Mar 27, 2017 In April 2004 an audience of the stage version of “The Phantom of the Opera” in London were asked to stay behind at the end and record the sound effects for the chandelier crash in the movie. At the end of the film, Christine’s gravestone gives her date of birth as 1854. The Phantom (Gerard Butler) and Christine (Emmy Rossum) perform the title song from The Phantom of the Opera: The Film. Clip 11/37.Buy tickets for your neare. Ebert's Great Movie review of 'The Phantom of the Opera' (1925) is online at rogerebert.com. His serial 'Behind the Phantom's Mask' (1993), a murder mystery involving an alcoholic understudy to the Phantom, is nowhere near selling out at Amazon.com. It would seem that 2004, the year of her 18th birthday, will be remembered as pivotal for Emmy Rossum due to her appearance in two very different films, The Day After Tomorrow (2004) and The Phantom of the Opera (2004). Emmy's performance in the latter film gained her a Golden Globe nomination. The Phantom of the Opera (2004) cast and crew credits, including actors, actresses, directors, writers and more.

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32 Fun facts about the 2004 movie ‘The Phantom of the Opera’
(***may contain spoilers)

1. The doll in the Phantom’s lair that is supposed to resemble Emmy Rossum is not actually a wax mold. It is Emmy Rossum. The production produced a mask of her face to use on the mannequin but when they put in the fake eyes it didn’t look like her. She suggested to stand in as the mannequin instead. This was done by her being made up like a doll with waxy makeup on, and her standing very, very still.
2. The Phantom speaks only fourteen of his lines and sings the rest.
3. Hugh Jackman was considered for the role of the Phantom, but was occupied by his filming of X-Men (2000).
4. In playing Christine’s father in this movie, Ramin Karimloo becomes the first actor to have played all 3 of Christine’s loves. Her father in the movie version, and both Raoul and the Phantom on the stage.
5. The chandelier weighed 2.2 tons, cost $1.3 million, and was provided by Swarovski. It had a stunt double for riskier scenes. There was also a third chandelier made, that was equipped with electricity and lighting for the opening scene.
6. The lit candelabras that rise from the water were not done with special effects or CGI lights: the special wicks ignited when they reached the air. This effect was done in one take and didn’t work again after that.
7. Charlotte Church and Anne Hathaway were considered for the role of Christine Daaé.
8. In the transition where Christine is contemplating and moving towards engaging the coach to take her to her father’s grave, the melody playing is “Beneath a Moonless Sky,” a duet between Christine and the Phantom from Andrew Lloyd Weber’s sequel to Phantom entitled “Love Never Dies.”
   
