Variety - In 'Les Mis,' if it ain't live it's jive- Page 2

[Fan2]

Posted: 8/24/12 at 10:03pm

They have an orchestration date of Oct. 10 so it sounds like they have a schedule. And there's a rumored London premiere of Dec. 3 and it has to premiere this year in order to qualify for award season. Sounds like the end date may be sometime in November.

[best12bars]

Posted: 8/24/12 at 10:21pm

After the orchestra records is when the real work begins. They still have to edit it all together and mix the score into to the 2.5 hour movie, plus the soundtrack will be readied for a separate but simultaneous release.

My guess is that the "paint will still be wet on the last coat" of the initial print right up to mid-December.

They will make their opening date ... barely.

But I'm sure they will make it.

Incidentally, the Academy rule for qualification is that it has to open sometime in the calendar year (meaning it can open as late as December 31st), but it needs to run for at least a full week (that's easy enough), and within the city of Los Angeles.

Those are the only rules for a picture to qualify for Oscar consideration.

[JulesReverie]

Posted: 8/24/12 at 10:22pm

Great Gatsby just got pushed back to summer '13, I hope Les Mis doesn't get pushed back too because of editing

[best12bars]

Posted: 8/24/12 at 10:28pm

I think the big difference is that Baz Lurhmann is still shaping the film. That's the way he works. He is discovering what he wants to do visually, musically, etc., while he creates his version of the story. It happens on the set, and it happens (a lot) in post production with editing, visual FX, music, sound design, etc.

That's why there is a delay now. He doesn't want to rush the last steps if it's not ready.

The challenge for Les Mis isn't so much of a creative "discovery" process during post-production. I think Tom Hooper and the cast and the whole creative team have had a solid plan and creative approach for the film. They just need to get it all done in time.

[jo]

Posted: 8/24/12 at 11:23pm

Delete message Updated On: 8/25/12 at 11:23 PM

[jdtp12]

Posted: 8/25/12 at 9:38am

"After the orchestra records is when the real work begins. They still have to edit it all together and mix the score into to the 2.5 hour movie, plus the soundtrack will be readied for a separate but simultaneous release."

Just curious, how much (besides sound mixing) will there really be to do once the orchestra is recorded? Is it totally unfeasible to think that since it's recorded live on set, they will basically have the whole move pieced together as it needs to be, and then just fill in the orchestra around the voices?

[best12bars]

Posted: 8/25/12 at 10:33am

Depends on how many takes there are to choose from orchestrally, how locked the actual film is prior to October 10th (as far as the footage shot), and also how locked the final orchestrations are. I know they're doing "synthesized" versions of everything in advance to get approvals before they record the full orchestra, so that should help. But it still leaves no wiggle room.

People can spend months or even years recording music albums. It's a creative process, not just a technical one. This movie's soundtrack is an essential component to the film, it's not just swappable background music. You can't just edit in an alternate cue without it effecting everything around it. This 2.5 hour movie is being assembled quickly and shoved out the door. Very little (if any) time for second thoughts, for finessing, and zero time for re-recording music, if needed. They have to get it "right" and be happy with it the first time.

That's been my concern from the beginning. It's a "perfectionist's" worst nightmare.

EDIT: And to address your quote directly:

Is it totally unfeasible to think that since it's recorded live on set, they will basically have the whole move pieced together as it needs to be, and then just fill in the orchestra around the voices?

The whole movie will not be pieced together after they finish shooting. They will have a bunch of "takes" at that point. Long shots, mediums, closeups, etc., all need to be edited together by the film's editor and the director (supervising) first, choosing just the right shots, the right pacing, etc. They have to lock everything down before the orchestra is recorded, because (for example), you can't "linger" on a person's face without the music being effected. You can't cut out an extra wide shot to help with the pacing without effecting the music. It all has to be decided in advance before an orchestra is recorded. After that, you're left with (really clever) sound and picture editors who will have to work around any potential finessing or substitution of "takes."

Most film directors will tell you that the "directing" of a movie really happens in the editing room. That's where they get to tell the story the way they want to from all the footage shot. With Les Mis, there are so many things that "lock" these directorial choices down and tie the director's hands.

The post-production process is extremely tricky on this film.

Updated On: 8/25/12 at 10:33 AM

[jdtp12]

Posted: 8/25/12 at 11:47am

I guess I didn't exactly phrase that how I wanted. I'm aware of the fact that the movie isn't pieced together just after filming. The question was more: since it's recorded live, are they able to get the movie put together how they want it with their synth recordings and then really only have to put in the orchestra in place of their synth tracks? Like you said, I guess it will just depend on how much they have everything locked into place before the orchestra comes in to record.

I think IndieWire put it best when they said it would arrive "dripping" in theaters.