{"id":52929,"date":"2021-08-22T09:04:34","date_gmt":"2021-08-22T09:04:34","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&#038;p=52929"},"modified":"2024-09-15T01:39:31","modified_gmt":"2024-09-15T01:39:31","slug":"because-weird-is-wonderful-making-annette","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/because-weird-is-wonderful-making-annette\/","title":{"rendered":"Because Weird is Wonderful: Making \u201cAnnette\u201d"},"content":{"rendered":"\n<div class=\"wp-block-columns article-content is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01506_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR-1200x630-1.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry and Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52915\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry and Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Annette - Official Trailer | Prime Video\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/l_EaNpL16SU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The much-lauded opening film at the 2021 Festival de Cannes, Leos Carax\u2019s wild and spectacular <em>Annette<\/em> is a fever-dream musical conceived by the wonderfully weird art-pop duo Sparks. A musical fable of operatic proportions, the film is currently available on Amazon Prime.<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/www.npr.org\/player\/embed\/1024834015\/1024834031\" width=\"100%\" height=\"220\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">\u201c<em>A<\/em>n original musical in every sense,\u201d writes <em>NPR<\/em>&#8216;s <a href=\"https:\/\/www.npr.org\/2021\/08\/05\/1024738374\/annette-review-adam-driver-marion-cotillard\" target=\"_blank\" rel=\"noreferrer noopener\">Justin Chang<\/a>, <em>Annette <\/em>is \u201can extravagantly emotional rock opera that mixes comedy and tragedy, showbiz satire and doomed romance. It doesn&#8217;t all work; if you&#8217;re not on its bizarre wavelength, it may not work for you at all. But moment by moment, its go-for-broke audacity left me feeling grateful that it exists.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01663RC2_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios\" class=\"wp-image-52922\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Annette<\/em> stars Adam Driver as Henry McHenry, a fiercely charismatic stand-up comedian, and Marion Cotillard as Ann Defrasnoux, a world-renowned opera singer. In an arthouse take on <em>A Star is Born<\/em>, the glamorous celebrity couple falls passionately in love, but as Henry\u2019s career begins to falter and Ann\u2019s continues to soar, their privileged life breaks down into a cycle of rage, madness and abuse. The birth of their first child, Annette, a \u201cmysterious little girl with an exceptional destiny,\u201d turns the couple\u2019s lives upside down, and as they struggle to right their marriage, an unthinkable accident proves that their love is eternal.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While <em>Annette<\/em> received a lengthy standing ovation at Cannes \u2014 the tribute continued for so long that Driver was <a href=\"https:\/\/twitter.com\/kylebuchanan\/status\/1412521658800394252\" target=\"_blank\" rel=\"noreferrer noopener\">spotted lighting a cigarette<\/a> at the five-minute mark \u2014 critics have thus far been divided. <em>Vanity Fair<\/em>\u2019s <a href=\"https:\/\/www.vanityfair.com\/hollywood\/2021\/07\/annette-cannes-movie-review\" target=\"_blank\" rel=\"noreferrer noopener\">Richard Lawson<\/a> declared that the film lacked substance, while <em>The<\/em> <em>New York Times<\/em>\u2019 <a href=\"https:\/\/www.nytimes.com\/2021\/08\/05\/movies\/annette-review.html\" target=\"_blank\" rel=\"noreferrer noopener\">A.O. Scott<\/a> and <em>The Guardian<\/em>\u2019s <a href=\"https:\/\/www.theguardian.com\/film\/2021\/jul\/06\/annette-review-cannes-leos-carax-sparks-musical\" target=\"_blank\" rel=\"noreferrer noopener\">Peter Bradshaw<\/a> were both dazzled by its ambitious construction.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Annette - Final Trailer | Prime Video\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/aUM0NOHdJS0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWith Carax, first impressions can easily and unintentionally bely decades of craft,\u201d <a href=\"https:\/\/www.vanityfair.com\/hollywood\/2021\/08\/annette-is-a-wild-exhilarating-ride\" target=\"_blank\" rel=\"noreferrer noopener\">Cassie da Costa<\/a> cautions in <em>Vanity Fair<\/em>. \u201cUnsurprisingly, the filmmaker \u2014 who, like Fellini before him, has drawn inspiration from the meta-verse of moviemaking and celebrity \u2014 started out as a critic. Paying closer attention to his latest hulking, brooding, laughing film might compel you to watch it not just once, but again and again.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.vanityfair.com\/hollywood\/2021\/08\/annette-is-a-wild-exhilarating-ride\" target=\"_blank\" rel=\"noreferrer noopener\">Annette Is a Wild, Exhilarating Ride Through Male Self-Destruction (Vanity Fair)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00800-UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52897\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cCarax and his collaborators clearly delight in taking the conventions of the form and pushing them to weird, hilarious extremes,\u201d film critic <a href=\"https:\/\/www.npr.org\/2021\/08\/05\/1024738374\/annette-review-adam-driver-marion-cotillard\" target=\"_blank\" rel=\"noreferrer noopener\">Justin Chang<\/a> noted in his review for <em>NPR<\/em>. \u201cMost of the dialogue is sung, rather than spoken, and the actors are up to the challenge. Cotillard has long been a singer as well as an actor, and Driver tosses off some of his lyrics with a Sondheim-esque virtuosity that might remind you of his heartfelt rendition of \u2018Being Alive\u2019 from <em>Marriage Story<\/em>.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1083\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01523RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?resize=1083%2C720&#038;ssl=1\" alt=\"Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios\" class=\"wp-image-52921\"\/><figcaption class=\"wp-element-caption\">Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.npr.org\/2021\/08\/05\/1024738374\/annette-review-adam-driver-marion-cotillard\" target=\"_blank\" rel=\"noreferrer noopener\">Strange, Singular, Audacious \u2018Annette\u2019 Works As An Odd, Original Rock Opera (NPR)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Chicago Sun-Times<\/em> critic <a href=\"https:\/\/chicago.suntimes.com\/movies-and-tv\/2021\/8\/5\/22610344\/annette-review-adam-driver-movie-marion-cotillard-sparks-musical\" target=\"_blank\" rel=\"noreferrer noopener\">Richard Roeper<\/a> writes that \u201cAdam Driver is in full leave-it-all-on-the-field mode, diving headfirst into the role of one Henry McHenry, an aggressive and macho stand-up comedian known as \u2018The Ape of God,\u2019 who prowls the stage in a robe like a boxer stepping into the ring, working the crowd like an unsettling mix of Lenny Bruce, Andy Kaufman and Andrew Dice Clay.