Director Francis Lawrence, producer Nina Jacobson and executive music producer Dave Cobb share insights into the music-heavy prequel film.
Four years after he finished work on the final big-screen adaptation of the zeitgeist-ybook trilogy, director Francis Lawrence got a phone call from producer Nina Jacobson, another veteran of the series. And she wasn’t looking to reminisce.Suzanna Collins – the mind and pen behind the dystopian sci-fi series – had just rung up Jacobson with some news: “Hey, surprise! I’m almost finished with a new book.” Lawrence sums up their reaction: “Wow….
“Talking to him, he’s an incredible historian of music and has such a passion that rivals Suzanne’s for the origins of what we think of as American music,” Jacobson recalls of their initial conversation. Lawrence agrees: “It was his resume but also just the chat. He’s such a great, smart guy and has such knowledge of the country music genre; he fit the family and is supremely talented.
“They have a shared love of the same music and the history of music,” Jacobson says. “She was present virtually for a lot of the recordings and had a lot of conversations with Dave, but gave him latitude, too. She always gives artists an enormous amount of freedom to interpret her work.” Lawrence seconds that: “He wrote the full songs, and we barely did changes.”
“With all the creaks in the walls, you can hear the history in the recording — it wasn’t like a clinical studio,” Cobb says. “The old microphones we used looked like they’d been under a bed for 75 years. Molly Tuttle played a big part – she played the guitar of Lucy Gray, and I found this old ’30s Gibson that she played on. It wasn’t just a regular acoustic guitar – it has character.
With that as the backdrop, Zegler delivers one of the film’s finest musical moments, forcing our emotional investment in her romantic relationship with a character we know grows up to be a monster – all while singing the hell out of a breathtaking song that could pass for a long-lost Carter Family classic.
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