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In Hamilton’s journey from the stage to the Disney + film

 


The Hamilton the film that arrives on Disney + on July 3 is different from the other musical films that you may know. It is not a fully produced film adaptation, as recent versions of Mary Poppins or The Miserable, it is also not a live TV musical like the ones that have flooded network TV in recent years.

Instead, the film is something hybrid: it captures both 2016 live Broadway performances as well as closed-off renditions of songs shot from the stage. Thomas Kail, director of stage production and film, wanted to transmit the immersive energy of the show while zooming in on quieter moments and more focused on the characters. The result, he hopes, offers “a way to give the viewer an opportunity to understand what it was like to be at the Richard Rogers Theater in June 2016,” he told TIME.

As the film arrives in the midst of a global pandemic and protests for racial justice, some are skeptical that a musical mainly about white slavers can speak of a time when long-standing American accounts of opportunity and justice are strongly debunked. But Kail hopes the show will “keep the conversation going and continue to amplify the movement.” In an interview, he explained how the project unfolded over four years; composer Lin-Manuel Miranda and actor Phillipa Soo, who plays Eliza Schuyler in the film, also offered insights into the experience in separate conversations.

In 2016, the creative team behind Hamilton decided to film the show

By summer 2016, Hamilton was already a huge hit on Broadway: he had broken the Tony nomination record with 16 nods, and he drew more than $ 2 million a week At the box office. On June 12, the distribution performed enthusiastically “History is watching you / Yorktown” at the Tonys, proving that the show could well be translated into two dimensions.

But the relentless rhythm of Broadway, which requires 8 performances per week, was wreaking havoc on the original cast. In June, Miranda, Soo, Leslie Odom Jr. and other actors announced their departure the following month. For the creators of the series and its many fans, it seemed obvious that the original distribution of a historical series should be preserved for posterity. “This company was so lively and so deeply rooted in its roles,” says Kail. He therefore decided to film them on three dates, between June 26 and 28.

The cast did not rehearse specifically for the shoots

Kail was no stranger to filming musicals: earlier this year he had directed Fat: Live on a Warner Bros. backlot. Studios. Before shooting Hamilton, Kail says that he gave no single instruction to his casting, nor held a specific rehearsal for the film. “I said the same thing I told them I would say on any other performance:” No more, no less. You know what you’re doing, ” Kail recalls. “The connection was molecular. They didn’t need me to guide them at this point. ”

“It took very little preparation for this,” says Soo. “All I was wondering, especially since I was so exhausted at the time, was just showing up and letting the story guide me.”

Kail used a variety of techniques to shoot the show

Declain Quinn, the Hamilton The director of photography for the film fixed three cameras above his heads, then installed six camera operators around the Richard Rogers Theater. A hundred microphones were also placed on the site. On June 26, Kail shot the show’s morning performance with all the noise of its roaring crowd, then asked the cast to stay on to shoot a few more songs.

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The next day was a Monday, which was usually the day off for distribution. Instead, Kail spent 12 hours shooting different scenes with them, especially those he thought were best captured with an intimate approach. Instead of staying in the audience, Kail went straight on stage, filming with a steadicam as well as a crane and a camera mounted on a cart.

This technique allowed him to get into action and to match the kinetics of the show with his own. In “The Room Where It Happens,” for example, Kail begins by closely refining Thomas Jefferson and James Madison, reflecting the accomplice and private nature of their intrigue. As the scene progresses, the camera shifts to Aaron Burr, who aspires to be aware of their negotiations. “It gives you the opportunity to be inside and have a relationship with the interiority of the moment, which is more difficult to do when you are watching something in a theater where there are maybe 100 people sit in front of you, ”says Kail.

Some details emerge from a film that even the highest paid audience member could have missed. Towards the end of “The Room Where It Happens”, for example, Odom Jr. stands on a table and jumps while the tablecloth beneath him is drawn; the aerial camera presents an invisible point of view from the first row.

The different camera techniques also allowed Kail to capture the quieter and more moving moments of the show, including Soo’s heartbreaking ballad, “Burn”. “It was fun to feel like I could go a little bit more inside,” says Soo. “Especially during ‘Burn’, Eliza is so exposed there and so alone. It was interesting to explore knowing that the play space was a little different. ”

The next day, Kail filmed Tuesday’s performance, then loaded. The entire Hamilton the film comes from these three days of shooting.

The sequence was unpublished for four years

When Miranda originally announced that he was filming the show, he tweeted that he had “no idea” what they were going to do with it. “Throw it in a safe at Gringotts for a little problem,” he wrote, referring to the ultra-secure bank at Harry potter.

Kail and editor Jonah Moran started editing the footage together in the fall of 2016. They edited and cut for 18 months, and developed a draft by summer 2018.

At this point, however, the productions of Hamilton were blooming all over the world. Kail and Miranda did not want to diminish the value of these productions by releasing the film, so they decided to suspend it. the New York Time reports that they shot the movie in Hollywood at the time but ultimately refused everyone.

Last year, the team felt ready to move forward and reached an agreement with Disney +, which paid $ 75 million for the rights, according to Deadline. Kail completed “the last 1.5%” of assembly in April. The film was slated to hit theaters next year, but due to the pandemic, Disney pushed its release to the small screen to coincide with the weekend of July 4.

Miranda says he hopes the show will resonate right now. “Every problem, every problem, every fight that we are currently waging in this country was present in our foundation,” he said. “When I wrote the cabinet battle on state rights, we still have this fight, only now is the pandemic and supplies. And the original sin of slavery is still found in systemic racism and police brutality in this country. I see so much the link of the language of the revolution between what is in the series and what is happening at the moment. “

Contact us in HamiltonThe four-year journey from stage to screen “target =” _ self “rel =” noopener noreferrer “> [email protected].

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