{"id":15069,"date":"2025-05-09T19:50:49","date_gmt":"2025-05-09T19:50:49","guid":{"rendered":"https:\/\/topat10.com\/?p=15069"},"modified":"2025-05-09T19:50:49","modified_gmt":"2025-05-09T19:50:49","slug":"juliet-romeo-director-talks-musical-shakespeare-movie-ending-sequel-plans-interview","status":"publish","type":"post","link":"https:\/\/topat10.com\/?p=15069","title":{"rendered":"Juliet &amp; Romeo Director Talks Musical Shakespeare Movie, Ending, &amp; Sequel Plans | Interview"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p>ComingSoon\u2019s Brandon Schreur spoke to <strong>Juliet &amp; Romeo<\/strong> director and writer <a href=\"https:\/\/www.comingsoon.net\/tag\/timothy-scott-bogart\">Timothy Scott Bogart<\/a> and the <a href=\"https:\/\/www.comingsoon.net\/tag\/juliet-&amp;-romeo\">new Shakespeare musical movie<\/a>. Bogart discussed his modern-day approach to adapting Shakespeare\u2019s play, giving audiences a different ending, sequel plans, and more.<\/p>\n<p>\u201cBased on the real story that inspired Shakespeare\u2019s\u00a0Romeo\u00a0and Juliet, Juliet &amp; Romeo\u00a0follows the greatest love story of all time, set as an original pop musical,\u201d the official synopsis reads.<\/p>\n<p>Juliet &amp; Romeo is now playing in U.S. theaters from Briarcliff Entertainment.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\n<p><div class=\"jlvid_container\"><iframe title=\"Juliet &amp; Romeo Director Talks Musical Shakespeare Movie, Ending, &amp; Sequel Plans\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/0MIxu1KbuWY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/p>\n<\/figure>\n<p><strong>Brandon Schreur: I just kind of want to first ask, in general, if you can tell me a little bit about how this project came to fruition? You wrote the screenplay and you directed the movie; how long have you been working on this, and what did the process of bringing it to life look like?<\/strong><\/p>\n<p><strong>Timothy Scott Bogart: <\/strong>The origin of it really goes back to kind of the origin of me, as a director. In my very much younger days, I was an actor, and I loved musical theater. I was always acting, doing musical theater. I remember very vividly the moment I changed course \u2014 I was in Jesus Christ Superstar, and I was playing Judas. I\u2019m in the middle of my big, giant death number at the end, and the director decides they want to put 15 dancers in front of me while I\u2019m doing my big death scene. I remember having a conversation of \u2018Why? Why are we doing that?\u2019 They didn\u2019t really answer it. I remember, in that moment, going, \u2018I need to do that job. I can\u2019t do this job anymore.\u2019 I literally changed my career trajectory after that show and decided I wanted to direct.<\/p>\n<p>My first directing job was Romeo and Juliet on the stage \u2014 I ended up directing [Romeo and Juliet] four different times throughout my career, on the stage. It was always interesting when I was directing on stage \u2014 I adore the play, I adore the text, and I adore everything Shakespeare\u2019s ever done \u2014 but, to be honest, you would find moments where you\u2019d be like, \u2018I just don\u2019t think the grown-up characters or the parental characters are as explored as they should be, or this relationship between these characters.\u2019 So I always felt that there was a lot of stuff left outside of the confines of what Shakespeare could fit in. As a director on stage, I always felt, \u2018Gosh, there\u2019s so much more here, and it\u2019s so clearly relevant, I\u2019ve got to figure out how to do this one day.\u2019 That kind of just kept lingering.<\/p>\n<p>Cut to ages later, I\u2019m now making movies and television, and I was still struggling with it because I always thought there was something cool there. I remember watching Shakespeare in Love going, \u2018Aw, I should have thought of that! Stoppard was brilliant, why didn\u2019t I think of that!\u2019 I kept trying to find an angle in.\u00a0<\/p>\n<p>Anyways, I remember seeing it with my brother Evan, who is a songwriter who wrote all the songs with his partner Justin Gray. I was wrestling with iambic pentameter, in general, thinking, \u2018If I\u2019m going to make a movie, it just can\u2019t be iambic pentameter.\u2019 I know that that\u2019s crazy, it\u2019s Shakespeare, but it\u2019s tough to get through. Let\u2019s be honest, it just is. I know we all go, \u2018It\u2019s lovely,\u2019 and it is, but it\u2019s vegetables. I remember asking my brother, \u2018Why do you think Shakespeare did it in iambic pentameter?\u2019 And so effortlessly, he just said, \u2018Because that was the poetry of their time.\u2019 That\u2019s interesting. I said, \u2018What\u2019s the poetry of our time?\u2019 and he said pop music.