Lifestyle
To become the 'Maestro,' Bradley Cooper learned to live the music
Bradley Cooper plays composer Leonard Bernstein in Maestro.
Jason McDonald/Netflix
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Jason McDonald/Netflix
Bradley Cooper plays composer Leonard Bernstein in Maestro.
Jason McDonald/Netflix
As a child, actor Bradley Cooper was so fascinated by music conductors that he asked for a baton as a birthday gift. He remembers whirling his arms around in his bedroom — and feeling like a wizard.
“There was something magical about being able to physically move to a rhythm,” he says. “And then, in my imagination, [to] be able to perceive that I was actually harnessing and commanding that music. I mean, it was really like a magic trick, every time.”
Cooper channeled that energy as the co-writer, director and star of Maestro, a film about the internationally famous composer and conductor Leonard Bernstein. Widely considered the first great American conductor, Bernstein led the New York Philharmonic from 1957 to ’69, and also composed classical music, as well as music for Broadway and film.
Cooper says conducting as Bernstein in the film was tricky: “I had no desire to imitate what he was doing, because that would have been a soulless, in my experience, endeavor.” Instead, the actor consulted with conductor Yannick Nézet-Séguin, who helped him find his own rhythm on the podium.
Nézet-Séguin is the artistic and music director of the Philadelphia Orchestra, music director of the Metropolitan Opera Orchestra, and music director and principal conductor of the Orchestre Métropolitain in Montreal. Though he was 15 when Bernstein died, Nézet-Séguin refers to the conductor as, “hands down, always my greatest conducting model.”
“I always felt even when I was a teenager, that this is the way I wanted to express music on the podium, just expressing with all my body and not being shy of showing my emotions on the podium,” Nézet-Séguin says.
For Nézet-Séguin, Bernstein’s influence is both professional and personal. He notes that Bernstein’s sexuality — he was married to a woman but also had relationships with men — helped open doors for others in the classical music field.
“The fact that he lived this and didn’t hide it completely, well, it allowed people like [conductor] Michael Tilson Thomas or like me to now live it fully, have husbands,” Nézet-Séguin says. “This is … one of the many reasons why this film is so important. It’s not so much that it’s about a bisexual or a gay character, but more about how complex it is.”
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Interview highlights
On the centerpiece of the film, the final movement of Mahler’s “Symphony No. 2”
Nézet-Séguin: This, just from a logistics point of view, for a conductor, it’s the most complex. Now, this specific moment also comes at the very end of a very long symphony that’s about 90 minutes long. So you’re almost one hour and a half into blood and sweat and tears of some of the most soulful and profound music that’s ever been written. And as a conductor, you have to keep your mind cool because you need to still direct the traffic … well, but also be completely emotionally involved in the meaning of this music.
Cooper: There’s this incredible video of Lenny conducting this piece in 1973 in Ely Cathedral with the London Symphony Orchestra, which is exactly what we replicated. But I always knew that I wasn’t going to just imitate what he was doing. It was actually finding that middle ground. And Yannick was in particular so supportive of me, as Lenny, finding whatever that mode of conducting is, which was, of course, infused entirely by not only the interpretation of the score, which is what we did in terms of tempo, but also in terms of his gesticulating and all of that. But having it be original because the goal was to conduct in real time this piece and record it.
On the theatricality that Bernstein displayed while conducting
Cooper: Bernstein himself, he was often asked about his antics, as you know, on the podium. And he would always talk about how it was all about his relationship to the orchestra, and to the musicians that he was making music with, and not about him performing for the audience. … At any moment, [he] was always just completely in the music.
Nézet-Séguin: Maybe it’s something that Lenny had been accused of in his lifetime. Because, of course, he was a completely larger than life person and therefore a larger than life conductor. … Well, I can say really, like Bradley just said, that no orchestra in the world would respond to a conductor who would be theatrical in [that] way of performative for an audience. This is something that many people forget. They think that the conductor is so aware of the audience that they do something for them. But then orchestras smell that miles away and they stop looking at the conductor, and then therefore the conductor cannot have a career, or at least not a career in the scope that Bernstein did.
On Bernstein’s signature jumping on the podium while conducting
Cooper: Yeah, there’s wonderful photographs of him levitating above the podium and many recordings of one being able to hear his feet stomping on the podium after having been a foot in the air. So, yeah, that was one of his trademark sonic gifts to his conducting.
Nézet-Séguin: It’s still taught that conducting should be this and that, and in a box, and not too much of this, and not too much of that. And I don’t want here to insult any great conducting teachers around the world. They’re doing amazing work. But sometimes we forget that conducting is about just living the music. And at that moment, that’s what Lenny taught all of us in a way. At that moment, the music is jumping. … It’s almost like the whole world is waking up. So one needs to illustrate that and why not jump, you know? As long as it’s organic.
Cooper and Nézet-Séguin on the set of Maestro.
Jason McDonald/Netflix
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Jason McDonald/Netflix
Cooper and Nézet-Séguin on the set of Maestro.
Jason McDonald/Netflix
On conducting with an open mouth
Nézet-Séguin: I cannot imagine conducting [with my] mouth closed, especially not when there’s a chorus. I mean, conductors, we don’t sing. … Lenny did that a lot and I think we all do it, because it’s kind of breathing. … It’s letting even more the sound feeling open, when we let our mouth open. … The arms are open, the heart is open, and therefore the mouth is just opening up — all that’s possible for one of the greatest climactic moments in the music.
