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In Hollywood you are advised to never work with animals or children. If prompted to come up with a third example of an industry no-go, the artist of 2012 the wretchedI would recommend the live songs without hesitation. Director Tom Hooper decided to add a little emotional realism to the music and eliminate lip-synching to the pre-recorded, polished track, which gave audiences the terror of Hugh Jackman’s singing. While female leads Anne Hathaway and Amanda Seyfried fared better, most concluded that Hopper’s live-singing venture was a misstep and meant the emotional story about poverty, morality, and redemption was undermined by awkward musical interludes. were given that were more fun than hard-hitting.
Critics were kind to Seyfried, who played Cosette, the adopted daughter of Jean Valjean (Jackman). She was in good shape, considering she had acted and sung before. Mama Mia, Without a doubt he had some of the hardest material, and if not the hardest, certainly the highest notes. Seyfried reflected on the role during an appearance of diversity ‘Actors on Actors’ series and apparently concluded that it was “very weak”.
“I’ve had moments where I’ve felt complete remorse,” he admitted. “I wish I could do it again the wretched Purely because of the live singing aspect; “I still have nightmares about it.” While Seyfried criticized Hopper’s voice more than her artistic choices, it apparently made her cast uniquely weak. This fulfills its purpose to some extent.
Hopper said npr Based on the 1862 novel by Victor Hugo, the story was about “the suffering of real people”. Audiences around the world have seen it sing since 1985, and it remains the second longest-running musical in the world. Taking cues from previous theatrical adaptations, Hooper felt that allowing the actors to perform live would give them a degree of power over the set.
“If you’re singing for playback, you’ve given up one of the most powerful means of acting communication, which is control of timing and tempo,” he argued. “It’s not conducive to getting to a raw, emotional place.” As Seyfried connected to that emotional place, she trusted Jackman, who she said gave her the confidence to sing on set.
“I just remember that (Jackman) was very warm and he knew I was struggling and he felt like he was there for me,” she said. “When you trust your partner like that, even if you’re feeling crap, something real happens, and I’m able to speak and sing.”
Although the singing element was nightmarish, it did not scare Seyfried away from similar roles. In fact, he is more prepared for them than ever before. She said, “I have been working diligently since Les Mis to strengthen my voice and regain some sort of stamina, working on my vibrato, which was completely lost.”
Adding: “From a very technical point of view, I was very unhappy with my singing.”
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