variety.com: In creating the world of Nia DaCosta’s “Hedda,” hair and makeup artist Sharon A. Martin created a new phrase to explain the aristocratic world of mid-century England.
“I coined the phrase ‘classic modernity’ to it because it’s [a] very period [film], but then it could also be [a mix of] today and the period that we had to play with,”
3 comments:
I find this very interesting, how strongly the writer's vision guided the whole production. From the direction to the location to the costumes. I'm also interested in the way the color of the dress interacts with the makeup and vice versa. The discussion about the flooring that was built for the chandelier to smash on is very specific. Since they are filming in a house instead of on set the extra step that had to be taken to protect the floor of the house. I am curious about the influence of the budget on the decision around using a house for filming versus a set that is built. Especially with how specific the writer was about the layout and the rooms and everything. I think that working on a production like this sounds very intriguing and I am very excited for when that time comes for me.
I just watched Hedda last night and I thought it was a really beautiful and interesting adaptation of Hedda Gabler by Henrik Ibsen. I thought it was really interesting and unique how they decided to gender swap the character into Eileen and make it more of a lesbian in older times take, I definitely thought that this added an extra complexity into an already very complex storyline. I also found that I quite enjoyed the ambiguous ending, since everyone kind of knows that she is going to die. It was interesting for her to maybe decide not to and to have Eileen live and perhaps there is a different ending that way wouldn't have gotten to witness otherwise. I thought the costuming was extremely well done and very revealing of character particularly with Hedda and Eileen. and something I deeply appreciated and noticed was how generally but mostly her hair became a lot more unkempt and free as the film progressed highlighting her mental state that she's in.
I think it’s always interesting to hear the breakdown and the reasoning behind design choices as designers take great pride in their work. I will say sometimes they aren’t revolutionary, but the subtlety isn’t always understood until you put the knowledge the designers have behind the choices. I’ve never seen Hedda Gabler but knowing Ibsen’s work I’m sure I’ll watch this adaptation over Thanksgiving break. I’m intrigued by the “classic modernity’ aspect of this show as it is specific to its time period, but being an adaptation does allow for there to be more play in elements such as changing the ex-lovers gender and name. I wonder a little bit if this is the key component of the show and not that anything was revolutionary with the design choices because they were still trying to dress a female identified body as a male character without losing the audience in the aspect that she was a female in a role traditionally male role, it’s a very complex thing to accomplish and I wonder how well it actually reads in this adaptation.
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