Les Miserables - In Production/Post Production

[jo]

And a special screening hosted by the L.A. Times, and with Hooper, Jackman, Hathaway, Seyfried and Redmayne in Q&A session --

events.latimes.com/envelope/

"Thurs., December 13 | 7 PM - RSVP
Les Misérables
(Universal Pictures)Q & A with director Tom Hooper and cast members Hugh Jackman, Anne Hathaway, Amanda Seyfried and Eddie Redmayne. Moderated by Los Angeles Times writer Nicole Sperling. "


Tickets have all been distributed, from twitter indications!

If I am not mistaken, isn't this the same date as the announcement of the Golden Globes nominations?

Jo

[Jamie]

Yes it will be Golden Globes announcement day at 5:00 AM

[jo]

In case anyone is interested in the AMPAS rules for promotion of films/individual awards -- here are the relevant rules for the 85th Academy Awards -- the set of rules is long, but these covers rules that sort of try to limit the so-called "CAMPAIGNING" practices

www.oscars.org/awards/academyawards/rules/regulations.html

Regulations Concerning the Promotion of Films Eligible for the 85th Academy Awards®

Issued by the Academy of Motion Picture Arts and Sciences
July 2012

PREAMBLE

In an effort to maintain a high degree of fairness and dignity in the process by which film studios, producers, distributors, marketers and others (collectively referred to as "film companies") promote films eligible for Academy Awards® to Academy members, the Board of Governors of the Academy of Motion Picture Arts and Sciences has developed a set of regulations for the annual rite generally known as "campaigning."

The Awards competition is a process that requires the voting members of the Academy to make their choices based solely on the artistic and technical merits of the eligible films and achievements. It is the Academy's goal to ensure that the Awards competition is conducted in a fair and ethical manner. If any campaign activity is determined by the Board of Governors to work in opposition to that goal, whether or not anticipated by these regulations, the Board of Governors may take any corrective actions or assess any penalties that in its discretion it deems necessary to protect the reputation and integrity of the awards process. Furthermore, any Academy member who has authorized, executed or otherwise enabled a campaign activity that is determined by the Board of Governors to have undermined the letter or spirit of these regulations will be subject to suspension of membership or expulsion from the Academy.

It should not be assumed that any tactics or activities not specifically addressed by these regulations are acceptable. The Academy is willing to consult on any questions that arise. Marketers are also urged to familiarize themselves with the Academy's regulations for using its intellectual properties (www.oscars.org/legal/regulations.html).

For information about the Awards Rules, including eligibility and submission procedures, go to www.oscars.org/rules.


REGULATIONS

1. Screenings.

The Academy encourages the screening of eligible films in a theatrical setting for its members.

Prior to the announcement of nominations, screenings presented by or funded by film companies may be followed by a question-and-answer session or similar live participation by persons associated with the film. Additionally, such screenings may be preceded or followed by a reception and complimentary food and beverage.

After the announcement of nominations, and until the final polls close, Academy members may be invited to up to four screenings of a nominated film that are preceded or followed by filmmaker Q&As or other such participation. In the UK, a fifth such event will be permitted. All participants must be nominated or have been eligible for nomination, and no screening event may include a reception or otherwise offer complimentary food or beverages. These limitations do not apply to official Q&A screenings held by the Academy, the various guilds, or similar organizations.

After nominations are announced, no Academy member may be listed as a "host" of a screening in any way unless that member is directly associated with the film.


2. Passes to Commercial Theaters.

Companies are permitted to distribute passes or coupons that allow Academy members to gain free entry to screenings in commercial theaters. These coupons may be for specific titles or for admission on a more general basis. These coupons must be simple in design and production. A film's title and logo may be printed, along with the film company's name and logo. No photographs or other design elements specific to the film may be included. No additional text specific to the film may be included.


3. Screening Schedules and Other Mailings.

The Academy requires that the film companies limit the volume of email and mail sent to members during Oscar® season. Film companies may not send a member any more than one email and one hardcopy mailer per week (and a particular film may not be referred to in any more than one of each per week). This rule does not affect or apply to the number of physical screeners, screenplays or music CD's that can be mailed, but it does apply to the number of emails containing (or instructing how to download) digital screeners, screenplays or music. The Academy also requires that the companies offer members the chance to opt out of receiving hardcopies of screening schedules, or of receiving mailings (or e-mailings) of any kind.

Subject to the above limitations, screening schedules or notices of upcoming screenings (whether they be private, invitation-only screenings or those scheduled as part of a regular theatrical release) may be sent to members, but only via e-mail, or in letter format (8½" x 11" paper) or on postcards
(maximum size 4" x 6"). In addition to screening information, mailings may include a film's basic title treatment; they may not include photographs, glossy paper or card stock, key art or other graphics. Envelopes for these mailings may not include a postmark, postage stamp or any other graphic or text element that makes reference to a particular film or achievement.

