Category: Articles

Hugh Jackman and Anne Hathaway Cover ‘Celebs’

Scans courtesy of Hugh Jackman Fan Site.

With many thanks to Jody, HJF now has scans from a Les Misérables feature article in Celebs. The issue was published in January and contains interviews with Hugh Jackman and Anne Hathaway along with details on some other cast members. It’s worth checking out if you want some more background information on the production of Les Mis.

‘Les Misérables’ Press Round-Up: Articles & Interviews

There have been so many Les Misérables articles and interviews recently that it’s be a bit tough to catch up. Not to mention, a lot of them repeat information so individual updates almost seem redundant. Because I know I’m a bit behind, however, I figure I’d include a “round-up” of some recent press featuring Hugh. Some of these are in the press archive, though I strongly encourage you to visit the original source to read the material anyway. Those marked with an asterisk (*) are recommended:

The Blade * (2012 DECEMBER 16)
Hugh Jackman Turning Heads for His Performance in Les Misérables

HitFix (2012 DECEMBER 19)
Hugh Jackman says Training for Les Misérables Was as Hard as Any Wolverine Film

Inquirer Entertainment (2012 DECEMBER 20)
Hugh Jackman Reveals the Things He Can’t Do

Collider * (2012 DECEMBER 23)
Anne Hathaway, Hugh Jackman, Amanda Seyfried, Eddie Redmayne, and Samantha Barks Talk Les Misérables, Singing, and Bonding on Set

New York Post (2012 DECEMBER 23)
Happy Hugh Year!

Parade * (2012 DECEMBER 23)
Wishing Hugh a Merry Christmas

Vulture (2012 DECEMBER 26)
Hugh Jackman on Les Misérables, His Brutal Training Regimen, and His Javert Past

Los Angeles Times (2012 DECEMBER 27)
Les Miz: Hugh Jackman Prepped with Weights, Washcloths, Desire

Hugh Jackman: Les Miz‘s Leading Man Talks to TIME

Museum of Moving Image Salutes Hugh Jackman


Earlier this evening, December 11th, Hugh Jackman and wife Deborra-Lee Furness headed to Cipriani for an extravagant evening. The Museum of Moving Image was honoring Hugh and helping raise money for the museum’s programs, exhibitions, and educational activities. Carl Goodman, MMI’s executive director, said of the event, “We are thrilled to be honoring one of the world’s most beloved and talented performers.” Hugh was joined by his Les Misérables co-stars, Anne Hathaway and Eddie Redmayne; director Tom Hooper was also in attendance.

There are numerous quotes and accounts from the evening, which you can read below:

Last week, Hugh Jackman gave his Les Mis co-star Amanda Seyfried a “happy birthday” lap dance. Yesterday, he serenaded his wife, Deborra-Lee Furness, at a lunch hosted by the Peggy Siegal Company at the Four Seasons. “It’s way too early to sing,” he said, apologizing for a strained voice. “But I saw Sammy Barks in the lobby of the hotel last night in her pajamas at the same time I was there, so I have no excuse.” (Barks sang a sultry “Summertime” before he took the stage.) “I don’t get to do this very often, but a lot of this week has been about just being grateful for all the people who’ve made this possible… so I’m going to sing a song for my wife.”

Then, accompanied by pianist Marty Silver, Jackman launched into “The Way You Look Tonight,” changing the word tonight to today, with Furness right in front, blushing. “He sings to me at every meal,” she joked with Vulture afterward. “No, he does not. It was a complete surprise. He’s full of them. And in that setting, it was very moving for me, so I shed a little tear.”

“You know, it sounds weird, but when you’re doing a press tour like this, getting any time with your wife is tough,” Jackman told us when we ran into him for a second time in one day at a gala in his honor held by the Museum of the Moving Image at Cipriani Wall Street. Jackman said he originally invited his wife to the luncheon – or as he put it, “I said, ‘Babe, can you come to lunch, please?'” – just for the chance to have “five minutes to chat, because it’s been so crazy.” The song, as it turns out, was completely spontaneous. “Got some brownie points!” he said with a grin.

Despite Jackman’s worries about his voice, he sounded just fine, as did Hathaway, who also downplayed her abilities (“We’re all sick and slightly hung-over”) before closing out the sing-along with “Have Yourself a Merry Little Christmas” with the other cast members singing backup. “You can do some minor five-part harmony, that’s fine,” she teased them before Eddie Redmayne’s voice rose out of the ensemble in an operatic bray, to much applause.

“They were like, ‘Oh, I had stayed up really late [the night before], I can’t sing,'” the film’s director Tom Hooper said. “And then they sang like angels.”


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A Joyful ‘Les Misérables’

New Straits Times has posted a new article about Hugh Jackman, revealing some new information about his involvement with Les Misérables. Although it’s known he auditioned for Beauty and the Beast by singing “Stars,” did you know that he was also considered to play Javert on stage? Check out an excerpt of the article below before heading to the source for more; it’s also been added to the press archive.