\u00a0<\/p>\n<p>Granted, he\u2019s a big pop music writer, so, of course, he was speaking about himself, but he drilled down deeper and said, \u2018Think about the young folks in this world. Think about kids who are 15, 16, or 17. They\u2019re all listening to music, all the time. Not just to block out the world, but because it\u2019s speaking to them. It is their poetry.\u2019 That was really the leaping off point, and that was about 10 years ago.<\/p>\n<p>I always laugh with my brother \u2014 when writing a script, directing something, or editing something, it takes [me] forever, and then he\u2019ll walk into a recording studio and, like, three hours later, he\u2019ll come out and go, \u2018I just wrote Beyonc\u00e9\u2019s Halo.\u2019 How do you do that in three hours? It\u2019s a different business. But crafting songs, boy, is that tough, and it took years and years and years. Any great stage musicals take years and years and years, not just for the screenplay or the play for the stage, but you work the songs forever and ever and ever.<\/p>\n<p>I finally had my greatest revelation during all this period: Shakespeare didn\u2019t come up with one single idea in the play. It\u2019s all based on other source material. Seven different authors, who tackled this story over hundreds of years, going all the way back to historical records that show there were families of these two names, with these characters, at this time, in this place. Shakespeare based his play on source material. So, I started looking at all the source material, and there was so much more story to tell. It was the thing I had been searching for for practically my whole career. That really found it and launched it.<\/p>\n<figure class=\"wp-block-image size-large\"><figcaption class=\"wp-element-caption\">Photo Credit: VPP, LLC<\/figcaption><\/figure>\n<p><strong>Sure. That\u2019s so interesting. It sounds like it took a while to get there, too; I mean, working on it for ten years, I\u2019m sure it was a long process to put it all together. How much of these ten years was spent doing research on that source material you mentioned?<\/strong><\/p>\n<p>I read every piece of literature you could ever find. I had to get translations in different languages. But I was still trying to find \u2014 you\u2019re doing Shakespeare, so there are people, and we talk about this all the time, who are purists to that text. It\u2019s a little funny, I think, sometimes, that people get frustrated about the purity of the text when, really, what Shakespeare has done is create material that\u2019s meant to be adapted. If you look at Romeo and Juliet, it\u2019s literally performed in every city, every state, every country, on every day, all around the world, but they are virtually all adaptations.\u00a0<\/p>\n<p>You look at something like Baz [Luhrmann], that\u2019s Venice, California, not Venice, Italy. It\u2019s cars, not horses, and it\u2019s guns, not swords. Of course, that\u2019s an adaptation, with iambic pentameter. Others are set in World War II, others are set on Mars. There\u2019s something about those themes that I think Shakespeare meant to be reexplored and looked at. When you look at the canon of Romeo and Juliet, it\u2019s all about exploration.<\/p>\n<p>I always found the exploration was key, but I needed it to be a place that, if you are a purist, you get to the end of it and go, \u2018Well, they didn\u2019t do that and they didn\u2019t do that, but I understand how they got there and why.\u2019 I hope they can respect why we got there and understand that we\u2019re paying homage and doing a love story to these themes, not disregarding any of it, because it\u2019s crucial stuff.<\/p>\n<p><strong>That makes total sense, and I think you pulled it off so well, too. That jumps into what I was going to ask you next, one of the things you obviously changed about the movie is just the title. Instead of Romeo and Juliet, it\u2019s Juliet and Romeo. Was the inspiration to help make it different and stand out from other adaptations?<\/strong><\/p>\n<p>So, it absolutely was, and yet, boy, titles are always tricky, but this is arguably the most famous title in literature. With the exception of the Bible, you\u2019d be hard-pressed to find something more well-known than Romeo and Juliet. When I began, I always called the movie Verona, because I thought it was not just about this group of people, but a larger group and a larger context. The problem, when we were talking to other people about that, is that most people just don\u2019t know what Verona is, don\u2019t remember what it is, or they don\u2019t make that connection. Then we started going down the road of, \u2018It should be Romeo and Juliet.\u2019 And I just felt like that doesn\u2019t say anything about how our approach really is different.