THE GREATEST SHOWMAN : Publicity and Promotion

[jo]

Excellent chemistry between Hugh and Michelle, even as early as DECEPTION.



On-point comment about Michelle -- from Facebook :

Tammy Hayes
Looking forward to seeing this! Hugh Jackman is always great and Michelle Williams has a gift for bringing a realistic innocence to her roles. Sweet without being sugary.

[jo]

The theme (of a generally entertaining movie) and the timing of release during the holiday gives some moviehouses opportunities to encourage theater parties

Such as this cinema in Australia --

www.facebook.com/waverleycinema/videos/10155595108804485/

A great film for a group booking!
Fundraise easily or just have an enjoyable night out with friends or colleagues.

Start planning now, just $7 each, min 15 people, pay 3 days prior. Catering available and we're licenced!

Waverley Cinema
Pinewood Shopping Centre
Blackburn Road
Mount Waverley 3149
Melbourne, Australia

[jo]

Variety features Zendaya in an article, which given that she is a relative film newcomer is remarkable. Interesting read!

variety.com/2017/film/features/zendaya-spider-man-homecoming-kc-undercover-1202516631/


Re her involvement in THE GREATEST SHOWMAN --

As for her next act, Zendaya had to wait patiently for the offer in “The Greatest Showman.” To convince producers she was right, she belted out a song from the soundtrack (a duet she’d eventually sing with Zac Efron) in a recording studio set up in her home. “I was really putting in all the extra work,” she says. “I wanted them to hear that I could sing.”

Then she had to learn how to fly, as a trapeze artist. “Now mind you, I have no muscle tone, no upper body strength,” she confesses. “I don’t work out ever. I just have a metabolism and look like I’m in shape.” She started to enroll in a daily aerial boot camp. “It was extremely scary,” she says about her first day of work. “I actually got to be on the real rig; it was 10 to 15 feet taller, and there was no net. I was like, ‘What am I doing?’” She went for it, proving that she didn’t need Spider-Man to rescue her. Zendaya is soaring all by herself.

I did hear about her doing the audition recording which she volunteered...and that she had to wait for an offer to be made ( there were other young actresses who also auditioned for the role).

She sounds like a game and determined young talent!


Jo

[jo]

Pasek and Paul's A CHRISTMAS STORY will be FOX's live-action musical offering during the holiday season and will be airing on December 17, 2017.


www.broadwayworld.com/article/FOX-Reveals-Air-Date-for-Live-Musical-Event-A-CHRISTMAS-STORY-Maya-Rudolph-to-Star-20170808



Hey, it's Benj Pasek and Justin Paul, our musical score composers for THE GREATEST SHOWMAN! This is their other Christmas treat in addition to GREATEST SHOWMAN.

Who knows -- it is FOX and Pasek and Paul -- maybe they will play a trailer of THE GREATEST SHOWMAN ( due to open a week later on December 25...although the New York Premiere is on December 18)


Jo

[jo]

[jo]

http://instagram.com/p/BXoKDw3Bzum

[jo]

[jo]

http://instagram.com/p/BXnoNelh4Q5

[jo]

We have been waiting for this feature on VOGUE since we found out that famous photographer Annie Leibovitz was on set during filming. But we did not realize that it will be a full-blown feature on the movie! Plus it will get the full story told by Vogue's Hamish Bowles! A little early for the December release -- but, hey, this is VOGUE's most celebrated issue, the SEPTEMBER issue!


www.vogue.com/article/the-greatest-showman-hugh-jackman-september-issue-2017

Inside The Greatest Showman, the Most Magical Musical of the Year

August 12, 2017 2:30 AM

by Hamish Bowles|photographed by Annie Leibovitz




Come One, Come All
“It is Hugh’s passion piece,” says The Greatest Showman director Michael Gracey. “He championed this film.” Here, Jackman and his colorful cast in their on-screen costumes by designer Ellen Mirojnick.
Photographed by Annie Leibovitz, Vogue, September 2017


Although Phineas Taylor Barnum ventured into politics, newspapers, and the lottery business, among many other more or less salubrious professions, during the course of his highly colored career, he unabashedly declared himself “ ‘a showman’ by profession,” adding that “all the gilding shall make nothing else of me.”

