"What the Coens are about is enjoying a long, luxurious soak in the pleasures of craft, both as they were perfected in the inhuman factories of the studio system and as they are practiced today in the hands of cinematographers (Roger Deakins), production designers (Jess Gonchor), soundtrack composers (Carter Burwell), costume designers (Mary Zophres), and on and on, everyone humming along at the top of their games." - Ty Burr, Boston Globe, Feb. The acoustics of the room itself are very good, but it's not large enough to accommodate the orchestra we needed for the cues with lots of brass, like "Hail Caesar!", not to mention the choir, so we recorded the elements in separate passes. Luke's and is not a recording studio per se. This is the rehearsal space of the Orchestra of St. The New York recording took place at the DiMenna Center. We planned to record the score in New York but some scenes that were dependent on visual effects - the water ballet for instance - weren't finished in time and we weren't sure how the effects would change the timings, so we added a recording session in Los Angeles, during the final mix of the film. Then the real arrangement, by Sam Davis, was recorded at Avatar Studios in New York, to match the edit of the scene. A piano and vocal recording of the song was played back on set, along with a recording of the tap sounds to guide his dancing. Channing learned the song and the choreography. ![]() This scene was planned the same way tap numbers were done in the 40's and 50's. The music for Hail Caesar! was recorded in several phases.įirst was the song "No Dames", written by Henry Krieger, sung by Channing Tatum, choreographed by Christopher Gatelli. The the cheezy Western "Hobie and Whitey" shares melodic elements with the film noir mystery cue "In Pursuit of The Future." I don't think the audience would or should be conscious of these musical connections but I hope they create some cohesion between all the different sub-plots and sub-films within Hail Caesar! For instance the melody notes in the cue "5 am," an example of Eddie Mannix's "Lonely Man" theme, are also used in the trumpet fanfare of the cue "Hail Ceasar!", which is a Roman swords-and-sandals epic. I used bits of melody to connect very different pieces of music. The greatest challenge for me was how to weave all these parts into a whole. And that mystery is itself subsumed by Eddie's crisis of faith. All these bits of film are subsumed by a Hollywood kidnapping mystery. The scores of these films-within-the-film had to be authentic to their various genres - Roman Epic (a la Ben-Hur), Corny Western (Hopalong Cassidy), Water Ballet (Esther Williams) or Song and Dance (Gene Kelly). We repeatedly used the trick of cutting into the scene already in progress so that the audience thinks they're experiencing a scored film rather than the filming of a film, and then at the end of the scene someone yells "Cut!" and we realize we're on a set. ![]() Ultimately we abandoned the idea of being strict about this. Perhaps you see a band on camera, or an editor throws some temp music on a moviola. In other words, we tried to provide an explanation for why there would be music playing even as a film was being shot. ![]() ![]() So how do we explain the presence of music in the scenes shot on set?Įarly on, Joel and Ethan and I made some effort to present music "diegetically" in these films-within-the-film. In the days of silent film, music was played on set, but this movie takes place in the era of sound films, when microphones were recording the actors, and the sets were kept as quiet as possible. In so doing, we move in and out of various films in progress. We follow Eddie Mannix from soundstage to soundstage, from cutting room to screening room, struggling with one problem after another. Hail Caesar! takes place during one long day on the studio backlot. Three Billboards Outside Ebbing, Missouri.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |