#and this year is stacked with like directors the oscars want to fuck with the lights on

[sufjeringstevens]

I love great gerwig as much as anyone else, comedies are overwhelmingly under represented at the oscars most years. I will say to me it would have made more sense for her to get nominated for directing than adapted screenplay but that is simply my opinion

[kitchfit]

Year in Review: Movies Pt 2

No longer promising consistent posts. From now on, these come out "bi-weekly," which means whatever I want it to, and written by your weekly bi. I am the only person to have ever thought of that joke.

Robin Hood (2010)

This is the one with Russell Crowe. I honestly don't know how I finished this one. I guess because my dad wanted to watch it. This is supposed to be a gritty, realistic take on the classic Robin Hood story. Or at least, I think that's what they were going for, it feels like the director can't decide between gritty realism and the goofiness that comes with the concept of the Merry Men. They're constantly cracking off one-liners and stealing from rich people with goofy disguises that feel more like pranks, but there's also an entire bloody battle scene between "Robin of the Hood" and King Richard that I cannot for the life of me remember the context nor conclusion of. I guess you could say it has both elements wrapped in one neat package, but it doesn't do either of those aspects really well.

Two most memorable scenes for me involve a blind man kicking surprising amount of ass in a sword fight, though ultimately unsuccessfully, and Little John clarifying to the bee-keeping Friar Tuck that NO! He does NOT have a "Little John." (as in small penie). The cast is kind of stacked in this movie, (Cate Blanchett as Lady Marianne, Oscar Isaac as King Richard, the Crow-man as The Hood) and they all give great performances, if that's what you're after, but overall it's kind of forgettable.

Dragon Ball Super: Super Hero

The rest of this entry's list follows a second movie marathon I had with some friends as we prepared for a showing of "Across the Spider-verse" we were watching the morning after. Why does that mean two anime movies and a classic Eddie Murphy comedy? I don't know! It was fun though. And that's all I can really say about this movie. It was fun! Nothing amazing. The plot follows the tertiary return of the Red Ribbon army, who are once again on that robot shit, and Piccolo trying to get his foster son, Gohan, to stop being a nerd (having a secure, well-paying career as an entomologist? Apparently?) and be a martial artist again. He does this by constantly putting his foster son's daughter (foster granddaughter?) in mortal peril to make Gohan snap and break stuff like he did in the old days. This is, hilariously, played as a uncritically good deed and that Piccolo was right to do this. I love Piccolo though, so he can do whatever he wants, Pan seems like she's having a great time being in peril.

The animation is fantastic, as per usual with high-budget anime movies these days. They opted for a 3D style that blends in nicely with the artstyle they've been using for Super. The fight scenes are choreographed in a way that reminds me of the Dragon Ball games they've put out in recent years, and I wouldn't be surprised if some of the Fighterz team worked on this. Oh wait, I have the power of the Internet in my Grasp.

...

WOW! Trying to find a comprehensive list of animators is hard as fuck! Cool! I ended up pausing through a video of the credits for both pieces of media. God I wish I could ctrl+f on a video. There may have been some overlapping names I overlooked, but I guess it wasn't largely the same people, oh well! If anyone knows a better way to find this information, please let me know!

Jujutsu Kaisen Zero

Our second anime movie of the night had a bit more depth to it. My watch through of Jujutsu Kaisen season one was bombastic, beautiful, and well-executed. It felt like a modern, more competent rewrite of the dynamics found in Naruto, though since I haven't read any of the manga that may be presumptuous of me. This movie didn't feel like Naruto. This movie felt more like Uzumaki (okay I haven't read Uzumaki yet, but I could resist the pun lol). A more straight-forward animated horror film that only leans into its shonen side towards the final act. You don't need to have read or watched any of Jujutsu Kaisen to appreciate this. In fact, I guess you could start with it, since it acts somewhat as a prequel.

The plot follows a boy possessed by the ghost of a woman he witnessed die in a car accident when he was a young kid. She was very close to him while he was alive, and in death she is an obsessive, over protective monster who maims anyone who might come close to her liege. It comes to light that her possession was actually (spoilers) the result of the boy's own psychic abilities, who brought her back from the grave on accident while distressing her death. It's an interesting statement on grief. An emotion can be so powerful as to tear open the fabric of the pale, and holding onto the negativity of that emotion for years only serving to hurt oneself and everyone around them. And then making peace with that grief so you can *checks notes* use your dead loved one to kick ass in a cool anime fight sequence. This movie NEEDS to be in schools./j

Spider-Man: Into the Spider-verse

Modern media has been a bit over-saturated with Multiverse stories as of late. Its a pretty common story trope in science fiction, done to death in Star Trek, DC comics, the comic this movie was based on, the video-game that comic was inspidered by, among other things. Rick and Morty's entire premise is basically built on the back of that concept, but I think we can trace its recent burst in usage to the success of this movie.

I love Spider-Man. I love Peter Parker. I think his story has such a strong foundation that nearly every adaptation I've seen has been compelling in one way or another. I love most of the Avengers super-heroes, but I can't really say their characters are as relatable, funny, or impactful as our arachnid enhanced boy. There's a reason when Sony was offered the entire Marvel ensemble, they opted to just take the wall-crawler at a discounted price. This movie uses the Multiverse to deconstruct the Spider-Hero narrative and show exactly why this character premise is so compelling.

Miles Morales is not Peter Parker, but he is Petersimilar. A nerdy kid who loves science and wants to be liked and most imporantly: wants to help, no, needs to help others. Because great power + conscience = responsibility. The same is consistent with the rest of the cast. It's a cheesy formula at this point, maybe, which is why its so effective when they play it so straight-forward with all six members of the cast. Different backgrounds, different histories, different universes, but all have seen what their inaction can affect, and all of them have the heart to keep going, to help people even when it gets tough. Miles is a particularly effective introduction to this Super-Hero for younger kids, being relatively less known and thus a fresher narrative than Peter, not to mention more black representation in popular media. It makes me smile when I see kids excitedly bring a stack of Miles Morales easy readers to the check-out desk. He's definitely The Spider of the next generation.

The Nutty Professor

This movie is. Definitely something. Still not sure why we ended our marathon on it. For those unaware, this is an Eddie Murphy comedy about an obese biology professor who concocts A Serum that makes him not only thin for short periods of time, but extremely charismatic. The thin version of himself essentially acts as a second personality who's kind of an asshole, and his coworker ends up caught in a love triangle between Fat Murphy and Thin Murphy.

This, naturally, comes with an endless cavalcade of fatphobic jabs typical of the 90s, but ultimately has a somewhat half-hearted message about toxic masculinity and body positivity. A lot of the jokes that aren't aimed at "haha fat people" do land with relative frequency, because well, Eddie Murphy Is Kind Of A Funny Guy, but for the first time I noticed a structural similarity in his comedy and Adam Sandler's. Remember Chuck and Larry, where the writing is extremely homophobic for the majority of its runtime, and ends with Sandler saying, "Don't be a homophobe"? No? No one has thought of that movie in 10,000 years? Well, this movie feels like that but with fat people, to slightly less offensive degree. But a low effort Murphy movie is still better than a mid-effort Sandler flick, I guess.

Spider-Man: Across the Spider-verse

I already ranted about how much I love Spider-Man earlier, and how the original deconstructs him as a concept, so I won't do that again, but I do want to draw attention to the inherent meta-fiction in Multiverse stories. It is, by its very nature, a story discussing storytelling. By showing different universes you are showing the audience how a story could have gone differently, how characterization can fundamentally alter a narrative. Multiverse stories that understand and recognize this principle tend to lead to a more cohesive and engaging plot. AtSV understand this principle, and follows more closely the original Edge of Spider-verse comic run, reintroducing Spider-Staples like Spider-Punk and Pavitr Prabhakar.

