Miley Cyrus didn’t just walk the Oscars red carpet this year, she worked it. The Grammy-winning singer has revealed that she used the 2025 Academy Awards as a networking ground, openly pitching herself to filmmakers and offering to write original music for their projects.
Speaking about her Oscars strategy, Cyrus said she kept things simple and honest. “Everybody that came up and introduced themselves, I said, ‘Well, if you need any music, I’m around,’” she shared during an interview with People, adding that she has never shied away from putting herself out there. “I kind of throw it out there as I always do.”
She recalled meeting filmmaker James Cameron at the 2024 D23 Expo, where a casual conversation turned into a major collaboration. “I already knew the answer to, ‘So what have you been up to?’ I know he’s been up to Avatar for a very long time,” she said, before telling him, “Just lemme know if you ever need any music.”
The timing worked in her favour. As Cameron was deep into post-production on the third Avatar film, the exchange organically led to Cyrus contributing the song Dream As One, which plays during the end credits of Avatar: Fire and Ash. Reflecting on the collaboration, Cyrus said, “It just kind of organically happened,” adding that Cameron affectionately refers to them as “legends-in-law”.
Her Oscar-night hustle mirrors another successful collaboration from last year. Cyrus revealed that she took a similar chance with Jamie Lee Curtis, which eventually led to her song Beautiful That Way being featured in Gia Coppola’s The Last Showgirl. The track went on to earn a Golden Globe nomination. “That’s how I ended up doing Last Showgirl and now being a part of Avatar,” she said.
At the Oscars, Cyrus also floated the idea of working with the creators of Baby Reindeer. “I don’t know what I would write for Baby Reindeer season two, but I threw that out there,” she admitted.
For Cyrus, writing for films and series goes beyond professional ambition. She believes music plays a defining emotional role in visual storytelling. “Writing songs for films lets me be part of what really kind of bites in a film,” she said, explaining her deep attachment to such work.
She added that some songs become inseparable from the films they feature in. “There are certain songs — whether written for a film or later used in it — like I Will Always Love You, where you immediately think of the movie. They become embedded.”
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