When you embrace live playing and live tempo, you have to accept that you may not be able to cut from one take to another. The fact that 99% of the vocals are live is down to him. Without him, this whole project would have come crashing to the ground. I was speaking to sound mixer Simon Hayes earlier-Īs far as I know, Simon walks on water. ( READ: Richard Corliss’s review of Les Misérables) When you are doing it live to a live accompaniment, the actor is given back the power to act. So if you’re lip-synching, you have to copy to the millisecond whatever you did three months ago. Great acting is all about inhabiting the present, and part of that is creating the illusion that you are inventing the dialogue-and part of that is those little hesitations where you allow an idea to form before you express it. But I knew that with Les Misérables it had to feel real visceral and grounded. In a lighter comedic context, one does that act of forgiveness repeatedly and even easily. Hooper: It came out of feeling that, even in my favorite musicals, you have to forgive a slight artificiality in the lip-syncing. TIME: What on earth possessed you to try to do this live? TIME caught up with him shortly after the rapturously received first screenings of Les Misérables in New York City. In person, Hooper is quiet, measured and totally in the moment, whether he’s talking about French republicanism or The Rocky Horror Picture Show. Now, with the likes of Hugh Jackman, Anne Hathaway and Russell Crowe in front of his camera, he has tackled Les Misérables, the beloved musical that ran on Broadway for 26 years. Follow Hooper came to fame by adapting the past: first via a pair of HBO films (with Helen Mirren as Elizabeth I and Paul Giamatti and Laura Linney in the spellbinding John Adams), then with a royal drama about speech therapy ( The King’s Speech, for which he won the Oscar).
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