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Paul Feig Dives Deep On Making The School For Good And Evil

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When did you first hear about the book the film is based on?

After reading the script, to be honest. The script was sent to me by Netflix over two and a half years ago, almost three years ago, and I fell in love with the story. I’m always looking for great stories about female friendships, but with three-dimensional female roles in the lead roles. I thought it would be a wonderful way to tell the story of a friendship so strong it cannot be broken despite being tested, and how in the end the friendship is actually what saves them both . That speaks to me the most. …

Fantasy movies have never been my favorite genre, but reading this makes me think [thought], that core story told through the fantasy genre could be even stronger because of all the things you can bring in, all the magic and the creation of this new world. It can help with the missions and make them different and add a whole new dimension to storytelling.

In addition, meditation on good and evil is fascinating because we are so divided today. We feel so strongly that we are right and the other side is evil. Everyone is so black and white right now and I love that the message of that, without being heavy-handed, [is]”We are all the same. We might have different opinions, but we’re all human, and we’re just trying to get by. Let’s try to clear it up and not be so extreme in our judgment of each other. “

This is largely your first foray into the fantasy genre. In the past, your films have been set in the real world, perhaps with supernatural elements, like [in] “Ghostbuster.” What was it like building a whole new world from the ground up?

That’s catnip for a director because that’s what I’ve always wanted to do. It was nice to have something that had no basis in our reality. Of course, if there are people and villages, it’s still part of the earth, but even Gavaldon was this unknown thing that doesn’t exist. I’ve always wanted to be able to design a very visual look from scratch, but at the same time [I thought]”It’s a story about a magic school. I wonder what we’re being compared to. It’ll always be there, so you can’t avoid it entirely, but by design, we could. So we leaned forward, what’s another look for this?

I’m a big fan of Art Nouveau, as I shot a movie in Budapest in 2014, Spy, and really wore it, and [Antoni] Gaudi. Then Andy Nicholson, my production designer, started looking into obscure German architecture [as] a way to create a unique look for it.

For the costumes, too, I wanted a… Harry Potter has uniforms, and I didn’t want to do uniforms anyway, even though they’re in the book. [I] I thought this was such a melting pot of all these different cultures and fairy tales from all over the world [the world]. Everyone brought their own look and style, so it was fun to be able to throw that around and design all these amazing costumes. Renee Kalfus, my great wardrobe and costume designer, designed and built over 800 original costumes including shoes and jewelry.

It’s a great time. I enjoy working with designers and concept artists. As a director, enjoy that.



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