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How This Costume Designer Collaborated with Park Chan-wook on 'The Sympathizer' https://ift.tt/LEI9yqF The Sympathizer is Max's newest period satire, based on a Pulitzer-winning novel by Viet Thanh Nguyen. It follows the Captain (played by Hoa Xuande), a double agent working with the CIA and the Communists after the end of the Vietnam War. The show, created by Don McKellar and Park Chan-wook, is a sharp, twisty journey of double-crosses and clashing cultures. A huge part of that journey relies on on the stunning period costumes provided by Oscar-nominated designer Danny Glicker. His designs reflect so many things—class, time, location, emotion, character, and more. And it was clear, as I chatted with him via Zoom, and he and Director Park were incredibly thoughtful about how a character's dress can show so much about who they really are, even if they're pretending to be someone else. We had an amazing conversation, and he offered some incredible insight on his process and the secrets you can find in the costumes of this espionage story. Enjoy. The Sympathizer | Official Trailer | Max www.youtube.com Editor's note: The following conversation has been edited for length and clarity. No Film School: I would love to know first of all what your path was like and how you got started as a costumer. Glicker: My path to becoming a costume designer has been kind of roundabout, I think like most people in the business, I've always loved film and theater and I really love character. And I was really always looking to the costumes as a sort of pathway, a doorway, a portal into the soul of the character. And it's sort of a confusing path because I loved the clothes and I loved the history of the clothes and I loved the story of the clothes, but I was not really very interested in pursuing a career in contemporary fashion, not what I was interested in. I personally love fashion, but that's not what I wanted to do. And so the more I learned about filmmaking and the more I learned about storytelling and character building, I realized what I loved was clothing as a language to express the deeper truth of the character. And for me, clothing is sometimes what I refer to as a delivery system. I use the clothes to very importantly create a truthful physical environment for the actor to experience the world in. I use the clothes to express to the audience the situations that the characters are experiencing and just as importantly the context of the surrounding world. So what my character wears is usually speaking to or in conflict with the environment of clothes that I provide with everyone else in the whole movie. And so I really view the clothing as a deeply personal and emotional expression of character and of worldbuilding. NFS: What excited you about working on The Sympathizer? Glicker: First of all, I mean, getting a phone call to work with Director Park Chan-wook is about as exciting as a phone call as any designer can get, because in the...

How This Designer Created the Costumes on the Mega-Hit 'Road House' https://ift.tt/bS17HW0 Costume designer Dayna Pink had a lot to contend with on Prime's new film, Road House. The film was a reimagining of an existing universe, 1989's Road House, this time around directed by Doug Liman. She was tasked with dressing a large, diverse cast and coming up with outfits that would reflect the main characters' background in UFC and allow them to have all-out fights. And all the work has paid off, as Road House was just announced as Prime Video's most streamed project to date, with over 50 million streams so far. Jennifer Salke, head of Amazon MGM Studios, said in a statement, “The groundbreaking, successful debut of Road House is a testament to the hard work and commitment from the entire Road House filmmaking team and the film’s cast led by the phenomenal Jake Gyllenhaal.” So we were pretty excited to hop on the phone with Pink and speak about her process on the film, what it takes to design for action, and get her advice on entering the field. Enjoy. Road House - Official Trailer | Prime Video www.youtube.com Editor's note: The following conversation has been edited for length and clarity. No Film School:I'd love to know where you started in terms of your collaboration with Doug Lyman? Dayna Pink: Okay. Well, I met with Doug and I wasn't sure ... Because I've done sequels before, I've done films with the number two in them. And so I wasn't really sure if this was a number two, you know? And when I had a meeting with him, he was like, "Oh no, this is our own movie. We're starting over. This is our thing." We didn't have to go back to something that someone else did, or refer to something, or do something that was a little retro. We got to really start from scratch, which is really cool. And then that way you get to create your own world, which is always really exciting for me. So I started with the idea that we could do whatever we wanted, which was always the most fun. NFS: Mm-hmm. That's great. And then just generally, because costuming is so important to understanding of characters, what's your process for creating character through costume? How do you go about that? Pink: I totally agree that the costume is so important because every single thing that we wear tells us something about ourselves. Where did we get it? What does it mean? Who gave it to us? Where do we buy it? How long have we had it? And it's what you're wearing and how you're wearing it. Is it dirty? Is it wrinkly? Is it buttoned up? Is it easy? Tucked in. Whatever. So everything we wear and how we wear it says something about us. So yeah, everything down to the socks, down to the shoe laces, we choose it all, including background, including extras. We're super particular on what everybody that you see on the screen, that they're dressed the way that goes with the story that we're telling. NFS: Mm-hmm. Do you make boards or what's your actual process? Pink: Y...

