The Making of Marie Antoinette pt.1/2 (Kirsten Dunst, Jason Schwartzman, Judy Davis, Rose Byrne)

[Music] um [Music] foreign [Music] [Music] it's kind of good with both because it's so like their idea of a decadent coin all right let's try those too yeah yeah we should do a series of them just take a pause in between each one so you can be lounging and then let them eat cake she never said let them eat cake I know she didn't right that was unfairly reported the power of the propaganda machine is such that even the late 18th century propaganda against that woman still has potency today still and Sophia will be interesting um the book was written and now Sophia is making her a beautiful film and it'll be interesting to see whether anything can dismantle that propaganda that has condemned her uh since she was a young woman she was the first victim of bad PR in a uh they hadn't really sussed out PR but the revolutionaries they were very good at it because a lot of the the lies about my internet I mean and some of them were true but they exaggerated things you know the famous line about let them eat cake which she never uttered but it but was in kind of caricatured cartoons that the revolutionary propagandists would put about and that had a heavy influence on public opinion [Music] yeah one with a little smile like the music and action let me cake and you can't be bothered for taking a bath and action let them eat cake it was good I'm more of an order it's so obvious and don't bother me okay and then like it's a no-brainer plenty of cake around let the meat cake she tell us a story from the past with such a conscience of our present that she's not is not a representation of the style of the 18th century is she puts that 18th century is our real today period films are are always a delight in that regard but sometimes they can be a little starched and a little weighty and that's that's where where Sophia and and every Department comes in um there it's it's a fresh look at at another time well what advice did you give Sophia before she started I I I told it I told her to make it totally the way she wanted and the more personal it was and the more it was her impression of what all this was like that the better it would be that she should just be throwing a Marie Antoinette party invite everyone to come to it and costume [Music] I keep feeling like we're making a superhero movie in this scene doesn't a pineapple like the Green Hornet it's all the superheroes in their disguised at the Gotham City fall hi Julie says plus five we're on uh Ramon's list I adored the look of it and I was thinking this is something film can do that I can never do I can write page off to page describing the beauty of Versailles the beauty of Marie Antoinette the wonderful players of mother the jewels I can write and write and write but I'll never do what Sophia or someone could do just with a look you know it's so much stronger the look of the clothes than anything I could ever write I mean I think that's one of the great advantages of film it's so cool yes it is nice when internet you can do in many many ways the the vision that Sophia had was very specific you didn't didn't want to go into the expected classical uh look you know so she asked me to come up with some other solution what I call a stylization some of it is symbolic and some of it is stylish but some of it is also psychological so there is a psychological reason for the costume for a color so that's what I like and so we tried to go with her vision and that's I think it's what one has to do as a custom designer hi Melina I looked at the script and 38 should be a different day than 37. 57 and another question for 38 over okay but then can we use the strawberries again or do you have another another one because I love seeing the strawberries in full length yeah it's so cute it looks great Milena I love it getting into the clothes such an important thing for me because you put on you just like layer by layer kind of time travel a little bit just something I'm putting on these kinds of clothes they just change everything just physically they kind of make you stand in a different way the shoulders are tighter your back goes up your head goes up they just do a lot of work for you it does help to have the corset on because then it felt like she was a little bird trying to get out of out of these out of all these restrictions I wore my corsets for Versailles and then as soon as we went to Petit tree and on phase I didn't wear any corsets I'm thinking about the best croissant you've ever had people type to make love they're more modest in nature I understand them and your friends and Aussie argento's the Italian Madame Dewberry and we have a a very mixed group it just seemed like an eccentric place at that time and um so I think they give that flavor well the camera comes between them it's nice to see me looking around every everything oh okay yeah I see you're looking at them yeah and then also looking around at the end okay okay and action this is France your new home you have to live with these people is there anyone you can relate to it [Music] it's your new family I pictured Carousel when I was working on it because I thought she she's German so she has the skin and the look of that character but she has that quality where she can be fun and playful and Charming but then she also has more depth to her so she can have both I thought Chester dance was wonderful and I thought that's absolutely the right face that's exactly