By Andrew Horton
From a inn in Marrakech in The guy Who Knew Too Much, to small-town Alabama in To Kill a Mockingbird, to undertaking keep an eye on in Space Cowboys, making a fictional, but completely plausible international within which to movie a film has been the fervour and life's paintings of Henry Bumstead, one in every of Hollywood's such a lot celebrated construction designers. In a occupation that has spanned approximately seventy years, Bumstead has labored on multiple hundred videos and tv movies. His many honors contain Academy Awards for artwork course for To Kill a Mockingbird and The Sting, in addition to nominations for Vertigo and The Unforgiven.
This popularly written and largely illustrated e-book tells the intertwining tales of Henry Bumstead's profession and the evolution of Hollywood artwork course. Andrew Horton combines his research of Bumstead's layout paintings with wide-ranging interviews within which Bumstead talks approximately operating with best administrators, together with Alfred Hitchcock, George Roy Hill, Robert Mulligan, and Clint Eastwood, in addition to such stars as Paul Newman, Robert Redford, Doris Day, Jimmy Stewart, Sidney Poitier, invoice Cosby, Jerry Lewis, and James Cagney. quite a few creation drawings, storyboards, and picture stills illustrate how Bumstead's designs translated to movie. This portrait of Bumstead's profession underscores an paintings director's the most important function in shaping the glance of a movie and in addition tracks the alterations in creation layout from the studio period via situation taking pictures to state-of-the-art use of high-tech precise effects.
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From a lodge in Marrakech within the guy Who Knew an excessive amount of, to small-town Alabama in To Kill a Mockingbird, to venture keep an eye on in house Cowboys, making a fictional, but entirely plausible global within which to movie a film has been the eagerness and life's paintings of Henry Bumstead, considered one of Hollywood's such a lot celebrated construction designers.
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Extra resources for Henry Bumstead and the World of Hollywood Art Direction
That said, let’s review nine of the sets on this project and the complexity and special features of each. Street Scene of New York City (Opening and Closing Scenes) The opening and closing shot has Irma strutting down a busy New York City street that is under construction. The comic point is that Irma is so absorbed in her own world that she is oblivious to the / signs and drops down a hole in the pavement where the street is being repaired. This set looks so like New York that anyone today would swear the scenes were shot on location.
Thus ‘‘auteur’’ did not mean the work of Hitchcock alone, but of Hitchcock’s ability to have a vision and assemble a wonderful team. ’’: How was working with Hitchcock? Bumstead: I had a very good relationship with Hitch. He was always very nice to me. ’’ So we would discuss prostate problems, since I had recently had an operation then. I would always go down to show him drawings, and he would be reading the London Times. So maybe on any given day I would have six or seven drawings of sets to show him, and I would get through showing him about two of them when Hitch would begin to yawn.
Then we built an interior set to match the exterior. We also matched the front porch so that we could shoot from the porch into the set. 3 In those days the backings were canvas and in black and white. They were called ‘‘Shipman backings’’ because of the company on Santa Monica Boulevard that made them for us. 4 What a talent he was. You know, he was a tiny man, and in those days we all wore suits and ties. And we would be on the set, the stage door would open, and in would come this tiny man with a beautiful suit on, and he was smoking Henry Bumstead and the World of Hollywood Art Direction Sketch of the interior of the hotel in Lucy Gallant.
Henry Bumstead and the World of Hollywood Art Direction by Andrew Horton