9. Emmy Rossum (Christine Daae) is much younger than her male counterparts, both whom she kissed in the movie. At the time of shooting, Emmy was 16, Patrick Wilson (Rauol) was 30, and Gerard Butler (The Phantom) was 34.
10. At the end of the Masquerade scene, Raoul briefly enters a circular chamber full of mirrors. This is a reference to the original Phantom of the Opera novel, in which the Phantom used the mirrored chamber as a torture chamber to drive victims insane.
11. The instruction to “Keep your hand at the level of your eyes” is another reference from the book, in which the Phantom was adept at disposing of victims with the “Punjab lasso.” Keeping one’s hand at the level of one’s eyes kept the Punjab lasso away from the victim’s neck and was the only defense.
12. To add to his deformity, Gerard Butler had a string tied just below his eye to cause it to appear more deformed when pulled down. Cast members would often tug on it as a joke between takes.
13. Gerard Butler’s first days of filming were five weeks into production, where he and Emmy Rossum did “Past the Point of No Return” which took three days to film.
14. Neither Gerard Butler nor Emmy Rossum had seen the musical prior to receiving their roles.
15. John Travolta and Antonio Banderas were both considered for the role of the Phantom. Banderas actually spent several years in vocal preparation, and sang the role of the Phantom in Great Performances: Andrew Lloyd Webber: The Royal Albert Hall Celebration (1998).
16. Andrew Lloyd Webber composed 15 minutes of new music for the film.
17. It took four hours for Gerard Butler to be fitted with full makeup and prosthetics.
18. The Phantom’s white half-mask prop that Gerard Butler wore for the film sold for £6,450 on eBay.
19. The theatre fire was an actual fire. Joel Schumacher wanted realism, so they destroyed the theatre for the scene.
20. When the Phantom is taking Christine to his lair, he places her on a black horse for a while. This is not part of the show, but is a nod to the original book, where the Phantom uses a horse named Cesar to transport Christine part of the way.
21. Michael Jackson wanted to play The Phantom himself in the film version. Jackson had a strong interest in musical theatre and was a fan of Andrew Lloyd Webber’s stage adaptation when he saw it open in New York in 1988, in which Jackson saw it several times since and talked to Lloyd Webber backstage. However, Lloyd Webber has said that although Jackson wanted to play the film version of The Phantom, Lloyd Webber felt that it was too early for “Phantom” to become a film because the stage musical had just opened at that time.
22. The sweeping camera angles during “All I Ask of You” made it necessary to shoot multiple takes of the kiss between Emmy Rossum and Patrick Wilson. Emmy Rossumhad to ice her lips between takes to prevent them from swelling.
23. All of the principal actors sang in the film except for Minnie Driver. Most of the actors have a background in musicals or opera, but Driver (a skilled singer) had no experience in opera and was dubbed by Margaret Preece, a singing teacher from Solihull, UK. However, Driver did contribute the film’s end title song, “Learn To Be Lonely,” written specifically for the film by Andrew Lloyd Webber.
24. The music is played by a 105-piece orchestra.
25. In an interview on The View (1997), Minnie Driver (Carlotta) says that to master her diva-like Italian accent, she channeled an old neighbor she had when she lived in Venice as a child.
26. The “Why So Silent” scene is a reference to Edgar Allan Poe’s “The Masque of the Red Death.”
27. At the beginning of the movie, the cast is rehearsing for an opera called “Hannibal” and they are singing “Hannibal Comes!” This is not an actual opera; Andrew Lloyd Webber wrote this for the beginning and wanted to help the actors warm up to the part with a laugh, hence the silly make up and costumes.
28. In Christine’s debut performance as the star of the Opera House, she wears a costume that is an exact replica of the outfit Empress Elizabeth (aka “Sisi”) of Austria wears in her most famous portrait. This includes the white diaphanous dress with full, billowing skirt, as well as the diamond star-bursts in her hair and earrings. This is not surprising when one considers the fact that Andrew Lloyd Webber is one of the most important collectors of artwork from this period, and would be familiar with the portrait in question.
29. Since the crew didn’t want to have to actually build an Opera House, the exterior is actually a doll house type model that was filmed in a studio. In “All I Ask of You (Reprise)”, when the Phantom is on the balcony, he is not really there. He was edited in. The footprints in the snow were made on the model where they filmed the camera zooming out and then put in the Phantom.
30. In April 2004 an audience of the stage version of “The Phantom of the Opera” in London were asked to stay behind at the end and record the sound effects for the chandelier crash in the movie.
31. At the end of the film, Christine’s gravestone gives her date of birth as 1854. The main story takes place in 1870, which means Christine is 16 during the events at the Opera House. Emmy Rossum, the actress who played her, was 16 when filming started.
32. The main story takes place in 1870, and the auction takes place in 1919. In the final scene, the year of Christine’s death is marked as 1917 on her tombstone. In the stage play, the main story takes place in 1881, the auction in 1910, and Christine is said to have died in 1907.(sources: various – including Wikipedia, IMDb)

Tagline: The world’s biggest musical!

Andrew Lloyd Webber’s The Phantom of the Opera tells the story of a disfigured musical genius (Gerard Butler) who haunts the catacombs beneath the Paris Opera, waging a reign of terror over its occupants. When he falls fatally in love with the lovely Christine (Emmy Rossum), the Phantom devotes himself to creating a new star for the Opera, exerting a strange sense of control over the young soprano as he nurtures her extraordinary talents.

