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“So May We Start” was there at the beginning, but Leos added some stuff. There were a few pieces that were added at his suggestion. There were eight years of tweaking the dialogue within the pieces that already existed. RUSSELL MAEL: The entire story and most of the music was complete before Leos was involved, but there were certain pieces that he wanted to refine as well as some of the characters.
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Also, the idea of choreography as being more naturalistic within the movie musical, coupled with the delivery of the singers being more naturalistic. RON MAEL: Very early on, we discussed with Leos our shared idea of what a modern movie musical should be - that there should be a sincerity to what is going on, the characters aren’t removed in any kind of way from expressing their feelings. We had to really create Henry as a character. I had to make that irony into something else. It’s a bit too easy for cinema, especially today. It has a tendency to make everything less crucial, less real. The brothers live in this Sparks bubble, which is pop fantasy. It was only a storyline without characters. The only changes I made were with the writing. There were many versions of every song, depending on where the story was going. LEOS CARAX: They came to me with this film and then we wrote more than we thought we would. We were able to transfer that kind of thinking to “Annette.” Songs like “So May We Start” and “We Love Each Other So Much” aren’t song-songs they’re more like rhythmic speaking, not in a rock-music kind of way but as actual dialogue. That’s something we really enjoy - incorporating things that don’t ordinarily find people breaking into song.
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We learned pretty early on from that experience how to incorporate dialogue into a musical setting that feels naturalistic while still feeling stylized. RON MAEL: The first time we wrote a full-blown movie musical was our adaptation of “Mai, the Psychic Girl” for Tim Burton, which didn’t get made. The following interviews have been edited and condensed for clarity. Here, the trio explain how that division of labor took place. Carax played an active role in the development of the 42 songs heard throughout the movie, including requests for additions and tweaks. Ron Mael and Russell Mael at the photcall for “Annette” during the 2021 Cannes Film FestivalĪs it turns out, “Annette” isn’t just a musical by Sparks. Through it all, Sparks compositions oscillate in tone from the ebullience of the opening earworm “So May We Start” and the swooning “We Love Each Other So Much” through the gloominess of “The Abyss.” In “Annette,” these manifest in everything from a musical sex scene and Henry’s combustible call-and-response interaction with his audience to Anne giving birth to the eponymous wooden doll, whom the couple raise as a real daughter. Needless to say, “Annette” has been a long time coming, and it represents a unique meeting of the minds: Like a lot of Sparks songs, Carax’s moody, enigmatic storytelling blends genuine emotion with surreal twists. A decade later, they attempted to adapt the Japanese manga “Mai, the Psychic Girl” into a musical with Tim Burton attached to direct until the filmmaker was attracted to other projects. The Maels first conceived of the project for the stage years ago, but it was hardly the first time they took a stab at a musical: In the early ’70s, the pair met with slapstick legend Jacques Tati about composing music and starring in his last feature, “Confusion,” but Tati died before it could progress further.
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The filmmaker spent almost eight years collaborating with Sparks on “Annette,” which stars Adam Driver as Henry, a self-destructive comic, and Marion Cotillard as Anne, his opera singer wife. 'The White Lotus': Everything You Need to Know About the HBO SeriesĬarax never really stopped working.
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