“I was driving to set on a movie, It was like five in the morning. West said she was surprised when her agent called her to tell her the news that she had been Oscar-nominated for the work. We came up with the term ‘black wax’,” she recalled. “We put it all over the clothes… Alejandro would say what is that stuff, more of that stuff. On the basis of this description, West created a compound consisting of paraffin and bootblack. Louis, after two years of trapping, the people would comment that you couldn’t tell what their clothes were made of because they were so dirty and so caked with grease.” He said that when trappers would come back to St. “I remember reading 40 Years A Fur Trader [ Forty Years a Fur Trader on The Upper Missouri by Charles Larpenteur). For The New World, I read all of John Smith’s journals,” she said. I don’t see how you could do the period, a lot of the periods I’ve done, without reading. “For the trappers, there was really nothing. Iñárritu’s The Revenant, for which she did in-depth reading to recreate the fur-trapper costumes for the 1820s-set wilderness adventure because there was very little visual material. West revealed she often takes a very academic approach, citing the example of Alejandro G. He put it on one night and just walk all over the grounds. We were filming in Luton Hoo outside of London. “When Geoffrey saw it, he started to cry. We tried everything and it ended up being a mixture of many kinds of things and also some organic materials. “Blood didn’t work, it turned black on the suit, cows’ blood we tried that. The big challenge of the film was creating De Sade’s suit which is covered in texts written in his blood, which the protagonist uses to write in the absence of ink. West would secure her first Oscar nomination in 2001 for her work on Kaufmann’s drama Quills, starring Geoffrey Rush as the Marquis De Sade during his final years in an insane asylum, where he was held in solitary confinement and deprived of quills and parchment. I have that down, maybe I should try to learn to do something else.” I thought okay, I’ve done the clothing business. About five years later, he said it again. I created a clothing line that went international. This bought a lot of filmmakers into my store, one of them being Philip Kaufmann who decided I should be in the film business,” she said. “It was kind of a centre for film people because of Tom Luddy, a friend who just passed away sadly. Waters’s boyfriend in the early days of the restaurant was the producer, cinephile and Telluride Film Festival co-founder, Tom Luddy, who died in February The premises were next door to Chez Panisse, the Berkeley restaurant founded by farm-to-table pioneer and cinephile Alice Waters and named after her favorite character in Marcel Pagnol’s trilogy, Marius, Fanny, and Cesar. “My husband-to-be said you should be in the clothing business because everyone wants to know where you got what you wear and he went out and rented me a storefront.” “When I got out of school, I taught kindergarten for a little while in a private school,” she recounted. “I never planned to work in cinema,” she said.Īs the daughter of a fashion designer, West grew up surrounded by the paraphernalia of fashion design such as a tailor’s dummy in her bedroom that she would dress for fun but had no plans to follow in her mother’s footsteps, even if she had a strong sense of style. Talking about her career in a masterclass for the Doha Film Institute, West said she fell into cinema by chance after connecting with Kaufmann through a clothes store she set up in Berkeley in the 1990s after majoring in art history, having originally planned to study sciences. 'Dune: Part Two' Won't Be Debuting At Venice, But A Festival Launch Is Still In Play
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |