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«9天直到奥斯卡| 主要| 格洛丽亚·斯泰纳姆是很多不是“格洛里亚斯”更有趣让我们相信»
星期四
一月 三十 2020

专访:双洛佩兹的“走向未知”

由埃里克·布卢姆

最近,我坐下来说话与罗伯特·洛佩兹和克里斯汀·安德生 - 洛佩兹的乐趣,提名the Best Song Oscar为“入未知”Frozen 2。这个天才二人此类别中已经赢得了奥斯卡两次,从原来的megahit“随它去”Frozen和“记住我”Coco。他们不能更迷人魅力,这里见证了...

[本面试已经凝结和编辑为了清楚]

Eric:At what point in the process were you brought in on FROZEN 2?


KRISTEN:很早的时候,当它想,“我想我们要做的Frozen 2。我们正在考虑它的变革“。 Jennifer Lee [Frozen 2的编剧/导演]叫我们,有点放倒我们送行。

罗伯特:它需要发生,因为,你知道,在音乐的声音是作为整体的任何对话,而事实上,他们要承担很多更多的重量。因此,我们必须在那里。我们帮助影响这个故事,他们帮助影响的歌曲...

KRISTEN:我喜欢弹出的比喻是,如果一个开发者将开发一个大型建筑,他们需要一位建筑师那里说喜欢,好吧好吧,如果你打算做这样的建筑,支柱必须保持 this, this, this and this.在这种情况下,在初期阶段,我们正在考虑像建筑师,我们正在考虑我们如何讲故事的动人的歌曲瞬间实际上可以撑起故事。所以,当你在谈论该地块的一切影响。有些情节是非常作用驱动或对话驱动。但在这种情况下,那种歌曲不得不采取这些关键时刻。

Your songs have to either move the plot ahead, deepen characterization or both.Are there times where that just feels overwhelming, or is that kind of the beauty of it?

KRISTEN:只感觉压倒,如果你有谁不听你的,说的合作者,“这里就是我们需要的。”我们非常,非常幸运的珍妮弗·李和Chris Buck and Peter Del Vecho, that we had already been through an adventure like this.So I know Jen knows how to write us a scene that is a straight runway to give us lift-off into a song, and that is such a hard skill.So few writers, amazing writers, know how to do that because they're just not thinking like that.

It's a very specific craft.

ROBERT: And Jen has it.She knows musicals and loves them and they're in her blood…


I'm sure you're asked this question a million times, but I have to ask it.How do you specifically work together?There's the question of what comes first, the chicken or the egg, the music or the lyrics?

ROBERT: We always end up at that moment where we're both in the room together, but the way they begin is always different.Sometimes Kristen gets the idea and goes in her room, closes the door and writes a whole lyric.And then when we both, put it together to the music…

KRISTEN: …Bobby polishes the lyric sometimes.

ROBERT: She's got great musical instincts that always helps the songs.But sometimes it comes from, you know, a bit of music, a bit of piano, a bit of vamp or a melodic idea.

KRISTEN: And we are always, if not in the same room, we're in the same building like all of our lives.So, it's very, very rare that we're not together.So there are times that we're going to bed, although I've learned not to do this anymore where I'm like drifting off, and we were trying to solve a problem and then I go, 'I got it!'.

I'm sure there have to be times where you're just like: 'Go take care of the girls.I am in a great place on the song leave me alone!'

KRISTEN: I'm such an extrovert.The part of me that writes is a very different part that needs to actually have nobody around and no sound.So I can really go in and like I'm acting out Elsa in my room and I need to be able to feel exactly what they're feeling.And that is a part of me that is very different than, like, relating to other human beings.

So, “Into the Unknown”.Let's talk about it.After the, you know, insane success of “Let It Go” was there pressure to top it?I mean, that’s human.

KRISTEN: We said, 'we're not going to do that.We're not going to think about what came before.' It's just not a place that you can create from.

ROBERT: It's funny, like we had the story, and that led us to a place where we were writing a song called, “I Seek the Truth”, which wasn't exactly like “Let It Go”, but it was similar in that it was Elsa singing about something that she wanted to become, something that she needed to find out.It was just her singing to the sky basically.And, um, it felt like a rehash, you know?And it was that that led us to this idea that in order to do something different, we introduced this voice that was calling to further become part of the song.


