Below is Frank Sinatra’s stand-in dancer and Carol Haney dancing , with Gene Kelly waiting his turn. 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. Emma’s white dress had more volume and a more complicated pattern than her other costumes,” explained Zophries. “It had a silk chiffon top and a very lightweight silk charmeuse underneath, so it was like two layers, all hand sewn. It’s beautifully done. I’ve seen the movie seven or eight times, and that white dress slays me every time. . . . It’s funny, because the movie is so known for its color. But the white dress . . . I get teary-eyed when it is on camera, because it’s everything I wanted it to be. It just rises up in the air as you spin in it.” 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. La La Land features intertextual references from the Musical Golden-Age of Classical Hollywood cinema. Chazelle captures the old Hollywood feel and pays homage to Classical Hollywood musicals including,

Teletubbies Lala Costume - TV Show Costumes

Of La La Land’s two main characters, Mia evolves most personally and professionally—a point Zophries was careful to telegraph. The late great Debbie Reynolds had her first starring role in Singing in the Rain, considered by many to be the greatest movie musical. 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.

La La Land yellow: the tap dancing dress

Damien was inspired by the painter Ed Ruscha, and a few of his paintings that show a fan of city lights at night going out into the distance,” explained Wasco. “He wanted that view—but it was very hard to find because most people who have a view like that and a pool in Los Angeles have upgraded their pools to infinity pools. But it was important to have a pool that dancers can completely surround for a dance number.” 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. 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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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. At the end, her dance dress is white, no doubt inspired by Cyd Charisse’s dress from the “Dancing in the Dark” scene in Band Wagon.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.

La La Land | Mary Zophres Style Suits of Ryan Gosling in La La Land | Mary Zophres

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. La La Land Director, Damien Chazelle, stated his vision for the film was to ‘Create an old-fashioned musical but grounding it in reality where things don’t always work out.’ Some of the great on-location settings involved in the scenes among Mia and Seb’s date night include the old and disused ‘Rialto Theatre’ in Los Angeles, where they watch a screening of Rebel Without a Cause (1955). The camera holds on ‘The Planetarium’ scene, featuring Jim Stark (James Dean) and his classmates on a trip to the infamous Griffiths Observatory. 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. We recommend anyone in Northern Ireland, Isle of Wight, Shetlands, Scottish Highlands/off the coast of Scotland, Republic of Ireland, Isle of Man, and Channel Islands use Priority Delivery unless you require an urgent timed delivery through UPS courier which is at an additional cost. Please see below for postage prices.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.

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Shown above is Mary Ann Nyberg’s original costume design sketch for Cyd Charisse in Band Wagon, 1953. Charisse plays the younger ballet trained dancer to Astaire’s older (now somewhat tarnished) star. But sparks fly as they walk and then Dance in the Dark in Central Park. The costume sketch design has been somewhat modified for the film as the top has the front décolleté. Remaining is the free-flowing pleated skirt shown below. 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. Stone unwittingly inspired another costume—the marigold dress that Mia wears to a pool party and a Griffith Park dance sequence.

Epilogue: the white 'what if?' dress

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. 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.