![]() ![]() It’s those subtle choices you can make for a character that inform the audience who they are and how they live,” says Bridges, who won Oscars for “Phantom Thread” and “The Artist.”Īrthur’s appearance as a classic clown needed a familiar yet unique style to deliver his working look at the beginning of the film, says Ledermann. We made a kind of bad laundry feel to the clothing. “I imagined if he ever did laundry, everything went into the washer at the same time. Completing the style, she added grease and texture to make it look lived in.īridges dressed Arthur in polyester, tying in an era-appropriate color palette. “Whatever you do for hair in real life, it always lights darker on film, so we wanted to go with his normal hair but a shade darker,” Georgiou says. She then dyed it in a way that wasn’t distracting or wouldn’t get lost in the lighting designs by cinematographer Lawrence Sher. The stylist instead played with hairpieces to decide on the exact shape and length before reaching for the scissors to cut Phoenix’s actual hair. “They came to the table with a digital mock-up, but we had more of a discussion about each look rather than sharing a bunch of visual references,” Georgiou says.Īrthur’s hair is described in the script as black, but Georgiou knew that would be too dark. Ledermann, hair department head Kay Georgiou and costume designer Mark Bridges learned during an early meeting that Phillips and Phoenix had clear ideas for Joker’s appearance. ![]()
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