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LES MISÉRABLES
Working Title Films, Cameron Mackintosh Ltd.'s Drama, Musical, Romance, Thriller directed by Tom Hooper starring Hugh Jackman "Jean Valjean", Russell Crowe "Javert", Anne Hathaway "Fantine", Amanda Seyfried "Cosette", Eddie Redmayne "Marius", Aaron Tveit "Enjolras", Samantha Barks "Éponine", with Helena Bonham Carter "Madame Thénardier" and Sacha Baron Cohen "Thénardier". Based on the Original Stage Musical: Boublil and Schönberg’s Les Misérables Based on the Novel by Victor Hugo. Screenplay by: William Nicholson, Alain Boublil and Claude-Michel Schönberg, Herbert Kretzmer. Music by: Claude-Michel Schönberg. Lyrics by: Herbert Kretzmer. Produced by: Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh. Executive Producers: Liza Chasin, Angela Morrison, Nicholas Allott. RELEASE DATES: 13 FEBRUARY 2013 (FRANCE) / 14 DECEMBER 2012 (USA)
LES MISERABLES Working Title Films, Cameron Mackintosh Ltd.'s Musical epic directed by Tom Hooper starring Hugh Jackman, Russell Crowe, Anne Hathaway.
FILM SYNOPSIS AND MUSICAL NUMBERS 1815, Toulon/Digne: After 19 years on the chain gang (“Look Down”), Jean Valjean (Jackman)—prisoner 24601—is released by Javert (Crowe), the officer in charge of the convict workforce. As Valjean struggles to make his way from Toulon to Digne (“Freedom Is Mine”) in search of food, lodging and work, he discovers he is an outcast, shunned by everyone. Only Bishop Myriel of Digne (COLM WILKINSON, who originated the role of Valjean in London and on Broadway) treats him kindly, but Valjean, embittered by years of hardship, repays him by stealing the church’s silver candlesticks. Valjean is soon caught and returned, but is astonished when the bishop denies the theft to the police to save him. Henceforth, Valjean decides to start his life anew (“What Have I Done?”). 1823, Montreuil-sur-Mer: Eight years have passed, and Valjean, having broken his parole and vanished, has used the money made from selling the bishop’s silver to reinvent himself as Monsieur Madeleine—a respected town mayor and factory owner. One of his workers, Fantine (Hathaway), has a secret illegitimate child named Cosette to whose guardians she must send every franc she earns. The other women have discovered this, and when they think Fantine is behaving above her station by rebuffing the factory foreman because of his advances, they demand her dismissal (“At the End of the Day”). She is thrown out without mercy. Fantine pleads with Valjean to help her, but his attention is elsewhere. Javert, now the inspector of police, has appeared at the factory to see Madeleine. Although Javert thinks they may have met before, Valjean quickly informs him he is mistaken. They are interrupted by a crash from outside, and they hurry out. There, Javert watches in amazement as Valjean lifts a cart, which has toppled onto a driver named Fauchelevent (STEPHEN TATE, a London stage Thénardier for several years). The extraordinary show of strength reminds Javert of the convict Valjean, but he is not confident enough to say so. Desperate for money to pay for her daughter’s medicine, Fantine goes to the red-light district (“Lovely Ladies”), where she sells her beloved locket, her hair and her teeth, then joins the whores in selling herself (“I Dreamed a Dream”). Utterly degraded, she gets into a fight with a violent customer and is about to be arrested by Javert when the mayor arrives and demands she be taken to the hospital instead. Fantine tells Valjean that she was thrown out by his foreman, that Valjean did nothing to help her, and that her daughter is close to dying. Stunned, he promises to go to the inn in Montfermeil, where her daughter is living, and reunite her with her mother. Later, Javert hears that the convict Valjean—whom he has been hunting for eight years—has been recaptured, and he goes to see Madeleine to apologize for his suspicions. Valjean conceals his shock and hurries home, preparing to leave before the mistake is discovered. Unable to see an innocent man go to prison, Valjean bursts into the courtroom to confess that he is in the fact the real Valjean, prisoner 24601 (“Who Am I?”). Valjean then goes to the hospital, where he promises the dying Fantine that he will find and raise Cosette as his own (“Take My Hand”). Just as Fantine dies, Javert arrives to arrest Valjean. The two men fight (“The Confrontation”), but Valjean manages to escape. In Montfermeil, Young Cosette (newcomer ISABELLE ALLEN) has been living (“Castle on a Cloud”) with Monsieur and Madame Thénardier (Baron Cohen and Bonham Carter), who horribly abuse her while spoiling their own daughter, young Éponine (newcomer NATALYA WALLACE). Keepers of an inn, they run a bawdy business, where they frequently pick the pockets of their customers (“Master of the House”). Valjean finds Cosette freezing in the woods by the inn and takes her back to her guardians, whereupon he pays the Thénardiers to let him take her away to Paris (“The Bargain”). Just after Valjean and Cosette leave, Javert arrives, cursing the fact that Valjean has eluded him once more. As they make their way to Paris, Valjean is overwhelmed by the love he has for Cosette (“Suddenly,” written for the screen), but there is no time for him to indulge in his paternal feelings. Javert is hot on their heels, and when they arrive in Paris, Valjean and Cosette seek sanctuary in a convent. They find it when they run straight into the very man whom Valjean rescued from certain death, Fauchelevent. That night, Javert pledges to the sleeping city that he will hunt Valjean until he is back behind bars (“Stars”). 