Navigation Bar - Text Links at Bottom of Page

THE AGE OF ADALINE

Visualiziing Adaline
The objective in all of the film's design elements is to reflect the changes in Adaline as time goes by. "As her perspective on life evolves a bit, the look gets a bit warmer and brighter," says Krieger. "Her apartment in San Francisco in the beginning of the film is relatively cold and shot in a somewhat clinical matter. By the time we come to midpoint of the film, it becomes warmer and a bit looser."

Krieger brought in cinematographer David Lanzenberg, with whom he has worked exclusively for the past seven years, to help create the film's signature visuals. A former fashion photographer, Lanzenberg balanced highly developed technical skill with an eye for beauty. The director chose to eschew handheld camerawork in favor of a smoother shooting style to give the film an ageless look and provide a unifying factor through the film's many flashbacks to earlier time periods. "I told David I wanted to shoot in a very classical manner," he says. "We decided to shoot with anamorphic lenses because they knock down your depth of field, which allowed me to soften some of the hard edges that you get when shooting digitally. There's a lot more dolly work than I've done in the past, but very little Steadicam as Steadicam felt incongruous with the vignettes from the 30s, 40s and 50s. We tried to be very graceful and elegant all the way through to make sure that the period vignettes made a seamless transition into the rest of the movie."

Krieger researched his subject matter exhaustively and came to set with detailed notes on how he was going to film. "He knew exactly what shots he wanted to have," says Lucchesi. "He even wore an armband, like some NFL quarterbacks wear, that have all the plays. Lee had his shot list on it every day."

The enormous visual and historical scope of the film required a great deal of research, according to production designer Claude Pare. "Luckily, when we sat down together, Lee and I were in synch about the visual references. For example, we both wanted a warmer palette once Adaline meets Ellis in the story. We treated each of the period vignettes in post to make them authentic to the era. We even considered the correct camera speed for the various periods."

"Each of the period vignettes has a unique feeling," says Krieger. "For example, for the '50s scenes, we wanted that classic Technicolor three-strip process look - prime colors with loss of saturation. We use films like Gentlemen Prefer Blondes and How to Marry a Millionaire as inspiration."

Pare understood right away that Adaline's apartment documented her life story, says Krieger. "It needed to look as if someone had collected these pieces over a century. At the same time, she had been on the run, so her home is spare enough that she can pick up and take off quickly. I loved the way he was able to make things look beautiful but lived in."

Every object in every scene was extensively documented, according to Pare. "We wanted to make all the period pieces exquisite, like little diamonds. They all have their individual texture."

Although many of the historical references are subtle, a great deal of attention was paid to getting them right. The costumes, the cars, and even the typefaces on the newspapers were carefully researched to make sure they were absolutely accurate to the period.

The producers believe that the meticulous preparation, epic yet intimate scope and impressive performances make The Age of Adaline a movie like no other. "I think that we are in a time in film where originality counts," says Lucchesi. "I don't think anyone is going to come to our film and say, well, I've seen this before. Audiences are hungry for good stories, especially if they pack the kinds of surprises this does. Our director has a unique point of view and he's created a visually stunning movie. Blake Lively gives the performance of her lifetime. She and Michiel are perfect together. Harrison Ford plays a role that's more vulnerable and human than he's done before. I hope audiences watch this movie and, say, 'God, that's a really good movie.'"

TOP

Home | Theaters | Video | TV

Your Comments and Suggestions are Always Welcome.
Contact CinemaReview.com

2018 29,  All Rights Reserved.

Google

Find:  HELP!

Google