For director Michael Gracey, the force behind the giant-hearted vision of The Greatest Showman, “Barnum was the Steve Jobs or the Jay Z of his time, the original impresario, the original showman.”

Barnum began his career in show business in 1835—shamelessly promoting a blind and severely paralyzed African-American octogenarian as George Washington’s 161-year-old nurse to a gullible, paying public—and he died in 1891.True to form, he had successfully lobbied to have a newspaper publish his obituary a few weeks before—so that he could read it.

Who better to portray this force of nature than the absurdly charismatic Hugh Jackman? “It is Hugh’s passion piece,” says Gracey. “He championed this film.” The two met eight years ago, when Gracey was shooting a commercial in Rio de Janeiro with Jackman. Gracey won the project when the clients assumed that as fellow Australians he and Jackman must be friends—and by the end of filming they were. “We just clicked creatively,” Gracey remembers, so much so that Jackman suggested that they do a film together.

“In the euphoria of a wrap party,” Gracey notes wryly, “every single celebrity says that.” Several months later, Jackman did indeed call to follow up on his promise.

Although Barnum was born to a modest farming family in Bethel, Connecticut, his ambition and talent “led to the birth of modern-day America,” as Jackman explains: “this idea that you could be who you want to be, that it doesn’t matter where you’re born or what school you went to. And Barnum used a lot of imagination and a hell of a lot of will and mongrel spirit.”

Barnum also “contributed to the invention of show business,” says Jackman, and created the idea of the modern megastar in the form of the winsome soprano Jenny Lind, “the Swedish Nightingale,” whose services he secured for a dizzying $1,000 a concert for 93 sell-out performances. Barnum’s promotional instincts ensured that Lind was a celebrity even before she landed on American shores in 1850: An estimated 30,000 fans were crowded on the docks to greet her. The saintly Lind—a woman who, Barnum reportedly said, “would have been adored if she had had the voice of a crow”—used her earnings to fund charitable projects. But this Showman’s Lind, played by Rebecca Ferguson, is a more complex character, and Ferguson adds nuance to the singer’s complicated professional and romantic relationship with Barnum in the film. (Barnum’s long-suffering wife, Charity, is portrayed by a fleet-footed, sweet-voiced Michelle Williams.) A parallel romance, challenging a different set of taboos, is spun by Zac Efron, as Barnum’s protégé, and an alluring, pink-haired trapeze artist played by Zendaya. “That girl is the real deal,” says Gracey. “She’s going to be an absolute superstar.” Jackman, who sheepishly admits he was tuned in to Zendaya by his daughter, calls her “one of the most incredible young people I’ve ever met.”

Efron, meanwhile, met Gracey at a general meeting several years before the project officially began, and they remained friends. The actor was sitting in traffic when Gracey called to tell him that he thought he finally had a part for him. “I wanted to pull over on the 405 and get out of the car and dance,” he recalls, and on film he does just that with Astairean panache.

Efron notes that his straitlaced character “lived by the rules.” When he meets Barnum, however, and then Zendaya’s circus performer—in an electrifying slow-motion moment—his life is transformed, and he experiences a “kind of satisfaction that isn’t monetary, isn’t connected to status, and cannot be handed to you. It’s inner joy.”





In Full Swing
Romance brews between a pink-tressed trapeze artist, played by Zendaya, and Zac Efron as P. T. Barnum’s dashing protégé. The meet-cute, as Efron explains, instantly struck his character with “an inner joy.”
Photographed by Annie Leibovitz, Vogue, September 2017



When Gracey was a child, his mother, Lorenda, took him and his music-mad siblings to every musical that came to town in Melbourne.  Mrs. Gracey even kept a spare room where show-business people were welcome to stay. “It was an urban legend,” her son remembers, “accommodation for free and a hot meal waiting for you!” Gracey-family evenings were often spent singing show tunes.

