Jean Dujardin took home the golden statue at this year’s Academy Awards but he was only one part of the wonderful, silent ensemble behind ‘The Artist’. Another key addition to the cast was James Cromwell, who plays Clifton, the main character George’s trusted and steadfast chauffeur.

A native of Los Angeles, Cromwell is a child of the movie business; both parents, as well his grandmother and stepmother, worked in the industry. “My father arrived in Hollywood at the advent of the sound era and became a director in the 30s. My mother was DeMille’s leading lady when he first moved into sound pictures,” the actor remarks.

Prior to meeting with director Michel Hazanavicius, Cromwell reviewed a presentation book the filmmaker had put together that included detailed storyboards. “The book was wonderful. Michel had put a lot of thought into how exactly he would make this movie, and had a very clear vision. To me, the project was too good to pass up, and I’m certainly glad I didn’t.”

Cromwell describes the chauffeur as a steady, reassuring presence in George’s life. “Clifton is more than a chauffeur. He’s really George’s right-hand man and he cares for him a lot,” says Cromwell.  At the same time, there is a formality to their relationship that is true to the period and true to Clifton’s nature. “Clifton is old-school: gentlemanly, quiet, unobtrusive, sympathetic, handy and dependable.”

Hazanavicius also sought out actress Penelope Ann Miller, who portrayed silent movie actress Edna Purviance in the biopic ‘Chaplin’ with Robert Downey Jr. In ‘Chaplin’, Miller had played silent scenes recreating portions of Chaplin’s work, and she was intrigued by the notion of acting in a feature-length silent.

The period setting also held great appeal to the actress, a lifelong movie buff who  is extremely knowledgeable about Hollywood cinema history. She gravitated to the part of Doris, George’s increasingly disaffected wife.

“I saw a lot of emotion to work with in Doris,” says Miller.  “At the point where we come into the movie, there’s clearly some tension in the marriage. Doris is a proud woman, upright, and it’s very important to her to keep up the appearance of a stable marriage. They’ve grown apart, but deep down, Doris still loves George, and still wants him to adore her. I think she’s suffering as a result of that.”

‘The Artist’ was an unusual casting proposition in Los Angeles: a film without dialogue and only a handful of supporting roles, some quite small. Nonetheless, the film attracted an ensemble of accomplished, well-known actors whose faces will be very familiar to American moviegoers.

Among them: Missi Pyle, who plays Constance, an actress who is none too pleased when George upstages her; Beth Grant, who plays Peppy’s maid; Ed Lauter, who plays Peppy’s butler; Ken Davitan, who plays a pawnbroker; Joel Murray, who plays a policeman; and Bitsie Tulloch, who plays George’s co-star in a jungle adventure.

Veteran star Malcolm McDowell heard about the production and requested a meeting with Hazanavicius. “I only had a very small part to offer him, almost an extra, and he was delighted!” marvels the filmmaker. “I really had tremendous good fortune with the entire cast.”

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The newly Oscar awarded ‘The Artist’ is Michel Hazanavicius’s third film with director of photography Guillaume Schiffman, who shot both of Hazanavicius OSS comedies. “With Guillaume, it’s more than just collaboration,” Hazanavicius remarks. “We’ve done films together, we’ve done ads together, and we know each other very well.

As soon as I had the idea of ‘The Artist’, I talked to him about it. I gave him tons of films to watch and he did a lot of professional research about the techniques, cameras and lenses of the time. The idea was the same for all us, on both sides of the camera: do some research; nourish ourselves; understand the rules thoroughly in order to be able to forget them at the end.”

Hazanavicius had storyboarded the entire screenplay for ‘The Artist’, and during preproduction he and Schiffman spent countless hours looking at these blueprints and discussing their options. In a black and white silent movie, lighting and color scale become critical tools of the storytelling, Schiffman points out.

“Because there’s no dialogue, light has to tell you something, the shadows have to tell you something. Michel told me how he envisaged the story, how he was going to play with the blacks and whites, shadow and light, and a lot of grays. What is fascinating about Michel is that he never loses sight of the story he wants to tell. You can’t produce only beautiful images and lose the audience in the process. The goal isn’t to make the audience go ‘Wow!’ at each shot but to captivate them and, in this case, to move them.”

Schiffman describes the film as a rare creative opportunity. “A black and white movie; 1.33 format; 20s and 30s style: it’s a dream come true for a cinematographer. What a pleasure to revisit this moment of cinema history, particularly today, when we are moving towards digital supremacy.”

