Well after 1 a.m. on Saturday, Edward Norton was enraptured, listening to a live performance of jazz music.
The actor was deep in celebration of the premiere of his directorial debut.
He’d just been at Lincoln Center with Bruce Willis, Willem Dafoe and Gugu Mbatha-Raw hosting a screening of his upcoming film “Motherless Brooklyn,” a noir murder mystery based on the book by Jonathan Lethem.
But Norton had moved the party to Jazz at Lincoln Center on Columbus Circle, where guests were treated to a live performance by the Wynton Marsalis Quintet — which happens to be the same group that played the music for the movie.
“You might have noticed there’s some good music in that film,” Norton said when he introduced the band, adding that Thom Yorke and Daniel Pemberton — who attended the party wearing a violet suit — worked on the soundtrack. “My friend and one of the musical druids of the world Wynton Marsalis played that trumpet all the way through the movie, after he listened to Daniel’s score and liked it so much.”
Instead of setting the movie in the Nineties as the novel does, Norton moved the time period to the Fifties. But the topics the
The actor was deep in celebration of the premiere of his directorial debut.
He’d just been at Lincoln Center with Bruce Willis, Willem Dafoe and Gugu Mbatha-Raw hosting a screening of his upcoming film “Motherless Brooklyn,” a noir murder mystery based on the book by Jonathan Lethem.
But Norton had moved the party to Jazz at Lincoln Center on Columbus Circle, where guests were treated to a live performance by the Wynton Marsalis Quintet — which happens to be the same group that played the music for the movie.
“You might have noticed there’s some good music in that film,” Norton said when he introduced the band, adding that Thom Yorke and Daniel Pemberton — who attended the party wearing a violet suit — worked on the soundtrack. “My friend and one of the musical druids of the world Wynton Marsalis played that trumpet all the way through the movie, after he listened to Daniel’s score and liked it so much.”
Instead of setting the movie in the Nineties as the novel does, Norton moved the time period to the Fifties. But the topics the