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00001RC_1_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52923\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">While Henry is killing it, Roeper comments, Cotillard\u2019s Ann is onstage \u201cdying every night\u201d as a beloved opera soprano. \u201cWhereas Henry\u2019s crude and rude and lewd act centers on slaying the audience and pouring out his aggression and anger, Ann is all about delivering infinitely more lovely and sophisticated tones of love and heartbreak. And yet they\u2019re crazy about each other, because the movie tells us they\u2019re crazy about each other.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/chicago.suntimes.com\/movies-and-tv\/2021\/8\/5\/22610344\/annette-review-adam-driver-movie-marion-cotillard-sparks-musical\" target=\"_blank\" rel=\"noreferrer noopener\">\u2018Annette\u2019: Most of the weirdness works in bold, fever-dream musical (Chicago Sun-Times)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01508_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52918\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.newyorker.com\/magazine\/2021\/08\/16\/annette-and-the-drama-of-the-gifted-child\" target=\"_blank\" rel=\"noreferrer noopener\">Anthony Lane<\/a>, film critic for <em>The New Yorker<\/em>, notes that the storyline for <em>Annette<\/em> follows the same arc as many of Carax\u2019s previous films. \u201cWind back to the opening of Leos Carax\u2019s first feature, <a href=\"https:\/\/www.kinolorber.com\/product\/boy-meets-girl-vudu\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Boy Meets Girl<\/em><\/a> (1984), and you find a woman who has just split from her lover, Henri, and taken their young daughter with her,\u201d Lane writes. \u201cFast-forward to Carax\u2019s new movie, <em>Annette<\/em>, and you find Henry McHenry (Adam Driver), who at one point, sundered from his lover, Ann Defrasnoux (Marion Cotillard), is left with their young daughter. From <a href=\"https:\/\/youtu.be\/71eqx7AzUwc\" target=\"_blank\" rel=\"noreferrer noopener\"><em>The Night Is Young<\/em><\/a> (1986), <a href=\"https:\/\/youtu.be\/tgxUjVBj2ic\" target=\"_blank\" rel=\"noreferrer noopener\"><em>The Lovers on the Bridge<\/em><\/a> (1991), and <a href=\"https:\/\/youtu.be\/OkFT1ATipco\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Pola X<\/em><\/a> (1999) to <em>Annette<\/em>, Carax has stuck to his story: boy meets girl, and the meeting sends them down into the depths. <em>Plus \u00e7a change<\/em>.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.newyorker.com\/magazine\/2021\/08\/16\/annette-and-the-drama-of-the-gifted-child\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cAnnette\u201d and the Drama of the Gifted Child (The New Yorker)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01509_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios\" class=\"wp-image-52919\"\/><figcaption class=\"wp-element-caption\">Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Cameras &amp; Lenses<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Annette<\/em> was shot by Carax\u2019s long-time collaborator, the C\u00e9sar Award-winning cinematographer Caroline Champetier, AFC (<em>Holy Motors<\/em>, <a href=\"https:\/\/youtu.be\/nhQzn2gVGjQ\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Of Gods and Men<\/em><\/a>). Her career spans four decades of French cinema, collaborating with directors including Chantal Akerman, Arnaud Desplechin, Jean-Luc Godard, Claude Lanzmann and Jacques Rivette.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201c<em>Holy Motors<\/em> and <em>Annette<\/em> are both films that we conceived in units, one sequence at a time,\u201d Champetier said of her collaboration with Carax in an interview with <a href=\"https:\/\/www.filmcomment.com\/blog\/cannes-2021-interview-caroline-champetier-annette-leos-carax\/\" target=\"_blank\" rel=\"noreferrer noopener\">Yonca Talu<\/a> for <em>Film Comment<\/em>. \u201cHaving worked with Godard, I come from such a school. It\u2019s a method that has helped me tremendously to envision a film ever since Arnaud Desplechin\u2019s <a href=\"https:\/\/youtu.be\/hUSeWCguJqw\" target=\"_blank\" rel=\"noreferrer noopener\"><em>The Sentinel<\/em><\/a>, which was a difficult movie to make with its 75 sets.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00302RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52890\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.filmcomment.com\/blog\/cannes-2021-interview-caroline-champetier-annette-leos-carax\/\" target=\"_blank\" rel=\"noreferrer noopener\">Cannes Interview: Caroline Champetier (Film Comment)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The filmmakers opted to employ a combination of Sony VENICE and \u03b17 III cameras outfitted with Zeiss Supreme Prime lenses for <em>Annette<\/em>. Champetier and 1st AC In\u00e8s Tabarin detailed the setups in an interview for the Zeiss <em><a href=\"https:\/\/lenspire.zeiss.com\/cine\/en\/article\/annette\" target=\"_blank\" rel=\"noreferrer noopener\">Lenspire Cinematography<\/a><\/em> blog. \u201cWe had four cameras: two Venices and two \u03b17 IIIs, which we used with the same lenses as the Venice cameras but in X-AVC codec,\u201d Tabarin said. \u201cThe \u03b17 IIIs were necessary, and as \u2018noble\u2019 as the other two (Leos always had monitoring for the four cameras), and they were very helpful to multiply angles on Henry\u2019s shows.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01186RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"John Pavel as The Singing Detective in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52906\"\/><figcaption class=\"wp-element-caption\">John Pavel as The Singing Detective in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Champetier said she selected the Sony VENICE because she is \u201ctotally convinced that the color sampling of Sony is outstanding. There was also the fact that we needed lighter cameras: we might as well remain with Sony and their \u03b17 IIIs. I think it benefited the grading.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Choosing equipment, Champetier said, is an equation between a look, ergonomics, and budget. The Zeiss Supreme Prime lenses \u201care very well balanced on faces,\u201d she explained, mostly due to their optical design. \u201cThey are beautiful lenses for the faces!\u201d she enthuses, adding, \u201cWe toyed with the idea of anamorphic but I think it would have been too much.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1083\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01500_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?resize=1083%2C720&#038;ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52908\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Two years earlier, Champetier had performed a series of blind tests on lenses that helped her rediscover the Zeiss Super Speed and the Zeiss Standards T2.1. \u201cI had not utilized them for years, after having entered the profession with these lenses and used them a lot with Jean-Luc Godard,\u201d she recalled. \u201cWhen I was able to depart from them, I was quite glad at the time\u2026 But during this test, I thought, \u2018They are so beautiful on the faces!