The night before the cameras rolled on Les Misérables, Hugh Jackman and Russell Crowe presented the BAFTA award for Best Film at a glittering ceremony in London.

Although Jackman and Crowe, both Australians, have been friends for years, it was the first time that they had worked together. Funny, hugely entertaining and with perfect timing, they proved to be a formidable double act and stole the show.

It was, says Jackman, the perfect way to warm up for the main event — filming Les Misérables, the world’s most successful musical, for director Tom Hooper with a stellar all-star cast that includes Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Helena Bonham Carter, and Sacha Baron Cohen.

“Russell and I have always got on well but BAFTA was the first time we’ve ever done anything like that,” says Jackman. “And I remember being on stage and he was seriously making me laugh, and I thought, ‘This is really going to work. And even though what we’re doing on Les Mis is not comedic, we felt like a team. And I said that to him, ‘Man, this feels like a good team…’ And he said, ‘Absolutely brother.’ And after the show he gave me a hug and said, ‘I’ll see you at work tomorrow.’ And we were off and running.”


TIME Declares ‘Les Mis’ a “Whole New Kind of Musical”

TIME has written a great feature article on the upcoming movie-musical, Les Misérables, full of quotes from cast and crew involved. The article declares that the film is “a whole new kind of musical” due to the groundbreaking way in which it was shot: with everyone performing live on set. There’s a focus specifically on Hugh Jackman and Anne Hathaway, including some anecdotes shared by Hugh involving the cop giving a homeless man boots and how he wouldn’t have been able to sing the role of Jean Valjean merely ten years ago. Check out an excerpt below before heading to the source for more; it’s also been added to the press archive.

In June 1832, a group of students, immigrants, and insurrectionists took to the streets of Paris, demanding change. The fervor of the French Revolution had withered amid vast economic inequality, food shortages and a cholera outbreak. The rebels occupied half the city using makeshift barricades: trembling stacks of stolen saplings and planks. While the insurgency ended overnight, it lasted long enough for novelist Victor Hugo to be caught in its crosshairs, pinned to a wall as bullets flew.

The events would inspire Hugo’s masterpiece, Les Misérables — which, 118 years later, inspired Alain Boublil and Claude-Michel Schönberg’s musical. Since its Paris premiere in 1980, the star-crossed epic of good vs. evil has won eight Tonys, been translated into 21 languages, been seen by more than 60 million people in 42 countries, and launched untold thousands of high school productions. It’s largely responsible for “Glee.” It’s almost entirely to blame for Susan Boyle.

Now it’s a Hollywood blockbuster-in-waiting, opening Christmas Day. Early reviews are ecstatic, and there’s talk of Oscars for stars Hugh Jackman (as the thief turned saintly savior Jean Valjean) and Anne Hathaway (as the doomed mother Fantine, whose poverty drives her to prostitution). And if the film doesn’t entirely match Hugo’s furious cry of class struggle, it may well launch a different kind of film revolution.


The Rise of Hugh Jackman

Posting this article has been a bit delayed — it’s actually from November 30th, when Hugh Jackman spoke to Australia’s The Age. Although meant to be a feature piece on Rise of the Guardians, he does dip his toes into the subject of Les Mis. He talks a little about his childhood – that he was “quite fearful” – and his own children, Oscar and Ava, including their thoughts on paparazzi. Check out an excerpt below before heading to the source for more; it’s also been added to the press archive.

When I meet him, [Hugh] Jackman is rejoicing in having just had four days when he didn’t have to sing. X-Men fans probably don’t know it, but Jackman made his name in musicals; his leap from small Australian features and television series to the international stage came in 1998 with Oklahoma! in London, where director Trevor Nunn dared cast this Australian unknown as Curly and unleashed a new leading man in the process. In 2004, he won a Tony for his hit run of The Boy from Oz on Broadway. Late last year he had an even bigger hit with a one-man show of songs and stories. “I’ve been amazed at my career,” he says cheerfully. “I constantly feel blessed to have got what I’ve got. I kept saying, ‘If I could just do this for five years and make a living, that would be great.”

For months now, Jackman has been working on Les Misérables, the much-touted blockbuster adaptation of Schoenberg and Boublil’s hit musical, in which he leads a cast including Russell Crowe, Anne Hathaway, and Amanda Seyfried. He has been singing for 10 to 12 hours a day because the director, Tom Hooper of The King’s Speech fame, insists that everything be live. Tough, he agrees. “Like it should be. I mean, I’m playing Jean Valjean, which is like the King Lear of musicals. The span of his life, the songs, the range of the singing – it’s about a 2½-octave range – in every way, it pushes everyone to their limit.

“I think it’s something to do with the nature of the material. It’s about people under duress, at breaking point, and how people handle it. Ultimately, it is very elevating – it’s about the human spirit. So it should be like that.”


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