1832, Paris: Nine years later, the unrest in the city has been simmering because of the imminent death of the popular leader General Lamarque, the only man in government who has shown sympathy for the poor citizens who are dying in the streets. We follow the indomitable street urchin Gavroche (DANIEL HUTTLESTONE, West End production of Les Misérables) as he jumps from coach to coach, literally dancing over the heads of the elite (“Look Down”), and a group of politically minded students led by Marius (Redmayne) and Enjolras (Tveit) as they gather in the streets. Enjolras rallies the crowd for support, and a pretty young street girl, the now-grown Éponine (Barks), gazes longingly at Marius, clearly and desperately in love with him. Later the same day, a street gang led by M. and Mme. Thénardier sets upon Valjean and a beautiful young woman, the grown Cosette (Seyfried), who are giving alms to the beggars. Marius catches sight of Cosette, and he cannot take his eyes off her. It is simply love at first sight. Just then, Javert arrives and breaks up the brawl but fails to recognize Valjean until the former prisoner has vanished. For her part, Éponine reluctantly agrees to help Marius find Cosette, for whom he only has eyes. As news of Lamarque’s death spreads throughout Paris, the students gather again to rally support for a revolution (“Red and Black”). However, Marius is distracted by thoughts of Cosette, as is Cosette of Marius (“In My Life”). Éponine guides Marius to Cosette (“In My Life”/“A Heart Full of Love”), while her scurrilous father tries to rob Valjean’s house. Valjean, convinced it is Javert who has come after him, tells Cosette they must flee the country. Cosette hastily scribbles a letter to Marius so that he will know where to find her. She sees Éponine and asks her to give the note to Marius. Éponine takes the letter and walks despondently through the lonely streets of Paris (“On My Own”), arriving at the apartment where Marius lives. Heartbroken, she keeps the letter but tells him that Cosette has gone to England. Set to the ensemble song “One Day More,” we follow the many threads of the story: Valjean and Cosette as they flee, while Marius pines for Cosette and Éponine grieves for a love she’ll never know; Enjolras and the students prepare ammunition for the uprising, while Javert rouses his forces and promises to suppress it. Marius leads the students to the streets, and bolstered by the crowd, they ambush Lamarque’s funeral (“Do You Hear the People Sing?”) and make their call for the people to rise up. A soldier lets off a round of ammunition, and the funeral explodes into a riot. The students break away and race off to their home base, where they prepare to build a barricade and to make their final stand. Disguised as a boy, Éponine decides to rejoin Marius there, and Javert, who has been operating undercover throughout the funeral, also arrives at the growing barricade. Gavroche soon unmasks Javert’s true identity, and the spy is taken hostage by the students. The barricade continues to grow, and the revolutionaries defy the warning by soldiers to give up. Éponine is killed while protecting Marius (“A Little Fall of Rain”), but she just manages to give him Cosette’s note before she dies. Marius asks Gavroche to take a letter to Cosette, which is intercepted by Valjean. He understands now that Marius and Cosette have fallen in love, and knowing that the students won’t stand a chance, he goes in search of Marius. Valjean gains entry to the barricade and soon sees Javert held captive. Warning the students of snipers and proving his allegiance, Valjean asks Enjolras to release Javert into his custody. Valjean is given the chance to kill Javert but shows him the mercy denied himself. The students settle down for a long night on the barricade (“Drink With Me”), and in the deadly quiet, Valjean prays to God to spare Marius (“Bring Him Home”). The next day, as Gavroche volunteers to go for more ammunition (“Little People”), the little boy is killed by a soldier. The rebels now face a bombardment by the army, and in the onslaught, Marius is shot. Valjean carries the unconscious Marius away from the carnage, escaping into the sewers. Enjolras and the few remaining rebels are killed. Javert walks through the bodies, grimly surveying the victory of law over rebellion, but the official does not find Valjean until he sees a drain has been lifted… Valjean pulls Marius through the sewers, and after he meets Thénardier robbing the corpses of the rebels, he emerges from the gutter only to find Javert waiting for him once more. Valjean pleads for time to deliver Marius to the hospital, but Javert threatens to kill him if he attempts to