Exclusive: Sky has landed UK broadcast rights to music film My Favorite Things: The Rodgers & Hammerstein 80thAnniversary Concert.
The deal was announced today by the film executive producers Sophia Dilley from Concord Originals and Imogen Lloyd Webber from Concord Theatricals. Sky will broadcast the film in the UK on Sky Arts in May.
Directed by BAFTA winner Julia Knowles (The Queen’s Platinum Jubilee Celebration), the film celebrates the historic partnership of Richard Rodgers and Oscar Hammerstein II and features iconic songs from The Sound of Music, South Pacific, Oklahoma! and others.
The film includes a concert captured in London in December 2023 at the Theatre Royal Drury Lane – the same venue that premiered the original West End productions of Rodgers & Hammerstein’s Oklahoma!, Carousel, SouthPacific and The King and I.
It was headlined by the likes of recent Rogers & Hammerstein leading lady Joanna Ampil (Rodgers & Hammerstein’s South Pacific); Olivier...
The deal was announced today by the film executive producers Sophia Dilley from Concord Originals and Imogen Lloyd Webber from Concord Theatricals. Sky will broadcast the film in the UK on Sky Arts in May.
Directed by BAFTA winner Julia Knowles (The Queen’s Platinum Jubilee Celebration), the film celebrates the historic partnership of Richard Rodgers and Oscar Hammerstein II and features iconic songs from The Sound of Music, South Pacific, Oklahoma! and others.
The film includes a concert captured in London in December 2023 at the Theatre Royal Drury Lane – the same venue that premiered the original West End productions of Rodgers & Hammerstein’s Oklahoma!, Carousel, SouthPacific and The King and I.
It was headlined by the likes of recent Rogers & Hammerstein leading lady Joanna Ampil (Rodgers & Hammerstein’s South Pacific); Olivier...
- 3/20/2024
- by Jesse Whittock
- Deadline Film + TV
The original 1997 Broadway staging of "Titanic: The Musical" created a legend of itself, rising from previews' technical snafus and mixed reviews before achieving a Best Musical Tony and a run of 804 performances. Nowadays, the title might sound like a memetic gag for those uninitiated with its existence. Really? A musical about the 1912 sinking of the Rms Titanic? But the music may just answer that by shattering the stoniest of hearts.
The morbidly curious or the die-hard theatre-heads who can't access or afford a live professional production now may get their chance. Coincidentally also sharing a 25th anniversary with James Cameron's blockbuster this year, "Titanic: The Musical" finally has a Fathom Events theatrical release, namely a capture of the Thom Southerland-directed production filmed at the Southampton's Mayflower Theatre. This BroadwayHD-produced capture (directed for the screen by Austin Shaw) preserves what has aged like fine wine: Maury Yeston's sumptuous score,...
The morbidly curious or the die-hard theatre-heads who can't access or afford a live professional production now may get their chance. Coincidentally also sharing a 25th anniversary with James Cameron's blockbuster this year, "Titanic: The Musical" finally has a Fathom Events theatrical release, namely a capture of the Thom Southerland-directed production filmed at the Southampton's Mayflower Theatre. This BroadwayHD-produced capture (directed for the screen by Austin Shaw) preserves what has aged like fine wine: Maury Yeston's sumptuous score,...
- 11/5/2023
- by Caroline Cao
- Slash Film
European Film Awards Head Online
The 33rd European Film Awards have pivoted to a virtual ceremony as the pandemic continues to disrupt international travel plans. Scheduled to take place on December 12 in Reykjavik, the event will now go fully digital for this year, before returning to the Icelandic capital in 2021. Organizers of the European Film Academy said they are working on a concept for a week of additional online-events to involve its partners and members. Nominations for the awards will be announced online on November 10. “The decision was not easy but it was made with responsibility and out of care for our guests. No one is more disappointed than our Icelandic friends and we, at Efa, that we will not be able to come together in Reykjavik this year,” said Efa Chairman Mike Downey.
Jude & Raff Law Short
Jude Law and son Raff Law are starring in short film The Hat.
The 33rd European Film Awards have pivoted to a virtual ceremony as the pandemic continues to disrupt international travel plans. Scheduled to take place on December 12 in Reykjavik, the event will now go fully digital for this year, before returning to the Icelandic capital in 2021. Organizers of the European Film Academy said they are working on a concept for a week of additional online-events to involve its partners and members. Nominations for the awards will be announced online on November 10. “The decision was not easy but it was made with responsibility and out of care for our guests. No one is more disappointed than our Icelandic friends and we, at Efa, that we will not be able to come together in Reykjavik this year,” said Efa Chairman Mike Downey.
