[on _Sing Street (2016) as a musical] The big thing for me is I wanted to make a musical but I didn't want anyone to know it was a musical, and I didn't want to put the word musical on the poster. So it's a stealth musical; it creeps up on you - it doesn't seem like one, but it actually is. I felt that a really necessary part of making a modern musical is that it doesn't have any of the traditional recognisable tropes of the older musicals, which I love, many of them -
Schwere Jungen, leichte Mädchen (1955),
Du sollst mein Glücksstern sein (1952),
Ein Amerikaner in Paris (1951),
New York, New York (1977). Films where the music moves the drama along, it doesn't just break from the drama, but actually the music is as important as the dialogue and moves the characters and the plot along. [2016]
