Latest news with #Beatles'64
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7 hours ago
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How ‘Beatles ‘64' Remastered the Legendary Band's Live Performances for New Documentary
At this point, restoring famed Beatles performances is familiar territory for Giles Martin. The producer, son of legendary 'fifth Beatle' George Martin, has worked on Fab Four material for nearly 20 years since he first oversaw the music with his father on Love — the 2006 Beatles Cirque du Soleil show — subsequently producing everything from anniversary editions of albums to the so-called 'last Beatles song' with 2023's 'Now and Then.' More from The Hollywood Reporter How 'The Day of the Jackal' Team Brought a "Semi-Derelict" Border Building Back to Life: "This Was a Huge Undertaking" 'Awards Chatter' Pod: Seth Rogen on 'The Studio' and How It Was Shaped by 'Freaks and Geeks,' 'Superbad,' 'The Green Hornet' and the Sony Hack How Costumes From Shows Like 'Emily in Paris' and 'Sirens' Illustrate That Fashion, Like Friendships, Is Complementary and Competitive Now, Martin has secured his third Emmy nomination for sound mixing for his work on the documentary Beatles '64, and he's looking to earn a second victory following his 2022 win for The Beatles: Get Back. This latest nomination is both affirming and surprising, Martin tells THR, given that it's one of the most technically difficult archival Beatles projects he's taken on to date. 'The material we had, as far as audio quality goes, was so bad, and we had to do so much work to make it listenable,' he says. 'The fact that it's being recognized at all is a surprising and a massive honor.' The same machine-assisted-learning tech that powered Peter Jackson's Get Back and 'Now and Then' went into Beatles '64, with Martin pulling 60-year-old live recordings from the earlier days of Beatlemania and meticulously extracting individual stems of Ringo Starr's drums or John Lennon's vocals and enhancing them while looking to keep their authentic sound. 'What's fascinating is we couldn't have done this work, say, two years ago, [until] what we did with Jackson's team and Get Back,' Martin says. 'It's a bit like knowing there are amazing artifacts beneath the soil in Pompeii, and scanning them and seeing if you can bring them to the surface. That's the kind of work we're doing.' Martin likens the job to time travel, calling the process both fascinating and 'a bit eerie.' He recalls one moment pulling vocals on Lennon from their 1964 Washington, D.C., concert at the Washington Coliseum: 'I was thinking to myself, 'Well, this is slightly unnatural because these vocals I'm hearing could've only existed if you were right next to his mouth that day.' ' Martin emphasizes that the work 'has to be done for a reason,' given the responsibility that comes with restoring the archives. Overall, the goal is to have a subtle enough touch that no audience would notice he did much at all. 'If I'm playing you a mix I've done, the last thing I want you to think about is what my mix was like, that it sounds like me — that's how you know it wasn't done right,' he says. 'I want you to just think about how the song makes you feel.' This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter MTV VMAs: 27 of the Awards Show's Wildest Moments of All Time From 'Party in the U.S.A.' to 'Born in the U.S.A.': 20 of America's Most Patriotic (and Un-Patriotic) Musical Offerings Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Solve the daily Crossword
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7 hours ago
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‘Bridgerton' Production Designer Alison Gartshore Dissects That Beautiful Botanical Ball: 'It Pushed Everyone to the Limit'
Bridgerton production designer Alison Gartshore's goal for season three of the Netflix romance was to maintain the established visual world of the series while pushing new boundaries. One of the ways she and her team did that was with new, elaborate ballroom sets sprinkled throughout the season. She discusses with THR the botanical ball in episode six that required heaps of faux florals and a mechanical pop-up garden to wow the queen. For the Love of Romance Season three revolves around Penelope Featherington (Nicola Coughlan) and Colin Bridgerton's (Luke Newton) love story. Here, they dance in front of the opened floral pop-up garden that the team only had three days to complete, resulting in a dance of their own between departments. 'Every time the special effects people needed the box opening, we couldn't work on the outside to get it ready,' Gartshore says of its construction. 