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Pierre Berge once said that true haute couture no longer existed because the grand social occasions that required haute couture no longer existed. How do you think couture can be relevant in the 21st Century? I understand what he means, and we talked about it together a few times. Privacy seems to be the only true luxury left today. Is it true that you will approve each couture request yourself? Will it be mostly for musicians and actors or for a wider group of clients?
By definition, this needs to be quite specific, with a sense of dedication and intimacy. They are mostly artists or people we know. Hedi Slimane To coincide with the reintroduction of couture, you have unveiled the new couture salons, housed in an historic hotel particulier on the Left Bank. This involved a painstaking renovation and presumably much expense, and it will ultimately be seen mostly by people who work at the house and a few visitors.
Why was this such an important and central element in your plans? It was actually the most significant and necessary symbol, and the first element of discussion when the group approached me in The original address, 5, avenue Marceau, had become the Fondation Pierre Berge-Yves Saint Laurent, and the brand had lost one of its most precious assets.
Nothing until now was replacing it. The hotel particulier was in poor condition, but I fell in love with it right away. It felt right for Yves Saint Laurent, the architecture, the elegant size, the rigorous courtyard. We were thrilled to invest a lot of our time on every single detail of this restoration project, and it took three years to complete it in depth.
I was really happy to find the ateliers back in this traditional Parisian house, two floors above the fitting salons. It was also a relief to see this magnificent architecture returned to its original elegance, after two centuries of abandonment, and the House of Yves Saint Laurent settled.
Can you tell us about the building: What are the most noteworthy architectural or decorative elements? From the revolution to the XX century, the Hotel Particulier had lost all of its splendor. Getty Images Is it fair to say that the opening of the couture house represents the end of the first chapter in your long-term strategy to reposition Saint Laurent? The Couture House needed to be completed so that everything else in my project would fall holistically into place. Preserving the tradition, and addressing the time we are living in: I always start all my design projects with writing a synopsis, a perspective around the fundamentals of a House, together with my intentions or intuitions on what should be done.
The reform project at Saint Laurent was done and written mainly for my team to understand what I had in mind for the house. Yves Saint Laurent needed at the time extensive reforms in order to progress on strong foundations. The hand of leather accessories was heavy and had for instance to be changed in order to have a French feel. Millions of production details needed to be reviewed and corrected in order to get the right level of quality and branding, the perfect perception of what the House should produce under the Saint Laurent name.
In terms of image, the entire packaging and brand identity was reformed, together with the design of an entirely new website. The first week at Saint Laurent I also designed a completely new concept for the Saint Laurent stores, a concept I keep fine-tuning according to the evolution of the house and my perception of the moment. Finally, my photography was a significant part of the representation of the brand, as I started to work on this idea of multiple narrative campaigns, with an editorial or documentary approach, next to institutional campaigns.
The reform project is therefore about the unity and consistency of all those systemic changes that were needed to comfort the progression and accuracy of the House of Yves Saint Laurent. But in fact this was merely going back to the original branding that Yves had used when he first introduced ready-to-wear.
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What were the intentions behind the name change? It was for him a distinctive sign of modernity, and a drastic change from the Couture label. In the interviews Yves gave for the launch of Saint Laurent Rive Gauche, we can feel his determination to change the format and values of Ready-to-Wear Fashion next to his Haute Couture.
Yves wanted to dress the emerging Flower generation, which was his own generation. It was a striking period of Ready-to-Wear for both women and men. Those were the fundamentals I needed to restore, together with the progressive allure and message of the Rive Gauche, which for me was always the true spirit of Yves and Pierre. Another fundamental for Saint Laurent was somehow the evidence or desirability of the Fashion.
Yves wanted his ready-to-wear to be wearable and laid back. All those concepts were quite precisely how I felt right when I came back, and probably a from the context of fashion incompletely absorbed by a certain formalism.
With the House now completed, the two names exist as they always did historically, next to the monogram designed by the artist Cassandre. View photos Hedi Slimane and Keith Richards, in The project encompasses everything from the clothes to the website to the advertising campaigns.
What to you were the most important building blocks and how did you go about implementing them? Every single detail seems important. It is about consistency, an aesthetic equation that needs constantly to evolve.
It is quite overwhelming to design all those elements, but if the house wants to keep a distinct voice there is no other choice. Every single block, from design to communication, needs to stay perfectly aligned. So I implemented the changes all at the same time, really from day one.
Some took less effort or time to happen, others took years, but everything was launched simultaneously. The collections, the shows were only the tip of the iceberg. The attention to detail extends to the packaging. How important is it for people to know the backstory or is it just something that they will somehow feel?
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But the project had a long history before I came aboard, so God knows what might have been planned or discussed before my tenure. They loved the piece, but lost their nerve in terms of how many hours they were willing to commit. Eventually, they were agreed to a two-night, four-hour commitment, and at that point, a couple of things happened.
George dropped out, primarily because he had a scheduling conflict, but truthfully I think getting only four hours instead of eight took the magic out of the project for him.
And then the original producers left — while still retaining their producer credits — and another set came aboard, and the production moved to Vancouver. At the point that we met with Tommy to direct the series, we were at four hours. Things were great at first: I asked him to come to Vancouver and work with me on the script for Night 2, but he declined.
With little other choice, I turned to the best writer I could get for no money — myself. The rewrite better reflected the basic plot of the book, or as much as a radical condensation would allow. Tommy asked me to do the rewrite of Night 2, but at that point, I had other film projects that I was steaming ahead on. And, for me, some of the excitement had gone out of It. There were so many hard decisions about what to cut out that we made along that way that the prospect of excising more was difficult.
We definitely wanted as much of a physical resemblance as we could, and I think we really got that in almost every case. Jonathan was a mini-coup; we were content with unknowns, and suddenly here was this unusual boy, a terrific actor and something of a child star in his own right.
View photos It adult cast: I was living in Oregon at the time, and the next I think I knew, I was in Vancouver hanging out with the coolest, most fun guys of all time.
The role of Mike came to me as an offer. I made a point of reading the book after I got the gig, because the script was an ongoing project until we got to the set.
I went through two auditions and three or four callbacks before I was told that I had the part of young Mike. I had three weeks of school left when we drove up to Canada to start filming, so I had about three weeks of homework with me in the car. I thought it was fun having corn syrup put on me [as] fake blood; it was like Halloween. As a kid, I was always sensitive to the dark side of humanity and was sort of looking for undercurrents of tension and stuff.
Pennywise Takes Shape From the beginning, it was clear that much of the success of the series rested on the casting and design of its main monster, Pennywise. For an entire generation of kids, Pennywise is the clown of their nightmares come to vivid, horrifying life.
He could be brilliantly comedic in one scene, and utterly terrifying in the next.
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Obviously the piece of casting that worked the best in the show was Tim Curry as Pennywise. On American Horror Story: Freak Showthere was a guy dressed up as a clown, and that character owes a lot to Pennywise.
View photos The men who would be Pennywise and the one who was: Roddy and Malcolm may well have been considered for Pennywise before I came on board. Both are formidable talents, and, given the part, would undoubtedly have done something interesting. We also made a head cast and designed three clay sketches so we could see how the design would look in three dimensions.