As pre-production got underway in Los Angeles, news of ‘The Artist’ spread quickly in the film community. The black and white style and period setting offered interesting and unusual work for all the industry’s trades: set design, costume design, hair and makeup, camera, electric, etc. Hazanavicius was delighted to find himself surrounded by some of best and most experienced professionals in Los Angeles, all of them eager to contribute.

“Everyone got very excited,” the filmmaker smiles. “I think people appreciated the fact that this was a movie about their profession. People from the camera department offered to make special lenses, old projectors were pulled out of closets … it was very special.”

One of the earliest hires was production designer Laurence Bennett, who has worked extensively with writer/director Paul Haggis on films including the Oscar-winning ‘Crash’. Hazanavicius notes that he had very specific elements he wanted to incorporate into the film’s design, responsibilities that Bennett took on.

“The Artist’ is about the fall of an actor, so I was always looking for locations with stairs. I wanted the actors to go down, and down, and down, sequence after sequence,” says Hazanavicius. “It’s the same with mirrors; it’s the idea of representation because George is an actor. There are always many George Valentins in the frame. Larry brought his own sensibility to the production design, while achieving all the very precise effects I asked him to create. He did a great job.”

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Michel Hazanavicius had the opportunity to fulfill his dream of a silent era film with his Oscar-winning work ‘The Artist’ and found another enthusiastic colleague in costume designer Mark Bridges, a lifelong fan of silent cinema who remembers seeing classics like ‘Wings’ as a child.

Over the course of his career, Bridges has outfitted films set in virtually every era of the 20th Century, making key contributions to the likes of Paul Thomas Anderson’s early 20th Century epic ‘There Will Be Blood’ and 70s-era drama ‘Boogie Nights’, and David O. Russell’s 80s boxing drama ‘The Fighter’.

For ‘The Artist’, Bridges happily immersed himself in research, studying silent films, old publicity stills and day-in-the-life candid photos to get a feel for the impeccable tailoring of the era and the elegant clothing that a movie star like George Valentin would have worn in his leisure time.

For the character of Peppy Miller, he found inspiration in early Joan Crawford films, which capture her evolution from average chorus girl to dynamic jazz baby and finally to glamorous star. The silent backstage comedy ‘Show People’ provided clues about what studio workers wore, as did a short film, ‘1925 MGM Studio Tour’, made on the MGM lot.

Bridges found both garments and ideas in Hollywood’s professional costume shops, including The Collection at Western Costume, Motion Picture Costume Company, United American Costume Company, and Palace Costume Company. “Here in Hollywood, we’re really set up to do a movie like ‘The Artist’. I could go to any of these costume shops I regularly use, go through 100 dresses or 50 dresses, and something would read to me ‘Peppy,’” he says.

Milliners freshened and re-blocked hats that had spent decades in boxes. Veteran tailors made duplicate formal wear for Jean Dujardin, and expert shoemakers copied vintage shoes. Some original garments were in fine condition and were used in the film, including a nightgown worn by Bérénice Bejo and a tennis dress Bridges found in a shop.

But many vintage items were too fragile or dilapidated to be worn, and were instead copied and made in new fabrics. Sometimes old was incorporated into the new; when Bridges found a panel of Art Deco-styled vintage brocade, he used it to trim the dress Bejo wears during the scene when Peppy is being interviewed. Hazanavicius was impressed by Bridge’s talent and work ethic.

“Mark Bridges knows everything, and I think he works maybe thirty hours a day!” the director enthuses. “He’s very perceptive and he knows that small details can be very powerful. For example, there’s an ellipse from ’29 to ’31, when George’s decline accelerates. I asked Mark to adjust Jean’s costume, and to make it a little bit larger so we have the feeling that his character has shrunken a little bit. And Mark did that, very subtly, with a lot of taste. His work throughout brought so much to the film.”

Music is an indispensable part of silent film storytelling, serving variously as emphasis and counterpoint to the actions and emotions onscreen. For this critical element, Hazanavicius turned to his longtime collaborator Ludovic Bource, who has scored all the director’s films since his feature debut, 1998’s ‘Mes Amies’.