I like that Miguel O'Hara takes center-stage as the antagonist in this film, as he is largely left out of the Spider-verse stuff in the comics, and also I love Spider-Man 2099. One of my friends is obsessed with him. It is his recognition of the patterns in the Spider-Man narrative that drives the conflict in the second act, and it is him who decides those patterns are Fundamental to the Structure of All Things, which not only fits with his character, but provides a much better explanation for the existence of Spider-Society compared to the Spider Gods and Fate Totems from the comics. Miles is once again trapped in a typical Spider-Man conflict, but ironically has his status as Spider-Man called into question. All of existence is collapsing, a science experiment gone wrong turned a scientist into a monster, his dad is in peril, and all of it is getting in the way of asking out the girl of his dreams. Can none of the 100,000 Peter Parker's sympathize? Well yes, they can, but most still hold O'Hara's goal as the larger responsibility.

Speaking of the girl of his dreams, I adore Spider-Gwen. She is the comic book character I will follow to the ends of the earth, even though most of her comics lately suck ass. This film does a beautiful job bringing Robbie Rodriguez's artstyle to life in our brief time in Earth 65. The colors... THE COLORS!!! This animation team once again changed the landscape of animated films, but sadly this came at the cost of some pretty gross labor violations. This is extra damning as AtSV is apparently the fourth longest animated movie ever and doesn't even have a conclusion. All that abuse for an incomplete story? They clearly could have taken their time with this, and not every scene needed to make it to the final cut. This is why we have deleted scenes! So a studio doesn't lock a bunch of animators in a box and force them to work an unreasonable amount in record time. I hope the next movie has more union reps and give everyone as much time and space as they need to make something good. I want movies with people paid more to do less, dammit!

Okay, my soap box has been discarded. I've placed it neatly in the drawer with my toothpaste and hairbrush. I have one more list of movies to get through, but rn I'm moving onto the latter half of my reading list, since with my track record I probably won't finish anything else before the end of the year.

[luckynovak]

                       ❝ AND WHAT ABOUT ME, MOM?     WHAT ABOUT THE DAUGHTER WHO'S STILL HERE?                 LYDIA WAS TAKEN BUT YOU? YOU LEFT. ❞

— PARS UNA: the rumbling.

      Lucky doesn’t want to believe the rumors floating just outside her social circle. Her mother’s name is one very few dare to utter to the actress’s face but they certainly didn’t mind mentioning her behind her back from time to time. Lately however it seemed to be on the tip of everyone’s tongue. Lorraine Jacobs, playwright extraordinaire, back on the West coast to turn one of her infamous plays into a motion picture. At first it felt too outrageous to be true. Lorraine Jacobs hated Hollywood and she’d sworn to never step foot in Los Angeles county again regardless of it being where her children resided and yet it was all true.

       She couldn’t be sure what hurt more that her mother moved back for a job opportunity rather than to mend faces or the fact that she had to find it out through complete and utter strangers congratulating her for the early Oscar buzz her mother’s play turned movie was getting. By the time Lucky’s manager sat her down with news that the director assigned to the project was interested in screen testing her for a part she had already reached her limit. “Excuse me?” She all but shrieked manicured fingers digging into the expensive leather of his couch. “You’ve got to be fucking kidding me. No, no, fuck no.” What exactly was her mother thinking? That she could make up for years of abandonment by spoon feeding her daughter a role in her movie? Did she really think so little of her own flesh and blood? 

      “Luce, listen, I know how you feel about your mother but this is a golden opportunity,” Jonathan attempted to reason, large hands reaching forward to engulf the one angrily tapping on the surface of his coffee table. “Even if the role you're given is small, it’ll do wonders for your career. It could be the big break you were looking for.” It barely takes her any time at all to pull herself out of his grasp. Her slender frame ricochets from the couch, golden hues burning as they search for the purse she’d abandoned somewhere in his office during their weekly meeting. She should have known something was up when he offered to read through scripts with her rather than just handing her a stack of them and sending her off. “How many times do I have to tell you that I want to earn my big break?” The question leaves her laced in thinly veiled venom. Disappointment etched into her features just as she finds her abandoned bag by a half-dead fern. 

      “I don’t want it handed to me because my father knows someone or because my deadbeat mother rolled back into town and wants to rid herself of some guilt. Now if you’ll excuse me I have somewhere to be.”

— PARS DUORUM: the explosion.

