For Hathaway, the chance to tackle the role of Fantine was particularly special because her mother was the understudy for the part in the show's first national tour. That's a narrative that starts to write itself in an awards season desperate for a certain kind of personal touch, and she may well win the Oscar for Best Supporting Actress despite the role's brevity. Her performance of "I Dreamed a Dream" is a bonafide show-stopper that sent the theater-loving crowd into ecstasy when it concluded (after being captured in one single shot, no less).

"It was great to, as you would in a scene -- you learn your lines, you learn your lines, you learn your lines, you forget your lines," she said, referring to the live singing element. "You forget anyone ever wrote your lines, because they're yours. They're just what your character is saying in that moment. It was wonderful to have the freedom to turn your brain off and just live it and let it come out as it did, and it was great to have a live piano there, so that if a particular emotion overwhelmed you, you could ride the emotion out. It was wonderful."

On that note (so to speak), Redmayne added that "the unsung hero of the film was the two accompanying pianists. Throughout the day I could do one scene but they would have to do five. Their sensitivity and response, that got removed in post-production and got replaced by an orchestra, but they were like the other character in the scenes."

Seyfried, meanwhile, felt a lot of pressure just to keep her voice in shape. "I was always conscious of how I sounded and how my sinuses were, and all that gross stuff that you keep hearing about, not staying out late, it's tough," she said. "After every day that I did my one or two big pieces, I was so relieved and felt like I was glad I cleared them out because I'm just not used to singing so much, and it's so fragile." She took a breath and sighed, "I'm just really glad it's over."

However, it wasn't Seyfried's first experience with the older Cosette. She actually played the part in a recital when she was 15 and studying classical music. "I wasn't great," she said, "but I certainly enjoyed the music." In recalling her first viewing of the whole experience, she said, "I saw 'Les Mis' in Philadelphia and I was, like, on the edge of my seat. It was the first time my mom said I sat still for three hours. And it's been playing in my house ever since."

Barks also has history with the production -- recent history. She played the role of Éponine on stage in London from June of 2010 to June of 2011 and even starred in the 25th Anniversary Concert of the production at the O2 Arena there in October of 2010.

"It's been a long sort of journey with this character," she said. "So to take it from the stage to the film has been an incredible experience. It's completely different, those two disciplines, because [with a film] you're allowed the intimacy of not coming to play to 2,000 people and you can use the camera to develop more of a range of emotion." But she nevertheless admitted that it was a "mixed bag," given the challenges.

Hathaway was also forthcoming about how Hooper's chosen process put on plenty of pressure. "Some days you'd wake up and the top note is there, and some days it's so not," she said, to plenty of laughs.

Hathaway was seven when she first saw the production and, like Hooper, recognized the chills she got from the emotion while watching her mother tackling the role she would one day tackle herself. "Today, to see it on this big screen in this acoustically perfect hall, you guys are the best gift ever," she said. "Thank you for loving it so much."

To which an audience member shouted, "Thank YOU!"

Truly, the crowd was over the moon for the film. Particularly for things like the presence of actor Colm Wilkinson, who originated the role of Valjean on the stage and here takes the part of the bishop. It's home town turf, of course, but my instinct is it will play just fine for audiences on the west coast tomorrow, too.

And the Best Picture landscape will be shaken up one more time this season. Is this the one to take it all the way, two years after Hooper did precisely that? I'm thinking it might just be, but I'll get into my own thoughts on it in due time. (Indeed, we haven't yet gotten to the hilarious duo of Sacha Baron Cohen and Helena Bonham Carter, or even the film's two biggest stars, Hugh Jackman and Russell Crowe. But perhaps that's because, in some ways, they're not the story of the cast as much as the quartet who were on stage this afternoon.)

"Les Misérables" opens nationwide on Christmas Day.

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Kristopher Tapley has covered the film awards landscape for over a decade. He founded In Contention in 2005. His work has also appeared in The New York Times, The Times of London and Variety. He begs you not to take any of this too seriously.