THE WEDDING PLANNER
About The Location
Costume designer Pamela Withers was brought on to give the film's characters
that "classic beautiful look" that Shankman wanted in "The
"Adam and I saw Mary's style as very sophisticated, conservative and
timeless, like such everlasting icons as Audrey Hepburn, Grace Kelly or
Jacqueline Kennedy. Mary also seemed like a woman who saved her money and
invested it in a few good designer pieces," says Withers. "I dressed
her in such things as a classic blue Armani cotton sheath, a tan leather Prada
coat and an Emporio Armani two-piece top and skirt with a little cardigan. The
audience may not be used to seeing Jennifer Lopez like this, but she looks
"Mary starts out dressing very business-like when the film begins,"
observes Withers, "but her wardrobe becomes a touch sexier, lighter and
more romantic as the film goes on."
For McConaughey, Withers chose comfortable upscale things, all of which were
slim and trim-lined for him. "We wanted things to hug his chest. He's got
great pecs," she reveals.
Color and style were very important elements for the two leads. "For
instance, in the scene where Mary and Steve meet and he rescues her, she's in
bright blue and tan, and he's in navy and chocolate, so they compliment each
other," says Withers.
"Conversely, when they're dancing the tango together, I put Mary in a red
dress to symbolize anger and passion, and Steve wears a maroon shirt, which
clashes just a little with her dress. Subconsciously, it jars you just a touch
and shows the disconnectedness at that time in their relationship."
Mary plans four weddings in the film, and Withers had a lot of fun choosing four
distinct wedding dresses for these scenes. Two Vera Wang gowns bracket the film.
"The bride in the church wedding that opens the movie is wearing a very
traditional strapless dress with rhinestones and silver beading across the
bodice. She also wears a platinum bow that picks up the silver beading,"
describes Withers. "Fran Donolly wears the other Vera Wang, at the end of
the film. This was our most formal, most extravagant gown because her wedding is
the biggest and the best. The dress has a lace bodice covered with diamond cut
sequins, to give her a little sparkle, spaghetti straps and a full silk organza
under-skirt covered by layers of lace.
"For the Moroccan wedding, the bride wears a lovely beaded, bias-cut
Badgley Mishka slip dress. And for the Greek wedding, the bride wears a satin,
ballerina length Werk Statt dress."
The four weddings themselves were given more authenticity and distinction by
high-end Los Angeles wedding planner Rob Smith from Laurels, one of the top
floral designers in the city. He, along with production designer Bob Ziembicki
and set decorator Barbara Munch, created incredible works of art for each
For instance, the church wedding, which was filmed at Pasadena's stained glass
Westminster Presbyterian Church, was adorned with blossoming cherry trees among
its pews. The Greek wedding, filmed at the historical Wilshire Ebell Theater in
Los Angeles, was accentuated with olive and orange trees, Greek food and plate
throwing. The Moroccan wedding was filmed at The Athenaeum at Caltech, where
guests felt they had arrived in Fez, with cushioned seating and Moroccan touches
everywhere. Finally, the Donolly wedding was filmed in glorious Golden Gate Park
where glistening globe lanterns hung from sycamore trees and a half-domed stage
framed the opulent, sumptuous event. Other important Los Angeles locales in the
film were the glorious Huntington Gardens in Pasadena, which stood in for Golden
Gate Park's Japanese Gardens, and the verdant Ventura Farms, where the horseback
riding scene takes place.
Shankman may h
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