ABC, which is owned by the Walt Disney company, re-staged The Little Mermaid in a live telecast on November 5. But how, exactly, did they conceive and execute this mostly underwater adventure with songs and music? The editors of DGA Quarterly, the magazine of the Directors Guild of America, asked me to investigate, so I called Hamish Hamilton, who directed the show (which, one hastens to add, was among the highest-rated live TV musicals of the modern era). Hamilton pointed out that “we had puppets and effects and props and projectors and music and mermaids and flying and performers in very unwieldy costumes!” The story, in DGA Quarterly‘s winter edition, can be read here.
Composer Patrick Doyle and director Kenneth Branagh, who have Murder on the Orient Express in this year’s awards competition, had never done a joint interview despite 30 years of collaboration in the movies and on the stage (including memorable scores for Henry V, Hamlet, Cinderella and Thor). So when the DGA Quarterly — the magazine of the Directors Guild of America — asked me to quiz them about their long and productive time together, I was delighted. The piece is in the Winter 2018 issue, which is now online.
One of the year’s most interesting musical scores, for the sci-fi film Arrival, was the result of a close collaboration between Icelandic composer Johann Johannsson and Canadian director Denis Villeneuve, whose previous films Prisoners and Sicario were also notable for their music. DGA Quarterly editor Steve Chagollan asked me to get both on the phone (Johannsson in New York, Villeneuve in Budapest where he is shooting Blade Runner 2049) to discuss the details of Arrival and, more generally, their long and artistically fruitful partnership. The story appears in the fall/winter 2016-17 issue.