From Iceland – Laufeny’s dream for all to see

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Skyler Barberio

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The Icelandic-Chinese jazz sensation brings her performance from the Hollywood Bowl to the big screen

“Welcome to the Hollywood Bowl! Thank you for selling out this show,” says 25-year-old Rundey Lín Jónsdóttir in the trailer for her upcoming concert film Laufey’s A Night At The Symphony: Hollywood Bowl – a documentation of their August appearance at the traditional venue, which has already hosted legends like Ella Fitzgerald. Accompanied by the Los Angeles Philharmonic under the direction of principal conductor Thomas Wilkins, the 2024 Grammy winner for Best Traditional Pop Vocal Album for Bewitched By taking place in a new (and iconic) venue, it not only confronts the fear and anxiety of the unknown, but also manages to package it into a dreamy cinematic journey and an intimate fan experience.

Of course, Laufeny can’t do it alone. She is supported by a powerful team that includes her creative director and twin sister Júnía, her producing partner Veeps, IMAX and director Sam Wrench, who brought her along just last year Taylor Swift: The Eras Tour in cinemas worldwide. I called the director in sunny LA to find out why he wanted to document Laufeny at this point.

A night full of firsts

“One of the things that interested me was that most of the time people reach out or the concerts I film are very late in a tour – maybe the artist has been on tour for 50 dates,” says Sam, who mostly Live is a multi-cam director whose portfolio also includes concert films by Blur, Lizzo, Billie Eilish and Andrea Bocelli as well as other major live events.

“The idea of ​​Laufeny playing the Hollywood Bowl for the first time, and also with the LA Phil, I felt like it was a really unique moment to capture. I liked the idea of ​​capturing something that hadn’t happened much before.”

Director Sam Wrench by Skyler Barberio

Sam admits that while he didn’t know Laufeny before they started working together, he knew her songs. “I’ve always been pretty attracted to them. She writes quite a bit about Los Angeles and I live here,” he says. “It was great to learn more about her art history and the way she structured the set, starting with a band and then a little break and then LA Phil.” I thought that was a really interesting way to do it to make – and really interesting for the audience.”

“She’s someone who has such a real connection with her audience and can just speak so well that it seems really authentic because It is.“

Even though it’s her first time playing at the Hollywood Bowl, Schwanzey appears remarkably relaxed on stage. Before introducing the LA Phil, she glides through her solo set, offering short song introductions and candid commentary. “You’re going to get to know me a little better tonight, maybe a little better than you expected.”

According to Sam, these honest, sometimes pithy comments were not scripted. “No, it’s completely natural,” he says. “It’s a very natural representation of the concert. She’s someone who has such a real connection with her audience and can just talk so well that it seems really authentic because It is.”

Intimate notes

Laufeny quickly became famous, but she still presents herself to the audience like an old friend. A classically trained musician, she sings intimate songs about her own life and the struggles of growing up, such as not fitting in or life moving too fast. At the same time, she demonstrates her musical versatility by switching between cello, guitar and piano for various songs.

Her banter with the audience enriches the cinematic experience and leaves viewers wondering which moments didn’t make the cut. When her twin sister Júnía comes on stage to play viola for a song, Rundey can’t resist a cheeky comment to her sister: “Are you wearing my dress?”

“Laufey’s sister coming out was a real moment,” says Sam. “I didn’t expect it to be so great. It felt so personal and playful.” He adds, “Laufey speaks so authentically during the songs that we definitely didn’t know it would be so strong. When we left the performance, we knew these moments were something very special that would shape the film.”

The concert performance is complemented by a few non-live moments, which flow very smoothly into one another and allow the audience to learn a little more about the artist as she drives through the hills of her new home of Los Angeles in a black Cadillac. “We talked a lot about these (scenes) and what they might look like, but the content of the concert is largely their…raw experience.”

These off-stage moments are rendered in black and white, contrasting with the colorful on-stage performance – a subtle nod to Laufeny’s on-stage persona, which appears both classic and modern. “We tried it both ways,” Sam explains, “and I think in the cut black and white felt more classic.” Rundey’s music is so classic and the way she talks about Los Angeles is so romantic. Black and white gave us the chance to be more romantic.”

“It was really important to us that we didn’t make a documentary. It wasn’t there to tell her life story.”

