Tony Gilroy’s next film leaves the galaxies for cello, with Oscar Isaac on restoration

After years immersed in intricate and morally gray politics of Andor and attempting machines of Star Wars, Tony Gilroy He is making a strong turning point towards something more rooted and personal.

The director, known as regards Michael ClaytonTHE Bourne film and his miraculous rescue of Rogue OneHe is putting his eyes on a very different type of story: a drama on a celler.

In an interview with /movies, Gilroy revealed that his next project is “a film about cinematographic music, score and musicians and scores of score”.

The story focuses on a symphonic cello that returns to Los Angeles after years. “Oscar Isaac He is about to play the cellor, “said Gilroy.” He is a cello who returns to Los Angeles by a very heavy study, third generation musical family. Back to Los Angeles for a few months to make sessions in the movies. […] His [about] Because he came back and because he went away. “

The film, which could be the mysterious “Behemoth!” The project that made a touch in the traum last year promises to be a piece of meditative character and guided by music.

For Gilroy, this is a personal project. Speaking with the variety, he explained: “I was a musician when I was young. I was really serious for a while. I liked being in the recording studios … When we get to the score, it’s my happiest place.”

That connection is what guides the narrative structure of the film, which Gilroy describes as non -linear and musicals of nature. “The entire film is told through the [music] Signals: the ideas trigger flashbacks in the last 20 years that tell you because it has started and because it has returned, “he said.” It is a film that sails on music. “

Gilroy quickly wrote the script and said it was “in excellent shape and wrote much more abruptly than I probably would have done it five years ago”.

Is producing the film with Andor executive manufacturer Sanne Wohlenbergand his brother, composer John GilroyIt is also on board. While they have insured Oscar IsaacA tax credit and the creative team, the biggest challenge now? Shoot in Los Angeles.

“It is really difficult to shoot in Los Angeles, as everyone knows,” Gilroy said. “And it is a cinematographic score, that most of the people of your audience know is really like coral reefs, friend. He is just going away, and if he is not saved soon, he will die completely.”

This is rather a criticism of the harsh realities of modern score work. As reported by Vanity Fair in 2022, many Hollywood musicians deal with exhausting hours and unjust conditions, often signs of ghostwriting under composers with a higher beak. It is not clear whether Gilroy intends to face him directly, but the way he tells his stories, I imagine that he is not outside the table.

It looks like a crazy ambitious project and I hope it will be able to bring it from the ground.