Petz horsez 2 for mac. His voice calls to her, nurturing her extraordinary talents from the shadows of the opera house where innocent chorus girl Christine Daae (Emmy Rossum) makes her home. Only ballet mistress Madame Giry (Miranda Richardson) knows that Christine’s mysterious “Angel of Music’ is actually the Phantom (Gerard Butler), a disfigured musical genius who haunts the catacombs of the theatre, terrifying the ensemble of artists who live and work there.

When temperamental diva La Carlotta (Minnie Driver) walks out in the middle of a dress rehearsal for the company’s latest production, the theatre’s eager new managers (Simon Callow and Ciaran Hinds) have no choice but to thrust Christine into the spotlight. Her mesmerizing opening night performance captivates both the audience and the Phantom, who devotes himself to casting his protégé as the opera’s next star.

But he is not the only powerful man to be awed by the young soprano, as Christine soon finds herself courted by the theatre’s wealthy patron, the Vicompte Raoul de Chagny. Though she is enthralled by her charismatic mentor, Christine is undeniably drawn to the dashing Raoul, enraging the Phantom and setting the stage for a dramatic crescendo in which soaring passions, fierce jealousies and obsessive love threaten to drive the fated lovers past the point of no return.

15 Years in the Making

This holiday season, Andrew Lloyd Webber, director Joel Schumacher and Warner Bros. Pictures will proudly present The Phantom of the Opera, the highly anticipated film adaptation of Andrew Lloyd Webber’s celebrated stage musical.

Phantom Of The Opera Free Movie

Based on Gaston Leroux’s novel The Phantom of the Opera, Lloyd Webber’s musical phenomenon is the largest grossing stage or screen production in the world, having garnered worldwide box office receipts over $3.2 billion.

Since its debut in London’s West End at Her Majesty’s Theatre on October 9, 1986, the enduringly popular musical has reached an estimated audience of 80 million people. More than 65,000 performances of Phantom have been staged for theatergoers in 18 countries around the world. In August of 2003, the show marked its 7000th performance. Productions of Phantom have earned over 50 major awards, including three Olivier Awards, seven Tony Awards, seven Drama Desk Awards and three Outer Critic’s Circle Awards.

A testament to Phantom’s enduring popularity is a plan, currently in the works, for a permanent theatrical installation of the musical, to be housed at the Venetian hotel-casino in Las Vegas, Nevada. In the spring of 2006, a 90-minute version of the show will open in a brand new, $25 million state-of-the-art theatre, designed and built specifically for the musical production. The Venetian’s Phantom will boast a ground-breaking series of cutting-edge special effects, including an onstage lake and an exploding replica of the Paris Opera House chandelier.

Long awaited by Phantom fans, director Joel Schumacher’s sumptuous film adaptation takes audiences beyond the boundaries of theatre and immerses them in a vibrant world of high romance, soaring music, riveting suspense and drama, while introducing the powerfully compelling story to a new generation of movie-goers.

Originally published in 1911, Leroux’s novel has inspired numerous film and television versions of the bewitching tale, which tells of a disfigured musical genius who haunts the catacombs of Paris’ preeminent opera house and finds himself transfixed by Christine, his beguiling young muse. “Andrew’s version presents the Phantom as more of a tragic lover and a sensitive romantic, not just a creature of horror to be feared,” Schumacher observes. “He also made the Phantom’s relationship with Christine much more of a love affair than it is in the original story.”

Urdu to english translation software for pc free download. “Phantom is a very personal piece in my career,” says Lloyd Webber, the legendary producer-composer of such renowned musicals as Jesus Christ Superstar, Evita, Cats, Joseph and the Amazing Technicolor Dreamcoat, Starlight Express, Aspects of Love and Sunset Boulevard. He is also the recipient of seven Tony awards, three Grammys, a Golden Globe and an Academy Award (for Evita).

After taking Phantom to Broadway in 1988, Lloyd Webber approached Schumacher about helming a feature film version of the musical, having been impressed by the director’s blockbuster vampire thriller The Lost Boys. “I thought Joel had an incredible visual sense and his use of music in the film was exceptional,” Lloyd Webber recalls. “One of the great joys of collaborating with Joel is that he has a great ear for music; he really gets it, he understands how the music drives the story.”