      How she managed to track her mother’s location couldn’t be spoken for. In fact much could be said about the last hour and half of her life. It passed by in a blur of was anger, hurt, and sheer force of will to hunt down the person responsible for her current less than pleasant head space. Ironically enough her mother had only been located fifteen minutes away from the set Lucky traveled to each day. Some may have been comforted by the knowledge of their mother being so close but it only fueled her anger. Tinder to the ever growing fire within the pit of her stomach. Lucille barely gets through the small talk it takes to trick the front desk into providing her a key to her mother’s room and the entire elevator ride up to the woman’s hotel suite is spent perfecting the monologue she had pieced together in the car ride over. 

      “Who the hell do you think you are?” Lucky demands to know the moment her mother swings open the door. She crosses through the threshold without permission, brushing past the older woman with more force than needed. “You can’t just waltz back into town expecting to placate me with a role in your movie. Don’t tell me you think that makes up for a decade and a half of skirting your duties as a mother?” There isn’t a pause long enough for Lorraine to answer, like an automatic with a finger on the trigger, the words kept spewing from her mouth. “You know what’s so funny to me?” Lucky continued, the laugh following her question far from one of amusement. “ You didn’t even have the balls to offer me the role yourself. You had to do it through the director.” 

     The last couple words spill from pink painted lips in a sneer. Her gaze wild and angry as she runs her fingers through wavy brunette trusses not unlike the style being worn by the woman before her. She can feel the tears building up beneath her lids and attempted to will them away. The last thing Lucky wanted to do was shed tears in front of her mother. Even if they were ones caused by years of built up rage. “I’m not sure what you thought you would accomplish by coming back here but,” it’s then Lucky finds herself cut off for the first time since her abrupt entrance.

    “I’m trying to accomplish a movie. That’s it. I’m sorry you worked up all this courage to come here and yell at me but your anger is misplaced.” If Lorraine’s intention were to calm her daughter down the sound of her voice seemed to be having the opposite effect. “If you got approached by anyone to do this movie I can assure you that it wasn’t my doing. In fact I strongly advocated against it.” Girl Rising had been a biographical play based on Lorraine’s real life. Once it became apparent that the success of the play could be repackaged into a successful movie she had been hounded to sign the rights away. Unable to part completely with something so personal she managed to negotiate a position for herself as co-screenwriter which gave her full control of the script but little control anywhere else. 

    When producers began to suggest that her daughter play the titular role as a gimmick to get even more eyes on the movie she had done her best to steer the conversation elsewhere but it seemed that her suggestion of other names hadn’t been enough to rid them of the idea completely. Hesitantly, as if she were holding out for Lucy to decide to leave, Lorraine shut the door behind the hurricane otherwise known as her estranged daughter. She maneuvers past Lucille to head directly to the mini bar. She needed something to subdue the headache forming in her temples. “You’re not going to take it right? It would make things extremely difficult for me in you did.”

   Her mother might as well have slammed one of her Tonys into Lucky’s chest, it would have hurt a lot less than the damage being inflicted upon the actress’s heart by the callously  dismissive words of the woman. In fact I strongly advocated against it. The statement repeats itself within her subconscious, ripping through her psyche much in the similar fashion to that of runaway freight train. How naive could she have been? Of course Lorraine wasn’t capable of extending an olive branch. She barely seemed capable of looking Lucky in the eyes since the disappearance of Lydia. Embarrassment floods through her system, olive features falling into expression devoid of any emotion as hazel hues silently watch the older version of herself cross the room. She barely manages to process the blow inflicted to her ego by her own mother before the woman delivers yet another.

   “You’ve got to be kidding me,” she’s quieter now, her response barely above a whisper. The anger she had entered with suddenly depleted along with most of her energy. Slender shoulders slouch forward, the invisible weight against them threatening to crush her as her mind attempted to pick up the pieces of her heart in real time. She doesn’t mean it, a small voice promises somewhere from the labyrinth of her wounded soul. She loves you, she does, it continues to urge sweetly. All pretty lies meant to sooth her and maybe they may have if it weren’t for the cold gaze in her mother’s eyes as she waited for a response. It was easier to convince herself that the woman who brought her into the world actually cared for her when she wasn’t right in front of her looking anything but the loving mother of her memories. “It would make things difficult for you?”