Like the other collaborators working on the film, Bource did his homework, listening to scores by legendary Hollywood composers such as Max Steiner, Franz Waxman and Bernard Hermann; music written by Chaplin for his films; and the 19th Century composers whose work was the foundation of Steiner, et al.  With that knowledge absorbed, Bource was then free to write the score that would help tell the story of ‘The Artist’.

He began working on the score before production began, coming up with melodies and themes based on the screenplay and storyboards. Once production began, Hazanavicius sent him rushes on a regular basis. “I immersed myself in the rushes as they came in, and in the performances of Bérénice and Jean,” Bource remembers.

“Watching these magnificent images as they arrived was very inspiring. The hardest thing, particularly with Jean’s character George, was to respect the combination of comedy and emotion. As a result, rather than pastiche or spoof, we worked – a bit like Chaplin – along the lines of a light sophistication. And for the tap dance sequence, I wrote music that was essentially big band/jazz, which was a pleasure.”

Work continued on the film’s music during the editing process, when Bource worked with Hazanavicius to refine the music and match it to the  final scenes. Bource recorded the score in Brussels with the Flanders Philharmonic Orchestra. Says Bource, “I recorded with 80 musicians: 50 string players, 4 French horns, 4 trombones, 5 percussionists who ran around all over the place, a harpist, 10 technicians, 5 orchestrators, 3 mixers – it was sublime.

I was lucky enough to get marvelous people. They told me it had been a long time since they had felt this way while recording the music for a film. It was very moving and gratifying.”

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It was during the making of ‘OSS 117 – Nest of Spies’ in 2005 that Michel Hazanavicius first mentioned his dream about making a silent movie to that film’s stars, Jean Dujardin and Bérénice Bejo. A dream which eventually won him glory at this year’s Academy Awards.

“We thought it was wonderful madness; we never imagined such a project could ever be achieved,” Bejo acknowledges. When Hazanavicius finally set to work on his silent movie story, he wrote the roles of George Valentin and Peppy Miller with Dujardin and Bejo in mind, certain they would excel in the format.

“Jean is as good in close-ups, with his facial expressions, as he is in long shots, with his body language,” he comments. “Not all actors are good with both; Jean is. He also has a timeless face that can easily be ‘vintage.’  Bérénice has that quality, too. She exudes freshness, positivity, goodness. I thought viewers would easily accept the idea that she would stand out from the crowd and become a big star in Hollywood. George Valentin and Peppy Miller are, in a way, Jean and Bérénice fantasized by me!”

Dujardin knew that the filmmaker had been researching the silent era and watching numerous films, but he had little idea of what to expect when Hazanavicius gave him the screenplay for ‘The Artist’. “He handed it to me, slightly feverish: ‘Read this, but don’t laugh, do you think it’s possible? What do you think of it? Would you be ready to do it?’” the actor remembers.

“I read it in one sitting. My first thought was that it was really gutsy to have pursued his fantasy all the way. As was the case with each of Michel’s scripts, I thought it was really well written, with everything perfectly in place. Up until then, we’d made comedies where we had a lot of fun with characters and situations.

‘The Artist’ had comedy and action, yet it was full of emotion. I was touched by all it said about cinema, its history and actors. I loved the premise, the meeting between George Valentin and Peppy Miller, the story of crossed destinies.” Dujardin was moved by the transformation George undergoes as he grapples with the arrival of sound. “At first George doesn’t ask himself a lot of questions.

He’s not arrogant, but he’s sure of himself, confident in the charm that he assumes so easily,” the actor remarks. “George is very showy, always acting. It’s as if he was only an image, a face on a poster. Then, little by little, this confidence, this lightness starts to crack. He starts sliding towards the bottom. Luckily, there’s an angel watching over him. At the end he is not a photo but a man — only a man. I liked this path.”

Bejo is Hazanavicius’s partner and so had the closest view of the story’s development and evolution. She reports that Peppy Miller began life as an incidental character, less central to the story than the dog who is George’s best friend. Remembers Bejo, “Michel told me, ‘There will be a girl who will appear here and there.

It will only be a small part but I’d really like you to do it.’ I would joke, ‘Even the dog has a bigger part than me!’ Later, Michel told me, ‘it’s strange when you write: you create characters, a story, but at a given point they become stronger than the hand that writes them.’ The story of this silent movie star became a love story between him and this young extra. From version to version, Peppy Miller gradually became more and more important.”

Bejo found much to admire in the fledgling actress. “I liked Peppy right away; she stimulated me. When you do improv you’re taught never to say no and take everything that is offered to you, accept it and play with it. Peppy applies this rule throughout her life; she has fun with everything. Stars often have that quality.