Mailings that extol the merits of a film, an achievement or an individual are not permitted. Mailings containing quotes from reviews about a film or achievement are not permitted, nor should they refer to other honors or awards, past or present, that have been received by either the film or those involved in the production or distribution of the film. Except as permitted in Regulation #5, mailings may not mention any website that promotes any eligible film.

Mailings may incorporate a basic "for your consideration" listing of the artists who worked on the film. They may include a brief, unembellished synopsis of the film. Once Oscar nominations are announced, subsequent letters and screening schedules may refer to any current Academy nominations received by a film.

Mailings intended to verify a member's address and to announce the shipment of screeners are permitted and are not required to contain screening schedules. Letters accompanying the delivery of screeners, CDs and scripts are permitted and are not required to contain screening schedules. In all other ways, however, they must adhere to the above regulations for mailings.

4. E-mail.

E-mail that is sent to Academy members must adhere to the same regulations concerning content and appearance as direct mailings that are delivered by the post office or via other delivery methods. It may not extol the merits of a film, an achievement or an individual. It may not contain quotes from reviews about a film or an achievement, nor should it refer to other honors or awards, past or present, that have been received by either the film or those involved in the production or distribution of the film. Except as permitted in Regulation #5, e-mail to members may not include mention of, or links to, any website that promotes any eligible film.

5. Websites.

References or links to a website that promotes an eligible film are permitted in mailings, e-mail and other communications to members only if such a website does not contain photographic, audio, video, graphical and other multimedia elements normally found in websites. In other words, referring to a website is permissible only if the website contains the same type of basic screening information and synopses that would be allowed in direct mailings, presented in a similar format. However, such websites may include a link to the video on the Academy's membership website containing the film's question and answer session at the Academy.

All websites, regardless of their purpose, function and appearance, must adhere to the Academy's other rules concerning eligibility and use of the Academy's intellectual properties. Additional

information concerning those rules can be obtained by contacting the Academy or accessing the Academy's website at www.oscars.org/legal.

6. Quote Ads.

Any form of advertising that includes quotes or comments by Academy members is prohibited.

7. Screeners.

While viewing films on screeners is at times more convenient, the Academy remains firmly committed to the principal that motion pictures competing for Academy Awards should be seen and heard in a theatrical setting. We encourage the film companies and our members to present and view the films as they were intended.

Notwithstanding the above, the Academy will not object to the distribution of screeners to Academy members. Screeners may be distributed to members in physical form (e.g. DVD) and digitally via download or streaming. Film companies may not send members duplicate screeners of the same motion picture. But, one screener of a film may be sent in physical form and an additional one may be sent in digital form. Screeners may not include any additional print or moving image material, such as information about the making of the movie. Screeners may include closed captioning and simple menus that allow viewers to select different starting points (chapter stops) and audio formats, although the chapter stop headings in the menu may not include captions.

Screeners may also be distributed to members digitally, via download or streaming, so long as the delivery of those motion pictures conforms to all other provisions of these Regulations


8. Packaging of Screeners.

The packaging of screeners should be limited to simple sleeves or boxes. Outer packaging on boxes housing multiple screeners must likewise be simple in design. A film's basic title treatment may appear on the packaging. Packaging for individual screeners may carry a list of "for your consideration" credits and a brief, unembellished synopsis. Tag lines, advertising or promotional copy are not permitted. Packaging for a single screener should be no larger than standard DVD jewel box dimensions (approximately 1/2" thick). Whether housing single or multiple screeners, elaborate or promotional packaging is not permitted.


9. Music.

Before nominations are announced, CDs of eligible scores may be sent to members of the Music Branch only. Each music track on such a CD must be titled and include the name of the composer(s). The titles must match the corresponding title and composer(s) listed on the cue sheet that is submitted as part of the Original Score entry process. Only the tracks written by the eligible composer(s) may be included on the CD; music written by other composers, licensed music or music that is in any other way ineligible may not be included. The music on the CD must be the same as the music used in the finished film.

No CDs of songs may be sent to any Academy member before nominations are announced. (Song nomination procedures already provide Music Branch voters with access to the eligible songs in the context of the motion picture.)

After nominations are announced, CDs of nominated scores and songs may be sent to any Academy member, although no member may be sent duplicate CDs. CDs of nominated scores must adhere to the same guidelines regarding content as described above. CDs of songs must be identical to the version that is heard in the motion picture.

So long as it is done in accordance with the above guidelines, it is also permissible to distribute songs and scores digitally by providing members the ability to access or download music at a website. The members may be sent a letter or e-mail informing them where and how to perform the download. The letter or e-mail must conform to Regulations #3 and #4, and the website at which members can access the music must conform to Regulation #5. In the course of executing the download, companies may not install cookies, Web bugs, software agents or similar items on a member's computer for any purpose, including for the purpose of collecting data or tracking online activity.

