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Damien Chazelle takes on a Postmodernist approach to the end sequence. Postmodernism in film is defined as moving against typical techniques, expectations, and narrative structure. La La Land subverts the expectations of a typical Hollywood happy ending by having multiple endings. The first end scene leaves Mia watching Sebastian playing the piano in his own jazz club and living his dream. Mia has started her own family and their romantic journey has reached its ultimatum. Damien Chazelle offers a nostalgic vision of Los Angeles’ past and makes the story relevant today by grounding the narrative in modern-day reality. La La Land offers an experience of immersive escapism where Mia and Sebastian’s goals, dreams and pathways are easily relatable. The use of primary colours represents the feelings and emotions of their characters. The costumes are blasted in primary colours – green, red, yellow, and blue to represent the fantastical world. These bright and bold colours highlight the drivers’ real emotions as all they wish to do is escape reality and express their feelings through movement and dance. The bright colours bring a stark contrast to the typical business attire and suits of people’s everyday workplaces. Blue is often the tinge of the (successful) Hollywood that is always surrounding Mia and Sebastian. Everything from Ingrid Bergman to murals of classic film stars to The Van Beek club are tinted with it . These are the people who made it, who steered their career in some way Sebastian and Mia have not when we first meet them. From the production-design perspective, there was one scene harder to bring to life than that heavily choreographed, freeway opening shot: the pool-party scene.

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The opening sequence of La La Land establishes the tone, mood, and message of the film, especially through its Mise en Scène. The director of La La Land , Damien Chazelle, uses the elements of Colour and Costume particularly well to convey a message behind the characters living their hopes and dreams. It’s what makes the “Epilogue” sequence so striking, visually and emotionally. We return to the old scenes of their relationship, Sebastian reconsiders his decisions, and for the first time we see Mia and Sebastian surrounded by a full rainbow. When you see yellow in La La Land it normally means there’s change ahead. Despite being one of the first colors we see in the technicolor dance sequence that opens the film, it’s not a color we see very often in the first part of the movie – why would it be? We’re only being shown Sebastian and Mia’s lives to-date; the establishing of the status quo. And so yellow appears mostly in spurts.The late great Debbie Reynolds had her first starring role in Singing in the Rain, considered by many to be the greatest movie musical.

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Helen Rose designed the costume below for the dancer Carol Haney in On the Town. The movie was a vehicle for some of MGM’s stars, including Gene Kelly, Frank Sinatra, Ann Miller and Vera Ellen. Below are some of the original costume design sketches from some of those Golden Age Hollywood Musicals. Another Walter Plunkett costume sketch is shown above, this one for Cyd Charisse in the “Broadway Melody Ballet” number with Gene Kelly. She has been Kelly’s femme fatale in the previous scene and now she comes out dressed as a bride. As the scene morphs into a fantasy the bridal outfit gets stripped of the skirt and she is bare-legged in their dance.Mia and Sebastian are encircled within a green hue. This vibrant colour can draw multiple interpretations within this scene. It could signify a new development for Sebastian’s path and his dream to open his own Jazz club. It can also highlight Mia’s envy as she struggles to find her place in her own path while she witnesses Sebastian’s new coming success. We wanted the film to have one foot in the contemporary world and one foot in the nostalgia of Old Hollywood,' says Zophres, whose long-term creative partnership with the Coen Brothers has previously seen her work on projects as diverse as O Brother Where Art Thou and Hail! Caesar. Appropriately enough for a film that's in love with film, to nail this particular aesthetic, plenty of screen time was required. 'Damien had cut together a sort of montage, of small moments from the movies that had inspired him,' she explains, 'so I made a list of what was on that and made sure to watch everything. Damien had specified that there were several pivotal films, three by [French director] Jacques Demy: The Umbrellas of Cherbourg, The Young Girls of Rochefort and Lola. Then there were MGM technicolour musicals, contemporary fashion magazines, even candid shots of people on the street...' In these times of stress and turbulence, the musicals of the 1930s-1950s with their notes of hope and escape may end up providing a relevant model for some of today’s movies. Certainly our dystopian movies of the last ten years have run their course. And the Golden Globe voters agree, having lavished the movie with a record seven awards. In the world of La La Land blue represents creativity and control. It’s the color of the suit Sebastian pulls out when he’s playing gigs; the mood lighting in the Lighthouse Cafe when Sebastian first meets Mia after work; and of course, it’s the color of Mia’s dress when she goes to the ill-fated party with her roommates. How do you create an interesting Mise en Scène to captivate the audiences’ attention? Mise en Scène is defined as the design and look of a scene. There are important elements which make up the overall appeal, including but not limited to – Colour, Costume, Character, Lighting, Props, Set and Location. How these elements are laid out on screen determine the overall theme and aesthetic of the film.

