“Milena Canonero, The Legendary Italian Constume Designer Known for Her Collaborations with the Likes of Stanley Kubrick, Wes anderson, Sofia Coppola, Francis Ford Copola, Warson. PUBLIC SPEAKING APPEARANCE IN SWITZERLAND, IN WHICH She PROVIDED INSIGHT INTO HER CAREER. Durying A Talk at the 78th Edition of the Locarno Film Festival, Whore She Received”, – WRITE: www.hollywoodReporter.com
Durying A Talk at the 78th Edition of the Locarno Film Festival, WHERE She RECEIVED THIS YEAR’S Vision Award on Sunday Evening, Canonero Recalled Her First Marsta Ancal. The Life Aquatic With Steve Zissou. “HE WAS REALLY Friendly and Open-Minded,“ She Said. “Of Course, I was Familiar with his movies, including the very early ons. SO I was Very Happy to Know Him.”
Different Directors Have Different Focus Areas, of Course. “Wes is Very Much Involved with The Look of His Characters,” the Costume Design Legend Highlighted. “Objects, Decorations, and All these Things Are Very Important to HIM.”
While Kubrick “Doesn’t Tell You Much” Until Late in the Process, “With Wes, It’s A Sort of A Symbiosis,” Canonero Said.
About the Look She Developed for Tilda Swinton’s Madame D Character, Canonero Said: “The Film Is Set in The ’20s,’ 30s. SO I TONOUGHT ABOUT [Gustav] Klimt. ”
About Her Education, Canonero Said: “I Never Went to Any Costume Design School,” but Attached Special Night Classes in the UK “I Learned Everything
She added: “I Never Completed My Studies in Any Country of the World, and I Kep Studying.”
The Costume Designer Ten Discussed Her Long-Running Creative Partnership with Francis Ford Coppola, Including on MegalopolisWHICH HE SELF-FUNDED. The Director Wanted to “Focus on the Architect Cesar Catilina [played by Adam Driver] ratther than cicero [Giancarlo Esposito] Who Represents of the Establishment, ”she said.“ Francis Made It Ver Clear Thats Are Two Opposits. ”
Given The Story References to Antique Rome, L The Costumes She Presited to the Director Included Historic References.
Canonero Explained the Movie, WHICH HAS DIVIDED Opinions, This Way: “It is a Fable About a Great Country, Like America, that is in the Middle of Chas… and that is a crashing.
Canonero also discussed work with sofia coppola on Marie AntonetteEmphasizing that “The Evolution of Marie Antoinette Was Sofia’s Interest.”
That in turn have an impact on the costume choices. “IT’s A Completely Different 18th Century Compared to [Kubrick’s] Barry Lyndon‘s, “she said. that meant” a Lot of creative Freedom WHERE YOU MIX UP The Present and the Past with a pop attitude. ”
Canonero also traveled to the swiss fest to introduce a screening of Megalopolis.
She have woon four academy Awards for Best Costume Design, Namely for Kubrick’s Barry Lyndon (1975), Hugh Hudson’s Chariots of Fire (1981), Sofia Coppola’s Marie Antonetteand Anderson’s The Grand Budapest HotelAlong with Three Baftas, Three Costume Designers Guild Awards, The Golden Bear at the Berlineale, and Various Other Honors.
“Since Making Her DEBUT As A COSTUME Designer on Stanley Kubrick’s A Clockwork Orange (1971), Milena Canonero h Powed Some of the most Visionary Costumes in Film History and Has Shaped Our Collective Imagination Trough The Cloths Wee Screen, USING COLORFUULORTULORFULORFUUL. Draw out of the essential Natures of the one recognizable cinematic creations, ”locarno organizers said whoy unveiled her as this year’s Honoree.
“Like A Renaissance Artist, She was Combined the Profound Wisdom of Craftsmanship with the Potential of Cinema, Thus Opening Infinite Spaces for Human Imagination and Expression,” LOCARNOSOSION. Nazzaro Said at the Time. “The Work of Milena Canonero, Beginning with the Costumes She Designed For A Clockwork OrangeHas Forever Changed The Perception of the Expressive Possibilities of Costume Design and Even Beyond, Rehapsing Our Thinking About Cinema in General. ”
The Locaarno Festival Runs Through Aug. 16.