But trying to pitch a musical in a franchise-oriented cinematic climate was “a fool’s errand,” he says. “There’s a huge part of the moviegoing audience who just won’t go to a musical, so there’s nervousness,” Jackman explains. “And we were at the hot end of the budget—I mean, this is Barnum; you’ve got to be over the top!”

But after seven years and a hundred or so pitches, Gracey found enthusiastic partners in 20th Century Fox, and the search for a songwriter was on. Many of the marquee names were considered, but it just so happened that Benj Pasek and Justin Paul, fresh from their delightfully retro Tony-nominated score for 2012’s Broadway adaptation of A Christmas Story, had retreated to Los Angeles to work on the songs for their upcoming musical Dear Evan Hansen. While there, they met with Gracey, and the pair was captivated by his storytelling. “He can sell you on a vision in such a beautiful way,” says Paul, who grew up near the Barnum Museum in Connecticut and recently found a grade school project on the impresario in his parents’ basement. “He told us a story he wanted to create—and why it would be a musical.” The writers raced home to work on two songs before Gracey was set to leave for London days later.

The director was convinced, and to help green-light the involvement of these fledgling talents, he told the studio executives that Pasek and Paul had “just won a Tony.” Gracey’s little white lie was prophetic: They have subsequently won not only a Tony Award (for Dear Evan Hansen) but a Golden Globe and an Academy Award, too (for La La Land). “Michael’s idea was that the musical material would be as precious and thought-provoking as the script itself,” says Efron.

“The music is a mash-up of musical theater and pop, and the choreography mixes contemporary and classical elements,” notes Gracey, and he wanted the movie’s aesthetic to mirror that. To this end, he worked with production designer Nathan Crowley, lighting maestro Seamus McGarvey, and costume designer Ellen Mirojnick to create a Pop-steampunk look that was not faithful to any particular period. Crowley channeled Barnum’s passion for the innovative technology and architecture of his era: the elevated train, Nikola Tesla’s early experiments with wireless lighting, the grand glass-and-iron structure of the Crystal Palace. The traditional, Great Expectations–brown period streets were abandoned for “modern color combinations” that bridged “the gap between our fictional musical” and Barnum’s period, says Crowley.



I experienced the vivid mash-up for myself in a soaring Brooklyn warehouse where parts of the movie were filmed. In various areas, the 1940s structure had been miraculously transformed into Barnum’s museum of wonders: a plushly appointed railway carriage, an evocative pub, a girls’ school dormitory, and even a miniaturized cityscape of old Manhattan. In the shadows, the brick walls were plastered with bold posters announcing the wonders within (and playfully advertising the names of cast and crew members). Even the makeup cases were wrapped in Victorian-looking packaging.

As Mirojnick recalls, Gracey similarly urged her to ignore constraining historical authenticity and instead create costumes with “the panache of a great fashion editorial.” Mirojnick “wanted it in sync with the fabulous modern music—Zendaya has pink hair, for goodness sake!” To help create this, Mirojnick drew on the help of master tailor Birta Gábor in Budapest and pieces from Marchesa, Reem Acra, and even Kleinfeld bridal shop. And with many of the great Broadway costume shops tied up with epic productions (including Hello, Dolly!), fellow designers generously pitched in.

The rehearsal schedule was twice as long as many shoots, so “for everyone involved,” Gracey explains, “it became a passion project.” After Election Night, the movie subtly shifted. “It started as a movie about the power of imagination and will and never giving up on your dreams,” Jackman says. “It grew into a deeper idea that what makes you different makes you special.” “It’s an incredible privilege to make a film about inclusivity and acceptance,” adds Gracey.



One anthemic song—“This Is Me”—helps convey this message. It began, as Pasek and Paul recall, as “a little ditty” sung to a banjo accompaniment by “the Oddities,” Barnum’s unconventional tribe of performers. Some way into the production process, Gracey perplexed the songwriters by telling them that he wanted to turn this into the movie’s defining song—a fierce yet vulnerable number performed by the Bearded Woman, Broadway star Keala Settle.