   “Is that all you care about? Yourself?”

   “Don’t be dramatic, Lucille. I didn’t mean it like that.”

   “But you did mom, you did.”

   God, Lorraine made it so easy to be hated, so why was it that even after all these years Lucky searched desperately her approval? Her love? Any ounce of affection she could drain from the seemingly cold hearted woman left in the place of the mother she once knew. She hadn’t always been so dismissive, cold, cruel and sometimes Lucky couldn’t help but wish that she had been. If she had been a monster from the start then maybe the actress would have been spared the heartbreak of losing a mother. “I've been making excuses for you my whole life and I’m tired. I’m so tired,” her voice breaks with the declaration. Resolve wavering the longer she stays in the presence of her Achilles heel. Hot tears spill over flushed cheeks as shaky fingers pick at the fabric of her skirt. “I can’t imagine the pain of losing a child and I hope I never do but what about me, mom? What about the daughter who’s still here?”

   It’s a question she never dared to utter before this moment, yet as she spoke it she knew it had been one that haunted her ever since the departure of her mother all those years ago. “Lydia was taken, but you? You left.” Her sister held no blame in her departure from Lucky’s life, her exit had been forced upon her. Lorraine Jacobs on the other hand chose to leave Lucky behind and never look back and in the end that had done more damage to her heart than her twin sister’s disappearance ever had. “I never gave myself permission to hate you because I knew you were hurting but why should I care anymore? You clearly don’t care when you hurt me, so you know what?” Lucky asks as she lifts a hand to wipe away at her tears. “I think I will accept the offer to screen test for the movie. Consider it karma for being such a shitty mother.” With nothing else to say and no stomach to stick around long enough to allow her mother enough time to retaliated the actress spun toward the door and made her second dramatic exit of the day.

[bbclesmis]

Composer John Murphy on Creating A New Musical Identity for ‘Les Miserables’

John Murphy returns from a personal hiatus to score PBS Masterpiece and BBC’s adaptation of Victor Hugo’s classic novel.

When you hear the title Les Miserables, you automatically think of the bombastic and overly played Broadway musical that came to a city near you. Or you saw the film adaptation that won Anne Hathaway her first Oscar a few years back. Since it debuted over 3 decades ago, Les Miserables has won the hearts of millions around the world. John Murphy, however, isn’t really a fan.

You’ve heard the music of John Murphy but you may not know it. I had no idea that he was the man who created that jolting music behind the opening sequence of 28 Weeks Later, and he also composed the lyrical and epic sound to Danny Boyle’s Sunshine (not only an underrated film, but an underrated score).

After taking a personal hiatus to focus on family and his personal life, Murphy wanted to jump back into scoring something completely different. If you look at his resume (you can sample his music here), there isn’t anything like Les Miserables on it. This is a classic tale of redemption with a sprawling scope and massive cast, and that wasn’t lost on Muphy. The score shows a huge amount of range, and he really digs into the minds of the characters. One moment the minds of Jean Valjean and Javert are amplified by the incessant plinking of simple piano strings and the next we are witnessing the horrors of Fantine literally selling her body for the sake of her child.

It’s a familiar story, for sure, but the execution is sophisticated and smart. The music is classic and enthralling in a way that a staged musical never could be.

You haven’t done a big project like this in a long time. Why return from your hiatus with Les Miserables?

I had enough of the movies, to be honest with you. I wanted to spend time with my kids. The spark had gone from me, and I felt that I was going through the motions. I wanted to feel like a human being again. When I decided that I was going to come back, I went in to see my agent, and we sat down to figure out what I wanted to do. I didn’t want to pick up right where I left off—with the wall of the sound, post apocalyptic sort of edgy thing I was getting known for. I wanted to do something a bit more grown up with more weight. I wanted something with gravity. A few days later, my agent said there was interest in my doing Les Miserables. I just cracked up, because, of course, I was thinking of the musical.

I do think that’s everyone’s immediate thought.