Neither video excerpts nor sheet music may be sent at any time.

All members should be given the chance to opt out of receiving CDs.


10. Music Packaging.

The packaging of CDs must adhere to the same restrictions as those described in Regulation #8 for screener packaging. Packaging used in commercial/consumer distribution may not be used in mailings to Academy members. Neither the packaging nor the item itself may refer to other awards or achievements.


11. Foreign Language Film Award.

Film companies may not send members a screener of a film competing for the Foreign Language Film Award except to the extent the film is competing in other categories.


12. Screenplays.

Before nominations are announced, screenplays may be sent to members of the Writers Branch only. After nominations are announced, screenplays nominated in either of the two Writing categories may be sent to all members. Screenplays that are sent should be presented in standard industry form, i.e., with plain paper or card stock covers displaying only title and writer information (no graphics), and containing no review excerpts or other promotional materials. The Academy recommends that screenplays be duplicated in a double-sided format. Screenplays reproduced in smaller formats (8½" x 5½", for example) are also permitted.

It is also permissible to provide electronic versions of screenplays that Academy members can access or download at a company's website. The company may send members a letter or e-mail informing them where and how to perform the download. The letter or e-mail must conform to

Regulations #3 and #4, the website at which members can access the screenplay must conform to Regulation #5, and the script itself must conform to the requirements of the paragraph above. In the course of executing the download, companies may not install cookies, Web bugs, software agents or similar items on a member's computer for any purpose, including for the purpose of collecting data or tracking online activity.

It is also permissible to send out screenplays in electronic form on flash drives (aka memory sticks, thumb drives). Only a studio name and logo and film title(s) may appear on the exterior of the device.

In the course of collecting addresses and other preferences from Academy members, companies should allow members of the Writers Branch, as well as the full membership, the opportunity to choose not to be sent screenplays.

13. Inserts.

Brief cover letters may accompany screeners and scripts and are not required to contain screening schedules. In all other ways, however, they must adhere to the above regulations regarding mailings.

Information about upcoming screenings also may accompany screeners and scripts. The size of these inserts may be tailored to fit the packaging; however, heavier paper or card stock may not be used. Graphics should be limited to basic title treatments. Restrictions on screening schedules, as described in Regulation #3, also apply.

14. Third-Party Distribution.

Film companies are prohibited from doing indirectly or through a third party anything that these regulations prohibit them from doing directly. They are prohibited from using subscriber-based publications to distribute promotional materials to an Academy member unless the member is a subscriber to those publications. The Academy defines "subscriber" as a member who has taken the intentional step of requesting that a publication be sent to him or her on a regular basis. The member does not necessarily have to pay for that subscription. Any Academy member who has not made such a request, however, will not be considered a subscriber, and any company that uses a publication to send the promotional materials anticipated by this regulation to such a member will be in violation of the regulation. This paragraph is not intended to grant film companies permission to use the services of a third-party publication to send otherwise prohibited materials to member-subscribers where such materials are sent alone and not in connection with the distribution of the publication itself.


15. Telephone Lobbying.

Contacting Academy members by telephone to promote a film or achievement is expressly forbidden, even if such contact is in the guise of checking to make sure a screener was received. Telephone calls to verify members' addresses are permitted, as long as no eligible films are discussed.

16. Non-Screening Events.

Members may not be invited to or attend any non-screening event occurring after nominations are announced (and until final polls close), including breakfasts, lunches, dinners, parties and receptions, that in any way promotes or honors a nominated film, a nominee, or is attended by a nominee or anyone with a direct association with a nominated film. These regulations apply to nominees as well as Academy members, and nominees are similarly prohibited from attending such events. Invitations to non-screening events are also subject to the limitations on the number of mailings in Rule 3.

Excluded from this prohibition are sanctioned events and awards ceremonies presented by the various guilds and similar organizations. However, this prohibition does apply to any events organized by film companies or others that are ancillary to such sanctioned events (e.g., pre-awards receptions or parties).


17. References to Other Nominees.

Ads, mailings, websites, social media (e.g., Facebook and Twitter) or any other forms of public communication by anyone directly associated with an eligible film attempting to promote a particular film or achievement by casting a negative or derogatory light on a competing film or achievement will not be tolerated. In particular, any tactic that singles out "the competition" by name or title is expressly forbidden. Academy members that violate this Rule 17 will be subject to a one-year suspension of membership for first-time violations, and expulsion for any subsequent violations.


18. The "Academy" Office.

Some film companies still refer to their "campaign offices," in print and on the telephone, as "the Academy Office." That's misleading and incorrect. If a name is needed for those special tactical units created to campaign for the various organizational awards that are presented during the first quarter of the year, the Academy suggests the more accurate "Awards Office."