“She had a little swig of whiskey” right before she performed it for the audition, Jackman remembers; then she “performed with tears running down her face.” I saw Settle deliver the song time and again (Gracey believes in getting it right), lifting the roof on set in that soaring Brooklyn warehouse.

For members of the cast and crew, these affirming moments came at various points. Mirojnick, who had limited time to prepare, found herself “moving along at the same speed” as the filming. “It was an inspired process, and although I never had these hurdles to leap over before, they were really freeing.”

Mirojnick’s breakthrough came when Jackman first tried on his ringmaster costume, created by master tailor D. Barak Stribling. “He became the character,” she recalls. “He’s an unstoppable force,” adds Efron. “So when you mix that passion with Michael Gracey’s, magic begins.”


In this story:
Makeup Design: Nicki Ledermann; Hair Design: Jerry Popolis.
Choreographer, Ashley Wallen.
Circus Coordinator/Choreographer: Mathieu Leopold; Stunt Coordinator: Victor Paguia.
Gaffer/Lighting: Andy Day.

[jo]

http://instagram.com/p/BXqfoA8Dw5r

Hope we can get more photographic close-ups by Annie Leibovitz of the main cast in the December issue of VOGUE!

[jo]

Keala acknowledges the true fearless leader of this long-gestating project!

[jo]

Yesterday, I saw this cover page of the SEPTEMBER ISSUE of VOGUE --



I saw the name HUGH JACKMAN on the list of featured articles -- and thought maybe there is a small feature on THE GREATEST SHOWMAN. I also thought there was a mention of Zendaya because she was very recently featured as the cover of Vogue.


Jo

[jo]

Too early to set up a separate FAN REACTION/REVIEW thread, but this is cute ( and probably speaks for many of us ) --

[jo]

After Election Night, the movie subtly shifted. “It started as a movie about the power of imagination and will and never giving up on your dreams,” Jackman says. “It grew into a deeper idea that what makes you different makes you special.” “It’s an incredible privilege to make a film about inclusivity and acceptance,” adds Gracey.

*Is this a move towards the cultural shift that is arguably happening, which recognizes more acceptance of the disadvantaged? Sounds a bit like LES MISERABLES, although the barricade rebels in LES MISERABLES pushed for their advocacy in a different way. The so-called ODDITIES in THIS IS ME are really just asking for their place in the sun!

*What is interesting is that it was Hugh who first publicly acknowledged the truth in the song THIS IS ME. He liked it enough that he worked towards introducing the song in November/December 2015 in his Australia Broadway to Oz show. I heard that this was not exactly easy-going, because the project by then had not been fully greenlighted...nor was it sure that this will be a major focus in the movie, in addition to the lauding of the ethic of talent/creativity/hard work as the road to succes. That was a year before the USA elections, which was the time cited when they started to partly refocus the film and give stronger emphasis towards inclusivity and acceptance. That adds dramatic gravitas to the movie focus!


*It sounds a little like Oscar-baiting, but I think that is just coincidental that the AMPAS seems to be pushing for a similar advocacy. There has been a change in the AMPAS leadership lately, with the election of the 74-year old former cinematographer John Bailey as President, as well as the election of a new the Board of Governors. Btw, the new treasurer is Jim Gianopulos who was erstwhile FOX Chairman/CEO ( before Stacey Snider took over and who became the main FOX advocate together with Emma Watts for SHOWMAN).

Hey, as someone said, it was also a sign that the other people, the " below-the-line" (not main cast or director) members of the creative team are also now being given a chance to shine and push for all the rest of the film-making team in any movie ... Cinematography is a key ingredient in making an excellent movie, as represented by John Bailey in his filmmaking career.


Jo

[jo]

I have re-read the VOGUE article -- there are so many nuggets/insights shared on the shaping of this movie, I hope that people will actually go through it in full and develop a great anticipatory mood for the film release! It sounds glorious! And the image of Hugh as ringmaster ( Vogue's Hamish Bowles called Hugh "absurdly charismatic") sounds like a showstopping moment, even if Hugh just stood there!

