Source unknown. Found via google image search for Playtime.
Beautiful set sketches from (the hand or office of?) Dante Ferretti, the great film production designer and long time collaborator of director Martin Scorcese. These from the production of Scorcese’s latest, Hugo. I love the pulley and the bracket detail on the steel column in the first drawing. Can’t wait to see the film. Via the nytimes.
I was watching Troy the other night– don’t judge me– and I stopped to capture this fantastic set for Agamemnon’s ship covered with tents while beached on the shore of Troy. (I think that sentence was what is known as a dangling participle…) Anyway great stuff. Thank you Nigel Phelps!
And while you’re surfing IMDB, check this out…
NPR had a piece last week about gorgeous Depression Era full color photographs. And they are amazing. That early 20th cent divergence when representational media went black & white as captured by photography and painting took its color into an abstract land of blobs and streaks left a hole in the collective memory that’s hard to color in. So it’s always a treat to see color from a period that seems only memorialized in black & white. These remind me of the late 90′s when UCLA restored and released John Ford’s full color footage of the landing at Normandy. Except with less red. See the full cache of photos at the LOC site.
As spotted in Tron Legacy, I’m pretty positive that’s one of Michael’s cast aluminum bowls for Metaal right there.
Finally watched I Am Love the other night. Can’t say I loved it. In fact, I found it pretty tedious and self-indulgent as it moved on. I thought the aspects of the film occupied with the formal restraint of family and environment, especially with all the early 20th cent art and design influence, were much more dramatic than all the florid cooking, hot sex and pubic hair– forgive me. But I suppose it is that very dialectic within the film that is so effectively captured by the title sequence designers and their dramatic use of type: the embellished, romantic script vs the sans serif modernist caps. It’s the best part of the film. Better than Tilda Swinton’s pubic hair. I promise.