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Helen Rose began her career designing costumes for showgirls . So she knew how to infuse flash and movability in her movie designs. She also specialized in using chiffon and had a great sense of color. Below is her costume design for Marge Chapmpion who danced frquently with her husband Gower Champion in movie musicals at MGM. The design was for Give a Girl a Break, 1953. It’s a perfect dance gown – an eye-catching red color with decollete top and full swinging chiffon skirt with sequins. See, details matter in La La Land. The fact that Mia changes out of heels to matching tap shoes when Sebastian and her have their twilight dance is important; we won’t see her in heels again until she’s left Sebastian. That Sebastian drives a classic, brown Riviera distinguishes him from Mia’s sensible, modern Prius. Below is Frank Sinatra’s stand-in dancer and Carol Haney dancing , with Gene Kelly waiting his turn.

The Coronado Island Film Festival, Reframed, is happening November 11 -15, 2020. We deliberated for most of the last year on what the Festival, our 5th Annual, should be like considering the pandemic, and decided on a mix of mostly virtual events with few live events highlighted below. Instead of passes as in previous […] christian esquevin The technicolour world of La La Land is an instantly memorable one, and that's in no small part thanks to Mary Zophres' Oscar-nominated costume designs, which bring the classic glamour of director Damien Chazelle's Hollywood inspirations to modern Los Angeles. They both sacrificed their love story to achieve their individual dreams. As afterall, they came to Hollywood to discover their dreams, not to discover their romance. The preferred reading is intended to remind the audience that although life in a musical can have its fantastical elements, there is always a darker side to the consequences of dreams, when the story is grounded in reality. In Conclusion Stone unwittingly inspired another costume—the marigold dress that Mia wears to a pool party and a Griffith Park dance sequence.

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As it plays, the movie uses the full color range to explore that something was always missing from their relationship; just as you can’t have rain without the sunshine or success without the hard work, Mia and Sebastian couldn’t live their lives in only one color scheme. By strategically deploying colors throughout the film, Chazelle makes the case that they were, in some sense, doomed to fail because they could never fully find their footing. While the choice to film in real locations adds to the sense of nostalgia and escapism for an older Hollywood. The colour manipulation of the lighting foreshadows the future of the characters’ paths. Overall, the techniques used in La La Land range from montage sequences to using primary colours, intertextuality and paying homage to the musicals of Classical Hollywood. That party scene foreshadows Mia’s creative potential early on. Unlike her partner, Mia isn’t quite distinctive right off the bat; up until then the movie has painted her as just another hopeful starlet. And while Sebastian gets a few scenes that demonstrate his skills as a pianist, Mia’s talent is a bit more obscure. Some of that is just part of the nature of a musical; it’s a lot easier to showcase someone’s instrumental expertise than it is someone’s acting talent within a film.Before rolling cameras on La La Land, the musical starring Ryan Gosling and Emma Stone, writer/director Damien Chazelle made sure his entire crew was on his Technicolor wavelength by hosting movie screenings. Perhaps the most interesting way Chazelle builds up reality’s power through red is by mixing it with other colors. Our main characters find themselves in rooms and streets bathed in warring blue and red lights, like when when Mia and Sebastian discuss her show’s first draft and his club’s name. Though the creativity and authenticity of red and blue mix to make purple, a personification of love (see the first rendition of “City of Stars,” or the stunning waltz in through the galaxy), Chazelle all too often doesn’t let the colors mix. Their clothes, their light, their neon – it rarely finds a place to comingle. This scene is one of many throughout the film which drops subtle hints to whether Mia and Sebastian stay together in the future. The green hue signifies their contrasting ideologies. Mia does not believe Sebastian is following his true desire.