<\/p>\n<p>We kept trying to find what says it\u2019s Romeo and Juliet without saying it\u2019s Romeo and Juliet. It\u2019s the thing you think you know, it\u2019s not the thing you actually know. And it was while working in editing and when I playing with the title of Romeo and Juliet \u2014 I happen to have the digital files on my computer \u2014 and I don\u2019t even know why I did it, it wasn\u2019t even intentional, but I somehow flipped the letters and suddenly thought, \u2018If I brought it on-screen as Romeo and Juliet and then [flip it]\u2026\u2019 Without getting into any more detail as to why, it simply says that it\u2019s more than you think. That, really, was what we were going for.<\/p>\n<p>Of course, people will say \u2014 and there\u2019s truth to it \u2014 that putting Juliet first is talking about it being a different approach to the Juliet character. And it absolutely is a different approach to the Juliet character for a thousand reasons. I think one of the biggest reasons, and it\u2019s probably the thing purists of Shakespeare will argue with the most \u2014 I understand the argument, but I don\u2019t necessarily agree with the argument \u2014 is the age. Many people will say, \u2018Juliet was 13, he was 14.\u2019 That may very well have been true, but it\u2019s at a time in 1301 when lifespans were 30. It\u2019s not the same 13 or 14 as you are today. Even in Shakespeare\u2019s time, let\u2019s say he\u2019s writing in 1595 \u2014 as much as I adore Shakespeare, he didn\u2019t have the same view of women in the world as we do in 2025.\u00a0<\/p>\n<p>Just trying to take the themes, without changing the period, but making them understandable, I think it\u2019s totally appropriate to say, \u2018What is young today?\u2019 And I think our characters still are, for today. It\u2019s entirely different than 1301 because we don\u2019t live in that world. Talking to young people, they\u2019re like, \u2018We wouldn\u2019t do that.\u2019 So, we thought the themes are so important, they have to be embraced, but the distancing of some of those things, like age, [without it] would have made this impossible. I thought, in terms of adaptation land, and doing a different approach, I thought it was totally reasonable to understand lifespans were different, views of women\u2019s rights in general were different, and this story should be different. If Shakespeare were writing this today, I bet you it would have been.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\n<p><div class=\"jlvid_container\"><iframe title=\"Juliet &amp; Romeo | Official Trailer | In Theaters May 9\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/HLOfwe_0YsA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/p>\n<\/figure>\n<p><strong>Oh, yeah, totally. And I\u2019m sure that ties back into the pop music of it all because, like you said, that brings it to modern-day, it makes it for a 2025 audience, and I think that approach is really cool. As far as the music and choreography go, it\u2019s just really well done. Like, even if this wasn\u2019t Romeo and Juliet and just a normal musical, I was still into it. Going off that, how did that process work for you? Making the music and choreography \u2014 you were working on this for ten years, and I know a lot of people were involved, but did that part come first? Were you first making the music and building the story around it, or is it the other way around?\u00a0<\/strong><\/p>\n<p>I was actually just talking to my brother yesterday about this. It\u2019s so interesting because I really can\u2019t find a direct comparison that approached it in the same way. I know every musical says, \u2018We\u2019re doing this kind of live capture\u2019 or \u2018we\u2019re doing this kind of live thing,\u2019 and those are all fabulous and true. But there was something different about our approach, though. What I mean by that, yes, we had to create pop music that can live by itself, on the radio, so you can be driving in the car and enjoy that. But that\u2019s not what\u2019s actually in the film.<\/p>\n<p>I always say there are two kinds of musicals, and I really believe this. There\u2019s the kind of musical where the milkman is singing. The milkman knows he\u2019s in a musical, and his cow knows he\u2019s in a musical. It\u2019s so self-aware. That\u2019s fine. It\u2019s not my particular cup of tea or the kind of musicals I particularly love because I think it\u2019s a little distancing. The other kind of musical, which I do think this is, is one where we\u2019re really expressing the inner struggles, the inner feelings, the inner dreams and hopes as if it\u2019s truly an inner monologue.