Werewolf-as-Zombie Film: A Unique Lean-and-Imply Experience

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In an insightful review of Laufey’s mesmerizing August performance with the LA Philharmonic, Selection noted, “Laufey looks like she was born to play the Hollywood Bowl, along with her rapturously acquired pop/jazz/classical set.” This weekend, she is gracing Imax screens across America with “Laufey’s A Night on the Symphony: Hollywood Bowl.” Directed by the talented Sam Wrench, the film showcases Laufey’s remarkable versatility, capturing her not only as a singer, guitarist, pianist, and cellist but also as a captivating performer whose expressions resonate deeply with the audience. The close-ups highlight her emotional range and the connection she fosters with her fans, drawing viewers into her world of music.

This weekend is particularly significant for Wrench, who also directed Sabrina Carpenter’s holiday special premiering on Netflix concurrently with Laufey’s concert film debut in theaters. Last year was also a noteworthy one for him, having directed Taylor Swift’s “Eras Tour” film. Meanwhile, Laufey is experiencing a remarkable year herself, having recently won her first Grammy award for Best Traditional Pop Vocal Album for “Bewitched.” She has also enjoyed a sold-out tour, including a stunning performance at Lollapalooza accompanied by a symphony orchestra, solidifying her status as the darling of the Hollywood Bowl and the music industry.

Coinciding with the film’s release, Selection is set to honor Laufey this weekend as the Crossover Artist of the Year at the Hitmakers event. This recognition celebrates her unique blend of jazz and pop influences, showcasing her ability to transcend traditional genres. (For a deeper dive into her career trajectory, check out our exclusive interview with Laufey titled, “Laufey on Bridging the Gap Between Traditional Jazz Singing and Gen-Z Pop: Young Fans ‘Connect More With a Vibe or an Energy Than a Genre’.”) In this conversation, we also delve into the specifics of the Bowl concert and the film’s creation, gaining insights from both Laufey and Wrench.

What led you to realize that now was the perfect moment to create a concert film, especially at a stage in your career that is often early for many musicians?

Laufey: It’s one of those dreams I’ve always harbored, but I felt I needed to reach a certain level of success before embarking on a concert film. I certainly didn’t anticipate achieving that milestone so quickly. The experience has been surreal, and I feel incredibly honored to have this opportunity so early in my career, especially with such talented creatives involved. It’s a testament to the support I’ve received and the hard work that has gone into reaching this point.

Was there something in Sam’s background that made you feel he was the ideal choice for this project? Perhaps something particularly noteworthy?

Laufey: I’m quite the fan of Taylor Swift, so when Sam Wrench’s name came up, I was immediately intrigued. He possesses a remarkable vision for this type of project. Having directed some of the most compelling concert films in recent years, I knew I needed someone I could trust implicitly. Sam has elevated the standard for concert films, paving the way for me to pursue this endeavor. Collaborating with him was an exciting opportunity, and I’m thrilled with how it turned out.

Wrench: When Kyle Heller, the co-founder of Veeps, first reached out, he mentioned that this would be Laufey’s inaugural performance at the Hollywood Bowl. Typically, concert films document the tail end of a tour or a major event, but the idea of capturing such a significant moment—her first performance—was incredibly appealing and unique.

How did you determine the balance between documentary footage and the concert experience, ensuring a seamless flow without disrupting the audience’s immersion?

Wrench: I was familiar with Laufey’s music, but I didn’t know the specifics of how she structured her shows, starting with a band and then transitioning to an orchestra. This format lends itself beautifully to film, allowing us to incorporate brief documentary segments during the show’s intermissions without interrupting the concert’s flow. I’ve always found it challenging to blend concert and documentary footage, as it can disrupt the overall experience. However, this performance naturally provided a perfect opportunity for breaks, maintaining the audience’s engagement while offering deeper insights into the concert’s atmosphere.