'We had to work with them and stand off when they wanted it open, and then when it was closed, we all jumped in with our paintbrushes and scalpels and glue, and it was just one of those things that we had to get done.' More from The Hollywood Reporter How 'Beatles '64' Remastered the Legendary Band's Live Performances for New Documentary How 'The Day of the Jackal' Team Brought a "Semi-Derelict" Border Building Back to Life: "This Was a Huge Undertaking" 'Awards Chatter' Pod: Seth Rogen on 'The Studio' and How It Was Shaped by 'Freaks and Geeks,' 'Superbad,' 'The Green Hornet' and the Sony Hack High Society Here, we see the closed centerpiece before it opens, surrounded by walls of paintings that Gartshore commissioned from the in-house illustrator. The team chose florals specifically from the 18th and 19th centuries, painted 12 different pieces and tiled them with variation, making sure they didn't distract from the actors' performances. The botanical ball was built on a stage at a film studio on the outskirts of London, while other balls this season were shot on location in and around the English capital. The Switch-Up From start to finish, setting up the ballroom for the botanical ball took 10 to 12 weeks. Originally, it was supposed to be called the butterfly ball, but showrunner Jess Brownell realized she had to leave the butterfly theme for later in the season. Explains Gartshore: 'It left us very little time, and then she dropped a bombshell that she also needed a moment of spectacle when the queen arrives.' And that's where the idea for the pop-up floral centerpiece was born. Finishing Touches 'We shoot a scene for roughly a week, so maintaining florals over that period of time in hot studio conditions wouldn't work,' explains Gartshore of the choice to use faux florals, of which Bridgerton has plenty that are stocked for reuse. Tucked into the corner of every ballroom set are the show's home economists who produce cakes that are, unfortunately, just props. Starting From Scratch The unfolding petal centerpiece was supposed to be straightforward, but 'of course, the simplest things are never easy to do,' jokes Gartshore. The structure, which took a week to assemble, was built out of painted paper petals that would unfold and reveal a whole garden inside, and the special effects team engineered all the mechanics to ensure that the leaves opened at the same time. 'There's no CGI. It's all practical effects,' she says. 'It pushed everyone to the limit.' This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise Solve the daily Crossword
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7 hours ago
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Kaitlyn Dever 'Couldn't Watch' Pedro Pascal and Bella Ramsey's Final Moment in ‘The Last of Us': 'I Don't Know How You Guys Did That'
After landing 16 Emmy nominations for season two of The Last of Us, its stars and creative team took a look back at the emotional season at HBO Max's Nominee Celebration on Sunday. Pedro Pascal, Bella Ramsey, Kaitlyn Dever, Joe Pantoliano and editor Timothy Good joined co-creators Craig Mazin and Neil Druckmann at the event, with the season's second episode — which sees Dever's Abby brutally murder Pascal's main character, Joel — the subject of much of the conversation. More from The Hollywood Reporter Emmy Predictions via Feinberg Forecast: Scott's Latest Take as Final Voting Begins 'Bridgerton' Production Designer Alison Gartshore Dissects That Beautiful Botanical Ball: "It Pushed Everyone to the Limit" How 'Beatles '64' Remastered the Legendary Band's Live Performances for New Documentary 'You're so inside of it that you really kind of lose sight of what it will mean when a TV audience experiences episode two of season two,' Pascal told the crowd, and given that Joel also dies in the video game that the series is based on, 'I'm like, 'Well, everyone knows this is gonna happen,' because I've just been living with it for such a long time. I guess the context of that is that none of us were really thinking about that as we were shooting it. We were just like really in the story.' It was a surprise to many fans, though, and is a pivotal part in the series; after an appearance in season two's first episode, the second episode serves as the formal introduction to Abby — who will take over as the lead character for the upcoming third season — as a young woman out for revenge after Joel killed her father. 'Kaitlyn just came in, I had no doubt in my mind that she was going to knock it out of the park, because I'd seen her knock everything out of the park that she'd ever done up to that point,' Pascal continued. 