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Apparently Goldsmith's presence is limited to a seconds-long shot of him waving his arms while he's name-checked--same for the other famous composers. I knew this was going to be disappointing when I saw it was about a fictional character who is one of Tedesco's students.
Yes, the film is not about Goldsmith or Williams, it is about the relationship between Mario Castelnuovo-Tedesco and Jerry Herst, who actually is not a fictional character. The film is based on real letters found by Jerry Herst's son, CV, who wrote the script. Hope you check it out.
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To Thor -
thanks for watching our film - and obviously we can't cater to every taste, but we appreciate you checking it out.
However, I'd like to point out that the film is not about Jerry Goldsmith or John Williams, nor was it marketed as such - it is about student Jerry Herst and his teacher Mario Castelnuovo-Tedesco.
This film is written by CV Herst. and is about the relationship of his real-life father and this prolific teacher and mentor to such fantastic composers of our generation.
It was based on letters from his father to Mario CT. If you are curious for more information about the genesis of the film, CV explains it in this interview at the premiere: https://www.youtube.com/watch?v=Z4y7zSdA_Ns
As far as the film itself, yes, it was definitely not like Whiplash, and that wasn't the intention. The intention is to examine the relationships between mentors and students, and what "fame" and "success" really means. If you were hoping for a film about Goldsmith and Williams, I understand the disappointment, as this isnt it! 
"The Maestro" is more of an artistic film that faired well at multiple artistic film festivals - but again, not meant for everyone's taste, and again, I humbly thank you for watching our film.
I can only say that a lot of heart went into this film from people who greatly admire composers and what they do.
Cheers!
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Posted: |
Mar 2, 2019 - 3:46 AM
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By: |
Thor
(Member)
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Hi Phillmprods,
I assume you are the director, producer or otherwise involved in the film. Thanks for chiming in; it's not often that filmmakers communicate with 'critics'.
However, I'd like to point out that the film is not about Jerry Goldsmith or John Williams, nor was it marketed as such - it is about student Jerry Herst and his teacher Mario Castelnuovo-Tedesco.
Oh, I'm aware of that. It was just that there was so much buzz about this film years in advance (I think I first heard about the project in 2016?), and the alleged cameos of people like Williams and Goldsmith -- who have never appeared as biographical characters in serious feature films -- that certain expectations grew. Despite the fact that it wasn't about them. So when it was just a 2-second insert, it felt a bit disappointing.
As far as the film itself, yes, it was definitely not like Whiplash, and that wasn't the intention.
I mentioned WHIPLASH because it's a great reference point in terms of doing music teacher/student films. Not all such films need to be as 'edgy' as that, obviously, but it's more about the principle of adding engrossing conflicts and intrigue out of material that on the surface may not call for it. Even if your film has a rather different approach, I think it was a little "flat" and safe in its effort to create such situations -- you have the ingredients (the frustrated landlord lady, the teacher/tutor conflict/ebb and flow, the struggling composer who may not have the greatest talent and so on), but there could have been greater dynamic and explorations of these ingredients.
On the other hand -- and as previously mentioned -- there were other things I liked, especially the orange, warm cinematography ("Italy in LA") and the performances, both the always excellent Xander Berkeley and Leo Marks' naturalistic acting; there's a sense of fatalism brewing beneath his polite demeanour.
Just my two cents.
Perhaps you can answer the question previously posed: who was the great student that MTT labels as "he will have great success"? Is it supposed to be a real person, or just a fictional entity that frames Herst's frustrations?
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Hi Phillmprods,
I assume you are the director, producer or otherwise involved in the film. Thanks for chiming in; it's not often that filmmakers communicate with 'critics'.
However, I'd like to point out that the film is not about Jerry Goldsmith or John Williams, nor was it marketed as such - it is about student Jerry Herst and his teacher Mario Castelnuovo-Tedesco.
Oh, I'm aware of that. It was just that there was so much buzz about this film years in advance (I think I first heard about the project in 2016?), and the alleged cameos of people like Williams and Goldsmith -- who have never appeared as biographical characters in serious feature films -- that certain expectations grew. Despite the fact that it wasn't about them. So when it was just a 2-second insert, it felt a bit disappointing.
As far as the film itself, yes, it was definitely not like Whiplash, and that wasn't the intention.
I mentioned WHIPLASH because it's a great reference point in terms of doing music teacher/student films. Not all such films need to be as 'edgy' as that, obviously, but it's more about the principle of adding engrossing conflicts and intrigue out of material that on the surface may not call for it. Even if your film has a rather different approach, I think it was a little "flat" in its effort to create such situations -- you have the ingredients (the frustrated landlord lady, the teacher/tutor conflict/ebb and flow, the struggling composer who may not have the greatest talent and so on), but there could have been greater dynamic and explorations of these ingredients.
On the other hand -- and as previously mentioned -- there were other things I liked, especially the orange, warm cinematography ("Italy in LA") and the performances, both the always excellent Xander Berkeley and Leo Marks' naturalistic acting; there's fire brewing beneath his polite demeanour.
Just my two cents.
Perhaps you can answer the question previously posed: who was the great student that MTT labels as "he will have great success"? Is it supposed to be a real person, or just a fictional entity that frames Herst's frustrations?
Opinions are always welcome, some critics thought we gave too much attention to the landlord and boarding house - alas, we're happy Variety and the LA Times enjoyed it overall for the press, as well as the festivals we won awards at. Of course there is flaws, and we could chat forever about cinematic choices, but again, as a piece of art, that's the point, right? To provoke conversation, and opinions, in both film as well as in music. I'm glad you enjoyed the look and the acting, and personally the performances are what I am most proud of.
Funny you should say there was buzz - we had next to no money for marketing, so its great you'd heard about it prior to our push for the release last month.
To answer your question, that great student is actually played by Luke Eberl, who composed all of the music that wasn't Mario Castelnuovo-Tedesco's in the film, as well as was the "hand-double" for the more intricate piano playing scenes Leo had. Him having "great success" was an inside joke as he's an incredible player and quite accomplished as an actor as well.
Fun fact some people on here may enjoy: the piano that Mario and Jerry play on is the very one that Mario Castelnuovo-Tedesco mentored John Williams on... as given to James Westby, our consulting producer.
Obviously I have skin in the game, but I'd love and encourage other composers and lovers of music to give us a watch and let us know what you think.
Its only a few bucks on iTunes - https://apple.co/2BwyB26 - and I'd love to hear more opinions from actual composers and musicians.
Cheers.
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