Komplettes Thema anzeigen
18.04.2008, 20:03
18.04.2008, 20:03
Betreff: Re: Indy 4 Pressemap (SPOILER)
The far-flung inspiration for the movie’s characters continued with Mac, played by Ray Winstone. “Mac has one of my favorite costumes in the movie,” Zophres says. “There’s this picture I have of Ernest Hemingway, and he’s got his foot kicked up in the air with these great high boots on. I found a pair of these high boots with this really interesting sole, so Mac wears his pants tucked in and he’s rocking those boots through the whole movie.”
As if Zophres’ hands weren’t full enough, she and Egan also had to create costumes for the scores of extras that populate the film, including more than 200 in the sequences set in Peru – for which Zophres had to send a buyer to the South American country itself and bring back textiles to use when making the costumes. "Because it’s a story that travels the globe, I wanted to go there with the costumes as well. We achieved that through changes in color palettes and stylistic differentiations, giving each locale a distinctive look."
Pollack, who has worked with Ford for 15 years, went on an odyssey of his own to recreate – and update – Indy’s wardrobe, both as an academic and as an adventurer. “Bernie took Indiana Jones as he was in the earlier movies and then stepped him up into the Fifties,” Marshall says. Pollack says some of his task was easy. “Indy is a classic guy who sets his own style and has his own look, and doesn’t change it.”
As it turned out, Indiana Jones wasn’t the only person who hadn’t changed much in the time between. “I hadn’t worn the Indiana Jones costume for 18 years,” says Ford. “Bernie sent that original costume to my house for me to try on, to see where we would have to change sizes. I put it on and it fit like a glove. I felt really comfortable and ready to go!”
While Indy may only seem to wear one costume on screen, in reality, Pollack ultimately had to make 60 pairs of pants and 72 shirts. He also decided to make Indy’s jacket slightly bigger, in order to accommodate the padding Ford would need when doing his stunts. Using stills from the original films, he meticulously designed the instantly recognizable leather jacket, then searched for someone who could make it. That search spanned the U.S., the U.K. and Europe. Finally, costume supervisor Bob Morgan brought in a leather clothier named Tony Novak from El Segundo, Calif. Novak said he needed only a sample jacket to make a prototype overnight. But the Lucasfilm Archives, which had kept the original jacket safe for more than two decades, required tight security; Pollack had an assistant accompany the jacket to Novak’s offices.
“About nine o’clock that night, the jacket was back,” Pollack says. “And it was perfect. I couldn’t believe it. So, I asked him to make 30 of them! I love that guy.”
Recreating the famous fedora was more difficult. Pollack worked his way through numerous designs, multiple fabrics and scores of hatmakers. While he seemed to find the right haberdasher in Germany, the quick turnaround was daunting – Pollack had only a month to have someone make and ship the hats to the set. That’s when Pollack’s German contact suggested Steven Delk of Adventurebilt Hat Company in Columbus, Miss.
“Steven ended up making a lot of different hats, and refining them until he came up with exactly the perfect hat,” Pollack recalls.
Award-winning prop master Doug Harlocker’s job encompassed finding, buying or making everything from bullwhips to mummies, motorcycles to llamas. And while procuring the wide range of things that fall under the umbrella of film props, Harlocker worked to remain true to the film’s legacy while introducing a few new things.
“We constantly talk about how to reprise little things from the previous movies that the audience would enjoy discovering,” says Kennedy. “Doug Harlocker has done a great job bringing in several things from the previous movies that the audience can have fun with and, at the same time, he’s contributing all sorts of new ideas.”
The far-flung inspiration for the movie’s characters continued with Mac, played by Ray Winstone. “Mac has one of my favorite costumes in the movie,” Zophres says. “There’s this picture I have of Ernest Hemingway, and he’s got his foot kicked up in the air with these great high boots on. I found a pair of these high boots with this really interesting sole, so Mac wears his pants tucked in and he’s rocking those boots through the whole movie.”
As if Zophres’ hands weren’t full enough, she and Egan also had to create costumes for the scores of extras that populate the film, including more than 200 in the sequences set in Peru – for which Zophres had to send a buyer to the South American country itself and bring back textiles to use when making the costumes. "Because it’s a story that travels the globe, I wanted to go there with the costumes as well. We achieved that through changes in color palettes and stylistic differentiations, giving each locale a distinctive look."
Pollack, who has worked with Ford for 15 years, went on an odyssey of his own to recreate – and update – Indy’s wardrobe, both as an academic and as an adventurer. “Bernie took Indiana Jones as he was in the earlier movies and then stepped him up into the Fifties,” Marshall says. Pollack says some of his task was easy. “Indy is a classic guy who sets his own style and has his own look, and doesn’t change it.”
As it turned out, Indiana Jones wasn’t the only person who hadn’t changed much in the time between. “I hadn’t worn the Indiana Jones costume for 18 years,” says Ford. “Bernie sent that original costume to my house for me to try on, to see where we would have to change sizes. I put it on and it fit like a glove. I felt really comfortable and ready to go!”
While Indy may only seem to wear one costume on screen, in reality, Pollack ultimately had to make 60 pairs of pants and 72 shirts. He also decided to make Indy’s jacket slightly bigger, in order to accommodate the padding Ford would need when doing his stunts. Using stills from the original films, he meticulously designed the instantly recognizable leather jacket, then searched for someone who could make it. That search spanned the U.S., the U.K. and Europe. Finally, costume supervisor Bob Morgan brought in a leather clothier named Tony Novak from El Segundo, Calif. Novak said he needed only a sample jacket to make a prototype overnight. But the Lucasfilm Archives, which had kept the original jacket safe for more than two decades, required tight security; Pollack had an assistant accompany the jacket to Novak’s offices.
“About nine o’clock that night, the jacket was back,” Pollack says. “And it was perfect. I couldn’t believe it. So, I asked him to make 30 of them! I love that guy.”
Recreating the famous fedora was more difficult. Pollack worked his way through numerous designs, multiple fabrics and scores of hatmakers. While he seemed to find the right haberdasher in Germany, the quick turnaround was daunting – Pollack had only a month to have someone make and ship the hats to the set. That’s when Pollack’s German contact suggested Steven Delk of Adventurebilt Hat Company in Columbus, Miss.
“Steven ended up making a lot of different hats, and refining them until he came up with exactly the perfect hat,” Pollack recalls.
Award-winning prop master Doug Harlocker’s job encompassed finding, buying or making everything from bullwhips to mummies, motorcycles to llamas. And while procuring the wide range of things that fall under the umbrella of film props, Harlocker worked to remain true to the film’s legacy while introducing a few new things.
“We constantly talk about how to reprise little things from the previous movies that the audience would enjoy discovering,” says Kennedy. “Doug Harlocker has done a great job bringing in several things from the previous movies that the audience can have fun with and, at the same time, he’s contributing all sorts of new ideas.”
Chris