escape. Valjean continues to walk on, but Javert cannot pull the trigger. Javert lets Valjean go, but unable to live knowing that his immutable principles of justice have been broken, he leaps from a bridge to his death. Marius, unaware of the identity of his rescuer, awakes from the nightmare in his grandfather Gillenormand’s (PATRICK GODFREY, The Remains of the Day) home. Still weak, Marius returns to the café where the students plotted their uprising and grieves for his comrades who died for the cause (“Empty Chairs at Empty Tables”). As he turns to leave, he finds Cosette awaiting him. Back at his grandfather’s house, Marius recovers in Cosette’s care and goes to Valjean to hear his rescuer’s confession of his past. Knowing that he must flee so as not to disgrace Cosette in case he is caught (“Who Am I?”), Valjean makes Marius swear that Cosette will never know of his true history. Marius and Cosette are married, and at the wedding banquet, the Thénardiers try to blackmail Marius in exchange for their silence on Valjean’s identity. However, when Marius sees that the ring Thénardier stole that night in the sewer is his own, Marius understands that it was Valjean who rescued him. He fells Thénardier with a blow, and the Thénardiers are thrown out singing in protest as they go (“Beggars at the Feast”). Cosette joins Marius as they rush to the convent so she may learn her true history. They stay with Valjean as he dies, joined by the ghost of Fantine and the bishop (“Take My Hand”). Many years later, the people of Paris have risen in their thousands, and a new Republic is born. An immense barricade is populated by thousands of people (“Do You Hear the People Sing?”). We see amongst them the ghosts of Enjolras and the students, Gavroche and Éponine, Fantine and Valjean—all singing together in triumph. Singing Live: The Music of Les Misérables The creators of one of theater’s greatest scores of all times were a welcome presence on set throughout production, appreciating the latest incarnation of their life’s master work. For the cast, having Schönberg and Boublil present raised the bar for their self-expectations. Hathaway speaks for the group: “You absolutely want to please them and impress them and bring their vision to life, and they have been really supportive of the process and very understanding that certain adaptations have had to be made.” The transition from stage to screen was always going to be a challenging one, but Hooper’s vision that every actor sing live raised the bar even further. Relays Fellner: “Tom wanted to bring the audience as close as possible, and quite simply, an audience connects best with a live performance. But it was a risk, not only from a technical point of view, but because of the demands it put on the actors having to sing all day.” Musical director STEPHEN BROOKER, one of Britain’s leading musical theater conductors and figures, heads Mackintosh’s worldwide music team—conducting and supervising the music on many of his shows. Brooker shares his thoughts on the decision to have the cast sing live: “It was without a doubt the right choice. It gave the actors the real chance to be very emotionally connected to the text.” Hooper expands upon the conundrum: “The problem when you’re singing to playback is that it denies the actor of being in the moment because they have to stick to the millisecond of a plan laid down months before. Whereas, when they sing live, an actor has the freedom to create the illusion that the character is acting in the moment, which has a profound effect on the power and the realism of the performance. There’s so much emotion in Les Misérables, and I wanted the actors to have options which might be created by the performance—options which they would be unlikely to have in a recording studio months before.” Another bonus? This meant that the actors’ performances were not restricted and dictated by the tempo of an earlier recording. Though production sound mixer Simon Hayes was charged with the enormous task of capturing the live sound, he was hugely supportive of Hooper’s vision. He commends: “I knew instinctively that when Tom first started talking to me about this project, his vision to record the sound live was right. There are probably only 15 to 20 lines of dialogue in the whole film. I don’t think the audience would have accepted actors lip-synching for an entire film.” The performers were supported by vocal coaches with whom they would warm up daily before going on set. Once on location, actors were given earpieces, which allowed a live on-set pianist to play into their ears. The instrumentalist watched the live performance on a monitor so that the actors could dictate, by their movements, where the melody and the tempo should come. The voices were also recorded without the piano accompaniment, which allowed an orchestra to score correctly in the postproduction phase of the film. Hayes describes that it was never easygoing: “On the first day of the shoot, we had Hugh up a mountain. We were pretty high up, the air was getting thin, and it had taken us an hour and a half to carry all the equipment up. What was immediately evident to me in the live