![]() It’s been about two years full time since we came back to it," he says. "This was much larger in scope than Whiplash, and I worked much longer on it. For years, they talked about making a contemporary musical around the jazz music they both loved. Hurwitz met Chazelle back at Harvard, where they played in the same band. Simmons), which was such a critical smash, it allowed the two to return to the film they'd been meaning to make for years- La La Land. We’ve been working together ever since.” Since then, the two collaborated on the Oscar-winning Whiplash (it was nominated for five Oscars, and won three, for best editing, sound mixing, and best supporting actor for J.K. We expected the film to be kind of a senior thesis, but then it got into Tribeca in 2009 and had a nice festival run, then a small theatrical release. ![]() ![]() “We didn’t have the resources for that kind of visual feast on screen, so the idea was to take a vérité doc style aesthetic, but put it with his big romantic score. Their first, which began its life as a student film and ended up becoming a major calling card for both of them, was Guy and Madeline on a Park Bench. The original concept for the film, as Hurwitz explained it to us in 2014, was to make a sixteen millimeter black and white vérité style movie, "but juxtaposed with this big, lush 90-piece orchestral romantic score.” he said. The collaboration between writer/director Damien Chazelle and composer Justin Hurwitz has produced three of the most musically ambitious films of the last seven years.
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