\u2019 Why not take Zeiss lenses? We weighed the Supremes and we took them.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/lenspire.zeiss.com\/cine\/en\/article\/annette\" target=\"_blank\" rel=\"noreferrer noopener\">Zeiss Supreme Primes on \u201cAnnette\u201d (Lenspire Cinematography)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00854RC2_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Simon Helberg as The Conductor and Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52900\"\/><figcaption class=\"wp-element-caption\">Simon Helberg as The Conductor and Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In a separate interview for <a href=\"https:\/\/www.afcinema.com\/Caroline-Champetier-AFC-talks-about-her-work-on-Leos-Carax-s-Annette.html\" target=\"_blank\" rel=\"noreferrer noopener\"><em>AF Cinema<\/em><\/a>, Talu asked Champetier about the advantages of the Sony VENICE compared to the Sony F65, which she had used to shoot Anne Fontaine\u2019s <a href=\"https:\/\/youtu.be\/-bCnGa30zTg\" target=\"_blank\" rel=\"noreferrer noopener\"><em>The Innocents<\/em><\/a> (2016) and Xavier Beauvois\u2019s <a href=\"https:\/\/youtu.be\/ZM-f1wMCCu4\" target=\"_blank\" rel=\"noreferrer noopener\"><em>The Guardians<\/em><\/a> (2017).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe VENICE is a more recent camera, whose biggest difference with the F65 is that it has a 24&#215;36 sensor,\u201d Champetier explained:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cIts ergonomics are also much more compact, with a lens\/viewfinder unit \u2014 the Rialto \u2014 that can be separated from the recording unit. It\u2019s a setup that allowed us to have the camera on the shoulder and that we used in Annette\u2019s bedroom or when Ann looks for Henry inside the boat in the storm sequence. Steadicam cameraman Jo Vermaercke also used the Rialto in scenes that required multiple cameras, such as Henry\u2019s first performance. But the main reason I chose the VENICE is because it seems to me to be the most precise camera in terms of color sampling. We wanted a film where colors \u2014 which needed to stand up to blacks \u2014 would be magnified, and where skins would be captured in all their variations.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.afcinema.com\/Caroline-Champetier-AFC-talks-about-her-work-on-Leos-Carax-s-Annette.html\" target=\"_blank\" rel=\"noreferrer noopener\">Caroline Champetier, AFC, talks about her work on Leos Carax\u2019s \u201cAnnette\u201d (AF Cinema)<\/a><\/h3>\n\n\n\n<div class=\"wp-block-group has-luminous-vivid-amber-color has-text-color\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background is-style-default\"\/>\n\n\n\n<h4 class=\"wp-block-heading has-luminous-vivid-amber-background-color has-background\" id=\"navigating-the-metaverse\"><a href=\"https:\/\/amplify.nabshow.com\/?s=metaverse&amp;v=content\" target=\"_blank\" rel=\"noreferrer noopener\"><\/a><a href=\"https:\/\/amplify.nabshow.com\/?s=Motion%20Picture\/%20Film%20Production&amp;v=content\" target=\"_blank\" rel=\"noreferrer noopener\">LIGHTS, CAMERA, ACTION! SPOTLIGHT ON FILM PRODUCTION:<\/a><\/h4>\n\n\n\n<h6 class=\"wp-block-heading has-black-color has-text-color has-medium-font-size\" id=\"the-metaverse-may-be-a-wild-frontier-but-here-at-nab-amplify-we-ve-got-you-covered-hand-selected-from-our-archives-here-are-some-of-the-essential-insights-you-ll-need-to-expand-your-knowledge-base-and-confidently-explore-the-new-horizons-ahead\"><em><em>From the latest advances in virtual production to shooting the perfect oner, filmmakers are continuing to push creative boundaries. Packed with insights from top talents, go behind the scenes of feature film production with these hand-curated articles from the <\/em><\/em>NAB Amplify<em><em> archives:<\/em><\/em><\/h6>\n\n\n\n<ul class=\"wp-block-list has-medium-font-size\">\n<li><a href=\"https:\/\/amplify.nabshow.com\/articles\/savage-beauty-the-visuals-for-the-power-of-the-dog\/\" target=\"_blank\" rel=\"noreferrer noopener\">Savage Beauty: Jane Campion Understands \u201cThe Power of the Dog\u201d<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/amplify.nabshow.com\/articles\/dashboard-confessional-ryusuke-hamaguchis-drive-my-car\/\" target=\"_blank\" rel=\"noreferrer noopener\">Dashboard Confessional: Ryusuke Hamaguchi\u2019s \u201cDrive My Car\u201d<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/amplify.nabshow.com\/articles\/parallel-mothers-honors-the-disappeared-and-heralds-the-new-spanish-family\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cParallel Mothers:\u201d How Pedro Almod\u00f3var Heralds the New Spanish Family<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/amplify.nabshow.com\/articles\/the-souvenir-part-ii-portrait-of-the-artist-as-a-young-woman\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cThe Souvenir Part II:\u201d Portrait of the Artist As a Young Woman<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/amplify.nabshow.com\/articles\/create-life-is-just-a-mess-but-thats-the-point-making-the-worst-person-in-the-world\/\" target=\"_blank\" rel=\"noreferrer noopener\">Life Is a Mess But That\u2019s the Point: Making \u201cThe Worst Person in the World\u201d<\/a><\/li>\n<\/ul>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background\"\/>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Champetier\u2019s expertise using classic camera moves proved to be invaluable while filming <em>Annette<\/em>, the DP told Talu. For example, \u201cone might think it would have been easier to circle the actor, Simon Helberg, with a Steadicam, but there had to be big rhythmic breaks in this shot,\u201d she detailed:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cSo we set up rails and turned around him at different speeds with a zoom. That allowed me to move closer or farther away depending on the music, since the framing absolutely follows the music in this sequence. The Steadicam could have been a way of doing it, but the dolly yields something more stable that can be settled. A Steadicam movement cannot be interrupted \u2014 you have to follow it through, because it continues to float if you stop it. On the dolly, you can interrupt a shot and then start over. That\u2019s the reason why we also used a dolly in the sequence shot in which Ann sings alone in her room and understands that Henry might not be the man she thought he was. That being said, the speed and violence of Henry\u2019s movements on stage often required a Steadicam.