![]() ![]() They convinced MGM to spend almost half a million dollars for eleven days of reshooting, and finally gave the film their blessing ( source). If you watch these scenes, they're obviously both shot indoors, with painted backgrounds and the appropriate set dressing as needed ( source).Įven though audience loved the film at previews, Lerner and Loewe thought it dragged. In order to inform the layperson of the possibilities, Field is interviewing crew members from film and television doing a variety of jobs, like craft service. When the crew got back from their shoot across the pond, Lerner was less than pleased with two of the song pieces: "She Is Not Thinking of Me" and "I Remember It Well." Minnelli was already busy on his next project, so MGM and Freed tapped Charles Walters, (who had directed Caron in MGM's 1953 Lili) to direct the re-shoot. Head over to our "Setting" section to learn more about the locations of the shoot. ![]() ( Source.) Minnelli made it all look effortless. With Gaby Morlay, Jean Tissier, Yvonne de Bray, Frank Villard. There was heat, wind knocking over the fake trees, dust, horse manure, actresses in tight corsets fainting, large public spaces that had to be cleared for the shoot, hundreds of extras, horses, and carriages, and the problem of creating a skating rink in August. ![]() It's an Academy Award-winning classic for a reason - or, rather, so many reasons: inventive plot, memorable music (by Alan Jay Lerner and Fritz Loewe), swoony costumes (by the. Those lovely scenes of people passing leisurely by in the park? They took endless takes. Our review: Parents say ( 2 ): Kids say ( 2 ): As one of GIGI's most popular songs goes, 'Thank heaven for little girls,' and that much is true for the film in general. Minnelli was very happy to use Paris as the backdrop for his story. He used it to follow his singing actors through a sequence of exterior spaces (parks, squares, streets, etc.) ( Source) Of course, things got interesting when the big musical numbers started, when Minnelli used a boom-mounted camera from up high or down low. Miniver and Philadelphia Story, often matched this "moving painting" vibe, by sticking to formal, straight-on angles in his wide- and medium-shot framings. Gigi's cinematographer, Joseph Ruttenberg, who worked on hundreds of classic movies including Mrs. ( Source) Like in a MuseumĪppropriately, Minnelli's directorial style can best be described as a moving painting, images made according to the lines of building exteriors, sculptures contrasting against the sky, velvet drapes laying beside shiny bronze frames, using lamps and natural light to focus our eyes on the story. Ultimately, Beaton's elegant and colorful designs fit in perfectly with the director's vision. Katy Perry Smile Album Custom Art Fashion Doll Monster High Gigi Grant OOAK Repaint 107.00. Minnelli kept ordering more and more extras, and Beaton had to hustle to round up enough dressmakers to meet the demand, especially since these artisans tended to go on vacay during August and had to finish by then. Monster High Live Action Movie Frankie cosplay costume. He re-read Colette's novella seven times to see the era through her eyes and arrive at a fresh palette for the lavish costumes the director demanded. Photographer and costume designer Cecil Beaton had worked on so many 1900-ish films that he was worried he'd repeat himself with Gigi. ( Gigi won the color category, while a B/W called The Defiant Ones won the other.) When Gigi was made, color film was so still so new that there were still two Oscars for Best Cinematography, one for color and the other for black and white. Gigi's CinemaScope color is so bright and varied that its frames are often dead-ringers for a box of crayons. Click through our slideshow of 30 of her most fantastic costumes from film - and get some inspiration for your Netflix queue.Bright Like a Diamond, Lush Like a Jungle Name a classic film starring a female legend from the golden age of cinema, and she’s likely felt the cool embrace of Edith Head’s tape measure. And that’s just the short list of her accomplishments. In her five decade career, she won eight Oscars defined the legendary styles of Hitchcock’s iciest blondes, Tippi Hedren and Grace Kelly and added the quirk to Audrey Hepburn’s most-replicated, classic all-American looks from Breakfast at Tiffany’s, Sabrina, and Roman Holiday. Head, who used forged sketches in her interview for her job at Paramount, has become one of the most revered and idolized costume designers in cinema history. Her influence continues - immortalized both as a character in Pixar’s The Incredibles, and today, as a Google Doodle tribute in honor of her 116th birthday. Costume Designer Edith Head once said “If it’s a Paramount film I probably designed it.” She doesn’t even have to pretend to be humble.
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