\u00a0<\/p>\n<p>I always say that, when we meet Romeo and Juliet in the church, and they\u2019re suddenly singing a big song in the movie called \u2018Beat the Same,\u2019 I don\u2019t think that if we actually entered the real church, they\u2019d be singing \u2018Beat the Same.\u2019 I think it\u2019d be two young kids in the church, probably doing other things. The intention wasn\u2019t that they\u2019re really singing on a horse; it\u2019s about how they feel.<\/p>\n<p>Once I knew that was crucial, it couldn\u2019t just be passive, \u2018let\u2019s create songs, put them in the bank, and when we\u2019re ready to shoot, let\u2019s do it.\u2019 We have songs that play out over a 12-minute scene. I need the first verse to come in, that then becomes score, and it keeps adding, then it returns to song, then it goes back to score, it has to keep evolving. It\u2019s not just, \u2018Here\u2019s a song playing in the background or even a song they\u2019re going to dance to,\u2019 it was so integral to the architecture of the whole piece. Because we were doing live capture as well, and because I knew how I wanted the music to integrate across the board, we\u2019d be sitting there, on set, with my brother Evan and his producing partner Justin, on location with their mobile recording studio. We\u2019d be like, \u2018Oh no, it\u2019s taking the horse six seconds longer to get from there to there, I need the song to be opened up by six minutes; guys, you\u2019ve got 20 minutes.\u2019 They\u2019d be running back and doing that.\u00a0<\/p>\n<p>All of which only got to the place where we finally had a piece, then we had to figure out the orchestration of that piece around it. To the last moment, to the last delivery, it\u2019s not just that music was there \u2014 there is no movie without the music, there is no music without the movie. And, at the same time, you could lift the music up and play it by itself. It was a fascinating experience. I\u2019ve never done anything like that, my brother has never done anything like that. I don\u2019t know anyone who\u2019s done something as collaborative, where one had to absolutely inform the other at every step. I can\u2019t imagine it any other way, now.<\/p>\n<p><strong>I\u2019m sure. I think, I have to say, I loved all the music numbers, but I think my favorite was \u2018I Should Write This Down\u2019 from Dan Fogler.\u00a0<\/strong><\/p>\n<p>I love that! I\u2019ll tell you a funny story about that. Some of these songs were literally written 10 years ago, some were five or six years ago. \u2018I Should Write This Down\u2019 was not written when we shot. I knew we had the great Dan Fogler, whom I had worked with before. I had a wonderful character arc with him, and I knew what we were doing with the great Derek Jacobi. But I felt, because of the way we structured the movie \u2014 where, other than Rebel Wilson, who sings \u2018Mask I Wear\u2019 and it really feels like one of the other folks at the time \u2014 I really keep the songs away from the grown-ups and really let it be more of the language of the younger cast. And, suddenly, Dan Fogler and Derek Jacobi are going to sing a song.<\/p>\n<p>Whenever I\u2019m shooting, I have kind of a live edit going on, so I can see what\u2019s landing. I felt there was a part of the storyline that wasn\u2019t quite landing. I was trying to find where it could happen. But I also knew I had this great Dan Fogler and this great Derek Jacobi. What could I do? I remember walking to my brother and saying, \u2018Evan, what we really need is our \u2018Master of the House\u2019 from Les M\u00eds.\u2019 If I\u2019m going to do something with them, it needs to be the song we all wait for, and then we get to it \u2014 like, in Hamilton, when the king comes out, \u2018You\u2019ll be back,\u2019 right? I felt, let\u2019s go pure departure, and, therefore, it has to just be a balls-out showstopper. There\u2019s the great Derek Jacobi, who I want to rap, and the great Dan Fogler. And there\u2019s some choreography that we brought in. It really was kind of a piece of its own.<\/p>\n<p>But, yeah, I literally went to my brother mid-shooting and said, \u2018I have an idea for the song, this is what we want, we\u2019re going to shoot next week, go.\u2019 It was great that you loved it, I adore it so much.<\/p>\n<figure class=\"wp-block-image size-large\"><\/figure>\n<p><strong>That\u2019s crazy, that makes it even cooler, really. That one was a lot of fun. We won\u2019t publish this until after the movie comes out, which means we\u2019re free to talk spoilers, so I do kind of want to talk about the ending because I do think that\u2019s where you take the boldest, biggest swing. You write it so that they live. Can you tell me what went into that decision?