Copying Beethoven - Ed Harris

[KyleC]

remember everybody as accurate as we all want this to be this film will, hopefully, be seen by many people. the majority of which will have no clue about what a modern and old violin looks or sounds like in comparison to one another. however it would be nice to have the two match its just not feasible given the situation. So as long as you focus on making everything else that you can as accurate as possible, like Beethoven's behavior, friends (stuff like that in the film) i think we, or maybe just i, can let the instrument thing slide.

oh when can we buy the soundtrack. hehe.

[srivele]

Originally posted by KyleC:
remember everybody as accurate as we all want this to be this film will, hopefully, be seen by many people. the majority of which will have no clue about what a modern and old violin looks or sounds like in comparison to one another. however it would be nice to have the two match its just not feasible given the situation. So as long as you focus on making everything else that you can as accurate as possible, like Beethoven's behavior, friends (stuff like that in the film) i think we, or maybe just i, can let the instrument thing slide.

oh when can we buy the soundtrack. hehe.

We will do everything we can to achieve accuracy within the limitations of the budget (which is very limited). I think I can assure you that at no point will you be seeing a forte piano and hearing a modern grand piano, for example. The big exception will be the premiere of the 9th, where you will probably be seeing a Hungarian orchestra in period makeup and costumes, playing what will look to the discerning viewer like modern instruments (I am afraid, as I have tried to explain, this cannot be avoided), and you will be hearing a modern orchestra on the soundtrack. We will also see a Hungarian string quartet playing the Op. 131 and the Grosse Fugue (we have to find one whose first violinst can act, since he has to play Schuppanzigh and has several lines), perhaps on period-looking instruments, with the Tacas Quartet sound coming from them. The rest of the music will be on the soundtrack, that is, played behind the visuals but not related to them - just as you hear music in the background of any other film. The exceptions that occur to me now are the scenes when Anna is copying Beethoven's scores and we hear the music in her head - that is, on the soundtrack.

With any luck, the album of the film should be released concurrent with the film; that is, about this time next year, I think. Unless, of course, we get really lucky and canget it out for Christmas of this year. But I'm not counting on that.

[Rutradelusasa]

Originally posted by srivele:
We will do everything we can to achieve accuracy within the limitations of the budget (which is very limited). I think I can assure you that at no point will you be seeing a forte piano and hearing a modern grand piano, for example. The big exception will be the premiere of the 9th, where you will probably be seeing a Hungarian orchestra in period makeup and costumes, playing what will look to the discerning viewer like modern instruments (I am afraid, as I have tried to explain, this cannot be avoided), and you will be hearing a modern orchestra on the soundtrack. We will also see a Hungarian string quartet playing the Op. 131 and the Grosse Fugue (we have to find one whose first violinst can act, since he has to play Schuppanzigh and has several lines), perhaps on period-looking instruments, with the Tacas Quartet sound coming from them. The rest of the music will be on the soundtrack, that is, played behind the visuals but not related to them - just as you hear music in the background of any other film. The exceptions that occur to me now are the scenes when Anna is copying Beethoven's scores and we hear the music in her head - that is, on the soundtrack.

With any luck, the album of the film should be released concurrent with the film; that is, about this time next year, I think. Unless, of course, we get really lucky and canget it out for Christmas of this year. But I'm not counting on that.

Concerning period strings the question is easier, you can ask players from the quartet to remove the chin rests (which in most cases does come off) and ask the cello not to down his pin, then shoot from angles where it doesn't show. The bow was already something that already resembled the actual bow, an older bow (you can see it at BBC Opus Arte DVD from Gardiner conducting Bach's Cantatas) had fallen in oblivion some years before.

Maybe you could try contacting one of these english HIP conductors (Hogwood, Pinnock, Norrington, Gardiner, etc.) to give some assistance, maybe they can help give performances a more 'authentic' look on screen, they are quite used to looking at the difference of modern and period instruments since they work with both of them (don't know about Pinnock nor Norrington, but Hogwood and Gardiner are both chief conductors of some modern orchestras too).

Also, I asked this earlier, in the name of curiosity, how do you shorten Ed to look like the crumpy little guy Beethoven was?

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"Wer ein holdes weib errungen..."

[srivele]

Originally posted by Rutradelusasa:


Also, I asked this earlier, in the name of curiosity, how do you shorten Ed to look like the crumpy little guy Beethoven was?

Thanks for the ideas. I will ask the music supervisor about contacting one of the period conductors.