\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00144RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52927\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">There was no systematic use of framing tools for <em>Annette<\/em>, as Champetier explained to <em><a href=\"https:\/\/lenspire.zeiss.com\/cine\/en\/article\/annette\" target=\"_blank\" rel=\"noreferrer noopener\">Lenspire<\/a><\/em>. Rather, camera movement such as Steadicam, dolly, crane shots and handheld cameras were defined by the blocking of each sequence. \u201cThe motions follow the blocking,\u201d she emphasized:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cCarax\u2026 talked about using a Steadicam, but we knew that we would not be able to afford a Steadicamer every day, we had to adapt. I really enjoy the dolly. There is a sophisticated dolly move in a scene were Marion Cotillard sings about her worries: it is designed, rehearsed with the actress. Many directors can be reassured by a kind of versatility of the Steadicam, but we would not have been able to achieve the firmness of the shot and the way it sometimes freezes with a Steadicam. I find it difficult to block, because it is all about rhythm, how it starts and how it ends\u2026 Which is not the case with the dolly.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Champetier credits Steadicam operator Jo Vermaerckefor for his thoughtful contributions throughout production. \u201cHe was respectful of the fact that the shot is built by several people,\u201d she said. \u201cWe made a film which looks like it has cost five million euros more than the actual budget, so we had to work as a flexible, hybrid team. Jo also operated a second camera, In\u00e8s was focus puller and camera operator, our trainees were also able to operate and to assist.\u201d<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">So May We Start?<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Sparks, Adam Driver, Marion Cotillard - So May We Start | From &quot;Annette&quot; ft. Simon Helb...\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/YWb3KpvAz8s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In a paean to cinema itself, <em>Annette<\/em> opens with an infectious introductory musical number featuring the Sparks brothers along with the film\u2019s cast and director.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe number \u2018So May We Start\u2019 serves as a preface to the movie,\u201d <a href=\"https:\/\/variety.com\/2021\/artisans\/production\/leos-carax-annette-lin-manuel-miranda-adam-driver-1235034703\/\" target=\"_blank\" rel=\"noreferrer noopener\">Jazz Tangcay<\/a> writes in <em>Variety<\/em>. \u201cA close-up of drums cuts to a guitar before settling in on a tight shot of Russell Mael. As the camera zooms out to include a recording studio, we see singers moving down the connecting hallway, where they are joined by Driver and Cotillard \u2014 outside their roles in the film.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1037\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01505_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?resize=1037%2C720&#038;ssl=1\" alt=\"Director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52913\"\/><figcaption class=\"wp-element-caption\">Director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The sequence was partially inspired by a video from Lin-Manuel Miranda\u2019s 2010 wedding to Vanessa Nadal, Champetier told Tangcay. As a surprise for the bride during the reception, Miranda used members of the wedding party to recreate \u201c<a href=\"https:\/\/youtu.be\/KgZ4ZTTfKO8\" target=\"_blank\" rel=\"noreferrer noopener\">To Life<\/a>\u201c from <em>Fiddler on the Roof<\/em>. \u201cLeos wanted the scene have the same energy as that, and be a preamble to everything,\u201d Champetier said.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/variety.com\/2021\/artisans\/production\/leos-carax-annette-lin-manuel-miranda-adam-driver-1235034703\/\" target=\"_blank\" rel=\"noreferrer noopener\">How Lin-Manuel Miranda\u2019s Wedding Video Informed the Opening to Leos Carax\u2019s Musical \u2018Annette\u2019 (Variety)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01425RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Sparks duo Ron Mael and Russell Mael in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52907\"\/><figcaption class=\"wp-element-caption\">Sparks duo Ron Mael and Russell Mael in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Champetier described the opening sequence in her interview with <em><a href=\"https:\/\/www.filmcomment.com\/blog\/cannes-2021-interview-caroline-champetier-annette-leos-carax\/\" target=\"_blank\" rel=\"noreferrer noopener\">Film Comment<\/a><\/em>: \u201cAnnette\u2019s prologue is an expansive act of <em>mise en sc\u00e8ne<\/em> on LC\u2019s part,\u201d she said:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cIt\u2019s a sequence shot that begins inside a recording studio \u2014 the legendary The Village Studios in Los Angeles\u2014and steps out onto Santa Monica Boulevard, until the actors \u2014 Adam Driver, Marion Cotillard, and Simon Helberg \u2014 put on their characters\u2019 costumes and take off into the L.A. night. As the crew \u2014 the sound mixer, Erwan Kerzanet; the first assistant camera, In\u00e8s Tabarin; our terrific American steadicam operators; and me \u2014 we had to make the shot possible.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Carax \u201cdoesn\u2019t always talk about his motivations, Champetier told <em><a href=\"https:\/\/www.filmcomment.com\/blog\/cannes-2021-interview-caroline-champetier-annette-leos-carax\/\" target=\"_blank\" rel=\"noreferrer noopener\">Film Comment<\/a><\/em>, but he regularly provided what she calls \u201cpowerful\u201d references, usually delivered without comment. \u201cIt\u2019s our job to follow up with other references, then initiate the creative gesture,\u201d she said.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cFor Annette\u2019s opening sequence, LC showed us Lin-Manuel Miranda\u2019s wedding video, in which he grabs the mike, starts singing, and calls all the wedding participants to his side. It\u2019s a real show \u2014 a gift for the bride, who stands there laughing and applauding. This wedding video made us understand the momentum that LC wanted the film to have, both for the audience and for us, the crew. We were also a gang and had to remain one until the end.\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00836RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52899\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Annette the Puppet<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Among a continually unwrapping host of surprises, perhaps one of the most unexpected things about <em>Annette<\/em> is that the titular character is played almost entirely by puppets.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cLC came up with the idea of the puppet because it was impossible to meet the constraint of depicting a child from birth to age six,\u201d Champetier explained to <em><a href=\"https:\/\/www.filmcomment.com\/blog\/cannes-2021-interview-caroline-champetier-annette-leos-carax\/\" target=\"_blank\" rel=\"noreferrer noopener\">Film Comment<\/a><\/em>, recounting how Carax, assistant director Julie Gouet, and the DP attended the shows of choreographer Gis\u00e8le Vienne, whose work draws on the art of puppetry, before meeting Annette\u2019s puppeteers, Estelle Charlier and Romuald Collinet.