For further information about these regulations, contact:
Scott Miller
Academy of Motion Picture Arts and Sciences
8949 Wilshire Blvd., Beverly Hills, CA 90211
[phone] - telephone
[phone] - fax
[e-mail]



To Distributors, Filmmakers and Marketers in the Foreign Language Film, Documentary Film and Short Film categories:

In general, the Academy's Regulations Concerning the Promotion of Films describes regulations designed to apply to films entered in those feature-length film categories that require a seven-day qualifying run in Los Angeles (Best Picture, Directing, Writing, and so on). Since judging in the Foreign Language Film, Documentary Film and Short Film categories is conducted under special rules and circumstances – and since in many instances members of those committees must view the films at special Academy screenings to be able to vote – some of these regulations, especially those having to do with screeners, are not relevant to these categories.

Other regulations, such as those having to do with mailings, websites, screenings and receptions, may be relevant and applicable to contenders in all categories. Please refer to the Academy's Awards Rules at www.oscars.org/rules for information regarding eligibility, submissions, voting and the like.

Please feel free to direct questions about the Academy's Regulations to the contact above.

[jo]

New Valjean image --




Jo

[jo]

Many had initially asked if Hugh suited the image of the burly peasant (he used to prune trees) who became a longtime convict. Even when dressed in rags ( see above), he did exude an almost patrician air, especially with that profile.

I think Hugh is transforming the image of Valjean to someone with a handsome almost noble visage, very masculine and muscular, and a disciplined air about him. Classical-looking hero in a novel - LOL!

Jo

[jo]

If you are hoping to be a commercial and artistic juggernaut --

wait for the negativity ( or maybe reverse negativity) to start coming in

Here's Jeff Wells on the issue --

hollywood-elsewhere.com/2012/10/of_mice_and_cri.php
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Of Mice and Critics and Jean Valjean

The New York Film Critics Circle has decided to junk last year's 11.28 early-vote strategy (which caused too many problems) and will vote instead on Wednesday, December 3rd. Which means, presumably, that the all-but-worthless National Board of Review voting will now be announced before the NYFCC and Los Angeles Film Critic Association voting. Right?

The name of the game right now, presumably, is "stop Les Miserables" -- that is the challenge that critics of vision and presumed backbone will have on their plates six weeks from now. Last year's challenge was "stop The Artist." I got down on my knees and begged them not to give it their Best Picture prize, and to their eternal discredit they ignored me. But I'm getting ahead of things.

I obviously haven't seen Les Miserables, and it may well deserve to win at the end of the day. But you know what I mean. Everything else is getting marginally discredited for this and that reason and nothing else seems to "fit" the paradigm, and I'm starting to feel already that the fix is in. Obviously I don't mean that in a Chicago Black Sox sense. I mean that people want a certain type of "classy" but lowest-common-denominator emotional waterfall film to win, and guys like Tony Angelotti know that and it seems as if the scheme is slowly falling into place and it's not even Halloween yet.

An Oscar prognosticator generally agrees but says that "the only thing that Les Miserables seems to lack is the cool factor." Of course, a judgment of that sort feels a long spitball at this stage.

The 12.1 to 12.3 voting will give distributors of December openers like Les Miserables, Django Unchained and Zero Dark Thirty two or three more days of fine tuning...big deal.

This morning NYFCC chairman Joshua Rothkopf told Deadline's Michael Fleming that "our function as a group is to be as best informed as we can be, and we wanted to make sure we had every opportunity to see everything under consideration for the best in film. This is not as Machiavellian as people might think, but in order to fulfill that function to be as fully informed as possible, I made this decision and the group agreed with me."

All hail Silver Linings Playbook -- a modest movie in one sense but one that really and truly works (despite what the crabheads are saying), and in a way that gives a hug to blue-collar American family values and football fanaticism and Sunday dinners and all that extended-family stuff that I don't even relate to or believe in. The point is that SLP believes in this stuff, and in healthy turnarounds and good music and throwing away old baggage and running and getting lucky with the right girl and hugs and happiness at the end.
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For the record, Jeff Wells voted LesMiserables as the top pick in the GoldDerby Oscar sweepstakes! He has also predicted early on that Les Miserables will be a leading Oscar contender as well as making serious money.

So, is Jeff just being controversial or is he fuelling reverse negativity publicity for Les Mis, deliberately or unwittingly?

Jo

[jo]

Here's another one -- not a very well-written or particularly insightful article, judging from the feedbacks which are way more incisive and informative

blogs.indiewire.com/theplaylist/on-their-own-will-les-miserables-make-critics-audiences-sing-20121016

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Will Critics & Audiences Sing For 'Les Miserables'?
by The Playlist Staff
October 16, 2012 12:05 PM

As the fall movie season has heated up, we've examined a number of the high profile titles of the next few months, taking a look so far at "Lincoln," 'Skyfall," "Flight," "Wreck-It Ralph" and "Django Unchained," with verdicts on the first three having already come in (you can now read our reviews of the Spielberg, the Bond and the Zemeckis). With November's movies present and accounted for, we're now looking a little further into the future, with one of the Christmas Day releases -- "Les Miserables."

