Leonardo Verkoelen’s Post

How This Costume Designer Updated Jedi Robes for 'The Acolyte' https://ift.tt/uT5Vh7t We're always excited to see a new Star Wars project—especially when Amandla Stenberg and Lee Jung-jae are involved. How could you not be amped for The Acolyte? And when we get to speak with part of the creative team, like costume wizard Jennifer Bryan, we're even more excited! As we learned speaking with her via Zoom, she comes from the world of contemporary TV with credits like Better Call Saul and Breaking Bad under her belt, and this was an exciting opportunity for her to flex different muscles. We were able to ask about some of the new looks for the Jedi Knights, how she builds world and character through costume, what it's like pitching to Kathleen Kennedy, and more. Let Bryan take you to hyperspace with her interstellar advice! The Acolyte | Official Trailer | Disney+ www.youtube.com Editor's note: The following conversation has been edited for length and clarity. NFS: I am a big Star Wars fan. I don't know if you were when you got this project. Bryan: I was just in the general population of having seen some Star Wars movies. I wasn't a super nerd, but of course I am now. NFS: That's going to be my first question then. This being an established universe, how do you approach the work of designing costumes? Bryan: It's a first for me in terms of doing a project that is worldbuilding from scratch. I was very, very excited. I come from contemporary television. Somebody asked me that, about making that jump from contemporary to fantasy sci-fi, and I told them—costume designers, her toolbox has to be very wide, because you never know what you're going to be presented with as a work challenge. Especially if you've been trained, formally like I have, you need to be able to catch whatever comes at you. I'd always wanted to do worldbuilding sci-fi, deep imagination, and things that you really have to come out from the well of your creativity. And this show provided that for me. NFS: One thing that I noticed immediately was your spin on the Jedi robes. I'd love to hear you talk about how you arrived there and what your process was. Bryan: I started my prep in the States and then eventually went over in June, and I had my first big presentation to Kathleen Kennedy. And when I was doing my research, I thought, "Wow, the colors of the Jedi!" I'm a colorist, that's one of the tools that I rely on heavily when I'm designing regards to what the period is. If I can bring color into it that's appropriate, I'll do that. So I started doing my presentations, and I know the Jedi are already in the iconography of Star Wars, but because the timeline was before, a hundred years, I had a hundred-plus years out. Almost prequel-like. I knew I had some leeway. I took a stab. I thought, "I think the Jedi uniforms and color palette could be a little different, not too far off, but a little different from what we've known." So what I proposed, and Kathleen Kenn...

I recently came across an article on SCADworks that sheds light on an often-overlooked aspect of film. Titled “Costume Designers Sew up Film Fest,” it recounts a panel featuring accomplished costume designers, offering insights into their on-set experiences. As I delved into the article, I found it fascinating to revisit the panels from this year's Film Festival. I highly recommend checking out this blog post for a unique perspective on the film industry! #FilmInsights #SCADworks #CostumeDesign #SavannahFilmFestival

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...

The Day After the Oscars: Where is Graphic Design in Cinema? 🏆 With the hangover from the day after the Oscar ceremony, it's worth considering what kind of films have won. Among my favorites is Yorgos Lanthimos' Poor Things, which won 4 statuettes: Best Actress, Best Makeup, Best Costume Design, and Best Production Design. Three of these are clearly a success of design and visuals. One category is missing: graphic design, where the work of Vasilis Marmatakis in poster and credits design, as well as that of the graphic design team for props, is of the same quality as the previous categories. You can read more about graphic design and cinema in my last article written for ADG FAD and FAD #oscars2024 #oscar #winners #awards #festival #cinema #movie #design #graphicdesign #visualdesign #credits #propdesign #film #movies #films

Reminder to register for Critical Costume 2024: "Got Fiction? Whatever the Medium: Costume is the Character," will take place from 6-9 March 2024, at the UCLA School of Theater, Film & Television in Los Angeles, California, hosted by the David C. Copley Center for the Study of Costume Design. Critical Costume 2024 explores the role and influence of costume design in motion pictures, television, and live performance, as well as examining the interrelationship between these different areas of costume practice and research. Over 75 international scholars will present their research papers, flash talks and artwork (through a digital exhibition).   Early bird registration is available until January 20, 2024.  Registration includes the opening reception, two full days of conference programming (with catered lunch), and Sketch to Screen, the annual UCLA/David C. Copley Center panel of Oscar-nominated costume designers.  Please register NOW to take advantage of this reduced rate.  ·  Registration fees: $450 (general), $250 (student), January 20, 2024 - March 6, 2024 ·  Early bird registration: $350 (general), $200 (student), by January 20, 2024.  ·  Registration after 20 January is at full rate, with no exceptions.    Register Here: https://lnkd.in/gmPUfmfb   On the registration page, scroll down to the Critical Costume 2024 Conference option and click “View Details” to begin your registration. ·  On the registration page, choose your registration (early bird/student/etc.) and complete the form.  ·  Then at the bottom right corner of the page click “Add to cart.” ·  On the next page, scroll to the bottom of the screen and click “Check out.”  ·  The next page will display your cart. If the registration type is correct, click “Continue.”  ·  This will take you to the secure encrypted payment page where you can finish the transaction. ·  Prefer to pay by bank transfer? Please contact us criticalcostume2024@gmail.com   SCHEDULE  4 - 6 March: Visits to costume houses, museums, and film studios, will be arranged for conference attendees throughout the week. Please let us know if you would like to join. 6 March: Evening, Critical Costume Welcome Reception 7 March: Conference Day One     8 March: Conference Day Two 9 March: Copley Center Sketch to Screen Oscar Panel    Please contact criticalcostume2024@gmail.com with any questions. 

Transforming Vision into Reality: The Art of Costume Design in Film and Theater Introduction Transforming Vision into Reality: The Art of Costume Design in Fil... Read More - https://lnkd.in/dJ5Mq2z7

Here is a little tutorial I put together regarding how to basically go through documenting what it is you want to do, possible considerations and, structuring a plan for you to follow when making a costume. #3dprinting #process #requirements #timemanagement #budgeting #cosplay #diy #costumedesign

The choice of specific #colors in character costumes and makeup, as well as in set designs, can define not only personalities and emotional states but also the mood of the story. In essence, applying #colorharmony to #cinema is a powerful tool: it tells a story without the need to really use words.

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...

Deadpool & Are Wolverine's Arms CGI? https://ift.tt/bXohKVr As filmmakers, there's nothing more we love to explore than digitally altered aesthetic flourishes. Does Superman have a mustache? Is Sonic goofy? Does Wolverine drop the sleeves to show off his beefy biceps? Orson Welles wants to know, and so do we. If you're keeping up with the Deadpool zeitgeist you might be wondering the same thing we are: are Wolverine's arm's digitally altered in the Deadpool & Wolverine trailer to better suit our expectations of his (sleeveless) superhero costume? That very well might be the case. Regardless if this conspiracy is true, it's worth acknowledging that sometimes, for movie stuff, we have to dedicate a lot of labor to change things that sometimes seem silly in post production. Sometimes, we get so far deep in a project we realize the only way to win the love of our audience is the sweat, blood, tears, and money to digitally alter something we didn't think to consider in pre-production. Watch the video below to see Corridor Crew's own analysis, followed by the Deadpool & Wolverine trailer where he sometimes has sleeves, and sometimes doesn't. And, please, let us know if you think those are Wolverine's real beefy arms or not in the comments. (You can Skip to 8:22 For the Arm Stuff if You Want)  See For Yourself. Tell Us If Those Arms Are Real. via No Film School https://ift.tt/KmVudjN June 21, 2024 at 11:03AM