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00501RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux and Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52892\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux and Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Beginning in May 2018, creating the puppets for Annette was \u201ca long work in progress,\u201d Champetier said:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cAnnette had five bodies \u2014 from her birth until she was six years old \u2014 each of which had several different masks, such as the laughing mask of the moment when she dances with her mother on the patio of their house or the worried mask during the storm. For my part, I focused on the puppet\u2019s textures so that it would have a luminosity that could be that of a child. I also filmed pretty early on my daughter Jeanne with one of Annette\u2019s first masks. We realized that a young woman and a puppet worked together. That is to say that the feeling of humanity was there. Same thing when Marion Cotillard rehearsed the dance scene with the unfinished puppet: we were all moved.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">A year later, the production set up a factory in Brussels, which included workshops for each department, from costumes to sets. \u201cI wanted there to be a Black Maria \u2014 the name of Edison\u2019s studio, the first in film history \u2014 where we could train, like in the small Panavision studio in which we shot a lot of things,\u201d Champetier said. \u201cSo we built a black box where we did all our tests, from Adam Driver\u2019s costumes to the puppet\u2019s last tests. We saw how it unfurled, walked, closed its eyes, but also how to dress it and make it fly. It was really a work of taming the puppet through the camera.\u201d<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/571312722?h=f2fd90fe5d&amp;color=c9ff23\" width=\"100%\" height=\"405\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen=\"\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">Champetier and her team conducted extensive tests with the puppets to determine if the conceit could work, the DP said in her interview with <em><a href=\"https:\/\/lenspire.zeiss.com\/cine\/en\/article\/annette\" target=\"_blank\" rel=\"noreferrer noopener\">Lenspire<\/a><\/em>. \u201cDuring these first tests, the question was if we believed in it, and finding a way to make her sing and move,\u201d she recounts:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cOne of the first things we filmed was her aria, and this great idea from the puppeteers, Estelle Charlier et Romuald Collinet, to have her fly away. We were struck. Leos and I did not realize what is the puppet art, which is a thousand-year-old art. They know how to make something, that looks like a human, move\u2026 We thought that we would bring them to us, whereas we went to them, there are no animatronics or VFX. When her face moves, her expressions actually change between shots. At a particular time, the director (Simon Helberg) plays for Annette the love song of her parents. As the camera is isolating the conductor, the puppeteers are changing Annette\u2019s face off screen. Then the camera pulls back: she has fallen asleep. It is only manipulation, for them as for us.\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00135RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52926\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Champetier described her approach to lighting the puppets in order to render skin tones in an interview with <a href=\"https:\/\/filmmakermagazine.com\/112090-leos-caraxs-green-period-dp-caroline-champetier-on-annette-and-work-with-jacques-rivette-claude-lanzmann-and-philippe-garrel\/#.YRX7b9NKjFo\" target=\"_blank\" rel=\"noreferrer noopener\">Nicolas Rapold<\/a> for <em>Filmmaker Magazine<\/em>. \u201cFor me, I tried to make her real,\u201d she said. \u201cSo yes, with her lighting, I was looking for the skin like with a real child. And of course you can see that it\u2019s a puppet! But Leos, myself, everybody \u2014 we didn\u2019t want to fake that with silicone and so on. It was really more poetic, more charming and brave to do it like that with a real puppet, with real puppeteers working while we are doing the shot.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But there wasn\u2019t mush conversation about what looks lifelike versus what looks artificial, Champetier revealed:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cIt\u2019s artificial, like Pinocchio! You don\u2019t ask Pinocchio to be a real boy. You understand, \u2018it\u2019s Annette.\u2019 Leos thought, and we thought, that it was impossible to shoot a child from zero to six years. How do you do that? You would need 15 children, because a child changes so much. So, the big decision was to take the concept of a child. And the other decision is, at the end, it\u2019s Annette [played by a real child] and we understand everything was real.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/filmmakermagazine.com\/112090-leos-caraxs-green-period-dp-caroline-champetier-on-annette-and-work-with-jacques-rivette-claude-lanzmann-and-philippe-garrel\/#.YRX7b9NKjFo\" target=\"_blank\" rel=\"noreferrer noopener\">Leos Carax\u2019s Green Period: DP Caroline Champetier on Annette and Her Work with Jacques Rivette, Claude LanzmAnn Defrasnoux and Philippe Garrel (Filmmaker Magazine)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00695RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux and Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52895\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux and Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">The Storm at Sea<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The centerpiece of <em>Annette<\/em> is a boat trip Henry and Ann embark on in hopes of salvaging their marriage that turns into a violent thunderstorm, both figuratively and literally as the couple argues violently against the backdrop of a dramatic storm at sea. The grandly operatic sequence was filmed inside a studio but without the use of green screen technology, Champetier revealed to <em><a href=\"https:\/\/variety.com\/2021\/artisans\/production\/leos-carax-annette-lin-manuel-miranda-adam-driver-1235034703\/\" target=\"_blank\" rel=\"noreferrer noopener\">Variety<\/a><\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01503_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52911\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Instead of using a green screen, which Carax felt was stylistically artificial, the production team employed a projection screen, but that meant the filmmakers could only project b-roll of the sea or the sky, but not both simultaneously. \u201cSo Champetier created a puppet version of the set against the projected background to determine her lighting and the coloring of the sea,\u201d Tangcay reports. \u201cThe miniature helped her visualize for Carax an alternative solution \u2014 projecting only the waves but lit at an attention-grabbing 25,000 lumens.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAbsolutely it is not a composite,\u201d Champetier commented to <em><a href=\"https:\/\/filmmakermagazine.com\/112090-leos-caraxs-green-period-dp-caroline-champetier-on-annette-and-work-with-jacques-rivette-claude-lanzmann-and-philippe-garrel\/#.YRX7b9NKjFo\" target=\"_blank\" rel=\"noreferrer noopener\">Filmmaker Magazine<\/a><\/em>. \u201cLeos does not like the green screen at all, and he does not like compositing too much. He likes when the maximum is done on set.