I loved that the sound was so different -- “Let It Go” being a very traditional Broadway kind of thing, and this was almost like choral/churchy kind of sounding to me…

ROBERT: There’s no drum kit, the strings are doing all the rhythm.It's very interesting and different.Yeah, it was fun to make, and it has a moment in the middle where the sound almost stops, which is something you don't often do, but it's a beautiful moment in the film where she's by that body water and you can see her reflected…


KRISTEN: And we brought Idina (Menzel) to a new place.We were really excited about bringing her head voice in because we had only really heard her belts in the last one.But for her to sort of vulnerably...(she sings) 'are you someone out there, who’s a little bit like me' --I'm so hoarse right now, Idina does it better!But she was like, 'do you really want this tone?' And we were like, 'yeah, we want to hear the soft underbelly of Elsa…'

ROBERT: It's a romantic yearning -it's almost like Snow White.

You also have Jonathan Groff, who's one of, I think, the best singing actors alive.Can you speak to working with him?

ROBERT: Yeah, we felt very chagrined for not really giving him anything to do in the first movie!

KRISTEN: We had written something for him (in the first film), but it was too late and he was rushing a dying girl down a mountain.I had written a little ballad for him to sort of stop and realize that he feels something for her.But there was no time for him to just stop and sing it cause she was going to die!So, um, it got cut.

ROBERT: When we're startingFrozen 2, that was the one thing everybody agreed on: Kristoff will get a big moment!

KRISTEN: We will write it forFrozen 2!And Jonathan Groff WILL sing in this movie!

ROBERT: You know, we wrote him that song, “Get This Right” which is on the DVD extras because it got cut and when it did get cut, he was like, 'I get it, you guys, I know…just…it's fine.' And we were like, no, Jonathan, we're going to write you another one!



KRISTEN: So we looked at Kristoff’s arc very carefully with the story team and realized we could have a lot of fun with failed proposals all the way through, almost like inA Fish called Wandakind of way with the dying animals.And then it would culminate in actually a real moment where Kristoff, who was like a Marlboro Man, finally gets to feel what he feels, and his feelings are real.What better way to do that than to have a giant 80s ballad where he's singing big and huge and then with 18 versions of himself as the reindeer.We're making up for it by giving you 19 different versions of Jonathan Groff in one check!

One final question -- The Oscars.Both of your speeches were so ebullient and people love you guys What's that feeling when they call your name and you’re in front of 70 million people?

KRISTEN: Luckily you can't feel anything in that moment.At least that's what happens to me.Which is why I always try to prepare a speech, because I'm not thinking at that moment.

ROBERT: It’s fight or flight!另外,你知道,结了婚,得到上升 there and accept an Oscar.It's almost like having another wedding, you know?It's a huge celebration of your partnership and I loved that, just because it felt like we just keep getting to have weddings!

KRISTEN: Yeah, it feels a little bit like a wedding.I'm dressed up and I'm wearing just as many foundation garments!

more on Frozen 2|more interviews

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读者评论(4)

Aw, I wish it was asked if they had any say in which song Disney was going to campaign for because seriously "Show Yourself" >>> "Into the Unknown" and like...it was even more visually captivating.Also...Disney's decision to just campaign one song from their musical films is understandable but ugh so detestable.

2020年1月30日| Unregistered CommenterRyan T.

Lost in The Woods sounds perfectly like those bad 1970s balads.Including the character's gestures in the vídeo.By the way, Frozen 1 and 2 could be 1970s bad animation if computers existed in the 1970s.

2020年1月31日| Unregistered CommenterSe_bas_tian

Still much prefer Brendon Urie's joyous end credits version of "Into the Unknown" to Menzel's.

2020年1月31日| Unregistered CommenterWorking stiff

What a huge get for an interview!Congrats!

Any chance the full, uncondensed interview talked Broadway at all?I still can’t believe how young they are — Avenue Q was like 17 years ago now.

2020年2月1日| Unregistered CommenterJames from Ames

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