“Spider-Man: Into the Spider-Verse Live in Concert” will be presented Sunday at the Lied Center for Performing Arts.
For Emily Marshall, each screening of “Spider-Man: Into the Spider-Verse Live in Concert” presents a challenge of coordination, reproduction and performance as she leads the Broadway Sinfonietta through the movie’s score in front of an audience that knows what they’re supposed to hear.
“What I say is that you come to the show and you’re not going to be missing anything that you would expect to hear in the movie,” Marshall said. “So we’re playing along, sometimes to the tracks of the vocals and everything in the movie, but we’re creating all of the music live.”
Last month, Marshall, who’s the musical director and conductor for the production, talked about how the movie’s soundtrack and score are created as the hit 2018 animated superhero picture is projected onto a giant screen in venues like the Lied Center for Performing Arts, where “Spider-Man: Into the Spider-Verse Live in Concert” will be presented Sunday.
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“Spider-Man: Into the Spider-Verse Live in Concert” will be presented at the Lied Center for Performing Arts Sunday.
“We’re kind of tied to making everything fit within the movie, obviously,” Marshall said. “So we perform it pretty much like you would do a film scoring session in the studio. We have a click (track) in our ears. So the click is matching up with everything that’s going on on the screen. I have another little screen in front of me with, like, counters and all of that type of stuff, to make sure everything is lined up.”
Getting the music coordinated with the movie is, by itself, a challenge. But there were some significant changes in the arrangement of the music to allow it to be performed by the 13-piece, all-female, mostly women of color sinfonietta.
“In the studio, it was a much larger orchestra that was producing all the music, so we’re replacing all the sounds and everything,” Marshall said. “What we do is there’s three different percussionists on stage. We also have a DJ scratching. Then we’re even producing some of the sound effects. There’s keyboard typing and live whistling, and all these different sounds that they use in the movie.”
Marshall’s use of “we” not only encompasses her work as musical director and conductor. The acclaimed Broadway pianist also joins the sinfonietta a few times during the show.
“I do have a couple of little piano solos where I hop off the podium and I’ll play some keys and have to keep track of what’s going on at the same time,” she said. “I have all these different screens in front of me when I run from one thing to the next. We have to check everything, all the technical elements during sound check every day. There’s a lot of moving pieces that go into making the show work.”
Marshall is no stranger to coordinating performances of disparate entities, having just come off the road with The Who, where she’s the associate conductor and keyboardist for the legendary rock band’s orchestral tour.
She joined the orchestral tour when “things were still very COVID,” and Marshall’s role with The Who was specifically designed for her conducting and performing skills.
“They were going to pare down from a 50-piece pick-up orchestra to 33, so they created a keyboard book that is very string-based to enhance the orchestra to kind of give bases underneath the live strings,” she said. “So my keyboard book that I played for The Who shows was actually created for me. Working with a keyboard programmer, we created, like, over 250 different string sounds that I play during the show.
“So my job with The Who is when we go into the cities, we have an afternoon rehearsal with the orchestra, which I conduct. It’s playing through all the songs, and then for the shows at night, I play my keyboard book.”
The result of that collaboration between The Who and the orchestras has been a resounding success for the band, the orchestra and the audiences.
“It’s really cool because Pete Townsend actually talks about it,” Marshall said. “During the shows, he’ll say when The Who started out, ‘We’re a rock band and we’re not playing with an orchestra. That’s not cool.’ But the way that their music is, it’s rock music, but there’s so much depth to it, especially in the things we focus on with the orchestra, ‘Quadrophenia’ and ‘Tommy,’ I think that’s some of their coolest and best work. He even says that it’s really a time that orchestra gets to shine.”
As our conversation wound down, there was a final question that needed to be put to Marshall. Are you, after seeing “Spider-Man: Into The Spider-Verse” dozens of times, bored with the picture?
“I’m actually not,” she said. “It’s cool to watch it every night. I catch different elements because I’m so focused on the music, I’ll see a new scene that I haven’t seen before, or catch a little Easter egg or something that they’ve put in the movie that I wasn’t aware of before. I think they’ll know the movie pretty well by the time the tour is over. But I’m not sick of it yet.”
The Lied Center will also be screening the Oscar-winning 2017 aminated film “Coco” with the score performed by the 20-member Orquesta Folclórica Nacional de México on Wednesday.
Movie critic Bruce Miller says “Spider-Man: Across the Spider-Verse” isn’t an animated film meant for very young movie goers but it is a spidey-delight for everyone else. Even when you can’t follow the story, you can enjoy the spectacular visuals which are like an art exhibit that pops to life.
45 behind-the-scenes photos of 45 of the best movies of all time
45 behind-the-scenes photos of 45 of the best movies of all time
It’s easy to forget how much goes into making a film—how many people it takes, how much time is spent, and all the foibles and faults that can disrupt the process along the way. Audiences are given a shiny finished product, and then they decide whether or not they like the film. This judgment determines the film’s fate, completely disregarding how much blood, sweat, tears, and money has gone into the overall production.