Laufey: One of my goals was to use multiple cameras backstage and conduct interviews to give fans a glimpse of the concert experience that is typically hard to access—especially a concert with a symphony orchestra. I wanted to reach a broader audience, particularly those in cities where I haven’t yet performed. Additionally, I aimed to provide an intimate look at what happens behind the scenes, featuring interviews with my family and snippets of rehearsal footage. For those who attended the concert, I wanted to offer them a deeper understanding of the experience, illustrating the hard work that goes into putting on a show, so to speak.

Laufey and director Sam Wrench arrive on the premiere of “A Night At The Symphony: Hollywood Bowl” at The Grove in L.A. on November 19, 2024 in Los Angeles, California.
Getty Images for Laufey’s “A Night At The Symphony: Hollywood Bowl” Premiere

The trailer features the lively audience chanting “blah, blah, blah” during the catchy lyric in “From the Start.”

Laufey: That moment has become a signature part of the concert experience, something that fans eagerly anticipate, waiting all night to join in that one fun chant. It’s adorable and reflects the joy we share during the performances.

I attended the Hollywood Bowl show that was filmed, and I’ve experienced your performances in various settings. I’ve seen you perform in front of an enthusiastic, noisy crowd, and then in a more subdued, captivated atmosphere. And then…

Laufey: This felt like a perfect blend of both, don’t you agree? It was fascinating to observe the LA Philharmonic and Hollywood Bowl subscribers seated in front, hopefully being introduced to my music for the first time, while the back seats—where tickets were more affordable—were filled with my ardent fans. This mix created an exhilarating environment. I genuinely believe I can cater to both audiences, and I’ve often felt torn between my desire to appeal to different listener demographics. However, that night, I felt a strong connection to both groups, serving them through my music.

When I first saw you perform at the Ford last year with the LA Phil, I expected an older audience given the nature of the music. I was surprised to find that most of your crowd was quite young. But now, seeing how quickly your shows sell out, I realize: maybe you do have an older demographic, but they may not be as quick to secure tickets as your younger fans, who are adept at snatching them up the moment they go on sale.

Laufey: I feel like I’m even too old to compete with these kids when it comes to snagging tickets! I genuinely have no idea how they manage to do it so quickly.

So, there exists an audience for this film that adores you—or at least appreciates your music—but they would never have the chance to attend a live show without being incredibly dedicated or willing to pay a premium on the secondary market.

Wrench: There is clearly a substantial audience that hasn’t had the opportunity to purchase tickets. When I first spoke to Laufey’s team, I learned that her merchandise sales are exceptionally high compared to those of most other artists. This indicates a strong demand for fans who want to engage more deeply in Laufey’s journey. Live music in cinemas continues to captivate audiences—it ebbs and flows in popularity—but it’s crucial to find a supportive community for it. Laufey’s fans are incredibly loyal, and they’re eager to introduce their friends and loved ones to her music while enjoying the unique experience together.

Considering that, this project was unique because it wasn’t part of a prolonged tour that had been running for a long time. I’m immensely grateful to Trafalgar and Veeps for recognizing the potential in this concept and supporting it, as these endeavors are often costly and involve a degree of risk. The initial response has been overwhelmingly positive, which is encouraging.

Laufey: I’ve been on tour all year, and while it feels like I’ve performed countless concerts, I could easily play even more. There are so many cities I haven’t yet reached and audiences I haven’t connected with. Even when in the right city, concert tickets can be pricey, and access can be a challenge—especially for young fans with homework! This film represents a fun opportunity for people to experience my concert in a more accessible way while still feeling the energy of being around fellow fans and sharing in that atmosphere.

However, the most significant aspect for me is that this concert features a symphony orchestra. This is a world I was privileged to grow up in; my mother is a violinist, and I spent much of my childhood surrounded by the Iceland Symphony Orchestra. This background has profoundly shaped who I am as a musician. Bringing this sound back to audiences is something I strive to achieve, yet it can be challenging to present it in a way that resonates with young listeners.

Throughout this year, I’ve performed at numerous concerts, but only about five have been with a symphony orchestra. Most of my shows have been with a band, which is incredibly enjoyable, but it’s becoming increasingly rare to see young people engage with orchestras. It’s a challenge to introduce this vibrant world to younger audiences, and I hope this concert film inspires other young musicians to explore orchestral music as well.

