If you need a refresher on all the fun stuff a costumer actually does, please check out last year’s post. If your memory’s a steel trap, then delve right into this year’s Academy Award nominees for costume design.
Joanna Johnston, for Allied: Johnston has a challenge in this film in that she has to somehow integrate glamour and the war. Marion Cotillard is a spy, and a wife, and a 
mother. She moves from cocktail parties with politicians to London’s air raids. But with such disparate films as Who Framed Roger Rabbit and Saving Private Ryan under her belt, you might say that Johnston was up to the task. We are first introduced to Cotillard in Allied as she’s wearing a purple dress ” I wanted her to look sexy and beautiful, but not in a “base sexy” way, so we put the sex [appeal] in the back because I knew we were going to see her first from the back. It’s a beautiful Italian fabric; very fine, very delicate silk with this silver shimmer through it, which picks up on the highlights on her.” Later, Cotillard is seen in a green evening gown “I wanted to do a classic column-style dress—very statuesque. I wanted the fabric to be quite liquid. When she’s on the move, she’s got this liquid quality to her, 
which silk satin does beautifully. Because it was nighttime, the light hit all those highlights [in the fabric]. Again, it’s this sort of old-fashioned quality, but it also had to be quite functional; she had to be able to run in it and do all those things. At one point she actually had a weapon underneath it, in the skirt, so there was a lot of stuff about that [laughs].” The costumes in Allied are indeed very beautiful, but that was something that sometimes felt disingenuous to me – like it didn’t quite fit into a movie set during wartime. The character does transition into more tweeds when she’s at home during the raids, but she’s always just a little too glamourous for my understanding of the time. Johnston has a long history of working with Allied director Robert Zemeckis and Steven Spielberg; she received her previous Oscar nomination for Lincoln.
Colleen Atwood, for Fantastic Beasts and Where To Find Them: Colleen Atwood is a name you may recognize even as a complete neophyte to costuming. A frequent collaborator of Tim Burton’s you can imagine that her costumes are often fanciful, colourful, and 
surreal, just what J.K. Rowling had ordered. She’s worked on Chicago, Memoirs of a Geisha, and Alice In Wonderland, for all of which she won Oscars. The secret to her success? “I’m controlling like that. I look at and approve every fitting, no matter who anybody is, and I am very controlling in how I want everything to look. It’s important: it matters, and you never know what you’re going to see. I learned a long time ago that you can’t control what happens with pieces you care about unless you’re there, so I’m there.” Fantastic Beasts takes place in 1920s NYC, in a universe where magic exists. “I love the fantasy stuff, I love that. That’s why I took on this movie. I like the challenge of it, and I like integrating fantasy into a period like this. You get to step out of it slightly and make something that’s a version of that time. Which is what movies have always done: in a way, they glamorise time.” How does she get her inspiration? “I reread a couple of [F Scott] Fitzgerald books, 
which are always fun to go back to because he’s very descriptive about the frenzy and the romance of the period. It has so much heart that it’s helped me, and this story has so much heart.” She tracked down period pieces from all over the world, hunting in all the best costume shops, but lots had to be made from scratch as there just aren’t a lot of period wizarding outfits to be had, no matter how hard one scours. Eddie Redmayne’s signature peacock blue overcoat is one-of-a-kind.
Consolata Boyle, for Florence Foster Jenkins: Boyle is director Stephen Frears’ go-to costumer; she was previously nominated for The Queen. Boyle did just as much research for this film, as it is once again a biopic with a real woman’s wardrobe for reference, and each piece was recreated from scratch. Meryl Streep wore padding to flesh out her 
character, and each costume had to be built around the padding. “The performance costumes had a very specific aesthetic. They were overblown and a lot of her clothes she would’ve made herself or her friends made, so there was an amateurish feeling about them. But then also the way she dressed in her daily life had that quality of being childish and over-decorative.” Boyle used a consistent colour palette of “naive pastels”to bring Florence to life, and to delineate different costumes for different aspects of her life, all of which were fairly theatrical. Stephen Frears is full of praise for her work: “I barely need to speak to her as I know what she’s doing is going to be dazzling. I’ve worked with her for 25 years, so I’m very lucky.” Florence made all sorts of garish costumes and it’s a complete delight to see them recreated 
on the big screen, along with her penchant for accessorizing within an inch of her life. “I worked incredibly closely with Meryl every step of the way, we had a lot of discussion early on about how she would express her inner emotions in her clothing. [Florence] was a supreme performer, so her clothes were gorgeously outrageous. They were high camp but with a softness so she drew people in. And she had no embarrassment about how she looked.”