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01501_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry and Marion Cotillard an Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52909\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry and Marion Cotillard an Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The camera and dolly were placed on 65-foot-long, nine-foot-high platform outside the boat and Champetier adjusted the zoom to create the desired effect. \u201cI wanted to give audiences that feeling of being on the boat amid a storm,\u201d she says, \u201cand create that sense of danger.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Champetier further detailed the shoot for the storm sequence on the Zeiss <em><a href=\"https:\/\/lenspire.zeiss.com\/cine\/en\/article\/annette\" target=\"_blank\" rel=\"noreferrer noopener\">Lenspire<\/a><\/em> blog:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThe storm scene is entirely shot live. The storm in the background is made of a front screening on a semi-circular, 12-meter-high, 30-meter-wide cyc hanging five meters away from the boat. Two projectors were broadcasting a surfing wave in a loop. We had to find how to represent the sea, should we see the sky or not\u2026 I looked for photographs of surf, pictures from Hokusai or Courbet. Quite soon Florian Sanson, the art director, proposed a picture that made me click, were you could see the deck of a boat facing a tsunami. I thought, \u2018of course, a water wall, why need the sky?\u2019 This is when the experience I had with the limousine interior in <em>Holy Motors<\/em> was useful. It already was a projection system, on which I had great help from Jean-Pierre Beauviala [the inventor and founder of Aaton Cameras], whereas everyone else told me that a green screen was the only solution.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cLeos Carax first thought that we should film the scene close to the characters, so that the camera lives through the storm as they do. However, when I discovered how the gimbal supporting the boat worked, I thought that the camera had to remain outside the boat, because if it were attached to the movement, there wouldn\u2019t be any movement. We had a rostrum built to move the dolly all along the boat, so that we were able to improvise with the actors in motion.\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01052RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry and Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52903\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry and Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">In-Camera Vs. Visual Effects<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Even with Carax\u2019s dictate to achieve as much in-camera imagery as possible, the final sequence of the film, featuring a performance by the titular Annette, employed both live action and CGI. Speaking to <em><a href=\"https:\/\/www.afcinema.com\/Caroline-Champetier-AFC-talks-about-her-work-on-Leos-Carax-s-Annette.html\" target=\"_blank\" rel=\"noreferrer noopener\">AF Cinema<\/a><\/em>, Champetier detailed how the sequence was realized.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The cinematographer initially wanted to shoot the sequence in a real stadium, she said, going so far as to scout locations in 2016. Knowing they\u2019d be unable to populate the stadium, the filmmakers were already thinking of digitally multiplying the crowd.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"MPC - Annette directed by Leos Carax - VFX Breakdown\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/pjWrH8s7Mjw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAnnette would stand on a light cube that echoed Henry\u2019s smoke cube onstage: a great idea by Florian Sanson,\u201d Champetier noted. \u201cIn Annette\u2019s cube, there wouldn\u2019t have been smoke, but waves that evoked the storm scene and what Annette saw through her cabin\u2019s porthole. We were thinking of shooting this cube in a studio or a real, empty stadium at night, and we were hoping to film between 30 and 50 extras near the cube, below Annette. So we once again had tangible leads, in a reality in which we all believed.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1083\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00942RC2_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?resize=1083%2C720&#038;ssl=1\" alt=\"Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52901\"\/><figcaption class=\"wp-element-caption\">Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The cost of building the set elements became prohibitive, however, and the production removed the cube and stadium. \u201cWe decided to keep only the base of the cube, which then became a monolith. It was the visual effects company Mikros Li\u00e8ge that already had the stadium structure seen in the film and which I would have liked to make less elaborate,\u201d she comments.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201c<em>Annette<\/em> is the product of a creation during which people of course made a living, but which has to do with amateurism in the original sense of the word \u2014 that is to say, loving what you do. I think the visual effects technicians enjoyed working on Annette. But it\u2019s another world for us who are in a way artisans of cinema, and for whom the shoot retains its majesty, magic, and authority. Without all these production contingencies, I think we could have gone further in this sequence with something that departed from reality and that Leos would have twisted in his own way, and the VFX would have been there in support, like they are at certain moments in the film.\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00801RCC2_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52898\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The production team hired a separate crew of visual effects artists just to handle the puppetry sequences, Champetier told <em><a href=\"https:\/\/www.afcinema.com\/Caroline-Champetier-AFC-talks-about-her-work-on-Leos-Carax-s-Annette.html\" target=\"_blank\" rel=\"noreferrer noopener\">AF Cinema<\/a><\/em>. \u201cThe shoot started with Annette\u2019s first performance, because the Opera of Li\u00e8ge, where we shot that sequence, was only available on those dates,\u201d she relates:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cWe had decided to leave everything in the dark and therefore easily managed to erase the puppeteers, themselves in black. Annette was lit with a tungsten light on tracks, operated by a lighting technician: it was very \u2018old-fashioned.\u2019 Then, when Annette ascended with her song, we used spotlights that belonged to the theater and produced lightning effects: a motif that we repeated outside Ann\u2019s opera and during the storm. Finally, since the film was a Japanese co-production, it was Japanese visual effects artists, Yu Inose and Naotaro Takahashi, who took care of erasing the puppeteers during Annette\u2019s levitation and elsewhere, while the other visual effects technicians were rubbing their hands, saying: \u2018We won\u2019t be the ones doing it, because it\u2019s a hell of a job.