Cooper: I did notice that I opened my mouth a lot, just conducting to a recording of anything. And thank goodness Lenny did that. In the video from 1973, as I recall, he’s only opening his mouth when he’s actually saying the words of Mahler’s “Resurrection” that the chorus is saying. … What’s in the movie is the last take. The way it went down is I really messed up the whole first day, because I had entered into it with fear and 99% of the movie I went into fearlessly. But I had set up all of these cameras really thinking that deep down I wasn’t going to be able to conduct it and I’d have to edit, create a scene out of in the editing room. And so I went into it already fearful. And obviously when you do that, you can be struck by fear and then not be able to succeed. And so I was behind tempo. I forgot to cue people and I messed up. And then the second day, which we weren’t even supposed to shoot that scene, I brought in the techno crane, which is a manner of filming from outside into the hall, and I created one single shot, which is what it always should have been. So because I really let loose that last take and I did an audible prayer in front of everybody to Lenny, thanking him and thanking them, and we did it one more time. And I really allowed myself true abandon and that’s why my mouth was open. And that’s sort of more than I would have liked – but it was so pure and real that I thought, “No this is it. This is it. And it is 100% authentic.”
Lauren Krenzel and Thea Challoner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.
Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.
Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before, during or after their ticketed event in the same venue.
With a name like Vinyl Room, you can expect to see vinyl records everywhere.
“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.
“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.
Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.
Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.
1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket
Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.
Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.
Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.
2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality
From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.
Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.
Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”
3. All of the decor ties back to music and the Hollywood Palladium’s rich history
With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”
Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”
Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.
Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.
4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered
Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.
Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 10-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.
Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.
5. The craft cocktails aren’t just delicious — they each have a story
Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.
The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.
A screenshot from George Mélière’s Gugusse et l’Automate. The pioneering French filmmaker’s 1897 short, which likely features the first known depiction of a robot on film, was thought lost until it was found among a box of old reels that had belonged to a family in Michigan and restored by the Library of Congress.
The Frisbee Collection/Library of Congress
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The Frisbee Collection/Library of Congress
The Library of Congress has found and restored a long-lost silent film by Georges Méliès.
The famed 19th century French filmmaker is best known for his groundbreaking 1902 science fiction adventure masterpiece Le Voyage dans la Lune (A Trip to the Moon).
The 45-second-long, one-reel short Gugusse et l’Automate – Gugusse and the Automaton – was made nearly 130 years ago. But the subject matter still feels timely. The film, which can be viewed on the Library of Congress’ website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer.
In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, “probably the first instance of a robot ever captured in a moving image.” (The word “robot” didn’t appear until 1921, when Czech dramatist Karel Čapek coined it in his science fiction play R.U.R..)
“Today, many of us are worried about AI and robots,” said archivist and filmmaker Rick Prelinger, in an email to NPR. “Well, people were thinking about robots in 1897. Very little is new.”
A long journey
Groth said the film arrived in a box last September from a donor in Michigan, Bill McFarland. “Bill’s great grandfather, William Frisbee, was a person who loved technology,” Groth said. “And in the late 19th century, must have bought a projector and a bunch of films and decided to drive them around in his buggy to share them with folks in Pennsylvania, Ohio, New York.”
McFarland didn’t know what was on the 10 rusty reels he dropped off at the Library of Congress’ National Audio-Visual Conservation Center in Culpeper, Va. A Library article about the discovery describes the battered, pre-World War I artifacts as having been, “shuttled around from basements to barns to garages,” and that they, “could no longer be safely run through a projector,” owing to their delicate condition. “The nitrate film stock had crumbled to bits on some; other strips were stuck together,” the article said. It was a lab technician in Michigan who suggested McFarland contact the Library of Congress.
“The moment we set our eyes on this box of film, we knew it was something special,” said George Willeman, who heads up the Library’s nitrate film vault, in the article.
Willeman’s team carefully inspected the trove of footage, which also contained another well-known Méliès film, Nouvelles Luttes extravagantes (The Fat and Lean Wrestling Match) and parts of The Burning Stable, an early Thomas Edison work. With the help of an external expert, they identified the reel as having been created by Méliès because it features a star painted on a pedestal in the center of the screen – the logo for Méliès Star Film Company.
A pioneering filmmaker
Méliès was one of the great pioneers of cinema. The scene in which a rocket lands playfully in the eye of Méliès’ anthropomorphic moon in Le Voyage dans la Lune is one of the most famous moments in cinematic history. And he helped to popularize such special effects as multiple exposures and time-lapse photography.
This moment from George Méliès’ Le Voyage dans la Lune (A Trip to the Moon) is considered to be one of the most famous in cinematic history.
George Méliès/Public Domain
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George Méliès/Public Domain
Presumed lost until the Library of Congress’s discovery, Gugusse et L’Automate loomed large in the imaginations of science fiction and early cinema buffs for more than a century. In their 1977 book Things to Come: An Illustrated History of the Science Fiction Film, authors Douglas Menville and R. Reginald described Gugusse as possibly being, “the first true SF [science fiction] film.”
“While it may seem that no more discoveries remain to be made, that’s not the case,” said Prelinger of the work’s reappearance. “Here’s a genuine discovery from the early days of film that no one anticipated.”
Joshua Jackson
I Got the Eye of the Tiger!!!
Published
BACKGRID
Joshua Jackson may have picked up a thing or two from “Karate Kid: Legends” … we got video of him going H.A.M. in a boxing gym with a trainer.
Watch the video … the 47-year-old actor ditched his shirt for the workout, really working up a sweat as he bobbed and weaved in the ring while throwing in some pretty impressive jabs!
He later goes to work solo on a speed bag like an old pro.
Joshua has publicly said that starring in “Karate Kid: Legends” in the role of a former boxer was a dream for him, but there’s no word on whether he’s training for another role or just really fell in love with boxing.
Either way … you’re looking great, Joshua!
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