Renesas electronics usb 3.0 host controller driver windows 10. In the wake of his divorce from Phantom star Sarah Brightman, the talented singeractress who originated the role of Christine and served as Lloyd Webber’s muse during the creation of the musical, the composer decided to postpone production of the film. At various stages in the years following, Lloyd Webber asked Schumacher to collaborate on the adaptation, but the director was unavailable, busily helming a diverse array of hit films including Batman Forever, A Time To Kill, The Client, Falling Down and Phone Booth.

Fate and good timing finally collided in December 2002, when the old friends met for dinner in London and Lloyd Webber proposed they join forces to launch the long-awaited production. “I had just done a series of gritty, more experimental films than the mainstream blockbusters I’d been associated with in the past,” Schumacher says of his films 8mm, Flawless, Tigerland, Veronica Guerin and Phone Booth, which he shot in a mere twelve days. “Phantom seemed as far from twelve days in a phone booth as I could get.”

Schumacher says it was the Phantom characters that initially attracted him to the “extraordinarily cinematic” project in 1988, and drew him back to it once again. “One of the reasons this tragic love story has been part of our culture since Gaston Leroux wrote his novel is because we identify with the Phantom,” he believes. “The Phantom is a physical manifestation of whatever human beings feel is unlovable about themselves. He is a heartbreaking character – much like the hunchback of Notre Dame and the Beast in Beauty and the Beast.”

The director was also compelled to make the film because “there are millions of people who cannot afford to see Phantom in a legitimate theatre, and people don’t live in an area where they can get to a theatre where musical is playing. Think about films like The Sound of Music, West Side Story and Chicago. How many people have actually seen The Sound of Music on the stage, compared to the millions who have seen the film? There are people who love Andrew’s music, and people who have always wanted to see Phantom onstage.”

In adapting their screenplay from the musical’s book, Schumacher and Lloyd Webber delved further into the backstories of several key characters and incorporated the backstage world of the opera house into the main story. “In the stage musical, we touch on the Phantom’s childhood, but we don’t visually go back in time to explore it as we do in the film,” Lloyd Webber explains. “It’s a very important change for us, because it makes the Phantom’s plight even more understandable.”

Phantom Of The Opera Movie 2004

“The stage show concentrates on the Phantom, Christine and Raoul,” Schumacher elaborates. “Not only did we want to give the audience more insight as to how each of these characters arrived at the opera house, we also wove the backstage activity – the plasterers, prop makers, wig makers, scenic artists, dancers and singers – into the fabric of the story.”

Schumacher attributes his rewarding collaboration with Lloyd Webber to a mutual trust and respect developed over the course of their fifteen year friendship. “We have a very good marriage creatively because I take care of the filming and he takes care of the music,” he explains. “Like a lot of very intelligent people, Andrew doesn’t pretend to know about things he doesn’t. He’s an expert on music, so he focused his brilliant talent on the musical aspects of the film, and he gave me an enormous amount of freedom and his full support to create what I thought should be done with the material.”

For Lloyd Webber, the long-awaited adaptation of his deeply personal theatre phenomenon has yielded truly satisfying results. “The film looks and sounds fabulous and I think it’s an extraordinarily fine document of the stage show,” he enthuses. “While it doesn’t deviate much from the stage material, the film has given it an even deeper emotional center. It’s not based on the theatre visually or direction-wise, but it’s still got exactly the same essence. And that’s all I could have ever hoped for.”

The Phantom of the Opera (2004)

Directed by: Joel Schumacher
Starring: Gerard Butler, Emmy Rossum, Patrick Wilson, Miranda Richardson, Simon Callow, Ciarán Hinds, Minnie Driver, Jennifer Ellison, Ramin Karimloo
Screenplay by: Andrew Lloyd Webber, Joel Schumacher
Production Design by: Anthony Pratt
Cinematography by: John Mathieson
Film Editing by: Terry Rawlings
Costume Design by: Alexandra Byrne
Set Decoration by: Celia Bobak
Art Direction by: John Fenner, Paul Kirby
Music by: Andrew Lloyd Webber
MPAA Rating: PG-13 for violent images.
Distributor: Warner Bros. Pictures
Release Date: December 22, 2004

Phantom Of The Opera Movie 2004 Review

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