But a lot happens on set that audiences rarely find out about, from love affairs to financial drama and from health issues to near-death experiences. In fact, sometimes it’s all the drama and chaos that actually ends up making the film a better work of art. Taking a glimpse behind the scenes of a film set is a chance to actually see the artists at work and observe their passion and process up close.
To get a better sense of what went into some of the world’s most beloved films and take an unfiltered look at the stars and technicians behind them, Stacker compiled behind-the-scenes photos from 45 of the greatest movies of all time. In order to determine which films belonged here, Stacker used its data-backed ranking of the 100 best movies of all time.
Psycho (1960)
Director Alfred Hitchcock is seen here with the star of “Psycho,” Janet Leigh. The groundbreaking horror film contained a major plot twist for Leigh’s character, Marion. Despite the film being one of the most successful of Hitchcock’s career, the two never worked together again.
Some Like it Hot (1959)
Actor Tony Curtis, on the left wearing a dress, and Marilyn Monroe, right, talk to the film’s director Billy Wilder. Wilder was hesitant to cast Monroe, and her behavior on set reportedly caused more work for everyone involved. Nevertheless, the film was a huge success and has had a lasting impact—the American Film Institute lists it as the #1 comedy of all time.
Children of Paradise (1945)
Director Marcel Carné basks with his crew under the glow of the set lights. “Children of Paradise” was made during the German occupation of France and it has since been acknowledged as one of the best French films ever made.
Rosemary’s Baby (1968)
Mia Farrow, who plays the eponymous Rosemary, rehearses a scene in front of Tiffany and Co. while director Roman Polanski takes a look through the camera. “Rosemary’s Baby” was a hit and has since become influential in the horror and suspense genre. The film features scenes in the now-storied Dakota apartment building on the Upper West Side of Manhattan.
Lawrence of Arabia (1962)
Omar Sharif has a moment with director David Lean on the set of “Lawrence of Arabia.” Sharif would go on to work with Lean a few years later when the former starred in “Doctor Zhivago,” with both films being larger-than-life epics that have had a lasting influence on cinema.
Chinatown (1974)
Stars James Hong, Faye Dunaway, and Jack Nicholson wait on set with director Roman Polanski. Screenwriter Robert Towne won the Academy Award for Best Original Screenplay for “Chinatown” and the film is widely regarded as one of cinema’s greatest film noirs.
North by Northwest (1959)
Star Cary Grant takes direction from director Alfred Hitchcock. Grant made four films with Hitchcock, and “North by Northwest” was their final collaboration. Hitchcock enjoyed playing off of Grant’s good-guy persona and handsome looks—elements that added surprise to his films’ sinister and anxious undertones.
The Apartment (1960)
Here, Shirley MacLaine sits with director Billy Wilder. MacLaine has since discussed the spontaneousness on set of the romantic dramedy, and how she and co-star Jack Lemmon weren’t always sure how the film’s plot would conclude. The film won Best Picture at the Academy Awards, while Wilder won Best Director and Best Original Screenplay, the latter award with co-writer I.A.L. Diamond.
Saving Private Ryan (1998)
Steven Spielberg and Tom Hanks stand on the beaches of Normandy while filming the opening sequences of the film, which depicted the storming of the beaches on D-Day. Unlike a normal film production schedule, “Saving Private Ryan” was filmed almost completely in sequence from the first scene to the last. The production started with these intense scenes on the beach, which amount to about 25 minutes of the film.
Taxi Driver (1976)
A young Martin Scorsese stands with a young Robert De Niro, who stars in “Taxi Driver” as Travis Bickle. This was the pair’s second collaboration, and the 2023 film “Killers of the Flower Moon” is their 10th collaboration.
Anatomy of a Murder (1959)
“Anatomy of a Murder” director Otto Preminger watches as Duke Ellington works on the film’s score. The film was selected for preservation in the United States National Film Registry by the Library of Congress in 2012 and is one of the earliest films to use jazz music as its primary soundtrack.
Star Wars: Episode IV – A New Hope (1977)
Director George Lucas sits with actor Sir Alec Guinness, who played Obi-Wan Kenobi in the film. The groundbreaking science fiction film, which began a multibillion-dollar franchise that continues today, was shot in a number of alien-like, picturesque locales, from Tunisia to Death Valley in California.
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
“Dr. Strangelove” stars Peter Sellers and Sterling Hayden are joined by director Stanley Kubrick, who is using a director’s viewfinder. The satirical film has been ranked by the American Film Institute as 26th on its list of best American movies, and third on its list of funniest American movies. It has also been selected for preservation by the National Film Registry.
La Dolce Vita (1959)
Director Federico Fellini directs actress Anita Ekberg. Ekberg’s fame skyrocketed after her seductive scene opposite Marcello Mastroianni. She once reportedly shot an arrow at a paparazzo, striking him in the hand.
