Sentences with phrase «period costume design»

Costume and the Cinema — a period costume design exhibit at the McNay Art Museum in San Antonio, Texas.

Period costume design by Jacqueline West.

That's not to take away from Ann Roth's ratty and exquisite period costume design, or to detract from how immaculately set decorator Rena DeAngelo recreated the smokey thrum of the old Washington Post newsroom.

Not exact matches

The ambitious camerawork as well as period production design and costumes all establish this as a major motion picture with high value.

Great period set design, costumes.

After the family moved to California, Von Teese became even more immersed in film culture, and eventually studied costume design in college, preparing for a career in styling period films.Von Teese began working at a local strip club when she was 18, but was disappointed by the lack of style and creativity shown by most of the dancers.

The film has fantastic production design and costume design, which both perfectly fit the period.

Additionally, the costume and production design are very good and are quite period accurate for 1940s Germany.

What separates «Gosford Park» from films like «Nashville» and «Short Cuts,» however, is the lush set direction and costume design, which helps build the completely immersive period setting for the audience to get to know the characters in.

A kind of low - level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He's outfitted it with garish colors and costumes and set designs, some not - entirely - perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean - Claude Van Damme flick.

Seems it is still the case that to be noticed by the Academy, in costume design anyway, period or period / fantasy is the way to go.

The film may have benefitted from dedicating more of its runtime to the ravishing period flashbacks, whose set and costume design are pretty stunning.

And the production and costume design feels genuine instead of like the «period movie dress - up» we so often see.

«The Man Who Invented Christmas» is a period piece — the kind that Jeanne lives for — with authentic set designs, costumes and the requisite horse - drawn carriages.

A lushly produced epic about the harsh realities of creative expression, featuring bravura performances and Oscar - winning costume design and makeup, Topsy - Turvy is an unexpected period delight from one of contemporary cinema's great artists.

«The Evolution of Cool: MIB 1960's vs. Today» (11:14) discusses the period setting and what it meant for production design, costuming, props, weapons, and vehicles.

Production designer Michael Wylie (Pushing Daisies, Masters of Sex) and costume designer Carol Case (Fargo) borrow period flourishes from the Forties, Fifties, and Sixties, but the overall design is heavily influenced by Stanley Kubrick's 1970s futurism (that overt reference to A Clockwork Orange is not for nothing — the same goes for the conspicuous Syd Barret / Pink Floyd reference as well).

At least it can deliver on that (and in spades), as the time period of the film essentially serves as its own character, and one that does not disappoint in the slightest — Michael Wilkinson's costume designs, Judy Becker's overall production design, and the entire coterie of hair stylists and make - up artists are all near - revelatory and exceedingly well - executed.

Evidently period costumes are Powell's niche, but she is not averse to using modern design inspiration as well, particularly from high fashion, as she explains here:

You also get to learn about the costuming process for the future war outfits, to the seventies disco - era clothes, and there's a section on the production design, and how they tried to mimic what had come before, but also the new designs for the X-jet, and the fun of doing period.

• Mark Bridges wins his second Oscar for best costumes for his period - perfect, Charles James - inspired designs for fashion flick «The Phantom Thread,» to no one's surprise.

Director Laura Braza directs with a balance of delicate intimacy timed with bombastic flourish, aided by Jason Orlenko's cleverly designed period costumes that elicits laughs themselves.

Since it's a period piece, it's safe to say technical elements like production design and costume nominations are expected.

This is an upscale period drama in which loving attention has been paid to costume and production design.

«Getting Real: Recreating an Era» (11:13) doesn't just deal with the film's recent period setting, but with its look as established by cinematography, costume design, and that Oscar - nominated editing.

On the other hand, the visuals are solid with the period costume and set - design providing much of the atmosphere, while the gory violence, although a little jarring at times, is bizarrely fun to watch.

The film's costume design by Deborah Hopper affords the kind of spared no expense period recreation that makes movies such as this a real «event».

The production design by David Crank and costume design by Mark Bridges are impeccable in capturing 1970s styles, though the movie never presents the time period on a grand scale.