<\/strong><\/p>\n<p>Absolutely. I will say, even for people who are seeing this after the movie has come out, there are two other films in the franchise, and in my story. It\u2019s a three-film arc, ultimately. So where it ends at the end, I can\u2019t promise you\u2019ll be happy and I can\u2019t promise you\u2019ll be sad. So there\u2019s more story to tell that may take us in different directions.<\/p>\n<p>That being said, there wasn\u2019t a single performance I directed on stage where I looked at the audience and couldn\u2019t feel palpably that there were people saying, \u2018I wonder if they live this time, wouldn\u2019t that be fun?\u2019 Like, they can see what the story is, the character says it in the opening lines \u2014 they\u2019re going to die. So you\u2019re watching it, but I do believe, when you do that show right, there\u2019s a suspension of disbelief for a moment where people go, \u2018Maybe this time. Maybe this time.\u2019 I always thought, \u2018Well. Maybe this time.\u2019<\/p>\n<p>Now, I think it is, like you said, an enormous departure, but when I went back to the historical reference points, what I discovered was that, again, Shakespeare based it on other material, which based it on other material, which based it on historical records. The only place historical records came from, at that time, was the church. The only character, at that time, who would have kept historical records, was the friar. Our particular story had a very specific desire for what was going to happen. The idea that the friar said, \u2018Ok, if history needs to know that this is how the story ended, then that is what history will know.\u2019 It will be placed in the church archives forever, which appears in our film. And that\u2019s all Shakespeare ever would have had access to. He wouldn\u2019t have known what happened next.<\/p>\n<p>So, I felt, from a historical standpoint, nobody can say I\u2019m wrong. Nobody can say I\u2019m right, but nobody can say I\u2019m wrong. More importantly, it allows for two things to happen: One, it allows for an audience who, the whole time, has been leaving that history at the door and going, \u2018Gosh, I hope,\u2019 it fulfils that for them because they\u2019re caught up in this adventure. The characters, themselves, I think, which is probably a bigger departure than just to live or die, was the choice to kill oneself. Which Shakespeare did, it\u2019s a very important, tough topic, a challenging topic, especially for young people today. And, yet, when you look at the \u2018why,\u2019 those two characters felt, in Shakespeare\u2019s play, they had no way out. Our mission always was, in this story, there is a way out. It\u2019s your way out. It\u2019s your world. It\u2019s your life. If that\u2019s the story I was going to tell, I couldn\u2019t revert back to that, because that would be completely inconsistent. So, once I made the choice of who I thought these characters were for this audience, today, their future was written differently, perhaps, than Shakespeare did, but perhaps not differently than the church did.<\/p>\n<p><strong>That\u2019s actually so interesting. This could be the most accurate version of the story that\u2019s out there.<\/strong><\/p>\n<p>It absolutely could. Nobody can say that didn\u2019t happen. And, when you look at history, which is what our second and third film do \u2014 to track this incredible battle with the terrible Pope Boniface and his battle against the church and state \u2014 there are these fabulous characters like Dante Alighieri. All these fabulous, historical characters who would have been in this time, in this place, caught up in these events. That\u2019s where our story ultimately goes, to the birth of all Italy and Europe.<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p><em>Thanks to Timothy Scott Bogart for discussing Juliet &amp; Romeo.<\/em><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>ComingSoon\u2019s Brandon Schreur spoke to Juliet &amp; Romeo director and writer Timothy Scott Bogart and the new Shakespeare musical movie. Bogart discussed his modern-day approach to adapting Shakespeare\u2019s play, giving audiences a different ending, sequel plans, and more. \u201cBased on the real story that inspired Shakespeare\u2019s\u00a0Romeo\u00a0and Juliet, Juliet &amp; Romeo\u00a0follows the greatest love story of [&hellip;]<\/p>\n","protected":false},"author":652,"featured_media":15070,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[550],"tags":[],"class_list":["post-15069","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movie"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Juliet &amp; Romeo Director Talks Musical Shakespeare Movie, Ending, &amp; Sequel Plans | Interview | Unlock Informed Choices with Us<\/title>\n<meta name=\"description\" content=\"ComingSoon&#039;s Brandon Schreur spoke to Juliet &amp; 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