Jude & Raff Law Short
Jude Law and son Raff Law are starring in short film The Hat.
- 10/13/2020
- by Andreas Wiseman and Tom Grater
- Deadline Film + TV
The Spongebob Musical: Live On Stage!, featuring the Broadway stars and director of 2017’s multiple-Tony-nominated musical, has drawn strong ratings for Nickelodeon.
In Live+3, a December 7 simulcast across Nickelodeon, Nick Jr., Nicktoons and TeenNick drew 1.7 million viewers, up 24% from the Live+Sd simulcast. It averaged a 3.4/751,000 in the K2-11 demo, +25% from L+Sd, and a 3.8/522,000 with K6-11, up 28%.
Directed by Broadway’s Tina Landau (herself Tony-nominated for the show), The SpongeBob Musical featured Ethan Slater in the title role, with Gavin Lee as Squidward Q. Tentacles.
The cast also included Danny Skinner as Patrick Star, Brian Ray Norris as Eugene Krabs, Wesley Taylor as Sheldon Plankton, and Christina Sajous as Sandy Cheeks. The ensemble included Kyle Matthew Hamilton, Katie Lee Hill, Curtis Holbrook, L’ogan J’ones, Jai’len Josey, Kelvin Moon Loh, Lauralyn McClelland, Vasthy Mompoint, Bryonha Parham, Oneika Phillips, Jon Rua, Jc Schuster, Abby C. Smith,...
In Live+3, a December 7 simulcast across Nickelodeon, Nick Jr., Nicktoons and TeenNick drew 1.7 million viewers, up 24% from the Live+Sd simulcast. It averaged a 3.4/751,000 in the K2-11 demo, +25% from L+Sd, and a 3.8/522,000 with K6-11, up 28%.
Directed by Broadway’s Tina Landau (herself Tony-nominated for the show), The SpongeBob Musical featured Ethan Slater in the title role, with Gavin Lee as Squidward Q. Tentacles.
The cast also included Danny Skinner as Patrick Star, Brian Ray Norris as Eugene Krabs, Wesley Taylor as Sheldon Plankton, and Christina Sajous as Sandy Cheeks. The ensemble included Kyle Matthew Hamilton, Katie Lee Hill, Curtis Holbrook, L’ogan J’ones, Jai’len Josey, Kelvin Moon Loh, Lauralyn McClelland, Vasthy Mompoint, Bryonha Parham, Oneika Phillips, Jon Rua, Jc Schuster, Abby C. Smith,...
- 12/13/2019
- by Denise Petski
- Deadline Film + TV
Tom Kenny again lives under the sea, though perhaps adjacent to a pineapple this time. The voice of the beloved cartoon character SpongeBob Squarepants has joined Nickelodeon’s upcoming “The SpongeBob Musical: Live on Stage!”
He’s not taking on his usual role, however — the titular one played on Broadway by Ethan Slater, who will reprise that role for the now-scheduled Dec. 7 Nick event, which starts at 7 p.m. Et/Pt.
Kenny is joining the stage company as Patchy the Pirate. He’ll perform an original Sara Bareilles song, “Poor Pirates.” The whole thing was filmed for television in front of a live theater audience.
Also Read: SpongeBob Squarepants Looks for Gary in 'Sponge on the Run' Trailer - And Finds Keanu Reeves (Video)
In “The SpongeBob Musical,” the stakes are higher than ever, as SpongeBob and all of Bikini Bottom face the potential of total annihilation of their undersea world,...
He’s not taking on his usual role, however — the titular one played on Broadway by Ethan Slater, who will reprise that role for the now-scheduled Dec. 7 Nick event, which starts at 7 p.m. Et/Pt.
Kenny is joining the stage company as Patchy the Pirate. He’ll perform an original Sara Bareilles song, “Poor Pirates.” The whole thing was filmed for television in front of a live theater audience.
Also Read: SpongeBob Squarepants Looks for Gary in 'Sponge on the Run' Trailer - And Finds Keanu Reeves (Video)
In “The SpongeBob Musical,” the stakes are higher than ever, as SpongeBob and all of Bikini Bottom face the potential of total annihilation of their undersea world,...