They’re not where they are by coincidence: they have enormous self-confidence, they grab what’s available to them, that’s how they climb the ladder and become stars. But Peppy’s not in any way calculating.  She’s a good person, and doesn’t forget where she came from. And she doesn’t forget George.”

The casting process moved to Los Angeles, where Hazanavicius worked with casting agent Heidi Levitt. John Goodman was approached to play Al Zimmer, the studio chief who walks the line between coddling and corralling his contract stars. The actor liked the script, and a meeting was arranged at his agent’s office. Remembers Hazanavicius, “We talked for a few minutes. Then John said, ‘Okay. I’ve never seen a movie like this and I want to be part of it.’ I said, ‘Okay’ and that was it!”

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Having never written a silent film, ‘The Artist’ creator Michel Hazanavicius immersed himself in the genre to gain an understanding of what did and didn’t work. “At the very beginning I watched movies from all over: America, Germany, Russia, France, England. I observed that as soon as the story starts to grow unclear — too many new developments, too many characters — you lose interest,” he says.

“Very soon I focused on the last four or five years of the silent era, especially in America. I think those were the best movies, and also the ones that aged best. The way the stories are told in American silents isn’t so different than the way the stories are told today.” Along with watching films, the director read cinema histories as well as memoirs and biographies of silent era directors, producers and stars. He looked at photographs and other archival materials and listened to music of the period.

He drew inspiration from the work and lives of such stars as Douglas Fairbanks, Joan Crawford, Gloria Swanson, John Gilbert and Greta Garbo. “Research is very important,” he comments. “Not so much to be strictly realistic — that’s not what I’m after — but as a springboard for the imagination. The research fed the story, the context, the characters.  The more research you have done, the more you can play with it all.”

Unfolding during a four year period, 1927-1931, ‘The Artist’ introduces its titular character, the action-adventure hero George Valentin, at the peak of his popularity. Fans flock to see George in films tailored to his dashing persona: exotic tales in which he triumphs over evil with wit, panache and the aid of his devoted sidekick, a Jack Russell terrier with impeccable timing.

When sound arrives, George resists the upstart format (as did Chaplin, among others). He stakes his career on his belief that the talkies will remain a novelty, and sets out to prove that he can succeed on his own terms, as an artist of the silent cinema.

Though ‘The Artist’ is set over 80 years ago, George’s circumstances, and the powerful emotions attached, are as current as ever. Says Hazanavicius, “To me, it’s interesting to think of George’s story in terms of a human being in a transition period. The world is always moving, and you might be looking in another direction.

One day, the world says to you, ‘you’re part of the past.’ It can happen in your own office, in your factory, in your relationship. It’s a feeling any person can understand.” But before he begins his descent from Hollywood heights, George meets the energetic young actress Peppy Miller.

The famous actor and the effervescent unknown are irresistibly drawn to one another, but are kept apart by chance and circumstance, unable to give voice to their feelings. It’s a classic scenario of star-crossed romance, intense yet chaste. “It’s an old-fashioned vision of love, very pure, and it also holds with the form of silent movies,” comments Hazanavicius. “Some of the masterpieces of silent cinema are simple love stories. They inspired me to take the film in a direction that was lighter, more optimistic and joyful.”

By the time he finished writing, Hazanavicius felt confident that he had constructed a story that could sustain a silent format. Hazanavicius believed ‘The Artist’ — steeped in Hollywood cinema history, sensibility and technique — had to be shot in Los Angeles.

And a Franco-American production in Los Angeles would mirror yet another aspect of silent movie history: many of the most renowned directors of the American silent cinema were native Europeans, including Charlie Chaplin, Erich von Stroheim, F.W. Murnau, Ernst Lubitsch, Josef von Sternberg and Victor Sjöström.

To Hazanavicius’s delight, Langmann agreed the film belonged in Los Angeles. “If Thomas had said to me, ‘Okay, we’ll make the film but we’ll shoot it in the Ukraine!, I would have gone to the Ukraine to shoot it,” the filmmaker remarks. “Thomas did everything within his power to allow us to shoot ‘The Artist’ where it should be shot, where the action took place.”

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Winner of the prize for Best Actor at the 2011 Cannes Film Festival and Best Picture at the 2012 Academy Awards, Michel Hazanavicius’s ‘The Artist’ is a heartfelt and entertaining valentine to classic American cinema.