Many younger musicians, upon playing the Hollywood Bowl for the first time, often reminisce about their early rock concert experiences there. You mentioned in the film’s commentary that your first performance at the Bowl was a Mozart concert. Yet, you also noted how the back sections are lively—a party atmosphere. I could imagine young Laufey in the nosebleeds, enjoying Mozart with her friends.

I’m always celebrating Mozart.

Laufey arrives on the premiere of “A Night At The Symphony: Hollywood Bowl” at The Grove on November 19, 2024 in Los Angeles, California. (Photo by Joe Scarnici/Getty Images for Laufey’s “A Night At The Symphony: Hollywood Bowl” Premiere)
Getty Images for Laufey’s “A Night At The Symphony: Hollywood Bowl” Premiere

Can you elaborate, Sam, on the visual style of the shoot? I recall from watching your previous live Imax concert with Brandi Carlile that you favor lengthy takes, as you used a single shot for each song in that performance. I noticed you employed a similar approach in Laufey’s film, with many extended takes that create a relaxed atmosphere without unnecessary cuts.

Wrench: Throughout the shoot, we effortlessly captured the level of intimacy and authenticity that defined the evening. In the editing process, it became clear that the energy from that single night resonated throughout the film. I believe a concert filmmaker’s role is not to create something that didn’t happen but to let the music shine. When music takes center stage, it dictates the entire experience. My job was relatively straightforward; the concert was exceptional, and we simply focused our cameras on it.

The key is to trust the music—no one wants to feel the filmmaker’s influence intruding. The music felt ethereal, expansive yet intimate. The orchestra provided these enchanting moments—those delicate harp plucks or flute notes—that felt delightful. Our approach was to let everything flow, capturing those little nuances while returning our focus to Laufey and the intimacy of her performance as she glided across the stage.

Do either of you have a standout favorite moment in the film, whether due to the performance itself or its cinematic execution?

Wrench: I would have to say Junia’s moment [when Laufey is joined by her twin sister, a violinist, for a delightful duo performance]. That moment radiates the essence of two sisters sharing an experience that, despite its uniqueness, feels profoundly personal. The contrast of expansive drone shots alongside the intimate scene of the two of them walking around on stage is something I’ve never witnessed before.

Laufey: It’s incredibly challenging to pick a favorite moment because the entire performance feels like one continuous experience to me. However, “Letter to My 13-Year-Old Self” stands out as particularly emotional; I found myself tearing up a little. I usually remain focused while singing, but witnessing myself in that moment made me reflect on my younger self and how much she would have loved to know that I would achieve something like this.

Additionally, I adore the lively orchestral segments where I can’t help but dance. There’s no choreographer; it’s just me and my quirky moves, dressed up for the performance. On stage, I can’t hide any part of myself or alter who I am. Once I step onto that stage, I transform into my authentic self, and I embrace every little quirk, smile, or spontaneous comment.

I found myself feeling a bit on edge during some of the orchestral segments because we weren’t playing to a click track. There was no strict rehearsal. Performing for that many people felt overwhelming; my previous largest audience was around 5,000 at Radio City Music Hall, and suddenly I was in front of 17,000. My genuine reactions range from nerves to sheer joy, and I’m grateful that you captured that essence forever, Sam.

Wrench: It’s always a hope that those candid moments translate on screen, allowing us to capture the small expressions and nuances of performance. Not every artist or genre is suited for lengthy, close-up shots, but Laufey’s music uniquely lends itself to this approach. The Bowl and the stage’s arrangement enabled us to get close enough to capture those intimate details without intrusive camera placements. We were able to maintain those moments longer, observing the subtle shifts in her expressions and the energy of the audience. The editing pace also allows us to linger in those magical moments.

Finally, Laufey, we’ve discussed your aspirations in film music and songwriting. After seeing yourself on the big screen, do you feel more confident pursuing acting or related endeavors?

Laufey: Absolutely. I don’t feel uncomfortable in front of a camera, which became evident during that performance. Initially,