Now a quarter-of-a-century old, the musical adaptation of Victor Hugo's novel is one of the biggest stage shows in history, but it took the heat behind Tom Hooper's Oscar-winning "The King's Speech" to actually give it the momentum for the greenlight. With an all-star cast, an epic scope, and a bold take on the movie musical, is this the next big Oscar sweep? Or the next "The Phantom Of The Opera?" You can see Rodrigo Perez and Gabe Toro duking it out below, and let us know what you think in the comments section below.

"Les Miserables"

The Case For:

When a director not known for his or her genre work takes on a sci-fi film, a horror, a zombie movie, an action picture etc, audiences -- especially movie bloggers -- tend to get excited. But for some reason, when a filmmaker tackles a musical, very much an adjunct genre that can fit with myriad styles, audiences (at least online ones), tend to shrug.

Perhaps in this case that's because the musical in question is “Les Miserables” -- a Broadway production your parents likely attended -- and the director is Tom Hooper, the filmmaker behind "The King's Speech," now perceived as a conventional and safe Oscar choice and the person who bumped the more beloved "The Social Network" and David Fincher from achieving Academy gold.

Having never seen experienced or remained blissfully ignorant of "Les Miserables" the stage play (as well as most of its cinematic adaptations), I'll concede to any naysayers that as a piece of source material, it could be dull/for moms. But let's take a mile high view for a second.

What makes "Les Miserables" appealing? Well, a director taking the leap into a musical -- well recognized as one of the hardest genres to pull off let alone direct well -- after only a handful of feature-length dramas sounds like the kind of challenge that intrigues this writer. Secondly, the cast: Anne Hathaway (who we know can belt out a tune), Hugh Jackman (who can do the same given that his Broadway career is full of song-and-dance man roles), Russell Crowe (who seems to be having a comeback of sorts after his share of generic thrillers), plus Amanda Seyfried, Eddie Redmayne, Helena Bonham Carter, Sacha Baron Cohen and relative newcomer Samantha Barks (who already starred as her character Éponine in the London production of the show at the Queen's Theatre in 2010).

So it's a historical period piece drama (dying species? Check) set during the 18th century French revolution with a musical (difficult genre? Check) on top and some of the most talented actors around in a genre we've never seen any of them in? What's not to find appealing? Hooper gets points on ambition alone, not least for recording the singing live on set, rather than in a studio months beforehand, which (if it works) could make for superior performances.

And sure, "The King's Speech" might have been a conservative Oscar Best Picture, but judged on its merits, it's a perfectly good little drama, with wry moments of humor and a great cast (Colin Firth was excellent in it). And so while perhaps a little dry as a subject matter, compared to say "Hyde Park on Hudson" (a type of sequel that is entirely formulaic and toothless Oscar bait), "The King's Speech," is far from the ingratiatingly manipulative crowd pleaser that some accused it of being during that Oscar season. All of this is highly subjective, but I'm convinced that if "The King's Speech" came out in April and didn't take the Oscar crown from a more beloved filmmaker, it wouldn't have been maligned after the fact (and independently, reviews out of Toronto where it debuted were complimentary). Perhaps I’m simply concentrating on the online conversation which tends to be centered around boys with little attention span for nuanced-drama.

Hooper's got a good eye for tone and humor, and a fine sense for getting out of the way of good performances, along with an unflashy style of directing that never gets respect outside of awards. I’m not here to convince anyone that “Les Miserables” is going to be the best film of 2012, nor am I highly anticipating it as much as say Kathryn Bigelow’s “Zero Dark Thirty” (for random example), however, like “Life Of Pi” which turned out to be great (and I had been beating the drum for it around The Playlist water cooler for months despite a lot of “meh,” scratching-your-head responses), I’m saying, don’t dismiss or discount “Les Miserables” just yet. There’s a lot of reasons why it could be a big, bold spectacle, and who doesn’t love that? - Rodrigo Perez

The Case Against:

Hugh Jackman. Russell Crowe. Anne Hathaway. Amanda Seyfried. The director of “The King’s Speech.” Holy crap, it’s like a white people-paloosa. I'm making a larger point here, Sensitive Whitey, so stick with me.

“The King’s Speech” was a plate of deep-fried Oscar-bluehair pleasing gumbo. As much as something like “The Avengers” panders to every fanboy in the world, “The King’s Speech” felt reverse-engineered to appeal to the broadest of the broad, the older white moms and dads that comprise the majority of the Oscar pool (as well as the eventual viewing demographic). Dim and unchallenging, the visually-simplistic story took shortcuts in its storytelling, from the minimized role of Queen Elizabeth as Supportive Wife to the jerk-ifying of King Edward VIII to the wallpapering of the, ahem, Nazi problem.