- 11/19/2019
- by Tony Maglio
- The Wrap
The Broadway stars and director of 2017’s multiple-Tony-nominated SpongeBob SquarePants musical will re-team on Nickelodeon this December, Nickelodeon announced today. Filmed for TV in front of a live theater audience, The SpongeBob Musical: Live On Stage! will star, among other original cast members, Broadway’s Tony-nominated Ethan Slater and Gavin Lee.
Directed by Broadway’s Tina Landau (herself Tony nominated for the show), The SpongeBob Musical features Slater in the title role, with Lee as Squidward Q. Tentacles.
“I’m so thrilled to be able to revisit the show in a new light and with our original cast members,” Landau said in a statement. “The whole creative and I are excited to go back into the world of Bikini Bottom and discover its new life in TV broadcast form. But above all, I’m deeply grateful for the opportunity to share the joy and spirit of our show with a wider audience.
Directed by Broadway’s Tina Landau (herself Tony nominated for the show), The SpongeBob Musical features Slater in the title role, with Lee as Squidward Q. Tentacles.
“I’m so thrilled to be able to revisit the show in a new light and with our original cast members,” Landau said in a statement. “The whole creative and I are excited to go back into the world of Bikini Bottom and discover its new life in TV broadcast form. But above all, I’m deeply grateful for the opportunity to share the joy and spirit of our show with a wider audience.
- 10/17/2019
- by Greg Evans
- Deadline Film + TV
Nickelodeon is taking you to a pineapple under the sea — and Broadway — this December with a live TV special version of “The SpongeBob Musical: Live on Stage!” set to air this holiday season, the kids’ cable channel said Thursday.
Director Tina Landau and members of the Broadway show’s original award-winning company will reunite to film the musical in front of a live theater audience with a production that “will capture all-new depths of theatrical innovation where the power of optimism really can save the world.”
Here’s the description for the musical: “Stakes are higher than ever before as SpongeBob and all of Bikini Bottom face the total annihilation of their undersea world. Chaos erupts. Lives hang in the balance. And just when all hope seems lost, a most unexpected hero rises up and takes center stage.”
Also Read: 'All That' Reboot Gets 13 More Episodes From Nickelodeon
“The SpongeBob Musical: Live on Stage!
Director Tina Landau and members of the Broadway show’s original award-winning company will reunite to film the musical in front of a live theater audience with a production that “will capture all-new depths of theatrical innovation where the power of optimism really can save the world.”
Here’s the description for the musical: “Stakes are higher than ever before as SpongeBob and all of Bikini Bottom face the total annihilation of their undersea world. Chaos erupts. Lives hang in the balance. And just when all hope seems lost, a most unexpected hero rises up and takes center stage.”
Also Read: 'All That' Reboot Gets 13 More Episodes From Nickelodeon
“The SpongeBob Musical: Live on Stage!
- 10/17/2019
- by Jennifer Maas
- The Wrap
The Event Cinema Association (Eca) is planning a conference and networking event to be held in London on Oct 15.
The conference, to be held at Cineworld at the O2, is aimed at exhibitors, distributors, content providers and affiliate technical partners.
Guest speakers will include Isabelle Fauchet, Head of Cinema at The Royal Opera House; Tim Plyming [pictured] of the British Museum (Pompeii Live); and Austin Shaw, COO Omniverse Vision. Cea head Phil Clapp will moderate the sessions.
Participating exhibitors will include Multikino from Poland, Utopolis Belgium, Kuusan Kino Finland and Grand Cinema Digiplex from Romania.
“The event cinema industry is growing at a great rate now and the Eca has recognised an increasing need for a bespoke event for all those involved in this area to meet, discuss issues, generate debate and share ideas,” said Chair Melissa Keeping, who founded the non-profit Eca a year ago. “Until now distributors and exhibitors have only had much larger events dedicated...
The conference, to be held at Cineworld at the O2, is aimed at exhibitors, distributors, content providers and affiliate technical partners.
Guest speakers will include Isabelle Fauchet, Head of Cinema at The Royal Opera House; Tim Plyming [pictured] of the British Museum (Pompeii Live); and Austin Shaw, COO Omniverse Vision. Cea head Phil Clapp will moderate the sessions.
Participating exhibitors will include Multikino from Poland, Utopolis Belgium, Kuusan Kino Finland and Grand Cinema Digiplex from Romania.
“The event cinema industry is growing at a great rate now and the Eca has recognised an increasing need for a bespoke event for all those involved in this area to meet, discuss issues, generate debate and share ideas,” said Chair Melissa Keeping, who founded the non-profit Eca a year ago. “Until now distributors and exhibitors have only had much larger events dedicated...