How characters, costumes, and narratives form the crux of period cinema. Veteran costume designer Pia Benegal and actor Rajit Kapur highlight the contribution of costume designing in nuanced storytelling. From Mughal-e-Azam to Bajirao Mastani, period dramas have evolved into more than just historical narratives. They have become stories that delve deeply into character development and have entered the consciousness of viewers. As such, character development plays a significant role in driving the narrative forward. In this context, costume design is integral in setting the historical backdrop and enhancing the depth of the characters. It allows viewers to connect with the time, place, and culture of a narrative while deepening their understanding of the characters. Pia Benegal, who has worked across television and films for the last three decades, has been instrumental in elevating the craft of costume design. Some of her notable works include The Making of The Mahatma, Mujib: The Making of a Nation, Aligarh, Bose: The Forgotten Hero, Mammo, and Zubeidaa. Interestingly, Benegal has worked closely with actor Rajit Kapur (of Byomkesh Bakshi and The Making of The Mahatma-fame) in many projects helmed by her father, the legendary Shyam Benegal. The Making of the Mahatma, a documentary based on Fatima Meer’s book The Apprenticeship of a Mahatma, unfolds Gandhi’s journey from a young, relatively unknown lawyer to becoming the iconic leader of India’s independence movement. The session took us back in time through a montage of clips that showcased this trajectory. Benegal pointed out that costume design includes everything—from sourcing, inventory, budgets, and a whole lot of planning. “During the making of The Making of the Mahatma, it was quite a challenge because the budgets were limited. But what was expected was much bigger than that. All the costumes had to be made in India and then carted across to South Africa,” she says. “We had to plan for any kind of eventuality or last-minute requirement.” Trunks with pre-stitched costumes and uncut fabric were carried to the filming destination. Additionally, footwear, headgear, and other accessories were also packed. Benegal created a grid of what Gandhi looked like in India and how his choice of clothes changed when he moved to South Africa. Once again, when the freedom fighter returned to India after 20 years, his life philosophy had transformed. Yet again, his costumes changed. “When actors moved from one location to another, the requirement was different, and figuring it out scene-wise was a task. But it was a rewarding film at the end of the day,” she adds. Read more at: https://lnkd.in/gRMQkTnS

$35,000 was spent to design a movie costume? Why spend that much on a costume to be worn? People wonder why some quite amount of money is spent on costumes cause does it really matter? Unknown to many, costumes play a big role in movies. Most importantly, costumes in movies give hints about who a person is. A grumpy old pirate might wear ripped clothes and an eye patch, showing he's been on many adventures. Costumes can take you on a journey through time. Imagine a movie set in the past might have actors dressed in clothes from way back when, like knights in armor or cowboys with hats and boots. So, costumes help you to understand what kind of story is unfolding which is the central core of every movie. PS: The most expensive movie costume ever made appears in the 1944 film "Lady in the Dark" and is designed by Edith Head.(Google). --------------------------------------------- ✅Thanks for engaging with today's "Frame by Frame" session with David Adesokan Follow David Adesokan for more simplified insights I am Coming🎥🧑💻🎦

Behind the Scenes" portrays series of unexplored areas associated with any form of production, an event or creation as a whole. These include the efforts of writers, directors, actors and other crew members necessary for the realisation of a dream. For example, in films, the behind the scenes crew is involved in the planning, painting and creation of set, costume, and lighting and sound effects as well. Planning may be over done such that each and every shot is first sketched and often acted out, something called story boarding. However, chemistry between cast members is crucial as it not only boosts the performances but also creates a good mood on set. Sometimes, inexplicable things occur – technical hitches which may call for the crew to think on their feet and adapt fast. In addition, the organization of the behind scene work is substantial too. Deadlines have to be met, account to be controlled, assets to be used wisely.

