Warner Bros presented a very eclectic but solidly awards-friendly slate at The Contenders London today, headed up by Todd Phillips’ recent Venice Golden Lion winner Joker. “Most composers have a di…
. In this case, the actor was Joaquin Phoenix, who’d played Jesus Christ in one of Guðnadóttir’s previous projects,. This time, though, the mercurial actor plays a very different kind of messiah. Taking the title role in Phillips’ controversial new release, Phoenix stars as an embattled clown who accidentally becomes the face of a violent anarchist movement in early-80s Gotham City.
Guðnadóttir explained that such a response is easier to form at such an early stage. “It’s quite different when you’re reading a script, because you’re not influenced by the costumes, or the edits, or the choreography — it’s a really good time to be able to just connect to the story on a kind of visceral level. It’s very rare to have the opportunity to do that, because I’m normally hired quite late in the process and you’re kind of just thrown in after the final cut.
“Edward carried this film with him for 20 years,” said Pope. “He had a complete vision for it, from beginning to end. And, actually, that vision never wavered. When he first asked me to read the script, he sent me a look-book of visual ideas for the film and it was absolutely beautiful. You could have published it. It was beautiful, noirish and incredibly exciting, and challenging visually. And I must say a lot of the images within that book are on the screen.
BAFTA and Golden Globe-nominated composer Daniel Pemberton joined the conversation to explain that he, too, had been experimental in terms of finding the right feel for the film. “The main protagonist is a guy called Lionel who’s got Tourette’s Syndrome,” he said. “The score is trying to capture the story from his perspective, and there’s two elements to him.
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