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GET HIM TO THE GREEK

About The Production (Continued)
Greek Chorus: Music of the Film

The entire production company would orchestrate five nights in summer 2009 playing at Los Angeles' Greek Theatre. There, Russell Brand became both the Aldous Snow of current day and of 10 years prior in front of an audience of 1,500 extras and a few hundred crew…including a professional concert lighting company.

By the time the team arrived, toward the end of the Los Angeles portion of the shoot, it had already blocked, planned and choreographed every song, move and camera angle necessary for the events. Songs had been written, music arranged and Brand had laid down tracks.

To pull off the nights' events, they had to put on real rock shows. The team hired the talent who create special effects for rock concerts and had them design a light show. They created a previsual model of what was going to occur; all agreed that the results were stunning.

For the cast and crew, those five days were magical. Hill explains: "The Greek is my favorite venue in Los Angeles, where I grew up and live. So to actually go there and shoot a movie was awesome…to show up and see all the trucks and extras. I went out on stage and talked to the crowd for a second, and it felt totally unreal.”

Brand, embodying a true rock star, went full-out for each performance. "It was brilliant fun,” he states. "I really enjoyed the performances enormously. It's lovely living out your childhood fantasies to be a rock star. All the times I pretended to be a rock star, with a hairbrush and tennis racket…I got to live out those fantasies in front of thousands of people.”

Stoller explains the power of those key scenes: "It was the one time everyone I know visited the set. It sent chills down our spines. It looked awesome, and Russell's performance was amazing.” He adds: "I should also note, the songs we have are exciting. Some of them are funny, but they're not parody songs. They're really rock songs. We tried to create a real rock album.”

For that job, the filmmakers turned to veteran Apatow music supervisor Jonathan Karp, who worked on Forgetting Sarah Marshall, The 40-Year-Old- Virgin, Knocked Up, Superbad and Pineapple Express, as well as composer Lyle Workman, another seasoned Apatow vet and pivotal part of the production.

On most films, the music supervisor identifies what music is needed for the various shooting days, but as Karp explains: "In this case, music plays such a big role that there's a lot of story aspects to it as well.” He found working on Get Him to the Greek "exciting because this is the first time I've had the opportunity to work on a movie where there was a preexisting character that we had already defined. Normally, in the early stages, the first thing you have to figure out is if you have characters singing. If so, who are they? What is their music? In this case, we knew all that going in. There was no confusion or development about who Aldous was.”

Jason Segel, who wrote, starred in and also composed songs for Forgetting Sarah Marshall, had written a few songs before the script of Get Him to the Greek was even completed. Karp explains: "Jason would send us piano demos that were embryonic, but it was enough for us just to hear more Aldous Snow songs, since it was coming from the same voice that had created Aldous.”

From there, composer Lyle Workman worked on the bridge, fleshed out the arrangements, added additional sections, hired the players and sent his work back to Segel, who then completed the lyrics.

Explains Segel of their process: "At three in the morning, I'd write on my piano the dumbest songs you could imagine. Then I would send them to Lyle, and he would turn them into actual songs; he was a gr

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