Re Ed's height: I answered that earlier, but I will do so again. You seem to imagine Ed as this Harrison Ford type movie start who towers over his peers. In fact, having met Ed on several occasions, I can assure you he is of average height - maybe five-foot-eight - and being slender, seems even smaller. He does, however, dominate the screen when he is on, so perhaps he creates the impression of being larger. And, in fact, he is larger now, having put on some thirty pounds for the role. But be assured, he is not tall, and Diane, being almost as tall as he, will reinforce the impression that he is the five-foot-six-or-seven inch Beethoven.

[Peter]

Originally posted by srivele:
Where did Schlemmer live and what did his digs look like? Does anyone know?

Thanks, SR

Schlemmer lived in the Graben near the Kohlmarkt in the rear part of a house. One of the assistants made copies in a dark nailmaker's arch under the entrance gate to the Fischhof (then the Galvagnihof) on the Hoher Markt.

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'Man know thyself'

[Rutradelusasa]

Originally posted by srivele:
We will also see a Hungarian string quartet playing the Op. 131 and the Grosse Fugue (we have to find one whose first violinst can act, since he has to play Schuppanzigh and has several lines), perhaps on period-looking instruments, with the Tacas Quartet sound coming from them.

Maybe you could ask Itzhak Perlman, if it's not too expensive, and call for a Hungarian String Trio. Perlman has already acted on "Music of the Heart", and he can be more transformed into Schuppanzig in the matter of looks, also he is a conductor and an extremely gifted violinist, so he could provide some assistance in other parts of the movie, is there going to be some part of the violin concerto (Schuppanzig premiered it)?



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"Wer ein holdes weib errungen..."

[srivele]

Originally posted by Rutradelusasa:
Maybe you could ask Itzhak Perlman, if it's not too expensive, and call for a Hungarian String Trio. Perlman has already acted on "Music of the Heart", and he can be more transformed into Schuppanzig in the matter of looks, also he is a conductor and an extremely gifted violinist, so he could provide some assistance in other parts of the movie, is there going to be some part of the violin concerto (Schuppanzig premiered it)?

This is a very creative suggestion. I, too, am an admirer of Perlman, and have met him on two occasions. He also looks a little like the gravures of Schuppanzigh I have seen. However, under the terms of our subsidy financing, we are allowed to hire only British or Hungarian citizens. Also, he would be too expensive for us, I fear. Finally, there is a scene in the film, at the celebration following the premiere of the 9th, where Schuppanzigh is dancing.

I guess I ought to point out that ours is not a Hollywood studio production with access to virtually unlimited funds. Everyone connected with the film has had to take severe salary cutbacks in order to meet the budget. Ed, bless him, has taken a seventy-five percent cut in pay to play the role, Diane has turned down many more lucrative offers (she could probably get ten times what we are paying her), my writing partner and I have taken, together, about a ninety percent reduction (I, personally, have deferred my entire salary back into the production), the heads of departments (costume, makeup, camera, art direction etc.) are working for union scale or near scale, and our fellow producers are taking practically nothing, so that we can get the film as we conceived it onto the screen intact. Also, we are putting every cent we can into the music budget since the music is as important a character in the film as Beethoven and Anna, so there is simply no money left for some of the things we'd like to do. All that matters to the people making this film is the quality of what you will see on the screen. And for that, I will always be grateful to the wonderful people I'm working with.

[Bessy]

[QUOTE]Originally posted by srivele:
[B]


..there is simply no money left for some of the things we'd like to do.

Why not contact local universities' music depts like the Liszt Ferenc Academy of Music in Budapest or let American students do an internship? Many students and/or teachers are very gifted musicians and have their own classical ensembles. Mention "Hollywood" and they may carry your bags and bring homemade weiner schnitzle and a pitcher of decent lager. Of course, insurance would be a factor, but that is nothing compared to hiring a good swan trainer.

[Joy]

SR: You and your cast and crew sound so dedicated to this film, I salute you!! It's a shame most of the people out there won't know of the huge sacrifices you are giving. I can assure you I will tell all my friends (and anyone else who will listen) about it!

On another point I have to say I agree with Kyle on the authentic instrument issue. This movie will be seen by the 'masses' and I'm sure most of them will not be looking for pins on cellos or chin pads on violins and for the most part won't be able to tell a modern instrument from an authentic one while listening. Let's get real here and for the sake of the film's budget just be glad that we are getting what it sounds like will be the most authenticated film about Beethoven ever projected on the screen.