“The Social Network” was not the best film that year, but when forced into a two-horse race, voters and audiences looked at which film had more clearly defined villains, more simplistic decision-making amongst its characters, and a generally stuffy, sedate storytelling style that reminded us of the best of PBS. In this context, “The Social Network” was a set of knives, and “The King’s Speech” was a pillow.

Of course, what does Tom Hooper decide to do for an encore? Why, it just very well be a White People Totem, a popular tale re-envisioned by greater minds than him many times over. Really, among even fans of “Les Miserables,” was anybody saying, “I love Les Miz, but I wish it had more of a BBC sheen”? Certainly there is challenge for Hooper in tackling a musical, and for fans of that genre, it might be interesting. But there’s a reason it’s challenging -- most musicals are DREADFUL onscreen, pre-established material or not. The filmmakers often choose to play up the theatricality, which is to accentuate the artificiality. An approach with merit, certainly, but an approach for those who look at the medium as something that can be twisted, altered, and contorted to their specifications. Not “somewhere I work.”

And Hooper has been turning “somewhere I work” into a mantra, porting over his flat, ugly shooting style from television by abusing the fish-eye lens, as well as his innovation in “The King’s Speech” to shoot sequences with massive dead space over their heads to emphasize the off-center portraiture of each actor from within the frame. Yeah, I’ll bet Stan Brakhage was really jerking off on that.

Of course, did he load this movie with interesting types, or bloated stars who sometimes show a tin ear for material. Jackman was minted as a star in “X-Men” twelve years ago, but looking at his resume reveals he hasn’t done much to earn this. Crowe is on the Brando/Oliver Reed schedule of showing up every other movie, while the next interesting performance given by Seyfried, as the juicy role of Cosette, will be her first.

Though it is not a very big role, Anne Hathaway has shown herself to be a strong performer, albeit one who hasn’t had her lungs truly tested on the big screen. She’s the one actor in this cast that’s shown a willingness to go somewhere unusual in the last five years, and could be an exciting part of the musical reaching the screen. But as Fantine, a hard-times prostitute who passes away through inglorious causes, the suggestion is that Hooper, adapting the second-longest running musical in history, opted to make nothing but safe, friendly choices, regardless of whether they are appropriate or not (Hooper’s version seems to have no room for a classical singer in the lead roles).

Contrast this with Andrea Arnold’s “Wuthering Heights,” which drastically reinvisioned that story by lopping off the second half and concentrating on the working-class brutality between the romance of Heathcliff and Catherine, creating a visceral, hard-to-watch love story that removes the usual trappings of period love stories. “Les Miserables,” which seems to preserve its story in amber, thematically and visually, is being pushed as a major Oscar contender and potential box office hit. “Wuthering Heights,” meanwhile, has already begun to fade from the critical discussion. Makes you wonder. - Gabe Toro
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Be sure to read the feedbacks!

These staff writers have obviously never heard of Hugh Jackman's theatre career! Nor seen The Fountain, The Prestige or, by some miracle, Erskineville Kings!

How on earth did they think Universal, Working Title, Mackintosh, and Hooper decide on Jackman as Jean Valjean if he wasn't the best fit for the role He sliced and diced them >

Jo

[jo]

The new Entertainment Weekly is supposed to have more coverage of the Les Miserables movie. Here's a photo of the Thenardiers --

[mamaleh]

Thenardier a redhead? Ha, love that unexpected aspect. It should go over well cinematically.

Ellen

[jo]

If this doesn't get him an Oscar, I don't know what will -- LOL!


blogs.indiewire.com/thompsononhollywood/playing-dress-up-for-les-miserables-and-downtown-abbey-season-3-in-new-ew

>>>In the October 19 issue of EW, "Les Miserables" costume designer Paco Delgado talks sartorially translating the look and feel of Victor Hugo's classic novel to the big screen... Highlights below...

And on making Hugh Jackman look less, well, jacked:

"Hugh [Jackman] wanted Valjean to look more bourgeois and relaxed about his appearance when he becomes the mayor, so we added padding to make it look like he had a little bit of a belly. You can barely notice it, but Hugh asked for it specifically."<<<



Jo

[nevaeh777]

I believe this is also a new shot of Valjean and Cossette...

[droverswoman]

I wish I lived in London! Word is that Hugh is going to do a special stage performance of Les Mis to promote the film!! :o

www.backstage.com/news/les-mis-film-stars-may-take-london-stage-and-whos-raking-it-tour/


"Turns out that the promotional hoopla for this film will go far beyond moody, aggressively airbrushed posters, the occasional poorly-sung-but-damn-if-you-aren't-crying trailer, and leaked photos of Aaron Tveit in his cocker spaniel wig. Our sources are telling us that some of the film's stars are in talks to perform in the London stage version of the show around the time of the film's release. . . . We’ve also heard tell of plans for a one-night-only concert staging of the musical starring the film’s cast, including Wolverine himself, Hugh Jackman.

