The film has dazzled critics and made an undeniable splash as an awards season prospect, creatively dabbling in the musical genre to tell a story of dreamers dreaming and the electricity that comes from chasing what makes you happy. The DNA of those thematic strokes can be found in the original songs crafted for the film, six in all, which carry the viewer through the journey of jazz pianist Sebastian (Ryan Gosling) and struggling actress Mia (Emma Stone). The film’s composer, Justin Hurwitz, spoke exclusively to Variety about the process as he and Chazelle sought to turn something traditional and classic on its ear. Light spoilers follow. Captured in a single 6- minute take, the scene is boisterous and exciting, and ostensibly optimistic, but it betrays the struggle that is living in this sprawling metropolis, something the film dives into further as it goes. Hurwitz: “We just wanted to have a big production number that really pulled you into the world and announced from the beginning, .

People are going to sing. People are going to dance. It’s going to be a lot of fun.’ One of our favorite movies is . There’s no singing but it’s this big world- establishing number with great dancing and big orchestration. That’s always been one of the favorite scores for me and Damien in the way that Legrand was able to marry a jazz rhythm section, and in some cases a jazz big band, with a full blown romantic orchestra and do it in such a danceable way. At the same time, our opening song is a song, which is a very different animal than what that cue is or what other models may have been.

So the real challenge was getting this piece to work narratively. I composed music that was trying to say something and have a certain feeling to it, but a lot of the heavy lifting came from Benj Pasek and Justin Paul, the lyricists, being able to sort of catalogue the characters’ stories and bring it in quickly and get us oriented. It’s a complicated song because ostensibly, it’s so happy, it’s another day of sun, L. A. So I was trying to get that across in the music. It’s a very fast song and as a whole it’s in a major key, but it dips into minor quite a bit and it’s more bittersweet than it may seem on its face.

And then I spent a lot of time arranging all the very, very dense background vocals. There are lots of layers and counterpoint, a lot of different, independent voices.

And then our full- size, 9. So there’s a lot going on there and just finding pockets to feature different things, I think that’s the biggest challenge with a number like that. You don’t want it to just turn into a wall where there’s too much coming at you. You want to obviously feature the featured singers as they come by or walk towards camera, but as the camera moves past, certain elements of the number — you want to hear a trumpet scream or you want to hear a big band brass section scream or you want to hear background vocals swell up or you want to hear a wind run or something that kind of ties to a camera move.

With an arrangement and an orchestration that big, you kind of have to carve out lots of moments in it to feature and to think about how it’s working visually and make sure it’s all working together.”“SOMEONE IN THE CROWD”Serving as an introduction for Mia and her world, this is at first blush an upbeat track with the struggling actress’s roommates trying to convince her to come out to a Hollywood party. It eventually turns melancholy as Mia becomes introspective, wondering if she’ll be just another faceless dreamer in the crowd, but what makes the song really effective is the choreography in the girls’ apartment. Hurwitz: “. It’s a big orchestration.

Financial analysis of La La Land (2016) including budget, domestic and international box office gross, DVD and Blu-ray sales reports, total earnings and profitability.

La La Land Blu-ray (2016): Starring Ryan Gosling, Emma Stone and J.K. Mia, an aspiring actress, serves lattes to movie stars in between auditions and. While waiting for their big breaks, two proper L.A. The real star in La La Land is the movie itself, which pulses and glows like a living thing in its own right, as if the MGM musicals of the “Singin’ in the Rain. What went into crafting the six original songs from Damien Chazelle's crowd-pleaser "La La Land?" We've got the details.

La La Land was announced as the best film winner at the 2017 Oscars on Sunday night – but then had to hand the award over to Moonlight after a mistake was noticed.

There’s a dense vocal arrangement, because all of Mia’s roommates. As I was making that vocal arrangement, I was talking to Damien about the blocking of the scene and trying to find moments between the three girls and how those lines are divided up. I say three girls because Mia is mostly a spectator of the song until she gets her own verse later on. Free Download Of Austin Found (2017) there. I was thinking about where they were geographically, both in a blocking sense and a musical sense, and how you find those little pockets where their harmonies or countermelodies can come to the surface. And the orchestration, it’s just fun and jazzy. The song has a somewhat tongue- in- cheek tone to it because they’re singing about the games you have to play in Hollywood.

I don’t think those girls totally believe what they’re singing but they’re also game for the process of the whole Hollywood world. The song was trying to straddle this somewhat cheeky but also nostalgic tone at the same time.

It’s jazzy and it’s fully orchestral and it’s romantic, and then certainly in the second act of the song when we catch up with Mia, that’s where it becomes a more emotionally honest song. It goes from being kind of silly, like, “Let’s just put on sexy dresses and go to a party,” to a more emotional thing of Mia in the bathroom thinking about her dreams and the realities of the industry.

And that’s where the arrangement collapses into just piano with some very, very light strings. The melody — which, when used as the chorus of the song, is up- tempo, exciting — becomes very sad when played slow and kind of rubato and free time. We wanted to have a song that can go from so happy, silly, excited, to so introspective and then back at the end of the song to a full- blown production number again.“A LOVELY NIGHT”This jazzy, flirtatious song is important because it’s the first time Sebastian and Mia interact musically. With odes to “Singin’ in the Rain” and tons of Kelly/Reynolds charm, the two try to deny the fact that they’re obviously falling for one another as the orchestra becomes increasingly playful, transforming the song into a dance number. And yes, Sebastian even swings from a lamppost.

Hurwitz: “. As I was composing it I was trying to think about what it was about. It’s about them sort of telling each other that it’s never going to happen. They’re never going to date. They’re not meant for each other. But at the same time, you see they are very much interested in each other. They’re on the way to falling in love.

Melodically I was thinking about a prickly melody to match what would be a prickly lyric. So the verse is very angular. There are some very difficult intervals in it and I had to work with Ryan and Emma on it.

It’s definitely not an easy melody in the verse. But then it opens up into a more lyrical, sweeter melody in the chorus, so it kind of jumps back- and- forth between prickly and lyrical. And in the orchestration, it gets increasingly playful as it goes along and I wanted to give Mandy Moore, the choreographer, something kind of fun to work with, a lot of different inflections and hits and rhythms and triplets and whatnot, and a lot of different groupings of instruments jumping to the forefront — just a lot to play with. The song turns into a dance number and has its dance break section, where the drums kind of drop out for a bit and it’s a bunch of hits and rhythms as they’re sitting on the bench and jumping on the bench. That was a really fun spot to orchestrate.

And then they kind of jump off the bench and they get into a full dance number. Then it just picks up pace and it gets faster and faster as it goes along, and the orchestration gets denser and a denser and the drums are playing sort of a Latin beat and it gets more and more frenzied until it like peaks and hits its head towards the end of the song. And then they kind of come down to earth. A lot of the music up to this point has been kind of reserved and more introspective and this song is just more manic. When you’re falling in love, crazy chemical things are happening, and the music is trying to reflect how they’re emotionally feeding off of each other.”“CITY OF STARS”This crooning ditty, driven by piano, is a melancholy tune that comes at a moment when Sebastian, walking out onto a pier cast in the trademark beauty of a Los Angeles sunset, should be happy about setting a date with Mia.

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