recording was that, as Hugh is striding across the mountain, you can hear that he’s out of breath. He’s a fit man; he trains very hard but you can hear that he’s struggling with a lack of oxygen, and it comes across in his voice. He sings it beautifully, but he’s clearly walking across a mountain range. It’s an extraordinary performance. At once, I understood Tom’s vision and knew how well it was going to work. There was something in the way that you connect on a human basis with that piece of singing that you wouldn’t do if he was lip-synching to a prerecord.” Likewise, the actors appreciated their director’s unorthodox decision, one that could have been proved insane by absolutely anyone’s vocals being off for the day. Surmises Jackman: “It was a bold but correct choice and daunting for the actors, but it gave us a freedom we would not have had in our performance. It meant I could just get on with the acting and not be locked into a performance I’d done on a soundstage three months before. It made it feel real and immediate.” Agrees Crowe: “The benefit that recording it live brings is that you are not restricted emotionally. By being able to explore in the moment, we made some interesting and fascinating discoveries about the characters and the relationships between them. I think it has been key to why this experience has been so fulfilling.” Hathaway, who performs a gut-wrenching, bravura performance of the iconic song “I Dreamed a Dream,” adds, “Not only did you have to open yourself to something you’ve never done before, but you’re with a bunch of other actors who’ve never done this before, a crew that has never shot a movie like this, and a director who’s never done anything like this. Although we were all at different levels of experience within our careers, we were all at square one when it came to this. “It was wonderful to have that same level of vulnerability but also to feel supported and support each other,” Hathaway continues. “I learned the song backwards and forwards and then applied the reality of the scene. The reality is that Fantine is devastated, and she’s just become a prostitute. The song is in a different place than it is in the show. In the show, it comes just after she’s been fired from the factory, so there’s still that little bit of hope. But in the movie, she’s literally at the bottom of a hole… looking up and realizing she’s never going to climb out of this. There seemed to me to be something almost selfish about trying to go for the pretty version of it. I decided to apply the truth to the melody. It was scary to bring this rawness to the song, which has been sung by some of the greatest singers who have ever lived. But I had the support of Tom, Cameron, Claude-Michel and Alain, so we just went for it.” For her part, Seyfried describes the intense experience this way: “There’s no way to prepare for live singing in film. When I did Mamma Mia!, we spent two days in the recording studio. We listened to our voices, as much as we could without going insane, to memorize timing and breath…and so we could lip-sync. On Les Misérables, the experience was like living the life of a singer.” Although Barks has the additive experience of appearing in the show on stage, she also found singing live on film quite daunting. She reflects: “When I performed ‘On My Own,’ I sang that song from start to finish, take after take after take, probably 15 times. That was a new experience for me. In the theater, I did it once a night, eight shows a week. But during the shoot, we were doing it every day, all day, and it’s a different kind of discipline. You really had to look after yourself staminawise, and everyone was in the same boat.” Universal Pictures presents—in association with Relativity Media—a Working Title Films/Cameron Mackintosh production of a film by Tom Hooper: Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried in Les Misérables, starring Eddie Redmayne, with Helena Bonham Carter and Sacha Baron Cohen. Casting for the film is by Nina Gold. The musical epic’s editors are Melanie Ann Oliver and Chris Dickens, ACE; the production designer is Eve Stewart; the director of photography is Danny Cohen, BSC. The music supervisor is Becky Bentham, and the orchestrations are by Anne Dudley, Stephen Metcalfe. The film’s musical director is Stephen Brooker. The music producers are Alain Boublil, Claude-Michel Schönberg, Anne Dudley. The film’s co-producer is Bernard Bellew, and the executive producers are Angela Morrison, Liza Chasin, Nicholas Allott, F. Richard Pappas. The music is by Claude-Michel Schönberg, and the lyrics are by Herbert Kretzmer. The film’s screenplay is by William Nicholson, Alain Boublil, Claude-Michel Schönberg, Herbert Kretzmer. Les Misérables is produced by Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh. The film is based on Cameron Mackintosh’s production of the original stage musical Boublil and Schönberg’s Les Misérables. The musical epic is directed by Tom Hooper. © 2012 Universal Studios.
TRAILER A (VOSTFR)
This Christmas, the epic musical comes to the big screen.
© 2012 Universal Pictures International. All Rights Reserved.
© 2012 Universal Studios.
