2019-11-13 The Hollywood Reporter

THE HOLLYWOOD REPORTER 79 NOVEMBER 13, 2019

JOK

ER:^
NIKO

TAV

ERN

ISE/

WAN

RER
BR
OS.^
ENT

ERT

AIN
MEN

T.^ O
NCE

SKE

TCH

: CO
STU

ME^

DES

IGN
BY^

ARIA

NNE

PH

ILLI

PS^ A

ND^

ILLU

STR

ATIO

N^ BY

PH

ILLI

P^ BO

UTT

E^ JR

. ON

CE:^

AND

REW

CO

OPE

R/S

ONY

PICT

URE

S.^ W

EST

WO

OD:

CO

URT

ESY

OF

SON

Y^ PI

CTU

RES

.^ MO

THE

RLE

SS:^

COU

RTE

SY^ O

F^ W

ARN

ER^ B

ROS

.^

PICT

URE

S.^ P

OPE

S:^ C

OUR

TES

Y^ O

F^ NE

TFL

IX.^ J

UDY

SKE

TCH

: CO

URT

ESY

OF

ROA

DSI

DE^ A

TTR

ACT

ION

S.^

JUD

Y:^ C

OUR

TES

Y^ OF

ROA

DSID

E^ AT

TRA

CTIO

NS.^

ROC

KET

MAN

: DA

VID

APP

LEB

Y/PA

RAM

OUN

T^

PICT

URE

S.^ D

OLE

MIT

E^ SK

ETC

H:^ C

OUR

TES

Y^ O

F^ NE

TFL

IX.^ D

OLE

MIT

E:^ FR

ANÇ

OIS

DU

HAM

EL/N

ETF

LIX.

DOLEMITE IS

MY NAME

“A costume designer has

to be an anthropologist,

especially when dressing a

celebrity figure who was a

cultural touchstone,” notes

Ruth E. Carter of working

on Eddie Murphy’s look as

comedian Rudy Ray Moore.

Carter was reuniting with

Murphy for the seventh

time. “I want comfort for

him and I want it to look

right for the character,”

which meant patchwork

denims, matador pants

and matching suit and hat

combos along with his

signature rose applique.

One of the most iconic buildings in the world, the Vatican’s Sistine

Chapel, was a key setting in this film about Pope Benedict XVI and the

future Pope Francis. But it posed a big problem for production designer

Mark Tildesley: “It is not possible to film a dramatic feature [only

documentaries] within the Vatican walls,” he explains. So they built

their own, at Cinecittà Studios in Rome. “We had to rebuild the chapel

using photos that a company hired to clean the Sistine had taken about

10 years ago,” he says. “A team of Italian painters skilled in re-creating

classical paintings then painted copies that were one-third of the

actual size, which served as the base for our paintings on the walls.”

For the paintings, Tildesley says the process was “not dissimilar to a

stick-on tattoo — printing on a thin clear plastic sheet and applying it

to a textured plastered surface.”

THE TWO POPES NETFLIX

Re-creating New York’s original Penn Station

for Edward Norton’s period drama, which is set

in 1957, started with careful research. “We dove

into every archival image that we could find,”

says production designer Beth Mick le of the

look of the station, which opened in 1910. The

team also used the 1955 rom-com The Seven Year

Itch (in which the original station is featured)

and early floor plans to determine the layout

and dimensions.

The 100-foot-by-75-foot set built at Gold Coast

Studios in Bethpage, New York, included the

station’s front doorway and vestibule hallway as

well as the area around the rows of lockers, which

were key to the story. Says Mickle, “We had refer-

ence photos of the original Penn Station floor

that we had our graphic designer Donna Kim

turn into a digital file so that we could actually

print on the vinyl flooring the glass block pattern

that existed in the original Penn Station.”

MOTHERLESS BROOKLYN

WARNER BROS.

JUDY

For the Judy Garland

biopic, director Rupert

Goold had one request for

costume designer Jany

Temime — a long floral

gown with a bateau neck

that was synonymous with

her style. “It took me a

long time to find the fabric;

everything looked like a

sort of cheap wedding

dress,” says Temime, who

finally found some leftover

couture fabric in a glitter-

ing damask silk, which had

a 3D shine to the flowers.

“It was also difficult to find

[a pattern] for a tiny body

like Renée [Zellweger].”