HAPPY DEATH DAY 2U
Happy Death Day 2U Premiere Screening in Los Angeles
I made my own outfit for the event out of Liberty of London french terry fleece!
Excerpts from the press release blow:
For costume designer Whitney Anne Adams, who is new to the franchise, there was no way that a sequel to Happy Death Day would go into production without her participation. "I saw the first film in the theater and absolutely loved it," she says. "It combined three of my favorite films: Groundhog Day, Clueless and Scream. I'm a sucker for anything having to do with time travel and/or horror, so I jumped at the chance to interview when my agent gave me the script. It's an incredible part two and takes the story in directions I never could have guessed."
From the start, the designer felt fortunate that she and her director were on the same page, finding Landon's "impeccable taste and style" complemented his ability to "make hard decisions quickly." She says: "Chris was an absolute dream. Every time I would present fitting or research photos, we would both end up picking the same one as our favorite."
Rothe was in almost every scene of the first film, but now that Landon has expanded Tree's universe, other actors were able to do some heavy lifting. That said, Rothe worked just as exhaustingly as she did in Happy Death Day. For the designer, the collaboration with the film's lead was an exciting time. "Jess is now one of my favorite people in the whole world," Adams says. "Not only is she an incredibly talented actor, she's so fun and kind; it was a joy getting to spend hours together trying to pick out her many outfits and discuss how Tree would put each outfit together. Everything looks good on her, so it was a challenge to whittle down the choices to our favorites. We get to peek into her closet more this time, and her clothes help show how she is evolving as a person from the beginning of the first film."
A former competitive player, Adams went back to her roots as she designed the competing basketball teams' jerseys. "I came up with a long list of names for the opposing team, and I am so glad Chris chose the Tritons-as that is the mascot for my alma mater, UC San Diego. As a little surprise, I snuck in the last names of many of the crew members on to the backs of the jerseys. I gave Chris No. 1 as our fearless leader and Jason lucky number 13, in honor of Blumhouse's horror background. I also gave the player with my last name on his jersey the number 22, which was both my dad's and my number when we each played in high school.
Not only human performers found themselves the subject of Adams' painstaking attention to detail. "I brought my cat, Xander, with me to New Orleans while we were filming, and I am happy to report that he makes his feature film debut in Happy Death Day 2U in a small moment." She ends: "Keep your eye out for his cameo."
BRIAN TYREE HENRY
***WAA Edit: the jacket was made out of cotton not velvet! Very breathable ;)
Collider: Nicolas Pesce on His High-Fashion Horror Romance ‘Piercing’ & Why He Loves the Ambiguous Ending
One of the other elements I love in this movie is that the clothes are incredible. I know it’s kind of a superficial thing…
PESCE: No, I love the clothes.
I love fashion and the costume design, and I really like the way you combine fashion and costuming in this. What was the motivation to make that element a part of the film? It’s so damn gorgeous.
PESCE: My dad is a fashion designer so I grew up with that and he … I always went to work with him and watched him make … he did women’s formal wear, so I was raised in a house with a fashion designer, cared a lot about fashion. As someone who doesn’t like to put that much effort into what I look like, I see movies as an opportunity to get to kind of flex a little bit. Something that I love about so much of Italian cinema is that no matter the story, actors look fucking amazing. So trying to find what would be authentic for these characters but is high fashion and is gonna be iconic. You know, I always think about Richard Gere in American Gigolo, in that suit, and Christian Bale in American Psycho, and that suit. It’s like we need one of those suits for Reed.
So, the guy who made … Jordan Belfort, who is the real life guy in Wolf of Wall Street, his real life suits, made Reed’s suit.…Then I was in a really big Claude Montana phase and I wanted a Claude Montana dress for Jackie but they are tens of thousands of dollars.
Bit of a budget breaker.
PESCE: Yeah. On an Indie movie you don’t really have the ability to do that, but our costume designer, Whitney Adams, who did the costumes on Eyes of My Mother as well, designed a Claude Montana-esque outfit for Jackie, and then even though I don’t know much about them. So, yeah, so I think that it was a lot about having to do with the artifice but also just like, I like fashion and I wanted to play with it.
THE EYES OF MY MOTHER
AVC: the film is set in an ambiguous time period. What were you going for with that?
NP: I think that I wanted to be ambiguous, and the only clue as to when it takes place is the cars that are in the parking lot of the bar, and the way that Kimiko is dressed.
AVC: Her jean jacket did make me go, “Ohhh.” I thought the story was set in the ’50s until I saw that jacket.
NP: I’d say that sequence is 1988, and then you can backtrack from there.
AVC: It does span decades.
NP: Yeah. In my opinion, it goes from late ’60s to early ’90s. And the cues are really just the bars. That’s the only thing that gives you a sense of when and where you are. I liked that, in this movie, where [an audience member] is like, “This is the ’50s or ’60s,” and all of a sudden there’s this girl who looks like she watches Beverly Hills, 90210. And it’s like, “Whoa, wait a second, where are we?” This isn’t as far off as you thought it was.
The Eyes of My Mother gets B&W treatment (Post Magazine)
The film was digitally captured by Kuperstein in color and converted to black & white during post production processing at Technicolor PostWorks. Kuperstein notes that planning for that conversion began early on and involved nearly every aspect of production. “A lot of our work with production designer, Sam Hensen, and costume designer, Whitney Adams, was focused on creating color contrast in the design elements so they could be easily separated when we got to the DI,” he recalls. “We captured all of the color information on set, viewing the image with a simple black and white LUT, with the intention of grabbing those distinct colors and adjusting their brightness values in post.”
“Sam was able to isolate the unusually saturated colors, such as a bright orange couch or the green line's in Francisca's dress, and make them stand apart,” adds Kuperstein. “This added a kind of texture and contrast that would not have otherwise been possible. The approach is akin to using a yellow filter on B&W negative to darken a sky.”
THE HIP HOP NUTCRACKER
TONIGHT AT 8:30