It’s almost like, because it’s coming out of the Depression but before the war, that no one understands it. In all my years of costuming, no one ever says, ‘We want to have a 1930s feel.’ “People will say the ‘20s, or the ‘40s, or ‘50s or ‘60s or ‘70s or ‘80s.
On channeling the thirties: “The 1930s - I don’t know why this happened - but it’s a lost decade as a reference point. If you had all the things in the world, what would you gravitate to? For a lot of people it would be something warm and comfortable.” You can choose from everything in the world, so clothes become more individual. We thought what really made more sense, what could very likely be happening, is access. Or I guess that’s the thought progression. And the way you depict coldness is you use clothes and colors that suggest coldness-blacks and silvers and whites and blues.
And when there’s distance you lose warmth and end up with coldness. “I think with a lot of other movies the logic is that with technology taking over our lives that it creates distance. “I don’t know exactly how we arrived at the high-waisted pants, but I think when Spike wrote the character, he had Theodore Roosevelt in mind.” I think the absence of those things creates a unique world, but you can’t quite put your finger on why that is.” Even lapels and collars will almost disappear. When you add things that aren’t of this era, you wind up noticing them and it becomes really distracting, so our rules were more like, there won’t be any denim in this film, there won’t be any baseball hats, there won’t be any ties or belts. “When we were making rules for this world we created, we decided that it would be better to take things away rather than add them. Barrett, and Opening Ceremony co-founder Humberto Leon when designing the look of Her. “We really don’t need to show it’s the future by putting people in crazy-shaped hats or epaulets,” explains Casey Storm, Jonze’s longtime costume designer, who huddled with artists like Jonze, production designer K.K. We could give ourselves a little more license.”Ĭostume designer Casey Storm talking to Vulture: I mean, it’s a sassy, foul-mouthed creature.
It’s probably more design than we have in anything else. And then he used a voice - it’s Spike’s voice, actually - and we put it together that way. “Spike had this drawing of an alien child, and then we had this idea of a dough boy with these minimal features, and then we found an animator to do it. Production designer KK Barrett talking to the L.A. I actually want to make that video game because I have a whole premise for it.” Like an entire story about going inside the psyche of aliens that had invaded the Earth. “I always end up overwriting because I get so excited about an idea, so that video game had a way, way more complicated story. (Fingers crossed.)ĭirector Spike Jonze talking to Fast Company : It’s a nice way to pass time until someone invents an AI girlfriend/boyfriend for you. Read on and learn about that immersive video game, those high-waisted pants, why the color blue was banned, and much more. Now that Her has opened wide (and will, presumably, be nominated for at least a few Oscars tomorrow morning), we knew audiences would be interested in all the production intricacies, so we gathered the best articles detailing how Jonze and his crew went about putting together the movie. Ever since Spike Jonze’s Her premiered at last fall’s New York Film Festival, one of the things that critics have praised the most is the film’s subtle portrayal of the future.
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