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While the approach taken by Hooper and his crew was indeed groundbreaking, some have gone too far in claiming that it was the first time singing was recorded live on film sets or locations. We had to make absolutely sure that what we set out to do was achievable.” Absolute Freedom That would have been pure folly, because if you're going to do ADR, then you might as well have recorded the movie in the traditional way and have the actors lip-sync, and save yourself a lot of time and trouble. "Tom was also absolutely adamant,” elaborates Simon Hayes, "that he didn't want to take the huge risk of recording all the vocals for Les Mis live, and put everyone through the extra time and effort involved - including asking the actors to train so they could sing for 12 hours a day - only to be told afterwards that their performances would be committed to ADR to be re-recorded anyway. This rehearsal period was also helpful because we needed a sense of how long the whole thing was going to run, since the film version is not identical to the stage musical: it has new verses, a new song, different song orders, and so on.” We tempo-mapped the vocals out and added a small 15-piece orchestra. We also had to demonstrate to the film's backers that we were able to do this: if you are going to invest millions of dollars in a movie and somebody says: 'This is how we are going to do it,' but he can't point to it having been done before, you are going to want to see some proof! So in February 2012, towards the end of seven or eight weeks of rehearsals, we did some test shoots to be able to demonstrate the whole process from A to Z. "We also never assumed it was going to be easy, and it certainly didn't turn out to be easier than we initially thought! There were problems that we anticipated and had put plans into action to deal with, but there also were complications that we hadn't foreseen and for which we had to find solutions on the spot. How will you be able to record vocals of good enough sound quality? And how will you cope with noise on the set? And how will you edit things together with vocal takes that are sung in different tempi? And how are you going to add an orchestra to that?' They'd heard what we were doing and came up to us and said things like: 'We don't see how this is going to work. "We heard that word a lot,” explained McCann, "but to be fair, it was usually used by people from outside our team. McCann and Hayes explain why Hooper's demand that all the singing be recorded live was widely deemed "impossible”. Gerard McCann was hired as Supervising Music Editor, and Simon Hayes went on to act as Production Sound Mixer ('recording engineer' to those in the music world). Tom Hooper had his first meetings with his sound and music teams in the autumn of 2011. Production Sound Mixer Simon Hayes, with some of the gear used on set to record the actors. The word "impossible!” was exclaimed quite a few times but the crew made it possible, and Hooper's vision been vindicated by impressive box-office takings, critical praise and an Oscar for Best Sound Mixing. Fulfilling this brief embroiled the crew in a painstaking and lengthy process, during which they repeatedly reinvented the ways in which soundtracks for movies are recorded, edited and mixed. Russell Crowe has stated that "There's an emotional level to this that cannot be created in the studio,” while Amanda Seyfried has said "It is so much more powerful, you have complete freedom, complete control.” For the technical crew, however, the director's vision gave rise to innumerable practical problems that had never hitherto been solved in the history of film-making.
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Hooper's determination to record live and give the actors complete control over every creative expression, including the tempo in which they were singing, was hugely popular with the actors.
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I thought it was an amazing opportunity to do something genuinely groundbreaking.”ĭirector Tom Hooper (centre), with Daniel Huttlestone as Gavroche, on the set of Les Misérables. What will be exciting for the audience is that singing it live has such a profound effect on the power of realism of this story. As Hooper explained in a promotional interview: "You can tell in your bones that there's something false or unreal about people singing to playback. He took the role on one condition: all vocals in the completely sung-through musical would be recorded live on set.
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When Tom Hooper was asked to direct Les Misérables in March 2011, the British film and TV director was riding high on the success of The King's Speech (2010). In his quest for authenticity, director Tom Hooper drove his Les Misérables technical crew to completely reinvent film soundtrack recording.