Name: ‘Rocketman’ Director Breaks Down a Scene with Taron Egerton | Vanity Fair
Uploaded: 2020-03-09T16:41:23.000Z
Duration: 18 min 15 s
Description: Thousands of YouTube videos with English-Chinese subtitles! Now you can learn to understand native speakers, expand your vocabulary, and improve your pronunciation...

My name is Dexter Fletcher, and I'm the director of Rocket Man.

A couple 3123 This is note some of the scene way films of music over there.

You don't know, but it's also a valuable insight here.

Basically, Elton has taking a bunch of pills and thrown himself in the pool on Dhe meets the younger version of himself, actually down at the bottom of the pool.

And you get this idea that the kids trying to tell him something It's the start of the musical number Rocketman, which goes through various different spaces and ends up with the most iconic performance of his career.

These swimmers of all dived into saving happen to be synchronized swimmers, which was handy free from really ugly guy Here.

It's a little bit of movie magic, isn't it?

We show this magical in pop's bar outside of London, where a lot of soccer players live.

Eyes is interesting because this is your hour attempt to create 19 seventies ally.

Here is you see, has shaved his head pretty much in order to recreate Elton's here.

Kind of iconic look, really in that very didn't relish that didn't really apart.

And also the very end of the movie where I'm foreign in rehab that then I do actually have a couple.

But that's no, that's just my head has been decimated.

You know, you could put the wig on, but trying to create Wait, you can't You can't say the way good.

This eyeball was always slightly squiffy, and I wasn't quite sure.

Second year I always felt really important to have that gap in the teeth and because it's such a key part of Elton Silhouette, but it's quite hard thing to achieve and you could use fake teeth.

But during a camera test, I'm singing a song and the teeth flew out My max.

It's quite hard to sing with fake teeth in on DSO.

What happened was I was quite stressed out the prospect that was not doing it.

And I went and sat in my trailer and thought about it, and we went to our lovely makeup designer, Lizzie, Georgia.

You said What happens if we just paint the gap in When we tried it and it worked really, really well, I'm actually about to start seeing in here.

And one of the really fun things about making Rocket Man was having all of these really wonderful songs with these kind of really beautiful poetic lyrics and trying to give them new meaning.

So I think they're coming back to sing is on all this science I don't understand.

Yeah, it's just my job five days a week and then are we imagined that we would sort of endow it with the meaning of him.

Look being colored, perplexed and battle that why he's got everything he wants out of life, but it's just completely miserable.

And so the song becomes the song becomes a sort of almost a soliloquy for him, um, being upset and perplexed that why he's so miserable.

But at the same time, he's completely alone and all the signs I don't understand.

It's just a job this whole sequences put together over like the entire shoot.

Of course, you know, the swimming pool is a different day from the ambulance, and they're different locations.

Um, I mean, it seems fairly obviously success out was made, but there is because it's really about a transition as well about this journey of how it gets put back together after going through this really huge emotional moment of heartbreak and actually trying to kill himself.

And in reality, in reality, he was 24 hours between him jumping in the pool after taking all of these pills on him being on stage for, you know, what was the most iconic concert of his career.

At this point, when I first got hold of the script, there were different songs into places or some songs running in there it'll but this was always a cornerstone of that that dropped from legal.

Andi It was just finding it was just finding this kind of poetic y two show this transition and what he was going through emotionally in that turmoil rocket this silhouette, this ballet as I like to call it in front of this window This this window was at a location that we were scouting for something else.

And I took a wonder off on my own to think about some stuff.

And I came across this window here because this transition was always the most complicated, complicated part of how do we make him get dressed and get on stage?

And so when I saw this huge window here, I realize that once there was a certain time of day that would just send away everybody on DDE that that kind of gave me the key into how we transition.

And the choreographer Adam Murray put us together fairly quickly.

Yeah, because I say I found this location and said, This is how I want to do it.

This is what we're gonna do the transition and of course, all of that L A.

That's in the background here, you know, you can see throughout the whole thing.

The silhouette just worked really well because you don't actually lose any of the details of what's going on with the actors.

You know, I kind of feel was anything him being carried as well.

I love that because Elton himself talks about the fact that when you went to rehab, he didn't know how to work a washing machine.

And I think the thing about Rocket Man is it shows that he's you become a product in your own right.

You know that level of fame, of course, you you know it's glorious for many, many reasons.

But there's also an element of you being kind of shepherded around and losing your autonomy a little bit.

And I think the lyrics speaks to breathe brilliantly, says I'm not the man you think I am.

You wear y fronts highway boxes, just in case anyone was wondering.

But I for this film will y fronts for everything, because I know that there's a scene where you come down the stairs in your time in a pair of y fronts way.

Put the camera writer right on the Y fronts on those y fronts.

Yeah, there's a lot of us making ourselves laughing this way started making the film That's to ask me to go and watch a really amazing phone called All That Jazz.

And there's a sort of catchphrase of recurring, a recurring slowly in that film.

Theis, drug addicted here director is kind of get himself ready for the day and put it on the show, and it's on that whole idea of tears of a clown.

And you know what you have to do to go from the person off stage to being the person is on stages became an idea that I was really, you know, that whole idea of Wendy's Reg Dwight become out John.

Ah, such a key part in the film in the character Andi Taryn would just deliver these incredible moments sort of out of his own of his back pocket, because I knew there was a transition here.

Not only is there a cinematic transition which we spend a lot of time on.

But there's an emotional when on dramatic one as well that that's all part of that.

I think it's really interesting that when people see this and they used it in the trailer, that shop because I think it really clearly tells the story about someone who is one thing and putting on a show.

You come come out and step out in front of the wider world of something else, and we'll do that.

There's very little, very little footage of that concert.

There's a bit of a grainy Super eight, but there are these amazing shots.

Sort of adds to this incredible, you know, enigma and legend of this performance.

None of this crowd of stadium or audience was there, created It was like there was this blinding light he couldn't even see.

Beyond the end of the stage was the idea that he was sort of so wrapped in this bubble, Andi that everything was a blur.

So I dug deep with the producer Adam bowling and we we pulled out some resources on created all of this stadium and all the audience as well.

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‘Rocketman’ Director Breaks Down a Scene with Taron Egerton | Vanity Fair

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