the kind of jawline and the prettiness which is alluring I thought that was a perfect physical match and the grace Marie Antoinette was So Graceful we know that everybody said she was So Graceful Kirsten Dunson very graceful person it's really you you've sent for her and now she's arriving so this is the shot of her entering good luck mate did so okay you know my mother was an All-Star Hungarian aristocrat in fact thinking about her has helped me a lot when Sofia says be more cool be more strong think of your mother I've got a whole background 800 years back they her family was started they they sort of started that long ago with Charlemagne it's all in there so much good the people of France can say I accept an angel I think the point of the movie was taking a young person thrust into an intolerable situation which she has no control of and doesn't really understand and then thrown into another intolerable situation I mean how many people have been married for seven and a half years before the marriage is consummated and if that does happen to them they don't have the entire court outside the door sort of looking through the Keo I mean it was absolutely extraordinary the things that happened to my internet and I think that is very well portrayed that actually first of all she's sort of sold into slavery really to be a princess then she's supposed to support Austria when she's 14 15. then she's got this weird unconsummated marriage and she's supposed to produce but child a baby you know she and given all of this I think Sophia shows very sympathetically how she sort of tried to cope with this situation and all the shopping and the extravagance and the decadence and all of that was a sort of reaction to these terrible things which had happened to her which were not of her making really and I think that like you want to be sweet sweet to him but you don't really want to try to stop talking again because you don't want to be sat down and he thinks that he doesn't like you yeah you tried last night and it didn't he didn't he rejected you why doesn't he like you but I don't think you're not mature enough to know that he's insecure you know right [Music] I guess the main objective what I thought about making a movie of her story was not to make a big historical epic and it's a it's a biography is a huge story and I wanted to really focus on trying to make um more an impressionistic uh telling from her point of view really like what what it might have been like from her point of view because so many of the stories we know about my internet are people's perceptions her and the more I learned about kind of her what we know of what she went through and then imagine more of the personal side she wrote a phenomenal script which I felt was a very fresh way of looking at a rather historic subject her script is her vision and her take on their story and I just kind of stopped reading all the books and just go go by uh go by the script my brother brother my dad did this thing that when they're talking to me in my room they they walk around and they and they look at things while they're talking and right so I imagine it right like that that you're kind of thing and looking at her and I like how you're kind of teasing her because that's you're as a big brother that's what they do [Music] it yeah she has an eye which is a which is a youthful eye and in this particular version of Marie Antoinette I think that um Candy is is a good way to to describe it um sexy candy thank you [Applause] I like the fact that I think that that's uh sphere's trying to make this story uh if you like sort of um resonant with you with young people with uh kind of the younger generation and she's trying not to make it a mannered sort of drama that has no relevance to people today and cut just to make a variation maybe we could do more of the look at the beginning of her coming at you so we could kind of build up the standoff between the two gangs okay but you're a lady just just the high school the high school two clicks I don't like these toys But Here Comes Trouble it looks like yeah I can't see it again yeah that was good that looks good yeah okay yeah like like swatting a mangy dog that's near Mariah [Music] yeah we go look at our bedrooms right next door well what I'm thinking is how interesting it is to be in the actual places where all these historical people actually had lived and had experienced the things that Sophia is now reconstructing amazing to think that Marie Antoinette and her husband walked through these halls and looked out and that that is Versailles when I found out that we were going to do this this project and that we were going to do it in Paris or surrounding Paris and that we would have access to Versailles itself I was I was very excited but the reality is they're museums and we had to show these museums as alive we could take advantage of large Halls which would give the film scale but even there we would have to come in and put drapes in and completely furnish it we couldn't use any of the furniture of acai which gave us the task of bringing in furniture that looked appropriate and competitive with the scale that already existed on the walls got very lucky had very creative decorating and art Department team that pulled it off we're in the salon and with our drapes our huge crew are a huge amount of extras our set dressing has never been allowed before they're hanging diffusion they're hanging bounce boards and grip equipment in the middle of this the head of