'So there was a dance that we just got to enjoy that really, to just be scene partners for something as intense as that, and right away just be in it together. It was really fun.' The star also noted how he and Ramsey — whose characters are not on good terms in season two — had been apart for a while between the show's first and second seasons, 'because we'd been together for a year, and then we saw each other here and there — we're always keeping in touch, but we were really, kind of like physically apart for a long time, and then when we got back together, our characters weren't together. That was just really strangely painful in a way that I hadn't personalized on previous jobs. So it was all kind of magical in a kind of painful way which helps you play it.' Mazin commended Dever for her performance in the violent scene, emphasizing, 'I don't know how Kaitlyn was looking at Pedro, turned to look at golf clubs, turned back and a tear fell. I don't know how she did it.' Dever threw the compliment right back at Pascal and Ramsey, for the scene when Ramsey's Ellie sobs over Joel's lifeless body. When 'Joel is lying there dead, I don't know how you guys did that moment,' she told the pair. 'I had to leave the room. I couldn't watch it. I don't know how you did it.' Dever also explained that when it came to her character, 'the most important thing to me when I was going to play Abby and doing the prep for her is just really focusing on her grief. I wanted people to be able to really see that and feel that and really understand just how deep her pain is, understand how much time she's spent thinking about this and obsessing over it and calculating exactly what she was going to say and what she was going to do when she was face-to-face with Joel.' 'There was a moment at the very end when she kills Joel, and I think that there's a moment where she doesn't feel better and now she has to live with that,' she continued. 'So I really wanted to just be able to see the human parts of her and that she's not just this evil person that did this horrible thing.' Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise Solve the daily Crossword
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12-06-2025
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Martin Scorsese and David Tedeschi on ‘Beatles '64,' the Fab Four's Influence on Cinema, and David Lynch at Their First U.S. Concert
The Beatles are one of the 20th century's most exhaustively documented bands, from television series like 'The Beatles Anthology' and feature films like Richard Lester's 'A Hard Day's Night' to documentaries by Albert and David Maysles, Ron Howard, and Peter Jackson, among others. One would think there was little left to explore, but the miracle of the Disney+ documentary 'Beatles '64' is that it manages to feel completely fresh and new — largely by giving the viewer the visceral experience of what it was like to experience The Beatles' first visit to America via the recollections of people who were there. One person who vividly remembers what it was like to first hear The Beatles' music is Martin Scorsese, who produced 'Beatles '64' in the hope that it would convey the exuberance that the band's first visit to America inspired. 'You have to understand, it was the end of the origins of rock and roll,' Scorsese told IndieWire. 'You had Motown, you had Phil Spector and the Wall of Sound — which influenced me a great deal in 'Mean Streets' and other films — you had the girl groups and Smokey Robinson and there was still a lot going on, but [rock and roll] needed something fresh. And America needed something fresh too.' More from IndieWire 'In Your Dreams' Teaser: The Search for the Sandman Powers Netflix's New Animated Sibling Fantasy Gold List TV Honors 'Squid Game,' 'Deli Boys,' 'The Studio,' and More That's because the country was, when The Beatles arrived on American shores in February 1964, still reeling from the assassination of President John F. Kennedy, a tragedy that 'Beatles '64' uses as a structuring device in order to give the band's visit context. 'The devastation was unlike anything anyone had experienced in our generation,' Scorsese said. 'The country was ready for something new.' Yet as Scorsese points out, and the documentary demonstrates, The Beatles were initially met with skepticism. 'They were touted as kind of an oddity because they had hair that was long, and the press couldn't wait to attack them,' Scorsese said. 'We didn't take them that seriously. There was an attitude we all had of, 'Yeah, show us.'' Scorsese followed the press coverage of The Beatles' arrival and assumed they were just a 'nonsense novelty' act — until he heard 'I Wanna Hold Your Hand' on the radio for the first time while getting ready to go to class at NYU film school. 'I heard the first few beats, and I just stood there. I was late for class,' Scorsese said. 