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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...

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,...

Stage Design Elements: Costume Design Crafting Visual Narratives and Character Identities 👯♂️🎭🦹♂️ #TheaterCostumes #TheColorofArt #CostumeDesign #TheaterArt Similar to lighting and sound design, costume design holds a significant role in shaping the visual impact of a theatrical performance. It involves the intentional creation and selection of costumes to enhance the storytelling, convey character identities, and contribute to the overall aesthetic. Here are some key elements of costume design in the context of theater stages: Character Representation Costume design is integral to portraying characters authentically and communicating their personalities, roles, and historical or cultural backgrounds. Period and Style The choice of costumes reflects the time period and style of the play. Whether it’s historical accuracy or a stylized interpretation, costume design contributes to the visual cohesion of the performance. Color and Texture Colors and textures in costumes are selected to evoke specific emotions, highlight characters, and contribute to the overall visual composition of scenes. Practicality and Movement Costume designers consider the practical aspects of costumes, ensuring they are comfortable for actors to wear and allow for the necessary movement on stage. Symbolism and Storytelling Costumes often carry symbolic meaning, contributing to the narrative and enhancing the audience’s understanding of the characters and the plot. Collaboration with Set Design Costume designers collaborate with set designers to ensure that costumes harmonize with the overall visual aesthetics of the stage, creating a unified and immersive experience. Individuality and Ensemble Harmony Balancing individual character uniqueness with the overall harmony of the ensemble is a crucial aspect of costume design. Each costume contributes to the collective visual impact of the production. Material Selection: The choice of materials for costumes affects not only the visual appeal but also the practical aspects, such as comfort, durability, and ease of maintenance. Costume design in theater stages is a meticulous process that involves collaboration, creativity, and attention to detail. A well-executed costume design enhances the audience’s engagement, contributes to the narrative, and brings the characters to life in a visually compelling manner.

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...

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...

Craft Your Perfect 80s Workout Fit With 'Love Lies Bleeding' https://ift.tt/ysJWtov It's often times a little understated how much work goes into thoughtfully crafted costume design. When we invest in an established world and start to appreciate a slick aesthetic, its easy to overlook how much work went into that look that is objectively cool, adding worlds of depth to moviegoing experience as a whole—especially with period pieces as subtle and vibey as Rose Glass's Love Lies Bleeding. Love Lies Bleeding—very recently dropped with more accessibility on Max—is trip of a ride that fully delivers on all that love, and lies, and bleeding. I absolutely love it, and part of what makes it so successful is all the little details giving this homoerotic, subversive thriller the depth of world building needed to pull off its ambitious narrative. If you've ever thought about pursuing costume design—or, like me, think its super fascinating and curious to know more about the process—Love Lies Bleeding costume designer Olga Mills was kind enough to go in depth with us at the deeper art of costume design. Read on for Olga's break down of conceiving looks, sourcing threads, and getting into the minds of characters. Editor's note: the following quotes are edited for length and clarity. How to Break Into Costume Design  "From point A to point B, my family's always been super supportive, but I don't come from a family that works in film where it was a normal entry point. The idea of it was actually really intimidating and felt super out of reach. My family moved to the states from the Ukraine when I was five and we would go to the theater and things like that. So I think at first theater was more tangible and you can touch it or you can see the humans that makes it felt more accessible. So got into that. I went to the performing arts high school in New York for acting, which very quickly I was like, oh, this is not for me, not my cup of tea, but you had to do your own sets and costumes. I felt like I still feel that way, that I think at least the way I get into a project is sort of thinking about it in the same way that I feel like talked about in acting class in high school. And if I am kind of shopping and looking for things, I really will do an acting exercise of pretending to be the person to try to get a visceral feel of if something feels right. I think for me, my relationship with things tends to be a little bit more linear. I have to really barrel towards something if I want to get there. So I've been on a path towards it. I went to college at SUNY New Paltz for theater tech and then took a year and worked at a dye shop at a costume shop as an assistant for a ballet designer. And then went to NYU for grad school for costumes. And again, that was more of the faculty, but got in with some of the film school folks that I'm still friends with. And then from there worked as a PA, then as an assistant, and then started kind of frankenstein-in...

Have you been thinking of getting a Costume Designer on board of your project? Or would you like to learn more about sci-fi costume design? Charlotte Simons wrote this blogpost on the topic :) https://lnkd.in/eZbSWQnP #blauwfilms #shortfilm #costumedesign #characterdesign #filmmaking #moviemaking

This week, my Film History Class is studying Mise-en-Scène, and since you’re not going to go out and buy a $100 text and read it… I’ll give you a summary with some attitude. What is this fancy word people who make cinema use, Mise-en-Scène? Simply put by Webster, “the action of putting onto the stage." The term's use originated in stage drama, where it refers to the way actors and scenery props are arranged; as its usage expanded into other narrative arts, its meaning shifted. I think our text has a way fancier definition than this one. I'll spare you. There are four components of Mise-en-Scène. I’ll explain a few of them now and more later. Setting Lighting Costume and Makeup Staging Setting - Location matters. Lord of the Rings on a Bus! Casablanca set in the exotic location of a Paducah Kentucky strip mall. These don’t have the same vibe, do they? I tell students, if your film is about someone stuck in a storm in a remote cabin, don’t shoot it in your dorm room! Dorms all look the same. Or if your story is about a crime family, and you have to shoot in your dorm, at least take down your favorite band’s or Marvel of the Month posters and please move your cinder block shelves. Unless your film is about college life, shoot somewhere else. Lighting - there are four aspects of lighting, and you might have thought there were only two: On and Off. Quality of light Direction of Light Source of Light Color of Light Quality of light - this is all about the intensity of the light. Is it Hard or Soft light? You might already know this, but Hard Lighting creates clearly defined shadows, crisp edges, which makes for wrinkles on the face being seen more clearly. Soft Lighting is diffused; it creates soft shadows. One way I explain this (and show) in my class is to think about some before and after shots for a beauty skin product. I guarantee you that the Before Shot of the Model is hard lighting so she looks wrinkly (like me) and unhealthy. But Behold, the magic of the product and the After shot uses Soft lighting. The results are amazing!! Her wrinkles disappeared!! You too can have beautiful skin… for the low price of… The Direction of Light - Is the light coming from the front, the back, underneath, from the side, from the top? Does it matter? Yes. I’ll just comment on only a couple of these because it's more complicated than a quick post. Front Lighting - lighting from the front doesn’t add to the illusion of depth we are trying to create. We shoot film in 2D, width, and height, but we try to make it appear 3D… width, height, and depth… to create the illusion that we are really seeing life. And lighting helps do this. You want it to look flat? Then go for it… Underneath Lighting - is what’s used in horror. The shadows fall up. Which we aren’t used to seeing normally. As a kid, or as an adult, not naming names, have you put a flashlight under your chin and told a spooky story? I think I’ll wrap it up from here