The period setting, too, adds little but pretty costumes and interesting architectural designs, with few links made between contemporary events and those taking place in the wizarding world.

In regards to costume design, I'm actually thinking of predicting «Coco Before Chanel» for the Oscar because year in year out I hope that the voters stop just giving the award to the British period movie (the «Marie Antoinette» win notwithstanding) and because for those who haven't seen all the nominees — i'm sure there are more than a few — «Coco» has the advantage of have Coco Chanel in the title.

However, I fell in love with Shutter Island «s terrific performances, gorgeous design, and, like The Aviator, Scorsese's ability to brilliantly capture the look of the period, from the set design to the costumes.

Despite its low budget, the film looks terrific, thanks to the evocative upstate New York locations, Matthew J. Lloyd's sun - dappled cinematography making extensive use of natural light, Jane Musky's detailed production design and Ann Roth's handsome period costumes.

Boasting sumptuous period production design, cinematography in the irregular 2.0:1 aspect ratio by accomplished Italian cinematographer Vittorio Storaro (Apocalypse Now, The Last Emperor, and a number of Warren Beatty films), and costumes, Café Society could get recognized in some technical award categories, even if it doesn't add to the long list of original screenplay nominations (and wins) Allen has earned with apparent apathy.

The production design helps greatly with this; Wan and crew pulled out all the stops in making everything from the costumes to period cars scream the exact kind of washed - out 1970s look the film needs to match its period and remind us of those great 70s haunted house flicks (The Exorcist, Poltergeist) this film pays homage to.

There is romance, action, history, disaster, state - of - the - art visual effects, sumptuous period costumes and lavish production design.

On the video side, where all is encoded in HD, we start with «Building the World of High - Rise: 70's Style» (9:02), a featurette that discusses the film's look, period costumes, and production design.

But more surprising was costume designer Jenny Beavan's triumph in over dual nominee Sandy Powell and the production design win for Colin Gibson and Lisa Thompson, as many expected the Academy to go with a more traditional period piece like «The Danish Girl» or «Bridge of Spies.»

Apart from its silence, Blancanieves is a gorgeous picture is every other aspect, from the intricate and stylish costume design to the period - specific art direction.

All the elements in «I Shot Andy Warhol» work toward a con vincing tapestry: the original music by John Cale, whose Velvet Underground was the house band for Warhol's Factory happenings, and the production design by Therese Deprez and costumes by David Robinson, which capture the indulgence and experimentation of that period — nothing was outlawed except the familiar.

The discussion about Atwood provides an in - depth look at the choices that went into the costume design, featuring many a sequin and feather, plus a genuine period suit for Mr. Gere.

Every period detail of costume, production design, location, and battle action resonates with authenticity.

«Penny Dreadful» looked pretty good on its original airing, but the BD image better preserves the finest details of the period costumes and production design.

High praise is also due to the production design, costumes, and score, all of which help to make a potentially silly genre mash - up feel like a fancy «arthouse» - type period piece.

Period, fantasy and spectacle are still applauded above all facets, and even though this is part of costume design it should never be the overriding factor in determining the very best of costume design.

The set and costume design is shimmery and glamorously detailed, with the fancy cars and mansions looking so stunning the film blurs the line between period piece and pre-war fantasy.

In spite of this (and formidable set and costume design), The Conspirator has its slow points — periods of dissipating dialogue and plodding plot development.

They're arranged by topic (characters, costumes, stop - motion animation, production design) and peppered with behind - the - scenes footage instead of staying with just one interview subject for extended periods.

It's easy to be transported back to the time period thanks to the production design and Odile Dicks - Mireaux's (An Education) costumes.

Period pieces are always Oscar - friendly particularly in the costume design category and Victoria and Abdul is no exception.

The movie's production design — from its recreation of the exterior and interiors of the eponymous structure to its imagining of period - appropriate weaponry to its boldly color - coordinated costumes — is impeccable, serving as cohesive piece of design that suggests genuine history and allows for the flourishes that are required for fantasy.