'I listened and I admitted to myself, 'That's really good,' and as soon as I got to NYU I was telling everybody, 'This is not some ripoff — this is for real.' There was something joyous about it, and I don't think we can ever really describe the uplifting effect of not only their musical ability, but the writing and the lyrics. An extraordinary change occurred in the youth of the country after the disaster of the assassination.' Scorsese, frequent producing partner Margaret Bodde, and director David Tedeschi had access to extraordinary archival footage shot by Albert and David Maysles that enabled them to give the audience a sense of the immediate impact The Beatles had. Most of the Maysles' footage has barely been seen since it was shot, partly due to clearance issues and partly because United Artists didn't want the material in general release where it could dilute the appeal of 'A Hard Day's Night.' Thanks to restoration work by Peter Jackson's Park Road Post Production, most of the footage looks and sounds like it was shot yesterday. For Tedeschi, the key to utilizing the Maysles' footage was taking advantage of their talent as interviewers. As great as all the backstage and concert footage of the band itself is, what really conveys the magic of the moment is Tedeschi's use of interviews the Maysles did with the group's fans. 'I was lucky enough to work with Al Maysles on [Scorsese's Rolling Stones concert film] 'Shine a Light,'' Tedeschi told IndieWire. 'Marty hired him to shoot behind-the-scenes stuff. You'd see him disarm whoever he was with.' Tedeschi feels that the Maysles' talent for making interviewees feel at ease is what really makes the footage 'Beatles '64' had to work with special. 'It's not surprising to me that they were able to capture The Beatles,' Tedeschi said. 'What's surprising to me is how a 15-year-old girl on the street who has had no media training is somehow calm and able to project themselves and has great charisma.' Scorsese was able to witness the Maysles at work back in the 1960s when he was at NYU and looking for a job. 'They were making a changeover from black and white to color, and they always used available light,' Scorsese said. 'But you couldn't do that with color at the time, so my job was to hold the lamp. Now, the problem is that they're directing without telling you anything, so you have to anticipate where Al's going with the camera to give him a little bit of light. In a sense, it was an extraordinary master class in visual interpretation, in creating narrative when nothing is staged.' 'Beatles '64' contains not only the Maysles material and other archival footage, but new interviews conducted by Bodde, Scorsese, and Tedeschi with subjects from the two surviving Beatles (Paul McCartney and Ringo Starr) to fans who saw their first concerts — including director David Lynch in one of his final filmed interviews before he passed away earlier this year. The filmmakers were stunned to learn that, as a young art student, David Lynch attended The Beatles' first ever American concert at the Washington Coliseum — and that he had another connection to the narrative they were telling. 'One thing he said that didn't make the film was pretty fascinating,' Tedeschi said. 'As a Boy Scout, he had been an usher at Kennedy's inauguration. When it came down to it, it was extraordinary how many people were at the New York Carnegie Hall show, at the Washington Coliseum, and in Miami — many people who went on to do great things.' Interviewing McCartney and Starr was a challenge for Scorsese and Tedeschi, who didn't want to repeat old stories — no easy feat with celebrities as extensively interviewed as The Beatles. Luckily, Tedeschi was able to talk with McCartney as the rock and roller was curating a photographic exhibit dedicated to The Beatles in 1964. 'The photographs jogged his memory and created a way to have a conversation more than just an interview,' Tedeschi said. In the case of Starr, the filmmakers got him to open up by going through all of the old clothes he kept from the time. Another way that 'Beatles '64' makes enthusiasm for The Beatles infectious is through the way in which Starr himself seems not to have aged — as he goes through his old clothes and displays his old drum set, he demonstrates a youthful energy not dissimilar from the much younger man we see in the archival footage. In the brief moments Scorsese shares with Starr on camera, he seems to get younger, too — as though he's getting back in touch with that NYU film student who first fell in love with the band. 'It's almost as if you can't quite believe this amount of time has passed,' Scorsese said of his experience interviewing Starr. 