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00:00Welcome to Crew Call Live with Netflix's Emilia Perez. I am your host Anthony
00:07D'Alessandro. Thank you so much for coming out. This is such a genre, I would say
00:14genre-defining and genre-defying movie. It is a crime noir and it is this
00:21sublime musical. For each of you, what were the conversations that Jacques had
00:28with you? What were the themes that he brought up? What were the inspirations?
00:34Jacques doesn't work with preconceived ideas. He tells his work to the
00:41stories he's working on and it's an ongoing process. It's very lively. It's
00:48very experimental. But I remember him talking about opera at the start,
00:56an opera. I remember he mentioned le film noir, a crime story, and comedy.
01:09That was an important element too. There would be something to do with humor.
01:14You need this little distance, something light. He mentioned musicals also
01:22but I think he wanted to be free from formats.
01:52I think it's about his relationship to the language. He often makes films in languages that he doesn't master or doesn't fully master.
02:05And here, being in a musical field is the logical continuation of all of this.
02:13He has a musical relationship to the voice and the text.
02:18They said pretty much everything. What we can say is that Jacques doesn't talk a lot theoretically,
02:27which gives him a lot of freedom. On the other hand, he gives key words.
02:32And the key words that I remember a lot, at least in terms of sound and characters,
02:40are movement. He always wanted movement. And that it's always alive and that it absolutely relates to the emotions of the characters.
03:10I've seen musicals but that didn't give me the clue of how you proceed to edit it.
03:19Camille and Clément also helped a lot because sometimes they would tell me that's not okay,
03:27that's not okay, you have to cut a few frames.
03:32I don't know, I didn't find it that different from cutting anything else.
03:42It's very precise, they had many rehearsals, the choreography was perfect, everything was perfect.
03:52The only thing that was missing was the orchestration.
03:59Jacques didn't do many, many cameras. It was two cameras, never more than two cameras.
04:06And even the first song, Allegato, in the street, we didn't even use the second camera.
04:12It's just one camera. I didn't have a hundred hours of dailies for one scene, so it was okay, it was easy.
04:23No, I wouldn't say it was easy, but I don't know. Well, it was okay.
04:30Cyril, tell us about shooting on the stages and what that meant for you and your teams
04:36in creating the soundscape of each location.
04:40Well, obviously it involved recreating all this Mexico, but it's not a totally realistic Mexico,
04:51but at least it had to be credible. And after that, it's a very complex assembly of things
04:59that were recorded during the shooting, but also a lot of things, especially on the songs,
05:06that were done either before the shooting or after the shooting. So it's a puzzle.
05:14And we worked a lot with the musicians to make sure that this puzzle
05:20is once again coherent and at the same time gives all the feeling of movement
05:30and emotion vis-à-vis the characters.
05:33If we were to get a DVD of this, what are some of the deleted songs?
05:38Were there any? Were there any?
05:40Maybe 10. 10 songs.
05:42But recorded? Recorded that they sang?
05:45Pre-recorded.
05:47Not by the cast. I think they were left out. Oh, yeah, they were left out before the cast
05:53sang them, I think.
05:56During the writing process.
05:58Was there one in particular that was just, it was your darling pertained to?
06:04Don't even think about it.
06:07That's not my favorite of the leftovers.
06:28And who sang that?
06:35It was a duet.
06:38It's interesting. It was instead of Por casualidad, the one in the restaurant.
06:43And it was an interesting process because the song wouldn't work and then we would,
06:52I mean, keep it, but do it different. And then it wouldn't work.
06:56And after a little while, Jacques said, OK, the song doesn't work.
07:01But it's not the song that doesn't work. It's the scene that doesn't work.
07:05It didn't work because it was too cheesy. It was too easy.
07:11And Jacques told us, Rita is scared and we should be scared with her.
07:17That, you know, Emilia hasn't changed and she's the last witness of her past world life.
07:24And so we completely changed them.
07:29Something completely intense.
07:32And with Emilia answering in a reassuring way.
07:37Your two nominated songs, El Mal and Camino.
07:41Tell us about the origins of those songs.
07:54El Mal was a very complicated song because the subject is very complicated.
08:01It's a character who sings in front of a room full of corrupt and bad people.
08:08And we did six or seven different songs before we got to El Mal as it is today.
