Suzi Clarke wrote:
I quote "David Starkey explains why, sometimes, artistic licence is
better for drama than authenticity." (Says who?)
I assume this explanation occurs in the film itself and not the
article? I'd like to hear what he has to say.
The interest for us will no doubt be the costumes. Well, I'm getting
my b*tch in first. Helen Mirren is posing with Jeremy Irons (great so
far) in a gown that has seams which curve into the armhole.
Do you mean in the front? They had them in the back for sure. Wish we
could see the photo.
And the underskirt is an embroidered dupion which is extraordinarily
like 18th century flower embroidery. (I used it for my 18th century
bride recently.) The braid is a braid I buy in a local shop, and would
never have considered for Elizabeth - far too plain. There is a
"collar of glass jewels and pheasant feathers in which Helen Mirren
gives Queen Elizabeth's Armada speech". I will no doubt watch, as I
adore Jeremy Irons, but I don't anticipate much joy from the costumes.
I spend a lot of time working to get things looking as near accurate
as I can for my customers, but really, sometimes I wonder why I bother.
Suzi
Have you ever read Hunnisett's explanation of the costs asscoiated with
making the Ditchley gown for the Elizabeth R series? Why does every
production of anything having to do with history have to be "perfectly
accurate" down to the seams? Should the have to go "all the way" and
have reproduction everything? Consider the targeted audience. Most
people wouldn't notice any of the detail you speak of. Do your
clients? That anyone is producing history films at all is a boon in my
mind. If absolute costume accuracy were the criteria, all we would ever
see is contemporary films...it would be all that was affordable.
Just my two cents....
Sg
I am sure this is not the article you speak of, but it does have some
pictures.
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/09/10/bflizzie10.xml
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