Learn How Carlos Rosario Created the Epic Historical Costumes of 'Shōgun' https://ift.tt/lbnGWDF Shōgun, an adaptation of James Clavell’s 1975 historical novel of the same name, is a breath of fresh air on FX as an expansive historical epic with predominantly Japanese dialogue. Set in 1600s Japan, viewers meet Lord Yoshii Toranaga (Hiroyuki Sanada), who has made many enemies on the Council of Regents. Nearby, a mysterious European ship is found marooned, carrying Englishman John Blackthorne (Cosmo Jarvis). The show features both an impressive scope and stunning attention to detail, the latter of which is particularly reflected in costume designer Carlos Rosario's work. Rosario, a student of European high fashion and later an apprentice to Oscar-winning designer Colleen Atwood, has brought an incredible level of expertise to the series, crafting all costumes and armor for all characters, bringing a modern sensibility while also honoring traditional Japanese methods and culture. We were delighted to meet with Rosario via Zoom to discuss his work on the series. Shōgun - Official Trailer | Hiroyuki Sanada, Cosmo Jarvis, Anna Sawai | FX www.youtube.com Editor's note: The following conversation has been edited for length and clarity. No Film School: I know that your background is high fashion, so what got you into costume design? Carlos Rosario: I feel like it was destiny, really. I feel like the circumstances in life led me into costume design. Initially, it didn't even cross my mind that actually costumes were needed on movies. That's how clueless I was about the movie-making process. When I got into the industry, I was very, very young. I actually came to Los Angeles as a tourist, and a friend of mine told me, "Why don't you just actually bring all your drawings with you, just in case? It's Hollywood, you might meet somebody." And so one thing led to another, and I met somebody that actually told me that in order to work in the movie industry, I needed to be part of the union. And at that moment, obviously, I didn't have any experience. I couldn't join the union as an assistant designer or a custom designer, but I thought, well, I have all my illustrations. There was a section that was specifically for illustrators, and so I applied as an illustrator because I didn't know what the process was to design costumes. And I thought, well, I know how to draw. Maybe this is my way in. And so I applied, I presented my portfolio, I showed my drawings, and I got really lucky because the president of the jury was the president of the union. And two weeks after accepting me, he actually became one of the designers on Batman and Robin. And so he asked me if I could do the drawings for his project, and that's how I started. So, in a way, I started as an illustrator. It's as simple as that. That was my way in. And throughout the first few years, by working very closely with designers, specifically Colleen Atwood, because I worked with her...

How Helen Huang Designed Grounded Costumes for 'The Penguin' https://ift.tt/e4uRMNE How do you dress a Penguin? It's a question that's been answered many times, by Tim Burton and DC artists and others. But in his newest iteration, costume designer Helen Huang was tasked with giving the character and expansive cast of The Penguin their looks, and you might be surprised at some of her inspirations—and how this version of Oz Cobb is dressed as more of a working-class hero, rather than the tuxedoed supervillain we're used to. But these unique takes on characters, both familiar and new, lend HBO's new spin-off series air of gravitas not often afforded to comic book adaptations. Huang's specific goal was timelessness—the looks are familiar, but not trendy, keeping all the characters grounded while not pinning them to a specific decade. It's a delicate dance expertly navigated by Huang, a two-time Emmy winner. Huang was kind enough to speak with No Film School about her work on the series, how she showed each character's growth through costume, and how up-and-coming costume designers should educate themselves. - YouTube www.youtube.com Editor's note: The following conversation has been edited for length and clarity. No Film School: I spoke with your production designer, Kalina Ivanov. She told me that you all were thinking about Scarface and French Connection, New York in the '80s. From your perspective as a costume designer, what did that look like in your process? Helen Huang: They did make a lot of references to French Connection and Scarface. Klute was in there. For me, when they talk about these movies as a reference, I tend to think of a timelessness involved in the world, which is something that we tried very, very hard to achieve. That time in New York, in New York's history, has a very grounded, grittier texture to it. And then, with this IP coming off Matt [Reeves]' movie, it's grounded but still very stylized. I feel like that balance was always in the forefront of my mind, trying to achieve that balance. And then the other thing was making the image—between Kalina's production design, the cinematography, and then costumes—making the image emotional. I started with that approach. I looked at a lot of 1980s New York street photography, a lot of pictures of people on the street, on the subways, to get a feel and understanding for what a timeless look is. It does help with the emotional quality that [the story] does hit fall/winter. It leans into that. I feel like that always gives the visual quality something very special that you don't get with costume with summer dressing. So we looked at a lot of images of that, and I have some very specific images of how each section of Gotham looked. For example, with the Falcones, we didn't want them to feel like 1990s crime bosses. I really wanted to feel this idea of an institution, the crime institution. I leaned very heavily on European aesthetics and images for the...

