The Production design of Marie Antoinette
I have seen posts on the web about the 2006 film Marie Antoinette by Sofia Coppola yet just had the opportunity to see it in my design film's class this semester. I had additionally caught wind of two of Coppola's past movies, The Virgin Suicides and Lost in Translation which was probably all splendid film.
Marie Antoinette is a film intensely in view of the life of the questionable Queen of France, Marie Antoinette. In the wake of viewing the film, I did some examination on Marie Antoinette, the curious thing about her was that regardless of the way that she was delegated Queen of France, she was declared guilty injustice and sentenced to be guillotined.
 |
| Her first shot wherin she is sleeping at the day she is about to leave her palace. |
In my opinion (rather my notes ) the meaning of production design is mainly concerned wit the “appearance” or “physical “of the set of that particular film. It should reflect the fact that the set is composed artistically and with regards to its surroundings like the actors and props. It’s important to keep the principles of space and design in mind while designing a set (like we did in our class activity) but at the same time it should be appealing to the eye and the audience should get the conceptualization of the film or the scene.
It is said that Coppola's (the director) significantly adjusted interpretation was considered in order to refine the character of Marie Antoinette. So the film isn't nearly an account and showed a comprehension like in literal terms of Marie Antoinette's story.
It was helpful that the film was arranged in the eighteenth century and generally shot in the Palace of Versailles.
The multifaceted print upholstery set against gold-plated doors, bloom divider covers and paneled dividers spilling with wonderful Rococo period's luxuriousness give a staggering setting to showing the over-indulgent life of the teenage queen.
As a group with cinematographer Lance Acord, era inventor KK Barrett and outfit organizer Milena Canonero, Coppola added to a palette that contradicts the ordinary despairing, foggy look of the past which is seen mostly in all period films and rather impacts with splendid, light, sherbet-like tints.
Regardless of the fact that the film was to a degree slow moving, the visuals were absolutely flawless. You will love the truly pastel palette of sensitive pinks, light yellows, delicate peaches and postnatal uneasiness. It was tastefully fulfilling with all the bewitching outfits, delightful treats and elucidated inner parts. The Palace of Versailles is a shocking and phenomenal spot. I was really enchanted by the trendy looks of its inner parts especially the complex cases on the dividers. The film wouldn't produce even a large portion of the impact it managed without its brilliantly designed sets and a clear eye for all the details.
As Marie Antoinette grows up, transforms into a mother and heads to her imaginative retreat at Le Petit Trianon, the style shifts into more naturalistic shades and lighting, simply building up a touch darker and more dismal in the last area of Marie Antoinette's life at Versailles, as the change looms and Marie Antoinette finds the boldness of finally turning into a lady.
It was helpful that the film was arranged in the eighteenth century and generally shot in the Palace of Versailles.
The multifaceted print upholstery set against gold-plated doors, bloom divider covers and paneled dividers spilling with wonderful Rococo period's luxuriousness give a staggering setting to showing the over-indulgent life of the teenage queen.
As a group with cinematographer Lance Acord, era inventor KK Barrett and outfit organizer Milena Canonero, Coppola added to a palette that contradicts the ordinary despairing, foggy look of the past which is seen mostly in all period films and rather impacts with splendid, light, sherbet-like tints.
Regardless of the fact that the film was to a degree slow moving, the visuals were absolutely flawless. You will love the truly pastel palette of sensitive pinks, light yellows, delicate peaches and postnatal uneasiness. It was tastefully fulfilling with all the bewitching outfits, delightful treats and elucidated inner parts. The Palace of Versailles is a shocking and phenomenal spot. I was really enchanted by the trendy looks of its inner parts especially the complex cases on the dividers. The film wouldn't produce even a large portion of the impact it managed without its brilliantly designed sets and a clear eye for all the details.
As Marie Antoinette grows up, transforms into a mother and heads to her imaginative retreat at Le Petit Trianon, the style shifts into more naturalistic shades and lighting, simply building up a touch darker and more dismal in the last area of Marie Antoinette's life at Versailles, as the change looms and Marie Antoinette finds the boldness of finally turning into a lady.
 |
One of the poster |
No comments:
Post a Comment