I hate musicals. I told my agent that I’d be the worst person for that—I’d mess it up. When he told me it was the book, something clicked. I remember that I read the book years ago. I used to tour a lot, and every time I was on the bus, I’d take a big stack of books. On a tour through France, I read Les Miserables. I loved it. I’ve never seen the musical, and I never want to—it’ll ruin it for me. It’s got everything. It’s got these dark characters wrestling with demons, good versus evil, death, betrayal. When I found out that it was going to be a 6 part adaptation and that it was going to be written by Andre Davies—who did the last War & Peace series—I knew I had to do it.

I had a Skype interview with the producers and the director, Tom Shankand. He was so passionate that I knew he was the real deal. He wanted to go back into the Victor Hugo book. It’s like a French Uncle Tom’s Cabin. Part of what Hugo was trying to do was let the world know of how these people were suffering. He was a brilliant man. He was trying to change legislation—he was a real champion of the poor. Tom wanted to get back to what the story was about and keep it raw. I was sold. A week later I was lucky enough to sit in a read through with the actors. Normally, I get brought onto a movie and they’ve practically finish the cut. It was interesting because they hadn’t even started filming yet.

Oh wow.

Yeah, I got to sit in and listen to their inflections the first time they were reading through it. There were ideas straight away. Lily Collins is this tiny thing, so that vulnerability was there immediately. I got to see Dominic—this huge guy. It was very inspiring. When I came onto it, I thought they weren’t going to start shooting for another 2 or 3 weeks, so I thought I’d have 6 months to wait for it. Then Tom and producers told me they wanted songs written, and I was like…hold on, what do you mean songs. There are these little songs and piano pieces in Hugo’s novel. They asked me if I wanted to do it, and I told them that I had never written anything before they started shooting ever. So I had 3 or 4 weeks writing these things.

With sitting in on that first reading, did it feel like the music could change with the characterizations or maybe that it would even help build the characters? I’ve never heard of a composer getting to see that so early.

Neither have I! With these great actors, it was amazing to see them. With David Oyelowo, you could see the posture he adopted—just reading it aloud. And I thought to myself, “That’s not natural.” There were all these different things I was watching—with him especially. When you’re composing in a medium that you already know about, you’ve got to make the distinction that you’re not scoring the book. You’re scoring this new retelling of the story. You have to be sensitive to what this new version is going to me. So, for me, watching David to his read through, he did a very quiet, controlled voice. It was different than the book. The same with Dominic. Dominic was a lot warmer with his Valjean than I remember the character being. I was putting notes in my phone and a lot of the things I felt that day helped me later on.

Once they started shooting, I just faded back to LA, and I was on my own. Just being there that day and cross referencing that with the scripts allowed me to write most of the scenes before they dropped the first episode with me. I got a real head start. I couldn’t write anything to picture, obviously, but by the time they gave me the first episode made such a big difference. I was lucky that when I agreed to do it, the read through was 5 days later. It was an amazing experience.

The miniseries has such beloved characters—whether you’re familiar with the book or the musical. Was there someone you really liked writing themes or motifs for?

It’s obviously to say the two main characters, but for them that was the biggest well. And it’s not just character scenes. I think some of my favorite things in there were the hulks scenes. I wanted to have something that felt utterly repetitive. What would be the repetitive sound of nothingness of this guy’s life? I ended up climbing inside the piano and muted some strings and was tapping one of the low piano strings with my finger to get this “dun…dun…dun…” It was this annoyingly repetitious thing that is so uncomfortable because you’re waiting for the chord to change. And it kind of doesn’t for ages. His biggest fear is getting caught. As soon as Javert sees him again at the factory you hear very quietly the “dun…dun…dun…”  I was trying to do the John Williams thing with Jaws. If he can do it with two notes, I wanted to do it with one. I thought it was a way to be effective without being necessarily musical. It’s not necessarily the character themes, but it’s the situational themes.

That repetitiveness feeds into Javert’s obsession with catching him.

You’re absolutely right. Javert’s version of it was much lower. His driving force throughout the whole story is his skewed sense of justice. In episode 3, 10 years have passed and he’s receiving the Medal of Honor, and when the camera comes to his face, it means nothing to him because this one man got away. You see him go to his room afterwards and when he starts eating his meal, you can see he does not taste it. Then you hear the lower version of the same theme and this hunger will never go away until he’s caught Valjean. It was a nice way to tie in the repetitive life of Valjean in prison with Javert’s mechanical obsession. It’s sort of Javert’s state of mind theme actually.