Versailles Missouri said the reason I want to support this so much is because in Sophia's movie she'll get inside the head of Marie Antoinette and that's all I really care about it's perfect very very effective oh yes yes the keys to the Palace yeah one of the parts of working in France also which added so much to the movie I think for all the people that worked on it that made the 18th century food there's all this tradition that we needed for the movie the food that was made that they would have had at that time I mean it's so so elaborate over the top and for me it was fun to come to set and have a whole cake Department a lot of Ray that makes macaroons would bring pastries every day and it just ridiculous cute pastries that we had around for the sack dressing and I loved the florist who had made these beautiful flowers once every day and kind of the whole palette of the movie is very cookies and cake kind of thing I think it was a girliest film set I've seen Sophia put together a a tear sheet reference book of colors I'd say well what's that picture about and she said oh it's just that that because green trees that are kind of faded or that that person's shirt or there's a picture of a bunch of macaroons that were yellow and brown and magenta and she kept saying well these this is the colors of the film that's the palette she's not taking any of this seriously and that's when you also bring it to heal yeah bring it to here yes I've never heard that is that like a or training good to know Milena it's so nice to see all the colors of the macaroons she really looks like America Citron when I say that I see Sophia making a uh a candy version of Marie Antoinette what I mean is it's not a film that lacks depth it just comes in a disguise of this sort of fluffy period with these tall wigs and rather superficial attitudes but in the words of of Oscar Wilde only superficial people can't be superficial I'll take these in the pink and the blue the suggestion that you'd put yellow and magenta and mint green instead of the uh the primaries the the royal blue and the burgundy and the gold yellow showed that it was skewed most of the paintings of the time that were showed the strict Court life were a bit mythical and you'd always find your your red your yellow your blue and perfect balance and this didn't follow the the want of our pastel world so we kind of drained those colors out avoided some we said oh red okay we'll just use that for the Old King try to avoid dark blue as much as possible try to avoid solids let's have patterns and so this was shaking up what the real world was and then we got into not wanting to show Brown in the movie and not wanting to show Bays we didn't want the the crustacean of sepia to say that we're in another time we wanted to feel like we were living in this time appreciating this time and it just happened to be a document that was a little bit richer because the paintings haven't faded yet the photography hasn't faded yet you're really there and it was brighter than you see under years of smoky layers of varnish that also different from a lot of conversation I had with sofa in regards to like you know this is kind of like it's like how you know embracing a kind of high key brighter approach to lighting where it's much more pop much more opened up much brighter and for me it was really challenging because it's like I've never really lived that way and to kind of get that and still have it feel texture and depth to it and not just turn into like TV lighting you know I was finding a balance there somehow and I think it has to do with production design a wardrobe and everything coming together but it seems to be very appropriate for her when she was younger especially the film opens with her in schaumbrun in Austria and that that's a little bit more of a moodier feel to it we always wanted Austria to feel a little bit darker a little a little moodier of a feel to it but when she arrives into Versailles you kind of come into this world of bright colors Sherbert kind of colors and that to me represented her whole youthful period in Versailles she's kind of stuck within the confines of the protocol and she's just learning about all those things and then when she leaves and kind of breaks free from that in the Petit Trianon phase which becomes more naturalist in a way and I felt that with the photography that still has a kind of bright opened up but it's more wider lenses closer backlighting flaring and a little bit feeling somewhat of nature photography somehow that's why I kept feeling like referencing pictures of Nature and flowers and then the camera work itself much looser more handheld it kind of feels like it's transitioning into this period of her life that's more like that which then in third Act of the film ends up being back in Versailles and now when you're back in Versailles at the end of the movie it's a little bit more of a darker more austere place it relates to where she is in the story things begin to fall apart a little bit so to me there's somewhat obvious decisions that you could make with the script it's a personal story set in a period piece and following that and letting that be a guide for how we did things it's good that it's a little sloppy and not and not perfectly you know I didn't have an accent in the movie and all those things all that

Channel: Ghosts of Vermont URBEX / Sky's the Limit Videos

Views: 62,886

Keywords:

Id: hEFgjqhbyBU

Length: 22min 32sec (1352 seconds)

Published: Thu Jan 12 2023