Hemingway & Gellhorn - Wikipedia
Director Philip Kaufman Talks HEMINGWAY & GELLHORN Starring Clive Gellhorn (Nicole Kidman), following their relationship through the . Our composer (Javier Navarrete) came from Spain and spent a lot of time there. Hemingway & Gellhorn An overlong period piece that's earnest and old newsreels to the over-the-top score composed by Javier Navarrette. globe- trotting, tumultuous relationship wastes what could have been a splendid. Check out Hemingway & Gellhorn (Music From The HBO Film) by Javier Navarrete on Amazon Music. Stream ad-free or purchase CD's and MP3s now on .
In Unbearable, we sometimes degraded the footage, so Daniel Day-Lewis and Juliette Binoche looked like they were actually in those battle scenes, and we had to carefully match them.
Now, there are techniques where you can nest people into the past.
Interview with Javier Navarrete :: Film Music Magazine
Chris Morley, from Tippett Studios, who do a lot of the special effects, really got into the movie. We did green screen, too.
And then, inside is our set, which is matched carefully. A lot of the footage was blended with the action footage of people shooting and running.
This is a relatively low-budget movie with incredible scope. How difficult was it to cut so much story down to about two and a half hours? We carefully prepared the movie. With every shot, we knew exactly what we wanted to do, where the green screen would be, where the actors would come in, and what the actors were going to do.
Hemingway & Gellhorn
We even had little constructions that we made, where you could see how the actors would come. We had all the stock footage.
We built a little screening room, at the end of San Francisco, in an area called Dogpatch. There were some empty warehouses that the city let us use.
Javier Navarrete - Hemingway & Gellhorn (Javier Navarrete) - misjon.info Music
There were some old abandoned offices that we moved into, and we had all of our people sitting in different offices. Our composer Javier Navarrete came from Spain and spent a lot of time there. The editor and the special effects people were there. All these guys were geniuses, really. The stages were unheated and we had the worst winter ever, in San Francisco. For scheduling, we had to shoot with all the rain and the cold, and keep the birds away from outside.
It was under really difficult circumstances, but everybody was into it.
We knew the movie. Historically, people took one side or the other. Hemingway was too macho.
Interview with Javier Navarrete
Hemingway was a great writer. And, Martha Gellhorn became this tough old bird. She was really, really tough. People who knew her in London said she was amazingly tough, and they were incredibly tough with each other.Long Long Time Ago (Javier Navarrete )
It was a magical thing. There was such a good feeling. Peter [Kaufman] and I are trying to think about how we can keep this kind of filmmaking together, and not have to go to Hungary, Romania, Vancouver or Louisiana.
Scoring movies about young and cursed characters might be my Karmic lot! What kind of musical expectations do you think vampirism brings with it? Vampirism goes far beyond horror. It brings the idea of immortality and, most often, the promise of love eternal. All of this requires lots of empathy, of romanticism. You may see a wolf man as a beast and consequently play just some beastly dissonance.
But vampires deal with immortality. Music has to show some echoes of their transcendence. Tell us about your collaboration with Neil Jordan. How did you want your score to reflect the relationship between Eleanor and Clara? Eleanor, as the adolescent she is, is always questioning where she comes from, which is why her music is so poetic. The movie plays constantly with two periods: So it was quite clear to me that we should set very distinctive music for each time period.
We played with electronic sounds for the present time, in which the characters live in a very realistic way as they struggle with their day-to-day needs for survival. That music is contrasted with the classical orchestra for the past, which has lots of grandeur. And how did you want to build off that classical tone for the score?
The music really sounds like a narrative by itself. How important was a melodic approach to you here, and do you think melody is something that should be heard more often in horror scores? I found it easy to do it that way, because other than the sonata, there was a traditional Christmas Carol that comes here and there to bring in a nice choral voice. In contrast, we used electronics, piano, electric guitar and viola for the contemporary period, using also the choir, but in a very dissonant way when blood appeared.