I remember at one point I was speaking to Tom, getting really excited, going: “okay, we could potentially shut off a couple streets we were looking to shoot in around Paramount, and around Paramount and LA, and hopefully LAPD would allow us to do it – so we could shoot the actual race, for real, on the streets of LA!” He said: “it’s exciting, but it might cost a lot of money”. But from the get-go, with the racecar, the thing that stood out was, how are we going to do it? We through a couple of ideas out, some were more lavish than others. And that was a fantastic experience where both of us got to share a world that we are not familiar with, to share each other’s experceinces, and to kind of meld those two together. Because there aren’t that many shows that have worked, where you get to work with another director. It was something that we talked about when we met, and I had almost a small interview with you, where we were worried as co-directors, how the synergy would work. M: At what point do you sign on, and when you sign on, what do you circle as: ‘okay, this is going to be the hardest part of the night’? What are the challenges?Īlex Rudzinski (AR): The car scene definitely. We also really enjoyed the idea of what is the act of showing something magical, embracing the theatricality of it, embracing the cinematic nature of it, really early conversations with John Tolins and Rob Cary, the writers, were about that, as well as making total sense too. I did want them to do a sort of opening number that showed the wiring, and that was an important conversation that we worked out with the team, and of course with our producer. So, one of the first conversations I had was, I think, because you have a live audience, I think the musical comedy elements of Grease would really benefit from that, and that back and forth. TK: They did, and I said: Have you met Alex? There are a couple of things we started talking about early. M: And then they ask you: How are you going to deal with the racecar scene? So that was really very early on in the process. Lets celebrate all of the people that we see on screen, and the people that we don’t get to see, by the nature of this movie. If we are going to put the word ‘Live’ in the title, lets embrace it, let’s wrap our arms around the idea, and lets show the joy of making this thing in front of all of these people. So, one of the very early conversations I had with the folks at Paramount really was a very simple premise. You know, the very early conversations for the show were realized by many of the people that you’re seeing up here, along with some others. TK: I have two more extra seats to Lin’s last show. What is your pitch? How do you get into the room and say: “here is what I would like to do, and the reasons why”. M: So Tom Kail, you go to the people that are making Grease happen. M: And last, but certainly not least, our Danny Zuko, and someone who sort of seemed to get all of the internet pregnant at the same time: Aaron Tveit. M: If you are an actor in New York, you hope and pray that this guy is sitting in on your session, because that means it’s serious, from Telsey & Co, the casting director: Bernie Telsey. M: There were so many quick changes, and you’ve wondered how they did it in real time, we’ll get to the bottom of it tonight. Moderator: Lin-Manuel Miranda, Direcor: Thomas Kail, Director: Alex Rudzinski, Costume Designer: William Ivey Long, Casting Director: Bernard Telsey, Actor (Danny): Aaron Tveit This week Fox invited u s to attend a summer night discussion with Director Thomas Kail and the team b ehind the 10-Time Emmy Nominated GREASE: LIVE hosted by Lin-Manuel Miranda at Edison Ballroom.įeaturing a young ensemble cast, G rease: Live reintroduced and reimagined some of the most memorable moments, great music and timeless love story to an entirely new generation, and earned 10 Emmy nominations including: Outstanding Special Class Program Outstanding Directing For A Variety Special Outstanding Costumes For A Variety, Nonfiction or Reality Program Outstanding Casting For A Limited series, Movie or Special Outstanding Production Design For A Variety, Nonfiction, Event or Award Special Outstanding Lighting Design/Lighting Direction For A Variety Special Outstanding Hairstyling for a Multi-camera Series or Special Outstanding Makeup for a Multi-camera Series or Special (non-prosthetic) Outstanding Sound Mixing for a Variety Series or Special and Outstanding Technical Direction, Camerawork, Video Control for a Limited Series, Movie or Special.
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