[jo]

I'm afraid not too many believe those gossipy bits ;D...It sounds more like a wish list for the Mackintosh publicity office for the stage show...But it is Universal Pictures, the film distributor, that seems to be in charge of the overall publicity and marketing for the movie, including the FYC ( For Your Consideration) publicity for the Oscars, the Golden Globes, and other awards.

It doesn't seem logical given the heavy promotion and publicity needed to be done for the movie, in Hollywood ( more so because of the coming awards season), in NYC, in London...and maybe even in Paris.

Premieres, special screenings with Q&A's ( for critics, media, and award bodies), hobnobbing with members of the awards bodies in endless parties/receptions - LOL!

Press tours, print media coverage, talk shows and other shows, etc -- these all need attention.

Plus Hugh and Russell are still filming -- when will they have time for rehearsals? Plus who is directing - Tom Hooper?? LOL!

I could be wrong, but it seems someone is just trying to create internet traffic for his/her site

Jo

[mamaleh]

Oct 18, 2012 17:55:15 GMT -5 nevaeh777 said:

I believe this is also a new shot of Valjean and Cossette...

That's one of the great photos in the new Entertainment Weekly, which has a story on creating the "world" of LES MIZ. Got my copy in the mail yesterday.

Ellen

[droverswoman]

Jo, it may not happen, but Backstage is a pretty well-known and big theatre site, and they may have just got first whiff of a possibility that isn't all worked out yet. We will just have to wait and see, yes?

[mamaleh]

I keep thinking of something Hugh said during the run of his one-man show. Asked if he'd sing a song from LES MIZ, he politely declined, saying something like "You know, this will get on YouTube, then people will say they've already seen/heard me in the show; no reason to see the movie now." So I think he and the producers will likely want to be circumspect about his performing anything LES MIZ-related outside of the film--at least until it opens, hopefully big.

Just my opinion.

Ellen

[rmtndew]

It does seem a bit unlikely that they would all do a stage performance of it, especially when they're trying to prove that it can be a movie. There's enough comparisons to the theater versions, I don't seem them adding to it. It would be cool, though. Maybe ten years from now when the movie is a big success they'll all get together for a reunion special, and then we can see them on stage.

- Alicia

[nevaeh777]

Oct 19, 2012 9:08:15 GMT -5 mamaleh said:

Oct 18, 2012 17:55:15 GMT -5 nevaeh777 said:

I believe this is also a new shot of Valjean and Cossette...

That's one of the great photos in the new Entertainment Weekly, which has a story on creating the "world" of LES MIZ. Got my copy in the mail yesterday.

Ellen

Thanks for letting me know that Ellen! I'll look for that copy of the magazine!

[jo]

Jo, it may not happen, but Backstage is a pretty well-known and big theatre site, and they may have just got first whiff of a possibility that isn't all worked out yet. We will just have to wait and see, yes?

Sorry, but to be honest - I've never heard of Backstage ...the US theatre sites that I usually follow are Talkin' Broadway ( All That Chat), Broadwayworld, occasionally Broadway.com. It looks like Backstage is more focused on film news, though. On the UK side, the largest one, Whatsonstage, has not reported anything of the sort, even if only on the message board. And Dress Circle is now defunct... What I gather from the Backstage site is that they do coverage of audition news or casting opportunities. Maybe they picked up some buzz in relation to casting news? I also follow most of the Twitter Les Miserables-related news and there is no similar buzz, even from the infamous WestEndProducer - LOL! But this LesMis gossip was also discussed at the IMDB which seems to be the busiest now when it comes to LesMis movie news - and I'm afraid nobody gave it much credibility.

Personally, the only actors who may be possibilities because they may not be doing anything at the moment and have appeared on stage could be Eddie Redmayne ( although his former stage hits have been straight plays, including Shakespeare...and he is also a budding Hollywood film star so that could also interfere) and Aaron Tveit ( assuming that he is not doing some film or TV work). Who knows why Samantha was not mentioned in that article - alhough she seems to be spending time in the USA ( including that pop concert with Russell in NYC) and may also be exploring other career opportunities ( maybe even in Hollywood)?