Capture the moment

“The Hollywood Bowl is a unique venue. It has such a visual identity,” says Sam. “As with any venue, there are always a lot of challenges in how you capture and show it.” As for the technical logistics of producing a film like this, Sam’s team placed around 16 cameras at various locations around the venue to tell the story – “a mix of close-ups, intimate scenes, large-scale shots and then orchestral coverage.” and diverse artist coverage.”

The one-night aspect of the performance is what initially attracted Sam to the project, as he admits it requires a different, more flexible approach. “You don’t want cameras looking at other cameras. And you don’t have a chance to refine the performance again. There’s a real authenticity in the moment where you feel like it’s a night – it’s just that moment captured in time,” he says. “Looking back, I’m really glad it was just one night.”

The film crew’s primary approach was to lean into moments that felt authentic. “It was really important to us that we didn’t make a documentary. It wasn’t there to tell her life story,” says Sam.

Speaking of Taylor

“I was incredibly lucky to be able to capture The tour of the era and working with Taylor,” says Sam, blushing at the mention of Taylor Swift – an experience that definitely shaped his year and possibly his future career. “I think for anyone who does anything with Taylor, it’s a pretty pivotal moment in their career. But it was a great experience and I was so happy that so many people got to see it in the cinema.”

A noted Swiftie, Laufeny’s deeply personal lyrical approach is often compared to Taylor’s, but her jazzy pop music and orchestral show have a very different appeal. When asked about the contrast between filming dynamic and subtle performances, Sam says, “It’s a very different approach when there’s more choreo and there’s more kinetic movement than with an orchestra on stage.” But I often find that If you focus on movement, just in different ways, be it a dance, a harp or a viola – there is still movement. It just translates in different ways.”

The best seat in the house

Sam sees great potential in cinemas that support live music. “It’s so humbling and exciting to see audiences care so much about music in movie theaters. “Obviously the Taylor film really helped get that going again,” he says. Thinking about ticket sales and the interest of cinemas worldwide Laufey’s A Night At The SymphonyHe continues: “It kind of proves that people really want to see these once-in-a-lifetime moments in the cinema; There is a real demand for it. I’m really happy that everyone gets the chance to see it, but also that cinemas and IMAX are supporting music in the cinema. It’s a great place to see live music if you can’t make it to the gig.”

“When Júnía comes on stage and plays viola for one of the songs, Rundey can’t help but make a cheeky comment to her sister, asking, ‘Are you wearing my dress?'”

The cinema experience may lack the noise and sweat of a live concert, but that’s not its purpose, according to Sam. “A live cinema recording of a concert is no substitute for the personal experience. It should feel different but stay true to personal experience. Seeing a live cinema experience, being closer to the artist, having the best seat in the house and being able to share that with friends and family is simply a different experience rather than replacing the other.”

Laufey’s A Night At The Symphony is primarily aimed at the fan base and people who couldn’t make it to the show. It is also accompanied by an interactive website and limited edition merchandise. But you don’t have to be a “Lauver” to enjoy it. “It’s a chance for this fan base to introduce Laufeny and her music to other people – to take your family, your kids, your partners, the person who might not know her music and introduce them to her,” says Sam.

Laufey and film director Sam Wrench at the premiere of “A Night At The Symphony: Hollywood Bowl” at The Grove in LA (Photo by Joe Scarnici/Getty Images for Schwanzey’s “A Night At The Symphony: Hollywood Bowl” premiere)

The film isn’t Laufeny’s only gift to her audience this holiday season. She also released a celebratory EP, A very moody Christmas. With several Christmas shows in the works and a Sabrina Carpenter Christmas special coming to Netflix the same week as Laufeny’s film, director Sam is also busy.

He’s not the type to go back over a project and think about what could have been done differently – or maybe he just doesn’t have the time. “I saw it at the premiere in LA the other day with Laufeny, and the people in the room had as much fun with it as they did in the editing room. I’m so glad she took the risk – filming a concert when you’re performing somewhere for the first time is always scary. I’m really proud of it.”

Laufey’s A Night At The Symphony: Hollywood Bowl hits theaters on December 6th. Check it out at Bíó Paradís or Smárabíó. See show times: nightatthesymphony.com