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DE-LOVELY

The Music And The Look
Producing and arranging the music and recording sessions for a film about one of the most revered composers of all time – obviously that's no small task. The filmmakers needed someone who could understand and showcase the incredible songs, fit them into a film spanning forty years, arrange them for different voices and styles, and work with an incredibly eclectic array of musical talent – all without tearing their hair out. They called upon veteran composer and producer Stephen Endelman.

"This was a dream project,” says Endelman. "This film offered an opportunity to explore the fusion of music and drama in a new and refreshing way, as well as to work with some of the best music ever written.”

Once Endelman signed on, he and the filmmakers immediately began getting the music ready. They started by sitting around the piano at Kevin Kline's apartment exploring each song as it occurred in the script. "It was a perfect way to bring our group into Porter's world,” says Endelman, "to explore the relationship between the songs and the emotional impact they have on the film's main characters.”

The next stage was a three-day workshop in New York with Kevin Kline, Winkler, and a group of actor-singers where they went through the songs and defined tempos, keys and structure. "The structure of each song was fundamental,” says Endelman, "because it would help define how Irwin was going to set up each shot.” The songs in De-Lovely have never been presented together before – they're all from different periods in time and different shows, so there was no model for how to integrate them into the drama of a script. "For me, the challenge was to create individual arrangements for each song that would work strung together, much like in a traditional musical,” says Endelman. "Also, the arrangements were complicated. They were to be old and new, traditional and non-traditional all at once and in every song.”

Next Endelman started recording the songs with the musical performers. Each performer worked with Endelman on matching the tone and emotion of their recording with what was called for by the script. Then Endelman supervised the on-camera recording of the songs. Though the songs were recorded in studio with the artists, many of the vocal music performances (and all of Kevin Kline's) were also recorded live on set. Though it was more complicated, Endelman was glad to have done so.

"What Stephen brought to the production was invaluable,” says Charles Winkler. "The music setups and recordings and rehearsals for this film were complicated, and he was wonderful in bringing it all together very purely. He was able to roll with things, and he was there on set letting everyone know what would and wouldn't work. He was able to deal with everyone on a musical level, a political level, and a creative level – it just wouldn't have worked without him.”

It was just one of those nights, Just one of those fabulous flights, A trip to the moon on gossamer wings, Just one of those things.

Producing and arranging the music and recording sessions for a film about one of the most revered composers of all time – obviously that's no small task. The filmmakers needed someone who could understand and showcase the incredible songs, fit them into a film spanning forty years, arrange them for different voices and styles, and work with an incredibly eclectic array of musical talent – all without tearing their hair out. They called upon veteran composer and producer Stephen Endelman.

"This was a dream project,” says Endelman. "This film offered an opportunity to explore the fusion of music and drama in a new and refreshing way, as well as to work with some of the best music ever written.”

Once Endelman signed on, he and the filmmakers immediately began getting the music ready. They started by sitting around the piano at Kevin Kline's

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