- 9/17/2013
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
The Event Cinema Association (Eca) is planning a conference and networking event to be held in London on Oct 15.
The conference, to be held at Cineworld at the O2, is aimed at exhibitors, distributors, content providers and affiliate technical partners.
Guest speakers will include Isabelle Fauchet, Head of Cinema at The Royal Opera House; Tim Plyming [pictured] of the British Museum (Pompeii Live); and Austin Shaw, COO Omniverse Vision. Cea head Phil Clapp will moderate the sessions.
Participating exhibitors will include Multikino from Poland, Utopolis Belgium, Kuusan Kino Finland and Grand Cinema Digiplex from Romania.
“The event cinema industry is growing at a great rate now and the Eca has recognised an increasing need for a bespoke event for all those involved in this area to meet, discuss issues, generate debate and share ideas,” said Chair Melissa Keeping, who founded the non-profit Eca a year ago. “Until now distributors and exhibitors have only had much larger events dedicated...
The conference, to be held at Cineworld at the O2, is aimed at exhibitors, distributors, content providers and affiliate technical partners.
Guest speakers will include Isabelle Fauchet, Head of Cinema at The Royal Opera House; Tim Plyming [pictured] of the British Museum (Pompeii Live); and Austin Shaw, COO Omniverse Vision. Cea head Phil Clapp will moderate the sessions.
Participating exhibitors will include Multikino from Poland, Utopolis Belgium, Kuusan Kino Finland and Grand Cinema Digiplex from Romania.
“The event cinema industry is growing at a great rate now and the Eca has recognised an increasing need for a bespoke event for all those involved in this area to meet, discuss issues, generate debate and share ideas,” said Chair Melissa Keeping, who founded the non-profit Eca a year ago. “Until now distributors and exhibitors have only had much larger events dedicated...
- 9/17/2013
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
The first night of Graham McLaren's production was shown in 120 cinemas, generating an audience of 7,500. Organisers hope similar ventures can boost theatre box offices
There are just 690 seats in London's Vaudeville theatre, but when its current production Great Expectations opened last week it mustered an audience of 7,500 by becoming the first West End show to live-broadcast its first night into cinemas nationwide.
Footage of Graham McLaren's production was beamed into about 120 cinemas across the UK by Omniverse Vision, taking around £80,000 at the box office. The event also included additional extras, including the arrival of celebrity guests at the theatre and interviews with audience members.
The film will be shown as a repeat in a number of cinemas across Europe, America, Asia and Australia with Omniverse's co-founder Austin Shaw predicting a total audience in excess of 50,000.
The figures will be of great interest to commercial producers, following the success of the National Theatre's Nt Live programme,...
There are just 690 seats in London's Vaudeville theatre, but when its current production Great Expectations opened last week it mustered an audience of 7,500 by becoming the first West End show to live-broadcast its first night into cinemas nationwide.
Footage of Graham McLaren's production was beamed into about 120 cinemas across the UK by Omniverse Vision, taking around £80,000 at the box office. The event also included additional extras, including the arrival of celebrity guests at the theatre and interviews with audience members.
The film will be shown as a repeat in a number of cinemas across Europe, America, Asia and Australia with Omniverse's co-founder Austin Shaw predicting a total audience in excess of 50,000.
The figures will be of great interest to commercial producers, following the success of the National Theatre's Nt Live programme,...
- 2/14/2013
- by Matt Trueman
- The Guardian - Film News
The film version of Andrew Lloyd Webber's musical theater powerhouse "The Phantom of the Opera" still contains its memorable lyrics and score, but this "Phantom" is a pale -- dare we say ghostly? -- copy of the original coup de theatre directed by Harold Prince. Part of the problem can be laid to miscasting and an overindulgence in set design. But the element of camp, which admittedly lurked in the wings of the stage musical, explodes into full view here before unforgiving cameras.
A Baz Luhrmann might have found a way to make the film version hip and relevant to younger audiences. But Webber clearly maintained a tight grip on his baby as producer and screenplay collaborator with director Joel Schumacher, so little rethinking of the stage show went into the filmization. Consequently, audiences for the musical skew older, with little to attract young males.
The story from Gaston Leroux's 1911 pulp horror novel tells of a disfigured musical genius who haunts the catacombs of a Paris opera house. He secretly mentors a young female singer, whom he adores, but a hideous face behind a half mask forces him to hide both himself and his love from the woman.