The Wild Bunch (1969)
Actor William Holden, on the right, speaks with director Sam Peckinpah. The movie was filmed in Mexico; many scenes were set deep in the dusty desert or at Parras de la Fuente, where the Americas’ oldest winery can be found, which had still not adapted to electricity at the time of filming.
The Third Man (1949)
Director Carol Reed speaks with star Orson Welles in a dark tunnel in Vienna. Welles plays Harry Lime, a shadowy and mysterious character who barely makes an appearance—though his entrance has become one of the most iconic film entrances of all time. The film is noted for its innovative use of camera angles and dramatic, near-expressionist lighting.
The Lady Vanishes (1938)
From left to right sits Sally Stewart, Margaret Lockwood, director Alfred Hitchcock, and Googie Withers. An earlier Hitchcock film, “The Lady Vanishes” has become widely influential—so much so that it inspired two remakes.
All About Eve (1950)
Star Bette Davis is shown here sitting poised as ever on set. The film was the first movie ever to receive 14 total Academy Award nominations and it remains the only film to receive nominations for four different woman performers—Anne Baxter and Davis for Best Actress and Thelma Ritter and Celeste Holm for Best Supporting Actress.
Fanny and Alexander (1982)
Director and screenwriter Ingmar Bergman looks in the direction of his camera alongside his cinematographer Sven Nykvist. Nykvist has been acknowledged by many as one of cinema’s greatest cinematographers—he won the Oscar for Best Cinematography for this film.
Double Indemnity (1944)
Star Barbara Stanwyck speaks with director Billy Wilder on the set of noir film “Double Indemnity.” Though Stanwyck was Wilder’s first choice for the role, she initially hesitated to accept it, daunted by the facts of the very real murder the script was based on.
Citizen Kane (1941)
Orson Welles, who starred in the film as well as directed and produced, sits in a wheelchair, smoking a pipe on set—Welles had chipped an ankle bone during filming. Although the film was initially a box-office flop and unsuccessful at the Oscars, the film has since been considered one of the best ever made, topping numerous lists including AFI’s 100 Years…100 Movies and the British Film Institute’s “Sight & Sound” decennial poll of critics.
Vertigo (1958)
Director Alfred Hitchcock speaks with Kim Novak, the star of “Vertigo.” Hitchcock, who has since become known for his misogynistic behavior, clashed with Novak on set. Novak ultimately left acting to focus on painting and become a mental health advocate.
Apocalypse Now (1979)
Actor Dennis Hopper, in costume as an American soldier in Vietnam, stands with director Francis Ford Coppola. The filming process for “Apocalypse Now” has been described as chaotic and extremely stressful—Coppola, who had invested $30 million of his own money into the production, had an epileptic seizure during filming and the film’s star, Martin Sheen, suffered a heart attack.
Ran (1985)
Akira Kurosawa gives direction to his costumed cast. “Ran” is a reimagining of Shakespeare’s “King Lear” set in 16th century Japan. The film earned Kurosawa his first Academy Award nomination for Best Director.
The Leopard (1963)
French film star Alain Delon receives an adjustment from director Luchino Visconti. The film was shot in Sicily and is noted as a landmark of Italian film.
Battleship Potemkin (1925)
Sergei Eisenstein directs alongside his cinematographers Vladimir Popov and Eduard Tisse. “Battleship Potemkin” features an iconic and suspenseful sequence set on the Odessa Steps, a scene whose influence can be seen in similar scenes from “The Untouchables” and in a number of other films.
The Philadelphia Story (1940)
George Cukor directs John Howard, Katharine Hepburn, and Cary Grant on set. Prior to this film, Hepburn had spent a few years starring mostly in box office flops before she took on the role of the glamorous but messy (and ultimately relatable) Tracy Lord.
Rear Window (1954)
Alfred Hitchcock frames a shot with his stars Grace Kelly and James Stewart. “Rear Window” famously used only a single set and was entirely filmed in a constructed apartment as the location.
It’s a Wonderful Life (1946)
Director Frank Capra and star James Stewart laugh on the set of “It’s a Wonderful Life.” The Christmas film was nominated for Best Picture at the Academy Awards and has become a mainstay of holiday movie marathons.
The Best Years of Our Lives (1946)
Cinematographer Gregg Toland has a discussion on set with director William Wyler. “The Best Years of Our Lives” won Best Picture and Best Director as well as five other Academy Awards that year, and it was among the first 25 films chosen by the Library of Congress to be preserved in the National Film Registry.
The Man Who Shot Liberty Valance (1962)
Actors James Stewart and John Wayne flank director John Ford on set. Ford was famous for his Westerns, and his collaborations with Wayne have become influential and emblematic of classic American cinema.
Reach the writer at 402-473-7244 or kwolgamott@journalstar.com. On Twitter @KentWolgamott
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