'I would have been a different interviewer 30, 40 years ago. But following them and other great artists, from the Stones to Dylan to The Band to Van Morrison, you go along for this whole period of people taking these long artistic journeys, and you change. And somehow you tap into that original excitement about the joy of music, and what that music means as an observation of the life we're leading or trying to lead.' Scorsese and Tedeschi, who have worked together in various capacities for around 20 years now, are still not only passionate about music but energized by the challenge of finding a cinematic language with which to express their feelings. 'The problem is how to say it, in other words, the visual narrative,' Scorsese said, noting that he and Tedeschi are struggling with that very problem right now on their upcoming Robbie Robertson documentary. 'We shot the memorial concert, and Dave is now assembling it,' Scorsese said. 'We're smack in the middle of figuring out what this is. We know it's a concert, but there's got to be something that takes us on a trip, or gives us an experience where we can appreciate more where the music came from and how it affects people today.' According to Tedeschi, the challenge is finding a way to get the feelings he witnessed in the artists at the tribute concert onto the screen in a way that's clear. 'We shot the tribute concert along with the rehearsals, and there were tremendous artists,' Tedeschi said. 'Eric Clapton, Van Morrison, Allison Russell…and it's very interesting to see The Band's music and Robbie's music played by different artists, all of whom have been really touched by The Band and affected by it. We're working to take that excitement and the musicality and beauty of that and turn it into something more like a movie.' 'Beatles '64' is currently streaming on Disney+. Best of IndieWire The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme' Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear'
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06-06-2025
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‘Is that about me?' Seth Rogen loves how ‘The Studio' keeps Hollywood guessing
Ever since viewers — especially those working in Hollywood — fell in love with The Studio, the series' creators Seth Rogen and Evan Goldberg have gotten accustomed to people at cocktail parties leaning in confidentially and asking, hushed, 'How did you hear that story about me?' 'The people who it's actually based on don't think it's based on them, and the people who it's not based on want to think it's based on them!' Rogen told Gold Derby at Apple TV+'s FYC celebration at the Hollywood Athletic Club, erupting into his signature chuckle. 'It's a funny pattern.' More from GoldDerby 'The Hills of California' star Laura Donnelly on having to revamp her character in 10 days: 'I had a minor panic attack' 'Beatles '64' director David Tedeschi on working with Martin Scorsese to create something 'that has never been seen before' 'Lilo & Stitch' set for massive opening, making 'Mission: Impossible - The Final Reckoning' settle for 2nd 'When someone thinks it's based on them, it's best to let them,' Goldberg added. 'So many people have been like, 'I know where you got that idea!'' laughed costar and writer-producer Ike Barinholtz. 'Because I don't want to offend anyone. I'm like, 'Yeah, that's a lot of different ideas...' But I'm very touched when people see a little bit of themselves or something they recognize. To me it makes it resonate more with them.' Eric Charbonneau/Apple TV+ via Getty Images It's just one of the increasingly familiar aftereffects rippling toward Rogen, Goldberg, and their cast and creative team ever since The Studio found an appreciative mass audience and became required viewing for anyone working in Hollywood — both for the guessing game of Who inspired that? and the shock of recognition when the seemingly outrageous, high-stress behind-the-scenes scenarios hit a little too close to home. Some of it can be a little PTSD-triggering — or as Goldberg suggested, without the 'post,' because many of them 'are living it right now, every day.' Discovering the show was leaving showbiz insiders more than a little shook has actually been validating for Rogen. "A real fear I had was, 'The people we are truly discussing and analyzing — will it resonate with them? Will they think it's bullshit? Will they think we missed it?' But no! I'm actually friends with a few executives, who after every episode — I get several texts from them, literally, where they were just like, 'I can't believe you went there. How dare you? How dare you go there?'' 