00:00Grazie a tutti.
00:30This has not been done with this kind of consistency in a musical before.
00:35The idea of singing live is daunting, but what it gives you is this freedom.
00:41We have found an amazing group of actors who are completely at home acting through music.
00:47And the only way you can make that work is by capturing it in the moment.
00:52Normally if you were making an old school movie musical, as a group of actors we'd go into a studio,
00:57we'd record an album, and then two months later we'd arrive on set and they would play the playback
01:03and we would mime alongside it.
01:05The problem with that is that you have to make all your acting choices
01:10three months before you've even met the actor you're working with.
01:13By recording it live, Tom is allowing us the spontaneity of normal film acting.
01:18You can tell in your bones there's something false or unreal about people singing to playback.
01:23What will be exciting for the audience is that singing live has such a profound effect
01:27on the power and the realism of this story.
01:31I do the soliloquy and it starts with,
01:33What have I done, sweet Jesus, what have I done?
01:36Become a thief in the night, become a dog on the run
01:38Have I fallen so far and is the hour so late
01:41That nothing remains but the cry of my hate
01:43Okay, so that's, if you were singing it literally, it'd be like that.
01:47I can go out there and some takes I'd be like,
01:50What have I done?
01:52Sweet Jesus, what have I done?
01:54Become a thief in the night, become a dog on the run
01:58Have I fallen so far and is the hour so late
02:01That nothing remains but the cry of my hate
02:04I can take a little break, I can move on, I can speed it up, I can slow it down
02:09Which means I just have to worry about acting
02:12I missed it 20 long years ago
02:15The actors have hidden earpieces
02:16And we have a pianist who is playing live into the actor's earpieces
02:22And the actors are setting the tempo rather than a pre-recorded music track
02:26There's a way for us
02:30I love him
02:32But when the night is over
02:36Ultimately, the piano will be replaced by a 70-piece orchestra
02:40I love him
02:43But every day I'm learning
02:47Everything has to be completely natural
02:48So a lot of us are stripping it right back
02:51So that you can just live it a lot more
02:53There are so many questions and answers
02:55That somehow seem wrong
02:57It's so much more powerful
02:58You have complete freedom, complete control
03:01When you're doing a love scene as an actor
03:03You just wish there was music to kind of help you get there
03:06But now you hear the piano in your ears
03:08Now you are of the music
03:10And it almost can make you cry
03:12Cause edge, cause edge
03:14This is a chain we'll never break
03:17What comes with this way of working is you get the fragility of a voice
03:21Which matches with the emotions of what a character is saying
03:24When hope was high
03:26And life worth living
03:28When I saw the trailer
03:30And Anne singing with this extraordinary fragility
03:32That song which I thought I knew pretty well
03:35Suddenly I listened to the lyrics for the first time afresh
03:39I dreamed that God would be forgiving
03:42There seemed to be something selfish about trying to go for the pretty version
03:47But the tigers come at night
03:49She's devastated
03:50She's literally at the bottom of a hole looking up and realizing she's never going to climb out of this
03:55So I just decided to apply the truth to the melody
03:59And then see what would happen
04:02I had a dream my life would be
04:05For somehow Les Miserables it has to feel real
04:08It has to feel immediate
04:09So different from this hell I'm living
04:12Singing live
04:13There's an emotional level to this that just cannot be created in the studio
04:19Oh, life has killed
04:23I thought that was an amazing
04:24fascist
04:25dohim
04:25No
04:25Love
04:28I
04:28I
04:29I
04:36I
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