TRAILER 1R (VO)
TRAILER #2 (VO)
FEATURETTE #1 "Singing Live" (VO)
FILM CLIP #1 "Javert releases prisoner" (VO)
FILM CLIP #2 "At The End Of The Day" (VO)
FILM CLIP #3 "Who Am I?" (VO)
FILM CLIP #4 "A Heart Full Of Love" (VO)
FILM CLIP #5 "On My Own" (VO)
TV SPOT #1 "Medley" (VO)
TV SPOT #2 "I Dreamed A Dream" (VO)
INTERVIEWS #1 Amanda Seyfried "Cosette" (VO)
INTERVIEWS #2 Anne Hathaway "Fantine" (VO)
INTERVIEWS #3 Eddie Redmayne "Marius" (VO)
INTERVIEWS #4 Hugh Jackman "Jean Valjean" (VO)
INTERVIEWS #5 Samantha Barks "Éponine" (VO)
LONDON #2 Amanda Seyfried "Cosette" (VO)
LONDON #3 Anne Hathaway "Fantine" (VO)
LONDON #93 Premiere B-Roll (VO)
LONDON #4 Cameron Mackintosh (Producer) (VO)
LONDON #5 Eddie Redmayne "Marius" (VO)
LONDON #6 Eric Fellner (Producer) (VO)
LONDON #7 Helena Bonham Carter "Madame Thénardier" (VO)
LONDON #8 Hugh Jackman "Jean Valjean" (VO)
LONDON #9 Russell Crowe "Javert" (VO)
LONDON #90 Sacha Baron Cohen "Thénardier" (VO)
LONDON #91 Samantha Barks "Éponine" (VO)
LONDON #92 Tom Hooper (Director) (VO)
LONDON #1 Premiere Sizzle (VO)
TRAILER C (VOSTFR)
FEATURETTE #1 "1er jour de tournage dans les Alpes" (VOSTFR)
FEATURETTE #3 "Making Of" (VOSTFR)
FEATURETTE #2 "Recréer Paris dans les studios de Pinewood" (VOSTFR)
FEATURETTE #4 "Singing French" (VOSTFR)
FILM CLIP #1 "Javert libère le prisionnier" (VOSTFR)
FILM CLIP #2 "À la fin de la journée" (VOSTFR)
FEATURETTE #2 "Epic Scale" (VO)
FEATURETTE #3 "Costumes" (VO)
FEATURETTE #4 "Make Up" (VO)
FEATURETTE #5 "Production Design" (VO)
FEATURETTE #6 "Original Song" (VO)
FEATURETTE #7 "Colm Wilkinson is Back" (VO)
FEATURETTE #8 "Hugh Jackman Is Jean Valjean" (VO)
FEATURETTE #9 "Paris At Pinewood" (VO)
WALK OF FAME #1 "Hugh Jackman Star Ceremony" Part #1 (VO)
WALK OF FAME #2 "Hugh Jackman Star Ceremony" Part #2 (VO)
WALK OF FAME #3 "Hugh Jackman Star Ceremony" Part #3 (VO)
WALK OF FAME #4 "Hugh Jackman Star Ceremony" Part #4 (VO)
WALK OF FAME #5 "Hugh Jackman Star Ceremony" Part #5 (VO)
WALK OF FAME #6 "Hugh Jackman Star Ceremony" Part #6 (VO)
WALK OF FAME #7 "Hugh Jackman Star Ceremony" Part #7 (VO)
PREMIERE #1 George Blagden "Grantaire" (VO)
PREMIERE #2 Aaron Tveit "Enjolras" (VO)
PREMIERE #3 Samantha Barks "Éponine" (VO)
PREMIERE #4 Daniel Huttlestone "Gavroche" and Isabelle Allen "Young Cosette" (VO)
PREMIERE #5 Eddie Redmayne "Marius" (VO)
PREMIERE #6 Amanda Seyfried "Cosette" (VO)
PREMIERE #7 Tom Hooper (Director) (VO)
PREMIERE #8 Sacha Baron Cohen "Thénardier" (VO)
PREMIERE #9 Hugh Jackman "Jean Valjean" (VO)
PREMIERE #10 Anne Hathaway "Fantine" (VO)
BONUS FEATURES #1 "19th Century Paris" (VO)
BONUS FEATURES #2 "Creating Eponine" (VO)
BONUS FEATURES #3 "Epic" (VO)
BONUS FEATURES #4 "Groundbreaking" (VO)
BONUS FEATURES #5 "Hugh Emotionally Constant" (VO)
BONUS FEATURES #6 "I Dreamed A Dream" (VO)
BONUS FEATURES #7 "Russell Crowe" (VO)