'I was on a call not too long ago with a friend of mine who works in casting, and it was right after the casting episode came out,' said Barinholtz, recalling the episode that depicted the constant, culturally sensitive landmines the show's film execs kept nearly stepping on while casting the Kool-Aid movie. 'She was like, 'I feel a little weird talking to you right now,' just because of that. It was too meta.' Barinholtz's beleaguered film executive Sal Saperstein has emerged as something of a cult hero following the uproarious Golden Globes episode in which he's repeatedly, unexpectedly thanked from the awards show stage as a running gag — something that's coming to life as Barinholtz is getting strangers offering shout-outs of 'Thank you, Sal Saperstein!' in his everyday life. Even Questlove quoted the line on social media, to the actor's disbelief. "If and when Adam Scott wins Best Actor for Severance, I hope he thanks Sal Saperstein," he said. "I'm trying to will that to happen, but it has definitely exploded a little bit. And whether it's Instagram commentators or people at a function I'm at, people want to come up and thank Sal Saperstein, and I'm here for it.' During the rollicking panel discussion — moderated by Gold Derby editor-in-chief Debra Birnbaum — Rogen, Goldberg, Barinholtz were joined by costars Catherine O'Hara, Chase Sui Wonders, Dewayne Perkins, and Keyla Monterroso Mejia. Goldberg revealed that the creators have actually received unsolicited 'studio notes' from seemingly helpful executives. Getty Images 'We got a note that the Matt character doesn't understand responsibility enough and tries to be liked too much,' said Goldberg. 'And we were like, 'Yeah — that's his character. That's the point of the show!'' He chalked up the blind spot in their thinking to over-identifying with Rogen's character, Matt Remick. 'I think these executives see themselves in him and think, 'I don't do that, so he can't do that!' ... They're trying to 'solve' the show.' 'Yeah, they're trying to fix it — to fix my guy,' laughed Rogen. 'The show's not funny anymore if you fix my guy.' ''He should be more likable,'' Rogen quoted the execs' criticism. 'So should you!' One executive who showed a sense of humor was Netflix co-CEO and Chief Content Officer Ted Sarandos. He made a cameo in the Golden Globes episode and, when asked to react from his table as if he had just been thanked on stage, displayed just how well-practiced he is in real life. As for the confrontational scene in the men's room at the urinals, Rogen says the Hollywood titan was just as unfazed. 'He didn't blink at that — actually, he wanted it,' Rogen (maybe) quipped. Currently planning the second season of the show, Rogen and Goldberg told Gold Derby they're 'very much' looking to find ways to employ more distinctive cinematic techniques and technical toolkits, in the way the episode The Oner utilized the long, masterful one-shot takes made legendary in films like The Player and Goodfellas. 'There's all sorts of technical things we want to play with,' said Goldberg. 'We've also actually geared our thinking more towards real-time episodes,' Rogen added, 'because I think those are the ones that people seem to sort of engage with the most, and the more condensed timeline, the more people seem to enjoy it. That's something that we've also talked a lot about.' Apple TV+ But what matters most to the duo is that, underneath all the comedy and beyond all the weary and frustrating professional war stories, their unabashed love of the industry comes shining through. 'The show's written from our perspective, and that is how we approach every episode: as people who genuinely have faith overall that this industry is one that can provide great work and has people in it who are pursuing that,' said Rogen. 'We have amazing lives from this industry, and in general, we've gotten to do what we want. I look back to the things we've made and we're very proud of it. So we write from a place of appreciation and hope for the industry.' 'At times we've been beaten down by it and disappointed in it and aggravated by it, but at the end of the day, then we got to make a show about all that!' he added. 'So it's hard to be too down on it overall.' Goldberg hopes their enthusiasm is contagious. 'If I was in the audience at the end of the last episode,' he said, 'I would get up and chant 'Movies!'' Best of GoldDerby 'The Pitt' star Tracy Ifeachor thinks about Collins and Robby's backstory 'all the time': 'It just didn't work out because it's not the right time' How Eddie Redmayne crafted his 'deeply unflappable' assassin on 'The Day of the Jackal' TV composers roundtable: 'Adolescence,' 'Day of the Jackal,' 'Interview With the Vampire,' 'Your Friends and Neighbors' Click here to read the full article.