\u2019 <strong>\u201d<\/strong><\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01115RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52905\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">The Color Palette of <em>Annette<\/em><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The darkness of certain settings in <em>Annette<\/em> and the story itself \u2014 which is amplified by Driver \u2014 led the DP to opt for big color whenever possible, she told <em><a href=\"https:\/\/filmmakermagazine.com\/112090-leos-caraxs-green-period-dp-caroline-champetier-on-annette-and-work-with-jacques-rivette-claude-lanzmann-and-philippe-garrel\/#.YRX7b9NKjFo\" target=\"_blank\" rel=\"noreferrer noopener\">Filmmaker Magazine<\/a><\/em>. \u201cI am in my green period,\u201d Carax revealed at one point, which Champetier ran with, employing greens for Henry and yellows for Ann. That meant a swimming pool sequence had to be rendered in green rather than the usual blue, as she outlined to <em><a href=\"https:\/\/www.afcinema.com\/Caroline-Champetier-AFC-talks-about-her-work-on-Leos-Carax-s-Annette.html\" target=\"_blank\" rel=\"noreferrer noopener\">AF Cinema<\/a><\/em>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cLC had associated green with Henry and yellow with Ann. He absolutely didn\u2019t want the pool to be blue, but green. What was difficult for us was to make it powerfully green. An RGB underwater light system was too expensive, so we had to fall back on something much more rudimentary: lights that could be submerged and on which we attached color gels. Even today, the gaffer, Wim Temmerman, is mad at me for not [digitally] removing the clips in the pool, but I know nobody\u2019s going to see them. That\u2019s part of the risks you have to take when you\u2019re not in the Hollywood system and have to meet financial constraints. Each time, you must find a way to solve the problem and fulfill the director\u2019s desire in the film\u2019s own production setup.\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01510_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52920\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Over on the Zeiss <em><a href=\"https:\/\/lenspire.zeiss.com\/cine\/en\/article\/annette\" target=\"_blank\" rel=\"noreferrer noopener\">Lenspire<\/a><\/em> blog, Champetier described what she calls a \u201cporous black,\u201d which she hoped to achieve for the film. \u201cSuch blacks are not shiny or photographic,\u201d she said. \u201cYou can see them in Lynch\u2019s films, in <em><a href=\"https:\/\/youtu.be\/7tAlCil_1HA\" target=\"_blank\" rel=\"noreferrer noopener\">Lost Highway<\/a><\/em>. The 25-250 [lens] provides welcoming blacks. If your blacks are too shiny, you remain at the door. Such a finesse of the blacks is difficult to achieve with digital.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This porous black was a challenge for \u201cboth the film and for the colorist,\u201d Champetier recounted to <a href=\"https:\/\/www.afcinema.com\/Caroline-Champetier-AFC-talks-about-her-work-on-Leos-Carax-s-Annette.html\" target=\"_blank\" rel=\"noreferrer noopener\"><em>AF Cinema<\/em><\/a>. \u201cThe difficulty is not to achieve it once: the work of the cinematographer is maintaining the consistency of contrasts and texture,\u201d she said. \u201cI hope at least that one can sense the consistency of the black throughout the film. It was its photographic difficulty.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01509_UGC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios\" class=\"wp-image-52919\"\/><figcaption class=\"wp-element-caption\">Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">For Carax, the texture of film stock remains the primary reference for cinema, Champetier said, but <em>Annette<\/em> wouldn\u2019t have been achieved without a digital camera. \u201cHe often says, \u2018it\u2019s so crisp, so digital,\u2019 which the film isn\u2019t: I find it quite soft,\u201d she explains:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cAs for myself, I have moved on. Anyway, this film would have been difficult to achieve in film stock, because of the blacks. We had to give texture to the black, we didn\u2019t want to make it frightening, but porous, so that we could enter it, and we had to revive it. That is why colors came quickly, and I proposed the reds and the blues to Leos, while he found the green of the swimming pool. The black could not be the winner, we had to work in contradiction.\u201d<\/p>\n<\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\">Sparks: Ron &amp; Russel Mael<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Carax, perhaps best known in the US for his \u201c<a href=\"https:\/\/variety.com\/2012\/film\/markets-festivals\/holy-motors-1117947624\/\" target=\"_blank\" rel=\"noreferrer noopener\">narratively unhinged<\/a>\u201c 2012 film <a href=\"https:\/\/youtu.be\/ex_dj0egJBo\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Holy Motors<\/em><\/a>, received the award for best director for <em>Annette<\/em> at Cannes. The visionary director contributed to the script written by Sparks duo Ron and Russell Mael, who had first conceived of the story and music as a stage play more than a decade ago.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00011RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52924\"\/><figcaption class=\"wp-element-caption\">Adam Driver as Henry McHenry in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe first time we wrote a full-blown movie musical was our adaptation of \u2018Mai, the Psychic Girl\u2019 for Tim Burton, which didn\u2019t get made,\u201d Ron Mael told <a href=\"https:\/\/www.indiewire.com\/2021\/08\/annette-sparks-brothers-leos-carax-collaboration-1234655722\/\" target=\"_blank\" rel=\"noreferrer noopener\">Eric Kohn<\/a> at <em>IndieWire<\/em>. \u201cWe learned pretty early on from that experience how to incorporate dialogue into a musical setting that feels naturalistic while still feeling stylized. That\u2019s something we really enjoy \u2014 incorporating things that don\u2019t ordinarily find people breaking into song. We were able to transfer that kind of thinking to <em>Annette<\/em>. Songs like \u2018So May We Start\u2019 and \u2018We Love Each Other So Much\u2019 aren\u2019t song-songs; they\u2019re more like rhythmic speaking, not in a rock-music kind of way but as actual dialogue.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The only changes Carax made to the Mael\u2019s concept, \u201cwas the writing,\u201d he said. \u201cIt was only a storyline without characters. The brothers live in this Sparks bubble, which is pop fantasy. There was a lot of irony. Irony in a cinema is a danger, I think. It has a tendency to make everything less crucial, less real. It\u2019s a bit too easy for cinema, especially today. I had to make that irony into something else. We had to really create Henry as a character.