Set during the twilight of Hollywood’s silent era and shot on location in Los Angeles, ‘The Artist’ tells the story of a charismatic movie star unhappily confronting the new world of talking pictures. Mixing comedy, romance and melodrama, ‘The Artist’ is itself an example of the form it celebrates: a black-and-white silent film that relies on images, actors and music to weave its singular spell.

Hollywood, 1927. George Valentin (Jean Dujardin) is one of Hollywood’s reigning silent screen idols, instantly recognizable with his slim moustache and signature white tie and tails. Starring in exotic tales of intrigue and derring-do, the actor has turned out hit after hit for Kinograph, the studio run by cigar-chomping mogul Al Zimmer (John Goodman).

His success has brought him an elegant mansion and an equally elegant wife, Doris (Penelope Ann Miller). Chauffeured to the studio each day by his devoted driver Clifton (James Cromwell), George is greeted by his own smiling image, emblazoned on the posters prominently placed throughout the Kinograph lot. As he happily mugs for rapturous fans and reporters at his latest film premiere, George is a man indistinguishable from his persona — and a star secure in his future.

For young dancer Peppy Miller (Bérénice Bejo), the future will be what she makes of it. Vivacious and good-humored, with an incandescent smile and a flapper’s ease of movement, Peppy first crosses George’s path at his film premiere and then as an extra on his latest film at Kinograph.

As they film a brief dance sequence, the leading man and the newcomer fall into a natural rhythm, the machinery of moviemaking fading into the background. But the day must finally end, sending the matinee idol and the eager hopeful back to their respective places on the Hollywood ladder.

And Hollywood itself will soon fall under sway of a captivating new starlet: talking pictures. George wants no part of the new technology, scorning the talkie as a vulgar fad destined for the dustbin. By 1929, Kinograph is preparing to cease all silent film production and George faces a choice: embrace sound, like the rising young star Peppy Miller; or risk a slide into obscurity.

The Journey

A celebration of Hollywood moviemaking at its most magical, ‘The Artist’ represents the fulfillment of a long-held dream for writer/director Michel Hazanavicius. “From the beginning of my career, I fantasized about making a silent film,” he says. “I call it a fantasy because whenever I mentioned it, I’d only get an amused reaction – no one took this seriously.”

But Hazanavicius was entirely serious. The legendary filmmakers he most admired had begun their careers in silent cinema: Alfred Hitchcock, Fritz Lang, John Ford, Ernst Lubitsch, F.W. Murnau, and, in his early years as a screenwriter, Billy Wilder. Mainly, though, he was drawn to the format for creative reasons.

“As a director, a silent film makes you face your responsibilities,” he remarks. “Everything is in the image, in the organization of the signals you’re sending to the audience. And it’s an emotional cinema, it’s sensorial; the fact that there is no text brings you back to a basic way of telling a story that only works on the feelings you have created. I thought it would be a magnificent challenge and that if I could manage it, it would be very rewarding.”

In 2006, Hazanavicius scored a critical and commercial success with his second theatrical feature, the buoyant spy spoof ‘OSS 117  – Cairo, Nest of Spies’, starring Jean Dujardin and Bérénice Bejo. A sequel, ‘OSS 117 – Lost in Rio’, followed in 2009, cementing Hazanavicius’s reputation as a maker of artful and crowd-pleasing entertainment.

Set in the late 50s and early 60s, respectively, the films had given Hazanavicius a solid grounding in the logistics of period storytelling and cinematic tribute. With those back-to-back hits under his belt, the filmmaker decided to pursue his silent movie for his next project.

His quest for a producer eventually led him to Thomas Langmann, whose credits include the award-winning ‘Mesrine’ gangster films and whose father was the Oscar-winning filmmaker Claude Berri. Langmann immediately understood what Hazanavicius wanted to do and why. “Thomas is a producer like no other,” asserts Hazanavicius.

“Not only did he take what I said seriously, I saw in his eyes that he believed in it. It was no longer a fantasy but a project. I could start working.” Says Langmann, “Michel had such passion and understanding for the genre, and it was clear he had the creativity and drive to make a silent movie that would be vibrant, beautiful and relevant to the 21st Century. The whole idea was so daring, so enthralling, I didn’t hesitate to pledge my support to Michel.”

As he began mulling story ideas, Hazanavicius remembered an anecdote he’d heard from a family friend, screenwriter and playwright named Jean-Claude Grumberg. One day, Grumberg pitched a producer an idea about a silent movie actor ruined by the arrival of talkies. “The producer had replied: ‘That’s wonderful, but the ’20s — that’s too expensive. Couldn’t it be set in the ’50s?’” Hazanavicius recalls.

“That’s how this idea of a film set in the Hollywood of the late ’20s and early ’30s, in black and white, was formed. I don’t make films to reproduce reality.  What I love is to create a show and for people to enjoy it and be aware that’s what it is, a show. In any case, you can’t remake films exactly the way they were made 90 years ago.

Audiences have been exposed to so much; they are sharper, quicker and a lot smarter.  It’s exciting to stimulate them.” He continues, “My starting point was a silent movie actor who doesn’t want to hear anything about the talkies. I circled around this character, and then I got the idea of this young starlet and crossed destinies. Everything fell into place, including the themes — pride, fame, vanity, love.”

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The impressive French-American silent movie ‘The Artist’ by director Michel Hazanavicius, will be remembered not just for its unusual way of interpreting the beauty and wistful grace of the end of one of Hollywood’s most precious eras, the silent films, but also for its achievement at this years Oscars.

The French star Jean Dujardin was ecstatic as he accepted the Oscar for Best Leading Actor, making him the first French actor to receive the honor. Michel Hazanavicius can celebrate his own success in winning the price for Best Director and the overall film, which despite its critical acclaim has done meagerly at the box office, will receive a deserved boost by the prestigious Best Picture award.

Of other notable wins were Best Original Score which underlines the tremendous work and power that The Artist held in conveying the drama, comedy and intensity of its story without spoken lines. Ludovic Bource was interviewed by the Oscar Press corps and its translators shortly after winning the golden statue for his work.

A. It’s unbelievable for me.

Q. [Speaks in French]

A. So he said he’s he’s incredibly impressed to be here and the first prize he ever got for The Artist was at the EFA awards, the European Film Awards, and the statue is a woman and so his little boy said, Papa, you need to bring me the man, the Oscar, so that they can kiss each other.

Q. [Speaks in French] It was very moving tonight, your speech, because you said at one point, Well, actually I would like that people accept me here in Hollywood. Why, because I have so much love to give. Can you please explain to us, because I know that actually to make it here in Hollywood you have to love and even be in love.

A. All of the work I did on The Artist was a declaration of love to American culture, American cinema.

Q. [Unintelligible] is a tribute to the American composer. [Unintelligible] the next step for you is in Hollywood.

A. If Hollywood accepts me, it’s my dream to be here. So yes, I would love to give you my love and be part of Hollywood now.

Q. Hi. This is a silent film, and I just wondered for you, the music plays so much a part of this. Do you feel like this was a character in the film?

A. Yes. Music is it’s a character in the movie and it’s a unique language and I’m so honored to have been able to have made this movie thanks to Michel Hazanavicius.

Image Courtesy of  Richard Harbaugh / ©A.M.P.A.S.

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Mark Bridges took home the award for Best Costume Design at the 84th Academy Awards. ‘The Artist’ is one of this year’s most highly acclaimed films, and the black and white silent movie have surprised movie goers and critics alike with its charm and passion. Bridges thankfully accepted the award and afterwards spoke with the Oscar press corps about the wonderful honor:

Wow, this is thrilling. I want to thank Michel Hazanavicius for making a beautiful film and having me along for the ride, Thomas Langmann for believing in the film and getting the resources together to make it, and Harvey Weinstein and The Weinstein Company for getting it out to the world. I want to thank my wonderful crew and you know, I was just a kid from Niagara Falls who dreamed, ate, and slept movies and so I want to thank the Academy for this honor and for making a lifelong dream come true. Thank you.

Q. Congratulations. What classic Hollywood films in terms of the visual style of the wardrobe, et cetera, specifically what films inspired what you created for The Artist?

A. There’s a great film called ‘Show People’ starring Marion Davies, which was all shot on the back lot of MGM at the end of the ’20s. Great research. We also watched things like ‘It’, ‘Our Dancing Daughters’, ‘City Girl’, ‘Sunrise’, those were sort of emotional touch spots for touchstones for us. So things like that. Not not a lot, but enough to get the flavor and know how things were worn.

Q. Yes, hello. Can you speak to the difficulties of having costumes that were going to be shot in black and white versus color?

A. Well, we actually filmed it in color because there was a chance that the film would at some markets be shown in color.  Luckily, we were able to finally prevail with it in black and white.  You know, it really comes down to different values and I was very concerned about the graphics, whether the actors would separate from the backgrounds that they’re standing in front of. So and once we got the textures down, we knew textures read beautifully, I could tell a story with textures.

Q. We spoke the other night at the Costume Designers Guild. Congratulations. I’m curious, how do you feel tonight after winning the Oscar?

A. I’m very excited as you can imagine. It hasn’t quite sunk in because we’ve just been led from one thing to another, but I’m thrilled; I’m very proud, I’m so happy.  And as I said in my speech, it really is a lifelong dream come true. I spent a great deal of my childhood where the winters are long and movies are a great escape and it has affected me for my whole life and career choice. And I think it’s amazing that I was given the opportunity to do a movie that is a love letter to Hollywood.

Q. You said that you made the costumes larger in the beginning. Was Jean larger in the beginning?

A. No. What I think what Michel said was, you know, once the character George has his fall, he wanted the costumes just a little bigger to reflect that somehow George is less of a man than he was. And so we did that, hopefully, subtly through the tailoring.

Q. Is Jean as great a guy as we think he is?

A. Yes, and then some. He’s an extraordinary person, yes.

Image Courtesy of  The Weinstein Company

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Tonight at the newly renamed Hollywood and Highland Center, the Academy Awards will be delivering Oscar magic all night under the auspice of returning host Billy Crystal. The silent triumph of ‘The Artist’ is leading the buzz at the moment but until the cameras turn on inside the dazzling auditorium, the bets are on.

This year marks the 84th time around that Hollywood’s finest gather to celebrate the last years cinematic triumphs, but there has rarely been so much debacle before the big night; after years of faithful audiences, the ABC network reports a drop in recent years from a steady 60 to 70 million viewers to a mere 40 millions. In comparison, the Super Bowl finals could draw more than 110 millions viewers.

Another issue was the departure of producer Brett Ratner who left along with this years initially announced host, Eddie Murphy – not to mention the sudden and unfortunate bankruptcy of Eastman Kodak which brought on a complicated naming and promotional issue and jeopardizes the Academy’s continuous use of the facility for the Oscar show.

The biggest problem, though, is the dwindling number of viewers. Why have movie lovers forsaken the prestigious ceremony?

Some believe the major issue is that the general audience never really watches the movies that end up being celebrated by the contemporary Academy. In the last decade, the selected nominees have increasingly been influenced by art, emotions and indie productions; only few box office hits seem to cut it when it comes to Best Picture or leading performances – James Cameron’s ‘Avatar’ being a notable exception.

The movies at this years Oscars are haunted by slow performances at the box office – The Artist, despite formidable reviews, only managed to make 28 million dollars, in comparison with ‘Harry Potter and the Deathly Hallows Part 2’ which raked a whopping 1,3 billion dollars last year.

As the general public see less and less of the nominated movies, their interest and excitement in the competition at the Oscar slumps. There is no fun in watching the celebration of movies you never heard of.

To compensate for the low level of recognizable names on the nomination list, the Academy have attempted to boost the entertainment quality of the event itself, including younger hosts, more comedy and more glamour. Last year’s double hosting by the sweet Anne Hathaway and spaced out James Franco was one of the low points of these initiatives so the return of Billy Crystal in a welcomed treat for Oscar buffs. Tonight makes his ninth time as Oscar host and the 63 year-old holds a great record as a terrific entertainer.

Despite the Academy’s struggle to get things in place for the night of the golden statue, millions of people worldwide will tune in tonight for the exquisite pleasure of watching the finest of Hollywood, gather in a media production extravaganza, including an ambitious slated performance of Cirque du Soleil in a one-time-only event by a rumored more than 50 performers, their biggest troupe ever.

Billy, we’re ready for you!

Image Courtesy of  Bob D’Amico / ABC

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The season of the golden statue is upon us, and the heat is increasing in the top categories. Where is the wind blowing this year? One of the most coveted awards, along with the Leading Actress trophy, is that of Best Male Lead.

This year, the battle is between experienced and seasoned performances, all around age 40 and up. At the same time, there are many first-timers, despite their years in the business, with only one of the nominated already having an Oscar to show for it. Nothing is certain until Sunday, February 26, live from Hollywood, but here are the predictions.

Demián Bichir for ‘A Better Life’

American audiences primarily know 48-year-old Demián Bichir from the TV series, Weeds, and as Fidel in Steven Soderbergh’s ‘Che’. However, Bichir is a huge name back in his native Mexico, part of a family of celebrated actors, and his presence on this year’s nomination list will be his first. In Chris Weitz’s A Better Life, he plays the gardener, Carlos, who has worked hard to make a life for himself and his estranged son in the States. When his truck is stolen, father and son, albeit virtually strangers, set out to recover it in hopes of a better life.

There were reports of confusion when Bichir’s name was read among the nominees as some believed the choice was made at the expense of the highly acclaimed ‘Shame’s Michael Fassbender. While Weitz’s film was celebrated, it was not widely watched. However, the nod to Bichir is the only one for the movie, and despite the initial surprise, or maybe because of it, it seems unlikely that he will take home the award.

George Clooney for ‘The Descendants’

Already a groomed candidate with seven nominations in his pocket and a win in the Supporting category for ‘Syriana’ in 2006, 50-year-old George Clooney has placed himself firmly in the front. Unlike Bichir, Clooney is ‘Hollywood royalty’, and the story goes that a bet was made between him and fellow Tinsel royal, Brad Pitt, that if one of them got the nomination this year, the other would perform a favor.

Clooney’s was to spend the day with Brad and his partner Angelina Jolie’s pack of kids – which he allegedly loathes. With that deal already sealed, the question is if ‘The George’ will up the ante by making an actor’s Oscar hat trick – winning both Leading and Supporting Actor; something only five other actors have done before him.

Is the part worth it? Many great things have been said about The Descendants, and it is no wonder; the adapted screenplay hit a chord with critics and movie-goers alike, and Clooney’s character, Matt King, is relatable as he struggles to keep the pieces of his reality together. Already winning the Golden Globes this year is a huge plus, which tempts us to believe that the night will be Clooney’s time to shine.

Jean Dujardin for ‘The Artist’

At the tender age of 39, Jean Dujardin is not well-known in the States. Dujardin is funnily enough referred to as the French George Clooney, and the liking is merited after an evening spent in the company of The Artist - the smile says it all!

The Artist, in itself, is an incredible achievement that has reaped rave reviews around the world, with the exception of some disgruntled movie goers on the British Isles, and much of the magic is thanks to Dujardin’s charming, yet heartbreaking performance as the silent movie star, George Valentin, who fades into obscurity as the ‘talkies’ take over.

Not only is his performance a delight, but an immense amount of respect and awe goes into the challenge of performing ‘old school’; the whole cast had to abandon their experience to embrace a performance style of the past. A dark horse in the race, but a secret favorite of this reporter. Will the French finally get a leading man on the podium?

Gary Oldman for ‘Tinker Tailor Soldier Spy’

While younger generations connect Gary Oldman with good and helpful franchise characters (Harry Potter, Nolan’s Batman), most of the mature viewers know that Oldman earned his badges as the ‘bad boy’ and other villainous characters. Evidently, the tide has turned for the 53-year-old native Englishman who embodied the anti-Bond character of George Smiley in the adapted espionage drama, Tinker Tailor Soldier Spy, to such taste that the Academy nod was inevitable.

Even though Oldman has been around for years and is the eldest of this year’s nominees, it is the first time he has been nominated for an Oscar. Sadly, the predictions are that the honorary inclusion in the ranks of the Academy is the only thing he will be getting next Sunday.

Brad Pitt for ‘Moneyball’

So far, Brad Pitt’s career at the Academy Awards has been scattered and less eventful than you would have thought, considering his status in Hollywood. When he made the bet with George Clooney, his odds were statistically lower – curiously amusing to consider now that Moneyball is the movie that got him the nomination.

The role of Billy Beane, the general manager of the Oakland Athletics who takes a chance on a numbers game in order to win the League, is a powerful tale of grandeur against the odds. It has been awhile since baseball filled the main plot line of a big-name movie, and critics have applauded the production team for reigniting the on-screen excitement for the game.

Some hint that the fuss over ‘The George’ might blindside observers and allow the 48-year-old father-of-six to channel his character’s underdog qualities, but as it stands, Pitt will enjoy the show and settle for the party.

Image Courtesy of   https://www.facebook.com/MoneyballMovie

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