bearden’s responsibilities extend beyond just the interstitial music. This year, the ceremony welcomes back the Best Original Song performances, featuring two nominees: “I Lied to You” from Sinners and “Golden” from KPop Demon Hunters. He has collaborated closely with the performers to craft their presentations. For “I Lied to You,” the performance is led by Miles Caton and Raphael Saadiq, supported by an all-star ensemble including Buddy Guy, Brittany Howard, and Shaboozey. Meanwhile, “Golden” is performed by Ejae, Audrey Nuna, and Rei Ami of Huntr/x. Bearden emphasizes the importance of elevating the artists’ performances to suit the grandeur of the Oscars without compromising their artistic vision. “I always like for the artists to know that this is the Oscars, so let’s make it even grander, in a way that doesn’t diminish what you want to do,” he says. “We can make it a little bolder than they know.”

This year represents Bearden’s second consecutive time as the Oscars’ music director, though he is a veteran of the event, having performed as a musician on the show multiple times before. His extensive experience includes conducting the Emmys and working as music director for legendary pop icons such as Lady Gaga, Madonna, Jennifer Lopez, and Michael Jackson. This background informs his understanding of the scale and prestige required for the Oscars.

“The Oscars has a vocabulary, a really elegant and posh language, about it,” Bearden explains. “So you can’t just put any piece of music in the Oscars. It has to fit for the moment of celebrating cinema” and “sound good on the biggest show in Hollywood.”

During pre-rehearsals, Bearden and his orchestra rehearse segments from a diverse range of sources, including music from The Mandalorian, St. Elmo’s Fire, and The King’s Speech. The program also features popular hits such as Seal’s “Kiss From a Rose” and Wilson Phillips’ “Hold On,” alongside classics by artists like Stevie Wonder. Although it is only the second day of rehearsals, the process feels like a well-executed ballet. Bearden, dressed casually in black with high-top sneakers, fluidly manages the flow, grabbing music sheets and cueing the orchestra to launch into the next piece. Some numbers even inspire light dancing, such as the bossa nova-infused “’S Wonderful,” a Gershwin tune from the musical Funny Face, which sees Bearden and others swaying to the rhythm.

Selecting music for the Oscars might seem overwhelming given the vast global catalog and the volume required for the broadcast, but for Bearden, it is instinctive. “As a music director, one of my favorite words is ‘discernment’ – you have to know what to play and where,” he explains. Over his decades-long career, he has collaborated with more than 530 artists. To stay inspired, he listens daily to 10 new songs he has never heard before. This discernment guides his choices, determining what will fit best and where in the program. There is no secret formula, but a refined sense of musical judgment.

However, the music selection is not entirely up to Bearden. Most songs originate from other composers, and his team must secure permissions to perform them during the telecast, which isn’t always guaranteed. “So if something actually works, but we don’t get permission, then I have to choose something else,” he notes. The process is complex and requires flexibility.

There are also strict time limitations, especially for pieces leading into commercial breaks. Bearden must pick selections that resonate emotionally and are instantly recognizable, even if only 10 to 12 seconds are heard. “I have to pick the part of the song that moves people and that will move me,” he says. “And they go, ‘Oh, yeah, that’s, that’s that song.’ Then [producers are] off to commercial, and then we’re out.” Despite the brief duration, he aims to capture the core emotional essence that connects with viewers immediately.

This year’s ceremony will feature several significant musical moments, including the In Memoriam segment, which Bearden personally arranged. While specific song choices remain confidential, he stresses the careful thought and respect his team and the broader Oscars committee have devoted to honoring those who passed away in the past year. The segment will pay tribute to notable figures such as Diane Keaton, Robert Duvall, Diane Ladd, and Rob Reiner, among others.

As the countdown to the show continues, Bearden anticipates making final adjustments during rehearsals but remains committed to one central goal: ensuring every musical selection evokes a deep emotional response. “Music, for me, is the most powerful language on Earth,” he reflects. “I choose music that moves souls. That’s one of my favorite sayings I say to whoever I’m working with – once we do all the prep work and we’re ready to hit the stage and they’re announcing us, I always tell them, ‘Let’s go move some souls.’”

This article is based on reporting originally published by Rolling Stone.