Since Netflix’s royal family period drama “The Crown” spans about a decade per season, creator and showrunner Peter Morgan approached the fourth season by thinking, “What are the tentpole events…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Since Netflix’s royal family period drama “The Crown” spans about a decade per season, creator and showrunner Peter Morgan approached the fourth season by thinking, “What are the tentpole events of the ‘80s?”
In the world of the British monarchy, this included everything from a young Prince Charles (Josh O’Connor) courting Diana Spencer (Emma Corrin), despite his heart lying elsewhere, to the political rivalry of Queen Elizabeth II (Olivia Colman) and Margaret Thatcher (Gillian Anderson).
Morgan, O’Connor, executive producer Suzanne Mackie, editor Yan Miles, music supervisor Sarah Bridge and composer Martin Phipps took part in a Variety Streaming Room presented by Netflix conversation about their Emmy-nominated series. Speaking with deputy awards and feature editor Jenelle Riley, they dissected everything from the show’s soundtrack, to introducing new actors to play these beloved characters in the upcoming fifth season.
“Part of the beauty of this project is having this relay team [with Charles],” O’Connor said. “I feel part of ‘The Crown’ family, and it goes beyond your seasons.”
(Dominic West will step in as Charles in Season 5, while Elizabeth Debicki will portray Diana.)
Even though O’Connor noted he will miss playing the character, he reflected fondly on his two-season journey with him, including his first read with Corrin, which he said had a “failed ‘X-Factor’ reveal to it.”
“Suzanne and Ben [Caron, executive producer and director], both at the same time, turned to each other and said, ‘Do you want to say?’ ‘Shall I say it?’ And at the same time Emma said, ‘Can I have another go?’ And so then everyone went, ‘Oh, sorry, do you want to go to the scene again?’ I was like, ‘Why do you want another go? Emma, they’re about to tell you!'” he recalled. “And so, we had to do the whole scene again, with everyone in the room not including Emma knowing that it was just a matter of time before she’s going to get the part. We were just showing off at this point. And so, she did the scene again, it was brilliant.”
Added Morgan: “She was just breathtaking. You couldn’t take your eyes off of her because she had this extraordinary innocence and accessibility in a funny way that Diana had prior to becoming Diana.”
Watch the full discussion above.