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Annette - Opening scene - So May We Start (SPARKS)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/0hzygq_qHEI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The story and music were complete before Carax became involved, but \u201cthere were certain pieces that he wanted to refine as well as some of the characters. There were eight years of tweaking the dialogue within the pieces that already existed. There were a few pieces that were added at his suggestion,\u201d said Russell Mael.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-embed-aspect-16-9 wp-has-aspect-ratio wp-block-paragraph\">\u201c\u2018So May We Start\u2019 was there at the beginning, but Leos added some stuff. The lyrics include the lines, \u2018The budget is large, but still not large enough.\u2019 That\u2019s because originally, we thought this would be a stage performance, but the lyrics kind of translated to the movie anyway. Leos he added that break section where they kneel down on the sidewalk. The whole thrust of the piece was there from the beginning, though \u2014 the way it serves as this intro to the movie you\u2019re about to see. When we sing that \u2018the authors are here so let\u2019s no show disdain, the authors are here, and they\u2019re a little vain,\u2019 that\u2019s us specifically writing about ourselves.\u201d<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Annette Movie Clip - We Love Each Other So Much (2021) | Movieclips Coming Soon\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/YQ8Jiy8kqVM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The infamous number, \u201cWe Love Each Other So Much,\u201d ends with Driver singing with his head between Cotillard\u2019s thighs. \u201cThe music and lyrics of \u2018We Love Each Other So Much\u2019 are identical to our version, but obviously the final part where they\u2019re making love and such \u2014 that was Leos\u2019 idea, to have that specific moment,\u201d Russell Mael comments.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThere were so many times where we had a piece of music and just a general idea in our heads of how it would be staged, but he\u2019d take it to these beautiful extremes in almost every case,\u201d Ron Mael adds. \u201cWhen Henry is performing this, uh, very specific act on Anne, you just shake your head when you see that. I asked Leos when he thought of doing that and he said, \u2018From the very beginning.\u2019 \u201c<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" height=\"720\" width=\"1083\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_01035RC2_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?resize=1083%2C720&#038;ssl=1\" alt=\"Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios\" class=\"wp-image-52902\"\/><figcaption class=\"wp-element-caption\">Marion Cotillard as Ann Defrasnoux in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Kris Dewitte\/Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Carax suggested the number be done in three parts, he recounted to <a href=\"https:\/\/www.indiewire.com\/2021\/08\/annette-sparks-brothers-leos-carax-collaboration-1234655722\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>IndieWire<\/em><\/a>. \u2018One part is the romantic part, then the rhythmic thing on the motorcycle, then they\u2019re gonna fuck, and then it\u2019s going to calm down.\u201d So we reshaped it that way. Why don\u2019t people in musicals fuck? It\u2019s not a rule but it seems weird. Probably because it\u2019s an old genre. It was a fun process for everyone. It was contagious. The only difficulty was for Marion to sing with her head in a very difficult position.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.indiewire.com\/2021\/08\/annette-sparks-brothers-leos-carax-collaboration-1234655722\/\" target=\"_blank\" rel=\"noreferrer noopener\">Leos Carax and Sparks\u2019 \u2018Annette\u2019 Evolution: A Failed Tim Burton Musical, 80 Original Songs, and More (IndieWire)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/ANET_2021_Unit_00110RC_EVRGRN_FINAL_KeySet_IAW_rgb-LR.jpg?ssl=1\" alt=\"Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios\" class=\"wp-image-52925\"\/><figcaption class=\"wp-element-caption\">Simon Helberg as The Conductor in director Leos Carax\u2019s \u201cAnnette.\u201d Cr: Amazon Studios<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Want more? Listen to <em>Annette<\/em> director Leos Carax discuss the making of his newest film on the Film at Lincoln Center podcast in the audio player below:<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"146\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/1105427323&amp;color=ff5500\"><\/iframe><div style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\"><a href=\"https:\/\/soundcloud.com\/filmlinc\" title=\"Film at Lincoln Center Podcast\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener\">Film at Lincoln Center Podcast<\/a> \u00b7 <a href=\"https:\/\/soundcloud.com\/filmlinc\/leos-carax-on-annette-his-need-for-chaos-and-adam-drivers-physicality\" title=\"#347 - Leos Carax on Annette, His Need for Chaos, and Adam Driver's Physicality\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\" rel=\"noopener\">#347 &#8211; Leos Carax on Annette, His Need for Chaos, and Adam Driver&#8217;s Physicality<\/a><\/div>\n\n\n\n<div style=\"height:22px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">You can also listen to Eleanor Beardsley\u2019s coverage of <em>Annette<\/em> for NPR from the red carpet at Cannes, including interviews with Ron Mael, Carax and Cotillard:<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/www.npr.org\/player\/embed\/1024834015\/1024834031\" width=\"100%\" height=\"240\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">In a Q&amp;A with guest moderator Janelle Riley for <em>Film Independent<\/em>, brothers Ron and Russell Mael discuss their debut movie musical:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Sparks on Leos Carax + ANNETTE | Ron &amp; Russell Mael - Q&amp;A | Film Independent Presents\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/G7BUGUX24ds?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Ron and Russell Mael discuss their collaboration with director and co-songwriter Leos Carax on the film\u2019s infectious opening song:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"ANNETTE | Scene At The Academy\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/s4zs6vRAQaA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Beauty Of Leos Carax\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/iIu4CSoSga4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Cinematographer Caroline Champetier employs the Sony VENICE camera and Zeiss Supreme Prime lenses for her latest collaboration with Carax.<\/p>\n","protected":false},"author":2,"featured_media":53461,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-52929","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Because Weird is Wonderful: Making \u201cAnnette\u201d | Jennifer Wolfe<\/title>\n<meta name=\"description\" content=\"Cinematographer Caroline Champetier employs the Sony VENICE camera and Zeiss Supreme Prime lenses for her 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