One of the most distinct pieces of music is when Fantine cuts her hair off and her teeth are ripped out of her mouth. The music feels like the score of a horror movie.

It was such a difficult decision to do it that way. Some people at the BBC said, “You can’t do it that way!” We had this scratchy viola when she gets her teeth pulled out. I thought it’s more gruesome without music. I argued with Tom because I thought that you need to hear the sounds of the teeth getting wrenched, and he said it’s too hardcore. We needed music to remind people they are watching television. I had that little theme for her on a music box with whole carnival. I wanted to do it a bit more macabre cinema—a bit otherworldly with this circus vibe. The guy who does the teeth pulling already has this painted face and hands, so I played into that. What changed it was I had this wonderful violist named Andy.

I need something to be whimsical but also be kind of fucked up and edgy. We had him in the studio and we were working through some articulations. We tried it with harmonica and tried it with the bow going one way and then the other, and then we tried putting it all together. We came up with this sound and I take no credit for it—it was him. It was swirling around and it was so fucked up. So we pulled the picture up, and we started as if we don’t know what’s going to happen to Fantine. Like she’s just going to get a haircut but we know it’s going to get bad. When we go into the teeth pulling, we were going let loose a little bit. There’s a moment when the old woman grab’s Fantine’s shoulders and pulls her back, and I thought wouldn’t it be cool if we did a viola version of the great guitar crash of Radiohead’s “Creep”? I asked him if he could do an 18/16, Johnny Greenwood crash in when he goes to take the teeth. He did it in one take. It made it completely over-the-top, but sometimes you gotta say fuck it. We may get hung for this, but let’s go for it.

I was going to ask if you used any nontraditional sounds in that sequence.

It sounds like a Les Paul with a lot of pedals with a lot of distortion. It was just the sound that we were getting from the viola. Once we had that sound, we wanted to use it in other places.

The scratching sound reminded me of the sounds people are scared of when they go to the dentist. It helped that she’s getting her teeth yanked out, so thank you for scaring the crap out of me with that.

We did use some non-orchestral sounds, but in that moment it just happened to be an orchestral instrument making that metal scraping sound. I hate the dentist too, so that sound really helped. It’s what you get with great musician.

There is obviously a lot of heavy material with this piece of fiction. When you get to do something different for the story—like the sweeping romance for Cosette and Marius—was that a welcome change?

It really did. Tom had an idea of what he wanted, and I had an idea of how I wanted to do it. He wanted a very gnarly folk score and to just use the music of the day. My original idea was 1816 Velvet Underground meets classic French 60’s romantic film music so we had these really light highs with grungy darkness. We ended kind of meeting in the middle. Some of the Velvet Underground stayed. What we both loved was when we went to the world of Cosette and Marius, we went to a stylized version of what she thinks love is. She’s just this abused kid who goes to live in a convent, so she has no idea what it really is. She’s 16, so she has every right to be romantic about everything. When we got to play her frame of mind, we got to play this romantic style. It was a relief after all the dirty stuff we’d be doing. I never thought I’d say that I was ready to get into some of that love stuff.

Since it’s 6 hours, this version really feels like 3 movies stacked on top of one another. Did the size of it all intimidate you?

I’ve done movies that have become big. My first thought was like, “I can’t win here.” Even though I’ve never seen the musical, people are going to watch it and wonder where those songs are. I didn’t think it was intimidating, but I did feel like I had a monkey on my back. Whatever I do, it’s not going to be the musical. A cloud that was always there. The only way to get through that is to completely own it. It’s clear that we aren’t trying to reference the show in any way. The first time I got the first episode, I think I was in denial. When I told people that I was doing it, they got so excited. But the first time I saw those famous two words come up on the screen, I thought, “Fuuuuck.” I had a beer and calmed down and we were fine from there. One small moment, and I got my shit together.

Les Miserables is streaming now.

https://www.awardsdaily.com/2019/05/06/john-murphy-interview/