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'Truth and beauty joined'

[KyleC]

maybe this site could raise money. how many peopel actively use this site? i wonder...if everyone pitches in a bit i suppose it could help. but is it practical for the amount of work it will be for us to send it for the amount? hmmm. i only keep thinking that every little bit will help. i myself am interested in donating some money but im only a highschool student and dont have much.

[srivele]

[quote]Originally posted by Bessy:
[b]

Originally posted by srivele:



..there is simply no money left for some of the things we'd like to do.

Why not contact local universities' music depts like the Liszt Ferenc Academy of Music in Budapest or let American students do an internship? Many students and/or teachers are very gifted musicians and have their own classical ensembles. Mention "Hollywood" and they may carry your bags and bring homemade weiner schnitzle and a pitcher of decent lager. Of course, insurance would be a factor, but that is nothing compared to hiring a good swan trainer.

Yes, I'd love to use students, and no doubt we will. Locals and Brits, though, not Americans. However, we start shooting in two weeks, so I'll take your suggestion on the next film. (I don't suppose there were any students in the orchestra which premiered the 9th, and, as we have found out recently, there were no women either, so we will either have to replace the ones in the orchestra we use, or disguise them as men.) As for the swan wrangler - he doesn't cost all that much, and the shot should be lovely. But do think of him when you see the film. If the swans glide by at just the right ime, just the right speed, in just the right place, he was worth it.

[srivele]

Originally posted by KyleC:
maybe this site could raise money. how many peopel actively use this site? i wonder...if everyone pitches in a bit i suppose it could help. but is it practical for the amount of work it will be for us to send it for the amount? hmmm. i only keep thinking that every little bit will help. i myself am interested in donating some money but im only a highschool student and dont have much.

It's really very kind of you to offer, but we start shooting in two weeks, and we're making do with the budget we have. Save your money and go see the film when it comes out. I hope you enjoy it.

[srivele]

Originally posted by Joy:
SR: You and your cast and crew sound so dedicated to this film, I salute you!! It's a shame most of the people out there won't know of the huge sacrifices you are giving. I can assure you I will tell all my friends (and anyone else who will listen) about it!

On another point I have to say I agree with Kyle on the authentic instrument issue. This movie will be seen by the 'masses' and I'm sure most of them will not be looking for pins on cellos or chin pads on violins and for the most part won't be able to tell a modern instrument from an authentic one while listening. Let's get real here and for the sake of the film's budget just be glad that we are getting what it sounds like will be the most authenticated film about Beethoven ever projected on the screen.

The sacrifices we have all volunteered to make are really only of significance to one another of us. The only thing that matters in the end is the quality of the film that reaches the screen. And here, I do hope that all of you approve of what we will have done.
You will probably have quibbles with aspects of it, but I ask you to focus on the scope and spirit of the story. Yes, we have fictionalized Beethoven's last years in order to tell a story that could be brought to the screen, but as I often point out: the real Prince Hamlet was probably a crashing bore. One can, and must take liberties occasionally to tell a story that an audience will find engaging. Indeed, as a dramatist this is my job. History gives us facts; drama gives us truth. If you decide that we have reached something like a truth about Beethoven and his work, then we will have succeeded.

[srivele]

Originally posted by Peter:
Schlemmer lived in the Graben near the Kohlmarkt in the rear part of a house. One of the assistants made copies in a dark nailmaker's arch under the entrance gate to the Fischhof (then the Galvagnihof) on the Hoher Markt.

Thank you so much for having taken the time to find this out. We have made Schlemmer a bit more grandiose in the film than your description implies, making him, in effect, a combination of copyist and publisher. I hope he will not mind. Ralph Riach who will play him is marvellous, however.

[srivele]

[QUOTE]

Had lunch with Ed Harris today, and it was truly inspiring. His sense of the character and his devotion to getting at the truth of Beethoven is genuine and quite moving. He feels ready and confident to undertake the task of incarnating Ludwig, and says that even if some of the details are wrong, it is the spirit of the man that counts in this film. "If I can bring that to life, then I will have justified your confidence in me," was how he put it.

I passed along many of the points raised by the members here. He especially liked the 60 coffee bean anecdote and said he must work that in. So thanks to you all again. Shooting begins April 5, ends May 15. Let's all hope, pray, keep our fingers crossed and whatever else we are in the habit of doing at times of great stress and excitement.