08:14Because we had to find the musical tone.
08:16So it was very, very, very long.
08:17And Mi Camino, we were discussing it.
08:20Clement didn't remember, but we did at least three versions of Mi Camino
08:24before Selena came in.
08:28Yeah, the first number in the film is Bienvenida, where Jessie,
08:39well, we discovered that Jessie is aware of the bedroom scene.
08:43She's aware of what's going on around her and she feels she's in a golden cage.
08:50And the second song for Jessie was in a nightclub.
08:54And basically, the first song said, well, I'm going to rebel.
08:58You know, what's going on in my mind.
09:00And the second song said, you see, I'm rebelling.
09:03She was in a nightclub with her boyfriend and just, you know, under Rita's eyes.
09:08And we thought, we kept thinking, this is redundant, it doesn't work.
09:14And meeting Selena gave a lot of depth to the character.
09:17And so we really wrote this Mi Camino song for Selena as an actress and as a woman
09:23and as a singer.
09:27And, yeah, it's deeper.
09:30It says that she's found love for herself.
09:35She's found love and love for herself.
09:39And it's still under Rita's eyes.
09:42And it means that it tells us and Rita, yeah, I'm partying.
09:49You could be worried because I'm not at home enough.
09:53I'm not with my children.
09:55I'm going out with this guy.
09:57But don't even try to judge me.
10:01You know, I'm aware of all that.
10:03And I know what and it's not that I know what I'm doing.
10:06But this is love.
10:10This is about love.
10:11Can you tell us about how El Mal was shot?
10:16Was it shot like an MGM musical in one take?
10:19Or was it shot over several days?
10:22Can you give us any insight into that?
10:24Two days and in different parts.
10:29But I remember it being quite fluid because the choreography was very well rehearsed.
10:42And I remember, I mean, on other scenes, we had lots of things to do.
10:50Sometimes editing, sometimes, you know, working with the extras.
10:55I mean, there were a million things to do.
10:57And on that one, I was just watching a video like, you know, there was nothing we could say, really.
11:06It was, we had the playback that had been recorded before
11:11that was really very steady.
11:15There was probably a live take.
11:16And we worked with Zoë again in ADR after to really add on movement in the voice.
11:25Cyril, tell us about your approach with the sound design in the scene for El Mal.
11:42It had to be spectacular.
11:44So at first, we had a very, very literal and very, very extensive approach.
11:51I mean, for example, we illustrated all of Rita's gestures with sounds.
11:56I mean, when she mimicked a machine gun, there were machine gun sounds.
11:59And it was completely ridiculous.
12:01So we, afterwards, Jacques always told us in the scenes, there has to be a progression.
12:09And it was hard to progress in this scene because the music had to be very loud, etc.
12:13But we went back to the bone and we tried at all costs to have this progression.
12:20And in the end, it comes down to two things.
12:22I mean, the sounds in this scene, it's very big sounds that are the overtones of the crowd,
12:28that are regular and that are in rhythm, of course, with the music.
12:32And very small sounds that are extreme detail and that are sound effects.
12:36We hear, for example, the pitch net that Rita does on the head of one of the guests.
12:43And to get to the final earthquake.
12:47Juliet, can you talk about the challenges in editing that particular performance scene with El Mal?
12:55I never remember the challenges.
12:57I'm sorry.
12:58Because once it's done, you know, you're good.
13:01So I guess the challenges, there were a bit of challenges with the extras,
13:09I have to say, on this scene because they were not dancers.
13:14So, you know, they have to do a lot of things, of actions that are in with the music.
13:22But some of them while I were doing it wrong.
13:25So this was a bit complicated.
13:28But otherwise, Rita, I mean, Zoe was amazing all the time.
13:33So it's just it's just about, you know, picking up the take you like best, but they are all good.
13:42So and and once again, on this scene, the steady camera was had done a great job.
13:52And so challenges, I don't know.
13:55I mean, no, it was just a pleasure.
13:58And it was just, oh, my God, I like everything.
14:02What am I going to to do?
14:04It's more of this kind of this kind of challenge, picking up the one you like,
14:10not picking all the takes you like.
14:13Deadlines Crew Call Live.
14:15This has been our presentation of Amelia Perez, ladies and gentlemen.