Aspiring actress serves lattes to movie stars in between auditions and jazz musician Sebastian scrapes by playing cocktail-party gigs in dingy bars. But as success mounts, they are faced with decisions that fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart.Written by
On the first day, Zophres and Chazelle went through the movie scene by scene discussing color palettes. For Sebastian, Zophres wanted to emphasize the elegant with a shot of the offbeat for his costumes. Zophres continues, "His look is not necessarily trendy. It's a look you feel he has developed and curated. Sebastian isn't a guy you see wearing a t-shirt. Instead he has a very specific kind of slim silhouette that speaks to a respect for tradition and formality." See more »
Before the end of the 'Another Day of Sun' sequence, as the camera pans up over the freeway, we don't see Mia or Sebastian's cars. After the 'La La Land' and 'Winter' title cards and the camera pans back down, their cars suddenly appear, replacing the other cars that were there before. Mia's Prius replaces the white SUV with the dancer in orange on top, while Seb's car replaces the gray sedan behind the SUV with the dancer in green. See more »
I think you should call it Seb's because no one will come to a place called Chicken on a Stick.
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The Summit Entertainment logo has an old-time variant where it looks like a matte painting of a mountain in a box and the word "Summit" above it. See more »
What a great movie! Who would have thought anyone could bring the original screen musical back from the dead? Yet here it is, hale and hearty.
The music is melodic but never simplistic; the lyrics are intelligent and intelligible; the script is funny, touching without ever resorting to sentimentality; the two leads are not only skillful but full of a kind of charm that I honestly thought had disappeared entirely from American movies: but here we have Ryan Gosling and Emma Stone just oozing it.
The only pebbles in this ocean of inventiveness are some routine dance routines and over-reliance on the device of lights dimming on set to isolate an actor in white light, but that's me being r-e-a-l-l-y picky. It may well be that this is the best musical written directly for the screen since SEVEN BRIDES FOR SEVEN BROTHERS.
All credit to writer-director Damien Chazelle and his team - and it really feels like a team-movie - for giving us this gem. Sure it's a feelgood piece, but it creates a world which is complex, it acknowledges alternative outcomes for its characters, it connects with people's passions, and in the case of Ms Stone's big solo, "Audition", it has a bona fide classic.
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