Rossum met with him, did a screen test (complete with two hours of hair and makeup), met with Webber and was told she got the part-all within ten days. He remembered seeing a young girl named Emmy Rossum in the Appalachian-music drama "Songcatcher" and called her in for an interview. Webber says several very well-known performers sent in audition tapes-"some of them should not sing"-but Schumacher drew upon his knack at finding young talent for the role of Christine. Once that decision was made, scuttling the hopes of Michael Crawford and Sarah Brightman fanatics everywhere, the casting search began. If they’re unknown, fine.’ And he said, ‘OK, but they have to be able to sing the score.’" "I said to Andrew, ‘I’ll do this movie if the girl could be really young.
Schumacher says he and Webber had to establish some ground rules before they could move forward.
Webber was on the set three or four times a week, but Schumacher says the composer kept a respectful distance at all times: "He’s actually the only person I’ve met who didn’t think he knew how to make movies better than those who made movies." "Phantom," which he has repeatedly called his most personal work, was a special case. He signed away the rights for "Jesus Christ Superstar" and "Evita" and, as a result, had very little say in how the films turned out. Now I’ve made 18."įor Webber, by comparison, this is in some ways a film debut.
"We wanted to make a film in its own right." Webber and Schumacher began talking about a "Phantom" film back in 1988, when the show was already a phenomenon and Schumacher had scored a gothic hit with "The Lost Boys." Schumacher is glad the project took as long as it did to get off the ground: "When he first asked me to do it, I had only made four films. "We did not want to do a film version of the stage show," Webber says. You know that old phrase, "They don’t make 'em like they used to"? Joel Schumacher has made "Phantom" like they used to, with 110 musicians and roses in the snow and sword fights and God knows what else. The tens of millions of theatregoers who adore Andrew Lloyd Webber’s plush melodies will presumably adore them here, and those who have no use for the show are unlikely to be swayed by the movie. Miranda Richardson in "The Phantom of the Opera"
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