Madeline Fontaine, for Jackie: Fontaine also had a lot of real-life references for her work in Jackie – we’re talking about style icon and former first lady Jacqueline Kennedy, after all. Natalie Portman gives a tour de force performance as Jackie and Fontaine makes sure she’s
got the goods to back it up. Photos and footage of the first lady are so iconic that if even one brass button was out of place, people would notice. She worked with Chanel to get the famous pink suit down to perfection, even hand-dying the wool to achieve the perfect shade of pink (the actual dress is preserved in the National Archives and wasn’t available for consultation). Historical accuracy was important, but for filming purposes, so was duplication: “All the “original” pieces are handmade in our workshop. We needed to create more than one – we made five of the 
pink dress, for instance. Chanel supplied the buttons, the chain of the inside jacket, (“couture” detail for the weight of the jacket, and a signature…), and a label, in case the jacket would fall down [onto] the floor.” Since the film jumps between colour and black and white, the dresses sometimes had to be done in different shades so that our eye would not perceive a difference. Every piece in the film was true to Jackie herself “The elegance she showed in every situation, even while relaxing on holiday, proves this: she was never captured by surprise not looking perfect.”
Mary Zophres, for La La Land: Lots of people wondered how this particular nomination was snagged. Hadn’t Zophres just gone to the mall and bought some brightly coloured 
dresses, after all? It would be an unlikely win for sure – in the past 20 years, 17 have been period films, 2 were fantasy-based, and last year was post-apocalyptic Mad Max. It might be argued that Chazelle’s La La Land doesn’t exactly feel strictly contemporary. With so many references and throw-backs to old Hollywood musicals, La La Land exists in a stylistic world of its own. Mia and Seb wore classic, timeless looks, and Zophres embraced a fusion of styles. “In my mind, there’s a bit of an arc to Mia. It starts off grounded in reality and by the time you get to the epilogue, she’s wearing that fantasy 
white dress when they’re dancing in Paris. I put a lot of fabric and I wanted it to feel like air.” Zophres looked to old Hollywood for inspiration and was deeply rewarded. “The two models for Mia were Ingrid Bergman (a poster adorns her bedroom wall) and Judy Garland. I found a pink halter dress for one of the montages that’s similar to the one Ingrid Bergman wore for her Hollywood screen test. For the Planetarium peak, Damien and I both landed on green because we both loved the image of Judy Garland in ‘A Star is Born,’ where she wears almost like a jade green dress.”
Which of these ladies has your vote?
certainly in at-home rentals (Clint Eastwood’s Million Dollar Baby went from just $8.4 million pre-nomination, to gross over $90 million after its Best Picture win). It’ll put a fancy gold sticker on the DVD box in stores. And it’s a shiny piece of hardware not only for their office, but for any movie poster coming out of their studio for the next several years. Prestige!
nominees in order to judge accurately. But these Hollywood types are busy people! They can’t be hitting up the cinema like us regular folk! Solution: studios can send out free screeners so big important people can watch the contenders in the privacy of their own homes. It will cost the studio about $300 000 to do that (it’s a lot of free DVDs – and there’s always a chance of piracy) but that’s just a drop in the bucket when it comes to buying an Oscar.
That sounds like I’m joking and indeed I’ve never heard anything about Lonergan and any kind of pickle, but Harvey Weinstein is famous for being – er – quite competitive, stopping at nothing, including the nasty rumour mill, and lavishing expensive gifts on Academy members just out of the “goodness” of his heart, no strings attached (except vote for my movie or I’ll blackball you forever).
