Les Mis Movie Preview in Empire Magazine

[Fan2]

Empire Magazine Preview (found on tumblr)

[HoldThatThought]

I usually dislike movie versions of musicals, but the concept of singing through while filming sounds intriguing. Looking forward to this. I also enjoyed some of Tom Hooper's other direction work.

[jo]

Full photo spread --



Hope we get more extensive print media coverage as release date nears! Just like what we see for blockbusters

[jo]

Magazine inset re new song --

"A new song has been composed specifically for Jackman. It's about Valjean's newfound love for little Cosette"

Once again, another instance when the movie goes back to the book ( something glossed over in the stage musical) -- quite a stirring passage as Valjean realized the import of what finding someone like Cosette meant to him.

[willep]

I wonder when we will see any pictures of the Thenardiers.

[BroadwayStar4]

This is quite exciting!

[Wynbish]

Cannot wait to see their One Day More

[My Oh My]

This is looking more and more exciting every day. I'm both super happy and extremely nervous!!!

[EponineAmneris]

VERY awesome Things like this are making me only more excited for the release!

[Fan2]

Check this out - click on the link for info and examples:

http://www.empireonline.com/features/les-miserables-singers/

>Les Miserables: We Compare The Stars' Vocal Chords
How will the cast fare in Tom Hooper's live-sung musical? Listen to their past performances and find out

This month's Empire includes our report from the set of Tom Hooper's big-budget take on Les Miserables, the record-breaking musical based on Victor Hugo's novel about the student uprising in 1830s Paris. Where most musicals see the cast record the songs months before filming and mime to playback during the shoot, Hooper is taking the bold step of recording the singing live on set with the songs fed to the actors via earpiece. So how does the crack team of established megastars, character thesps and up-and-comers stack up in the singing experience / ability stakes? Ian 'Falsetto' Freer investigates...<<

[willep]

Valjean's signature song is 'Who Am I?' and not 'Bring Him Home'?

ETA: Their link for Sacha actually brings you to Aaron Tveit's song/video.

[michellek45]

I love the description of Enjolras in that article: "...a prime mover in the student uprising, and Marius' homeboy."

[jo]

And I think he must be referring to STARS, not SOLILOQUY, as Javert's showstopper. SOLILOQUY is generally used as title of one of Valjean's songs ( What Have I Done?).

I wonder where he learned that Jackman had two one-man shows on Broadway?

But it is a good matrix to introduce the vocal skills of the main cast to those not familiar with the actors' backgrounds.

[willep]

Haha my favorite part about him saying Hugh Jackman did two one-man shows on Broadway is the fact that he couldn't name the second one.

[adam.peterson44]

^ Well, it doesn't actually say that the two one-man shows were on Broadway. It might be possible that the writer is counting his SF and TO shows as a different show (they certainly weren't called "Back on Broadway"), and the content was apparently changed significantly, though not necessarily enough to count them as a different show.

[jo]

I did see the show in San Francisco and the show on Broadway. The only major change was the movie medley, where instead of a selection of movie-related songs he grew up with, the Broadhurst medley ( first introduced in Toronto) was more of a full song-and-dance tribute to the golden age of musicals in Hollywood. Of course, he also included "I Happen To Like New York" on Broadway to give the show a more Broadway feel. Plus one or two other songs which he changed in the first part of the show. But the shows in SF and To were more like tryout shows, so I don't see how the Empire writer can say they are different one-man shows. Lol - he probably never even saw any of the shows.

But at least this feature is the start of the publicity campaign for Les Miserables. I am hoping that EMPIRE will feature the movie as a cover story closer to its release in December!

[My Oh My]

In fan circles, I refer to many of the official Les Mis song titles differently, either because I dislike the official titles or to avoid confusion. I also view the cut off point of each song differently. For example, I don't feel comfortable referring to the scene when Mme. Thenardier makes her entrance and starts to holler at Cosette and the better known scene at the inn that follows collectively as "Master of the House" or more boringly "The Inn." So I refer to the first section as that section's main idea, "Mme. Thenardier," as the point is to introduce Mme. T. and allow us to see what kind of person she is and what she's capable of. The scene that follows can rightfully have the official "Master of the House." It's anal and typical of a die-hard fan, I know. Here's my way of referring to the trillion song titles from the show:

PROLOGUE

1815 Toulon

1. The Chain Gang

1815 Digne

2. On Parole
3. The Bishop
4. Valjean Forgiven
5. Soliloquy: What Have I Done?

ACT I

1823 Montreuil-Sur-Mer

6. At the End of the Day
7. I Dreamed a Dream
8. Lovely Ladies
9. Fantine's Arrest
10. The Runaway Cart
11. A Memory Stirs
12. Who Am I?
13. Come to Me
14. The Confrontation

1823 Montfermeil

15. Castle On a Cloud
16. Mme. Thenardier
17. Master of the House
18. The Well
19. The Bargain
20. Waltz of Treachery
21. Valjean & Cosette