The film opens strongly with a black-and-white prologue in 1919, where the aging Vicompte Raoul de Chagny buys an old music box at auction in a decaying theater. As an organ strikes the Phantom's theme, the movie then flashes back in brilliant color to that theater in full swing in 1870 where singers, costumers, set builders and the ballet corps ready the next grand production.
The film gains further momentum when the brilliant and beautiful Emmy Rossum comes onscreen as the young chorus girl Christine Daae. A classically trained singer who made a dazzling debut in the underrated "Songcatcher" in 2000, Rossum has a crystal-pure voice that conveys the soft innocence of the Phantom's beloved. She also handles the mood shifts well, confused when caught in a romantic tug of war between the Phantom and her lover, Raoul, then later finding the backbone to stand up to her mentor.
Alas, the movie stumbles badly with the appearance of Scottish actor Gerard Butler as the Phantom. The role, so memorably created by Michael Crawford onstage, usually falls to an older actor since the Phantom has supposedly been Christine's "angel of music" since childhood. Yet Butler is nearly the same age as Patrick Wilson, who plays Christine's childhood friend Raoul. The change possibly reflects a misguided notion that a younger Phantom will attract a younger crowd, but it throws off the dynamics of the romantic triangle. Much more damaging is the fact Butler is not a trained singer. He manages to get by but lacks the vocal range and richness to do justice to some of the show's finest songs.
The role of Raoul is always problematic. Webber and Schumacher invent a ludicrous sword fight between Raoul and the Phantom in a graveyard so his character is a little less wimpy than onstage. Nevertheless, Wilson struggles, as do all Raouls, to give the character color or dimension.
Minnie Driver, as the opera's impossible diva, is terrific fun, hamming things up in a fake Italian accent and raging ego. Miranda Richardson is suitably grave and levelheaded as the ballet mistress who knows more than she pretends.
Simon Callow and Ciaran Hinds give comic zest to the theater's two new managers, but the roles have always been the show's weakest as they require vaudevillian turns at odds with the musical's often horrific tone.
What the film most damagingly lacks though is a sense of mystery and danger. When the Phantom magically transports Christine through the bowels of the opera to his lair, Schumacher has cinematographer John Mathieson light the passages so brightly -- the better to show off all those expensive sets, apparently -- it feels more like a fun frolic than a journey into the heart of darkness. There is even a horse standing by to help out. What on earth is a horse doing down there?
Similarly, in the scene where Christine visits her father's grave to sing "Wishing You Were Somehow Here Again," Schumacher has Rossum traipse miles through a grotesque set of towering, campy headstones and monuments before she finally arrives at a sarcophagus befitting an emperor. The only trouble is, her father was a poor violinist.
In the story's one major change, the famous scene in which the Phantom causes a chandelier to crash during a performance has been moved to the end to put more "wow" into the climax. Fine, only the audience now has no idea until the end how far this mad genius will go to claim his love from his rival. Except when Rossum is onscreen, this "Phantom" is but a hallow visual effects show.
THE PHANTOM OF THE OPERA
Warner Bros. Pictures
Warner Bros. Pictures presents in association with Odyssey Entertainment A Really Useful Films/Scion Films production
Credits:
Director: Joel Schumacher
Screenwriters: Andrew Lloyd Webber, Joel Schumacher
Based on the novel by: Gaston Leroux
Producer: Andrew Lloyd Webber
Executive producers: Austin Shaw, Paul Hitchcock, Louise Goodsill, Ralph Kamp, Jeff Abberley, Julia Blackman, Keith Cousins
Director of photography: John Mathieson
Production designer: Anthony Pratt
Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Additional lyrics: Richard Stilgoe
Choreographer: Peter Darling
Costumes: Alexandra Byrne
Visual effects supervisor: Nathan McGuinness
Editor: Terry Rawlings
Cast:
Phantom: Gerard Butler
Christine: Emmy Rossum
Raoul: Patrick Wilson
Mme. Giry: Miranda Richardson
Andrew: Simon Callow
Firmin: Ciaran Hinds
Carlotta: Minnie Driver
Buquet: Kevin R. McNally
MPAA rating PG-13
Running time -- 140 minutes...
A Baz Luhrmann might have found a way to make the film version hip and relevant to younger audiences. But Webber clearly maintained a tight grip on his baby as producer and screenplay collaborator with director Joel Schumacher, so little rethinking of the stage show went into the filmization. Consequently, audiences for the musical skew older, with little to attract young males.