Joan Crawford hired a press agent to get her a win for Mildred Pierce. He kept her name in the news and planted items in the gossip columns. Still, she was too nervous to attend the ceremony, fearing a loss. Her agent, however, dispatched hair and makeup to her home while he covered for her: a fever of 104 degrees, I believe he said. She won, and when press raced to her house, she was sitting up in bed, full hair and makeup, sexy negligee, and an Oscar cradled in her arms. Success!
decide that since they’re so good at pretending, they may as well get married in real life too. They’re warned that “field romances” rarely prosper, but critics be damned, they marry anyway, with London blitzing away in the background.
retiring music throughout, but manages to speak directly to your heart. That’s sort of the catch with this film, you have to let go of the normal film-going experience, and just feel your way through this one.
trial aren’t wrong, they’re explored with new understanding, through a lens of his being a black man, sort of, but not really.
the LAPD be acquitted in he Rodney King beating. Here was a chance to right that wrong and make the system work for a black man for once. Everyone conveniently forgot that OJ had spent his entire adult life distancing himself from the black community and they made him a civil rights hero. His lawyer, Johnnie Cochran, played the race card and he played it hard “dealt it from the bottom of the deck” it’s said. And he got off. But instead of relishing his incredible good luck, OJ’s life continued to derail until he found himself in court once again, this time found guilty and sentenced to some 33 years in prison, whether or not his crimes truly warranted it. This, again, was retaliation rather than justice.
Paterson (Adam Driver) is a conscientious bus driver. He doesn’t even loathe his passengers, which I find hard to believe. He’s not exactly immune to daydreaming; he writes poetry, thinks it up while driving, writes it down on his breaks in his secret notebook. My first impression was that he isn’t much of a poet – writing words in an uneven column does not a poet make. But he chews on them, refines them, until they start to sound like true beauty.
berries, the fat being anything from whitefish, or reindeer tallow, or moose, or walrus, or cariboo, plus sugar, milk, and Crisco.]
UnAmerican, and yet it was America who voted this buffoon into presidency just a few short months ago. In the face of one man’s cowardly discrimination, however, were many more acts of love and fraternity. American citizens stormed airports with signs of welcome and solidarity. Lawyers littered the floors working pro-bono around the clock. And a group of actors at the
2012 when it was the first Iranian film to win an Oscar. This year he has toured the festivals with The Salesman, and won Best Screenplay at Cannes. Iran submitted it to be considered in the foreign film category at the Academy Awards and it won a nomination. Asghar Farhadi will not be allowed to attend the ceremony because of Trump’s “Muslim ban.” This is who his ban keeps out – not terrorists, but people who come here to work, to study, to visit friends and family.
citizens of the other six countries trying to legally enter the United States of America and hope that the current situation will not give rise to further divide between nations,” Farhadi said. He’s not the only one with this fear on his mind: “Our most important allies in the fight against ISIL are the vast majority of Muslims who reject its apocalyptic ideology of hatred. This executive order sends a signal, intended or not, that America does not want Muslims coming into our country. That is why we fear this executive order may do more to help terrorist recruitment than improve our security” [italics are mine]. It wasn’t Bernie Sanders or Obama who said that, it was a joint statement from two Republican senators, John McCain and Lindsey Graham.
The Syrian family at the heart of Watani: My Homeland, another short documentary up for an Academy Award, is also unable to attend the Oscars due to the travel ban, even though they are now German citizens. But movies and stories like this, and 
entertaining us, sometimes helping to tell urgently important stories. Oscar-nominated (and best supporting actor heir presumptive) Mahershala Ali is Muslim (Moonlight, Hidden Figures). Rogue One’s Riz Ahmed is Muslim. So are Dave Chapelle, Ice Cube, Mos Def, Amal Clooney, Omar Epps, Janet Jackson, Aziz Ansari, Ellen Burstyn, Muhammad Ali, Shaq, Kareem, and some of my favourite members of the Wu-Tang Clan. Muslims are not terrorists. Muslims are terrorized by terrorists, who use any reason, including religion (including Christianity) to do evil.
Taraneh Alidoosti, an actress known to very few over here in the west, is boycotting the Oscars. Wouldn’t it really mean something if others did as well? If the Oscars had to broadcast hundreds of empty seats, each tagged with the name of a celebrity who didn’t come because the thought of Trump’s America was so unpalatable that it’s better to stay home than to schmooze and be lauded by one’s colleagues? If they stood in solidarity with fellow film makers who are just as deserving but are prohibited from celebrating just because of their religion? Now that’s a story worth telling; let’s continue to take part in it.
known for the white helmets they wear while rushing into the crumbling buildings and raging fires left after an airstrike. They live in and around Aleppo, and are committed to saving as many of the innocent but somehow still targeted civilians that get attacked every single day in Syria.
ASSHOLES WATCHING MOVIES 