1832 Paris

22. Look Down
23. The Robbery
24. Javert's Intervention
25. Eponine's Errand
26. Red and Black
27. The Time Is Here!
28. Do You Hear the People Sing?
29. In My Life
30. A Heart Full of Love
31. Attack On Rue Plumet
32. One Day More

ACT II

1. Here Upon These Stones
2. The Letter
3. On My Own
4. At the Barricade
5. Little People
6. A Little Fall of Rain
7. Her Name Was Eponine
8. The First Attack
9. We Meet Again
10. Drink With Me
11. Bring Him Home
12. Dawn of Anguish
13. The Second Attack
14. The Final Battle
15. Aftermath
16. Dog Eats Dog
17. Final Confrontation
18. Soliloquy: Who Is This Man?
19. Turning
20. Empty Chairs At Empty Tables
21. Every Day
22. Valjean's Confession
23. The Wedding
24. Beggars At the Feast

EPILOGUE

25. Finale

-------------------------------------------------------

Common misuses include using "Prologue," "Soliloquy," and "Epilogue" as song titles when they are not song titles at all but actual sections of a play or types of songs. Comes to show the public's--even those familiar with theatre--gradual losing touch with theatrical conventions. So much so, the opening section of a play no longer is an opening section of a play...but a song title. :S

[jo]

There are no song titles on the official libretto ( one found on the book on LesMiserables:History in the Making) - just references to the location where the scene takes place or a description of the activity involved. But it is on offical cast recordings( including the original French concept album), that they use song titles, most likely for brevity purposes.

[My Oh My]

I'm very aware of that and am referring to song titles found on fan listings, which are usually based on what's listed on the official cast albums.

But you're right, in copies of the official libretto and the orchestration sheet music, there aren't any song titles. But even that varies, I've seen official copies of the original orchestration with only the very well known song titles (At the End of the Day, I Dreamed a Dream) and others that only have the location.

Just to make sure nobody misreads what I posted: the above is my own way of thinking of and labeling the songs and the musical's sections. I'm not claiming mine is the correct way. It's correct to me, but that's it.

The correct use of "prologue" and the other words noted above should be correct to everyone though. Grr.

[jo]

My Oh My --

I was able to trace this link ( thru your profile), on the work you have uploaded re the orchestrations.

http://soundcloud.com/user5432415

And they are delightful! I have not listened to all, but I have listened to a few so far. Thanks!

Btw, did you know that a Les Miserables Symphonic Suite CD ( for select pieces) together with a suite for Miss Saigon was released by First Night Records ( who has released the original cast recording in the UK). According to the album notes by Claude Michel Schonberg, it was John Cameron who orchestrated the beautiful new score.

[jo]

*double post*

[My Oh My]

Thanks, I'm glad you enjoyed what I've thrown together there. =)

I've heard of that CD. Even had a burnt copy of it once years ago. I had no idea it was orchestrated by John Cameron! That's cool. Love that man and his work. The film would greatly benefit from his talent, but I fear they will likely use the nasty new trainwrecky concoction. Ewww.

[Phan#24601]

I know this is nit-picky, but by what I have seen in the trailer it seems as though they switched "Lovely Ladies" and "I Dreamed a Dream" from the traditional order. This doesn't bother me too much, but it seemed rather strange to me. I am also thoroughly excited for the movie; especially the new song "Suddenly" because with Les Misérables they have done so many edits and additions through the years which have been successful.

[My Oh My]

^ Ermmmm...not really. It's fine if you consider everything they've ever edited out and added back in and added anew to be successful to you, but while some of those alterations were met with approval by many, others are sad reminders of what the show has become and what it used to be.

[Fan2]

They did change the order of IDAD and LL, Hathaway confirmed it in a recent interview. To me it makes sense since it's sung after she's become a prostitute and is completely broken. Don't be surprised if there are other changes - I know a few word changes to some songs to fit the scene of the movie.

[My Oh My]

I have no problem with the changed order of those two songs and actually think it will strengthen Fantine's story.

Anyone who expects this film to be a direct copy of the musical stage versions and not expecting a lot of things shifted about and tweaks here and there, will be massively disappointed. Even I'm not expecting the original orchs to be used exactly as they were in the original Broadway production. I expect some songs to have totally different orchestrations. But since I'm spooked by change after the travesties this poor show has suffered, I'd rather go for the surest thing and so I root for use of the original orchestrations, even if they chuck the keyboards. And I also think the original orchs would serve the film very well. A tiny part of me is hopeful that any new orchs added will be at least as good as the originals or at least good enough considering the director's intent. Being open minded is hard but if I could do it, anyone can, lol.

I'm unforgiving when things are mindlessly altered, as in the current tour. But, so far, Hooper has proven remarkably focused on serving the material and the original novel and thoughtfully adapting it to the screen.