The story from Gaston Leroux's 1911 pulp horror novel tells of a disfigured musical genius who haunts the catacombs of a Paris opera house. He secretly mentors a young female singer, whom he adores, but a hideous face behind a half mask forces him to hide both himself and his love from the woman.
The film opens strongly with a black-and-white prologue in 1919, where the aging Vicompte Raoul de Chagny buys an old music box at auction in a decaying theater. As an organ strikes the Phantom's theme, the movie then flashes back in brilliant color to that theater in full swing in 1870 where singers, costumers, set builders and the ballet corps ready the next grand production.
The film gains further momentum when the brilliant and beautiful Emmy Rossum comes onscreen as the young chorus girl Christine Daae. A classically trained singer who made a dazzling debut in the underrated "Songcatcher" in 2000, Rossum has a crystal-pure voice that conveys the soft innocence of the Phantom's beloved. She also handles the mood shifts well, confused when caught in a romantic tug of war between the Phantom and her lover, Raoul, then later finding the backbone to stand up to her mentor.
Alas, the movie stumbles badly with the appearance of Scottish actor Gerard Butler as the Phantom. The role, so memorably created by Michael Crawford onstage, usually falls to an older actor since the Phantom has supposedly been Christine's "angel of music" since childhood. Yet Butler is nearly the same age as Patrick Wilson, who plays Christine's childhood friend Raoul. The change possibly reflects a misguided notion that a younger Phantom will attract a younger crowd, but it throws off the dynamics of the romantic triangle. Much more damaging is the fact Butler is not a trained singer. He manages to get by but lacks the vocal range and richness to do justice to some of the show's finest songs.
The role of Raoul is always problematic. Webber and Schumacher invent a ludicrous sword fight between Raoul and the Phantom in a graveyard so his character is a little less wimpy than onstage. Nevertheless, Wilson struggles, as do all Raouls, to give the character color or dimension.
Minnie Driver, as the opera's impossible diva, is terrific fun, hamming things up in a fake Italian accent and raging ego. Miranda Richardson is suitably grave and levelheaded as the ballet mistress who knows more than she pretends.
Simon Callow and Ciaran Hinds give comic zest to the theater's two new managers, but the roles have always been the show's weakest as they require vaudevillian turns at odds with the musical's often horrific tone.
What the film most damagingly lacks though is a sense of mystery and danger. When the Phantom magically transports Christine through the bowels of the opera to his lair, Schumacher has cinematographer John Mathieson light the passages so brightly -- the better to show off all those expensive sets, apparently -- it feels more like a fun frolic than a journey into the heart of darkness. There is even a horse standing by to help out. What on earth is a horse doing down there?
Similarly, in the scene where Christine visits her father's grave to sing "Wishing You Were Somehow Here Again," Schumacher has Rossum traipse miles through a grotesque set of towering, campy headstones and monuments before she finally arrives at a sarcophagus befitting an emperor. The only trouble is, her father was a poor violinist.
In the story's one major change, the famous scene in which the Phantom causes a chandelier to crash during a performance has been moved to the end to put more "wow" into the climax. Fine, only the audience now has no idea until the end how far this mad genius will go to claim his love from his rival. Except when Rossum is onscreen, this "Phantom" is but a hallow visual effects show.
THE PHANTOM OF THE OPERA
Warner Bros. Pictures
Warner Bros. Pictures presents in association with Odyssey Entertainment A Really Useful Films/Scion Films production
Credits:
Director: Joel Schumacher
Screenwriters: Andrew Lloyd Webber, Joel Schumacher
Based on the novel by: Gaston Leroux
Producer: Andrew Lloyd Webber
Executive producers: Austin Shaw, Paul Hitchcock, Louise Goodsill, Ralph Kamp, Jeff Abberley, Julia Blackman, Keith Cousins
Director of photography: John Mathieson
Production designer: Anthony Pratt
Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Additional lyrics: Richard Stilgoe
Choreographer: Peter Darling
Costumes: Alexandra Byrne
Visual effects supervisor: Nathan McGuinness
Editor: Terry Rawlings
Cast:
Phantom: Gerard Butler
Christine: Emmy Rossum
Raoul: Patrick Wilson
Mme. Giry: Miranda Richardson
Andrew: Simon Callow
Firmin: Ciaran Hinds
Carlotta: Minnie Driver
Buquet: Kevin R. McNally
MPAA rating PG-13
Running time -- 140 minutes...
- 1/10/2005
- The Hollywood Reporter - Movie News
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