But I think the reason why this is unlikely is the heavy promotion campaign that is going to happen for the movie which could be very much like those for a blockbuster. Remember how much promotion campaign Hugh undergoes for XMEN or what he had done for Real Steel? And it looks like it is going to be a team of the major leads who will be doing this. There will be a special screening on December 13 in LA. After the screening, there will be a Q&A with Tom Hooper, Hugh, Anne, Amanda and Eddie - with the critics and media most likely. So, this could also happen on the East Coast or maybe London ( for the BAFTA people)? There will be the round of premieres ( two in the USA) and one in London so far. Who knows what other cities may be graced with such an event? Maybe even Tokyo, seeing that they seem to be getting special attention from the campaign people ( there was a second trailer which was shown only in Japan) - they are going to see the movie as early as December 21 or 22. I have always hoped that Paris also gets a premiere early on, because Les Miserables is about the French people, written by a Frenchman, musicalized by two Frenchmen, and first performed onstage in Paris in 1980! And there will be the endless press tours and the appearances on talk shows (night or daytime shows), some brief interviews and soundbites for the TV entertainment shows or even special editions for NBC-Universal ( owners!), for CNN ( The Screening Room), other networks, or the BBC. And what about print media coverage (such as for magazines, etc)?? Too much :o

In addition, there is the heavy push for the awards -- Oscars, Golden Globes, SAG, DGA, BAFTA and all the other guilds. You have probably heard about how hard Weinstein " campaigns" for his movies - I think Universal will try to give him a real fight in this arena. The first salvo has been the early release of the screenplay of Les Miserables the other day! There will be special screenings ( the Academy has even designated special rules for these) , endless hobnobbing in Hollywood with the various members - receptions and parties.

Also, I may be wrong, but it seems it is UNIVERSAL which is in charge of the promotion as they are the film distributors. They are also the parent company of Working Title. It is unlikely that the producers ( Working Title and Mackintosh) are involved on the promotion side. Universal itself has two separate teams handling each aspect - one for the movie release and the other for the awards campaign ( headed by a prominent publicist Tony Angelotti).

Also, Hugh may be winding up The Wolverine towards the end of November but who knows when Russell may finish Noah?? Anne is now attached to a rom-com, but it is also true that she is a newly-wed and may want to spend time only doing Les Mis promotion that usually attaches to a movie. Amanda has never appeared on stage professionally - will she want to do that? Even if they are going to be available -- who will direct them? Tom Hooper is a film director and not a theatre director. And if you have read the screenplay, it is somewhat different from the stage musical. Plus if you have seen the Extended Look video, they are performing it differently from the stage version for added realism. Which version will prevail? And what kind of rehearsal period is envisioned? It is not as easy as it seems.

London will have its planned world premiere on December 4 - and it seems that will be their grand day! NYC will have it on December 10, probably in deference to the movie's Broadway roots! Then Hollywood takes over

Sorry, while it may sound like a grand fantasy dream -- and is possible -- but it is likely not probable

Of course, I could be absolutely wrong about these perceptions ...Wouldn't it be great if that actually happens

Jo

[birchie]

Re: The new issue of Entertainment Weekly with the lovely Les Miserables spread.
Is it the one with Once Upon a Time on the cover?? I was going to buy it online but can't tell if that's the one. I looked in the contents but it doesn't say anything. Thanks to anyone who might know. Sue

[jo]

I understand that it is the Oct 19 issue and that it is the Once Upon a Time cover.

Jo

[jo]

Hugh is on the cover story for a magazine ( Best Life), which I suspect is part of the promotion for Les Miserables.

www.justjared.com/2012/10/19/hugh-jackman-covers-best-life-magazine-exclusive-inside-pic/

Two great photos -- but I can't reproduce them


SOS to the techies here! Thanks!

Jo

[kristina]

I've never posted here (hello, all!), but I just wanted to say re: that Backstage article - Aaron Tveit, at least, is not involved. I'm in contact with his manager and she said it was "such a lie." Don't know if she was referring to the article as a whole or only his involvement, but I fear if there's no truth to him joining the cast then there's even less for Hugh.

[jo]

Welcome, Kristina!

Thanks for clarifying at least Aaron's non-involvement in the so-called project.

I am a fan of the character of Enjolras ( "the Apollo-esque" figure in Hugo's book!) -- and I hope he gets the same powerhouse moments which sold me to Les Miserables when I first saw it a very long time ago ( Michael Maguire on Broadway). I saw Aaron in Catch Me If You Can on Broadway and we hope this is going to be a breakout performance for him in the movies - although I know he has done film work in the past.

Jo

[jo]

Btw, I forgot to add that Hugh may also be preparing for the start of filming of PRISONERS sometime in early January, after he completes the first act reading for HOUDINI. He is going to be busy doing a lot of memorizing ;D...Plus if LES MISERABLES is opening in Sydney on December 26 ( Boxing Day), it is likely he will there not only for the holidays but also for some promotion activities for the movie ( premiere and media)? He may even be joined by fellow Sydney-sider Russell Crowe and half-Aussie Tom Hooper?

Russell has signed up for one or two more films -- I think one is Winter's Tale and I am not sure about the other. Also, he has one other film coming out before Les Miserables, The Man With the Iron Fists, so he may be doing some promotion for that, too. Which reminds me, Hugh may also be doing a bit of promotion for his late November release of Rise of the Guardians!

Very busy time for these two lead Les Miserables actors!

Jo