I am bemused by the fact that the last film image we have of Hugh was of the dying LOGAN ( an equally emphatic, albeit tear-inducing moment)...and to stand side by side will be this image of the red-clad Ringmaster BARNUM

Jo

[jo]

Man in Red!

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Great account of some aspects of filming and of Hugh...by someone with an interesting background ( an alumna of the Wharton School, a former Wall Street-er and a CPA) before she turned to something she really liked doing, acting!

uk.blastingnews.com/entertainment/2017/08/interview-with-an-actress-stacey-alyse-cohen-001897551.html

Excerpt --

BN: What are your best projects to date?

Stacey: The film being released Christmas 2017 about P.T. Barnum's life, The Greatest Showman, was pure magic. I played a theatergoer and middle-class circus patron. It wasn't the biggest role I've had but the most wonderful cast and crew whom I've ever had a chance to work with. I truly believe this will be a classical hit of all time like The Sound of Music.

The music is wonderful and amazingly fun and catchy, and #Hugh Jackman, who also produces the film, seemed to be one of the finest and hardest working actors and people I've ever had the chance to observe in action. He rehearsed dance steps, singing, even flipping his top hat dozens of times before he was satisfied. I had never seen that level of perfection and he was a true gentleman to everyone working on the film from Craft Services to Supporting Artistes/Background Actors.


Everyone smiled the whole production and didn't want it to ever end. We all got along so excellently even through a fire on set in Brooklyn and some very long filming days. The mid-1800s costumes with a twist were incredibly beautiful as well and I think will influence fashion for many years to come. Also, the history of Barnum including his oddities who he turned from awkward hoaxes and curiosities into famous celebrities at a time of censure was fascinating. I acquired some of the Barnum trading cards of the oddities while working on the film and several of his novels and political letters when he was in Connecticut state office since I became so interested in the history of the circus in this very same year Barnum's circus went dark.

Her attitude towards acting --

BN: How did acting change your life?

Stacey: It made me look at the world entirely differently - much more openly and creatively. After meeting other actors who share my passion /quest and undeterred like me by 99 percent rejection, I've learned to take risks and make bold choices instead of following what society says is "normal". This job has made me feel from the inside out the happiest and freest I've ever felt.

Jo

[jo]

Also, watch out for the August 12, 2017 issue of ENTERTAINMENT WEEKLY, as it supposedly carries a feature on THE GREATEST SHOWMAN In its FALL MOVIE PREVIEW issue.

@justinsobieski630
I got an #entertainmentweeklymagazine  from the #mail  on August 12, 2017 and it's the #cover  of the #fallmoviepreview  and I'm very excited for the #movies  to come out to #theatres  including #coco  #ferdinand  #thegreatestshowman  #justiceleague  #thelegoninjagomovie  #starwarsthelastjedi  #thorragnarok  & #wonder . @entertainmentweekly #entertainmentweekly  #2017fallmoviepreview 
Clinton Township, Michigan

[jo]

The promotional focus is getting to at least one type of demos -- the family-friendly-movie type of audiences!

It's notable that we have not seen Hugh in anything showing his triple threat performing talent -- hope we get this in the next publicity material - trailer/screenshots/clips/soundtrack/whatever

Although it's actually 4 months away - a bit more...


Jo

[jo]

[jo]

Wow !! If you expand the page, you can read all about some of the spectacles involving Hugh in the movie ( EDIT: You don't have to expand the page, just scroll down to see the expanded pages).


*Hugh spinning on his knees and flipping his top hat, in a complicated choreography for the number COME ALIVE!

*Hugh and Michelle in an elaborate dance sequence on the rooftop, with Hugh lifting Michelle into the air ( "When Hugh lifts you in the air, you go hiiiighhh!" ).


Gracey thinks Jackman is 18, not 30 years older, to make him do all that type of choreography ( beats Mangold's fight choreography sequences!)!!

If there is any doubt that Hugh is a true triple threat -- this should put to rest any doubts! And Oscar voters -- time to recognize such rare display of acting, singing, dancing...and athletics


Jo

[jo]

[jo]