Evidently I'm obsessed with mapping creative processes in a flowchart: I tried to map the entire Costume Design process into a flowchart, that maps everything from pre- to post-production (and a few extras). Why? Because I wasn't able to find this type of information anywhere on the internet when I started. Everyone only talks about the creative process! When working as a Junior Wardrobe Assistant on set, I quickly learnt that a big part of the job consists of management and organisation. I always feel very aware of the actual impact that a character or costume designer can have on the quality of a film. After all, we are responsible for what the characters look like! Characters are not only important for audiences to attach to, but also for the iconography and recognisability of a project. Down the line... recognisable characters can become iconic in the mind of audiences. Even those thoughts are incorporated in this flowchart. Now that indpendent projects continue to thrive among audiences, it's important for every production member to realise their stake in the production. Understanding the complete pipeline of a production helps everyone involved to get the most out of a project, even years after release.

What Is a Costume Designer? https://ift.tt/jVD3zA7 Do you know what can bump me from a movie or TV show's story? Bad clothes on film. What a character wears makes them authentic and adds an aura of believability. That's why making costumes for movies and TV shows is one of the most important jobs on set. Costume designers are crucial to the worldbuilding of any project. But what exactly do costume designers do? And how much do they make? And how can you become a costume designer? If you have a lot of questions about this job and other jobs inside the film crew, you've come to the right place. Today, we're going to define a costume designer, research some famous costume designers, and get to the bottom of their responsibilities in movies and TV. We even have some tips from pro film and TV costume designers. So, let's get started with the most basic of questions. What Is a Costume Designer? A costume designer is a person tasked with creating the costumes for a film or TV show. They envision and create the characters' outfits or costumes and make sure they have a balance on camera and reflect the personalities and aesthetics within the movie. Costume Designer Job Description The costume designer works with the director, writer, cinematographer, and set designers (as well as other creative personnel) to capture the look and feel of the movie or show. They make sure the clothing every character wears feels like it belongs in the story and gives them some personality. They will also not just pick clothing off a rack. Many times, costume designers must create these clothes from scratch. That means sketching out images and experimenting with different colors and patterns until they are camera ready. 'Marie Antoinette' Credit: Columbia Pictures What Does a Costume Designer Do? A costume designer is responsible for everything worn by the cast in a movie or TV show. They sketch and create the things characters wear in movies and TV shows. They work in tandem with the creative team to make sure all the costumes look good on camera and make alterations on the fly. They're there to create a consistent look and to help build the world of the story. They bring authenticity forward. Costume Designer Tools When it comes to the tools of the trade, you're going to want to start with a sketchbook and some colored pens or pencils, so you can give a rough estimate of what the final costume will look like. Nowadays, much of this is done with a stylus and a tablet, so images are easily shared. Aside from that, you want some costume-specific tools, like a tape measure, scissors, tailor's chalk, pearl headpins, a dressmaker dummy, and a sewing machine and thread. 'Mad Max: Fury Road' Credit: Warner Bros. The Types of Costume Designers There are three main types of people who do costumes for film and TV. Remember, costume designers are the secret heroes of cinema. Freelance Costume Designers—these people jump from different productions,...

"Just wrapped up my latest makeup work for movie "Shpija Madhe"! Creating looks for a movie is always an exciting challenge—working closely with the director and crew to bring characters to life, whether it’s a natural look, period makeup, or something more dramatic. I loved translating the story onto each actor’s face and ensuring the makeup held up under all kinds of lighting and angles. It’s amazing to see how makeup can help tell a story! #MakeupArtist #OnSet #FilmMakeup #CharacterTransformation #BehindTheScenes"