Navigation Bar - Text Links at Bottom of Page


About The Production (Continued)

The look of the film, with its subdued colorings and evocative shadows, provided a robust challenge for the key crew. "I'm psychotic about making sure everybody's on the same page," says Stephen Kay. "Everybody knows we are working within a limited color palette. On top of that, the color is contrasty and almost surreal. It's a very tough and moody look."

Kay, director of photography Mauro Fiore, production designer Charles Wood and costume designer Julie Weiss discussed the artistic direction the film was to take. "It was interesting how we all came together," notes Fiore. "None of us had ever met before. It was just an instant relationship created in the first week."

"Stephen wanted to give the film a kind of timeless quality," explains production designer Wood. "We were not particularly trying to promote the fact that it's the year 2000 and in fact there are certain period designs and motifs within the design of the film."

They decided that this film was to present "a whole new approach to the story," recalls Fiore. "This is about one man's journey. He's finally coming back to deal with things he left behind, but now he sees things in a completely different light. We wanted darkness and tunnels and seeing things by reflection. Generally we developed a style out of collaboration."

Adds Wood, " We were being very careful with the palette we chose. Everything is very subdued and Mauro Fiore's treatment of the color makes the whole picture very moody.

"I wanted to give a sense of realism to this film," he continues. "This is not a stereotypical Hollywood movie. The story is about the characters in this film; it's about the drama and whatever we add to that is simply the background to make it all cohesive. I wanted to make it appear as interesting as possible without making the art direction overbearing. The sets are not the star of this film; they are part of the overall image."

Fiore sums up what is for him the film's stylistic essence: "If you were to put into a sentence what the style is all about in this picture, it is really about reflections. How do you treat a background? Just put a neon sign up and it reflects on the wet ground and wet buildings."

Kay and Fiore ruminated on how best to create a unique texture for the story. They originally discussed the possibility of making "Get Carter" in black and white. "We spoke a little bit about film noir," recalls Fiore "and agreed that we wanted it to be a dark movie, but not gothic-looking."

Fiore's solution, designed to give a black and white feel to the film, was to use a bleach by-pass process in the development of the negative. "This process allowed us to create a stark, contrasting feel without using strictly black and white," says Fiore. "The bleach by-pass process de-saturates the colors and adds more contrast, which can give the action a very dark, mysterious feel."

Costume director Julie Weiss was charged with giving each character his or her own distinct look. "If you liked the Rat Pack or ‘GoodFellas,' you're definitely going to like the clothes in ‘Get Carter,'" notes producer Mark Canton. "Julie Weiss is so talented and her costumes are incredible."

Stallone's costumes in the film, his shining raw silk suits, provide a spl

Next Production Note Section


Home | Theaters | Video | TV

Your Comments and Suggestions are Always Welcome.

2018 6,  All Rights Reserved.


Find:  HELP!