Miss Pettigrew Lives for a Day : Making an Unforgettable Day (Amy Adams, Frances McDormand)

Miss Pettigrew Lives for a Day : Making an Unforgettable Day (Amy Adams, Frances McDormand)

[Music] really nice to meet you dear lady but who the devil are you miss pedig miss pedig miss pedig I was given to believe you were expecting me I always love doing something that’s in my head at the time and in my head I’d found love I’m getting married at the end of this year pure and simple I want you to marry me one the producer Steven Garrett said we’ve got this script would you like to take a look at it it’s been written by David mcke and Simon boyf and they’re you know brilliant writers and I said well I’ll take a look at it and he said I don’t know if it’s your cup of tea you bet you baby I read it and overnight I said this is fantastic it’s and it’s just because I wanted to explore the field of love and choices we make in terms of who we end up with and and I think this film does it so beautifully I can tell the whole world about you and me officially an item what till death to hard what that’s about people making choices and the and and living with the consequences I mean that’s enough that’s big that’s a big thing there are times when choices just have to be made or you certainly will miss out the movie is about discovering what you truly what truly is right for you and what truly is best for you and being the fast moving patter the fical element as well as the period drama but there is also this undercurrent of the impending War and the impending disaster of delicious relationships this supposed has it’s an hour on Wednesday at 9:30 shall I pinc you in no I’m pining now and in a way I think francis’s character represents a very wise take on what is happening to the girl and what is about to happen in terms of the war because she’s been through it herself they don’t remember the last one no they don’t think about the icons of a character like Miss pedig it’s Mary Poppins It’s My Fair Lady it’s all these women who have these Transformations into a life or create Transformations or help people change their lives must be extraordinary being you extraordinary very very ordinary we started with the idea that she has uncontrollable hair which is kind of a it’s what her this is what the her brain is like as well she’s a little messy I don’t know what I was thinking entrusting my children to someone with your your hair we wanted to make her look like her hair that she’ been given you know at beginning of her life was just awkward and difficult and nothing she could do and she didn’t know how to cope with it so therefore we went for very fuzzy frizzy unflattering color which Miss Pettigrew has to sort of fight with difficult hair have you not heard of the hairbrush and when we got to the costume I like the idea that it looked like a school girl this is about the past you know with the white petty coat and the stockings loose stockings and the Practical shoes and it’s kind of adward and you see how it’s kind of well a long time ago has one good piece which I don’t have on which is my coat which I adore that coat has become kind of iconic for all of us it’s what her shape is is what who she is and we chose a fabric that had a certain reflectiveness it’s a two-tone fabric on the back so it gave off a lot more light and again it was brown to create a sort of mid Brown tone over France’s all the way through her body you really shouldn’t those muddy Brands you know they’re not your color Miss pedw looks like this when she begins a story and then she has a makeover as we all know and then she becomes much smarter and cleaned up little Bob red lips nice plucked eyebrows see my little fake eyebrows they’re actually like little tattoos have you seen these they’re great we glue them on so then when I take them off I’ve got really nice shaped eyebrows I’m going to start using them for every role I play I’m sorry it’s uh Phil Goldman how’ you do we’ve met before actually you were entirely naked at the time quir is that you my goodness You Look Marvelous this isn’t about someone completely changing themselves it’s about somebody else looking at this person saying ah there’s something there we could pull out so we didn’t really do a great deal it’s about a little bit of this a little bit of that the haircut immediately softens and enhances her Francis has got very fine eyebrows so we thickened those up by putting on false ones you know then we tried to add a kind of English sort of blush really we just wanted to pull out francis’s best features what Edith and Delissa do World in her own head and that was the plan I have like eight costume changes but there might be more in transitional elements like I throw a Rob on and then in one scene it’s just bubbles well I’m in a bath but it doesn’t really count as a change being unchanged undressed I think the interesting thing about Miss pesar is that when you tell people a story it feels like something like a chamber piece like something small and intimate and to some extent that’s true but what’s interesting about all the locations is that they all give it a sense of scale I think that’s part of Barrett’s genius actually he’s turned a little film into something genuinely cinematic and big I love the contrast between the two worlds you know the world that Miss pettigru comes from and the world that she steps into I mean that is a designer’s dream how in theory these worlds never Collide but in Miss pettigrew’s case they do completely Collide all the worlds are different you know you’ve got Miss P sluming it through the most of the day then you get to the apartment then you get to the fashion show and then you get to the kind of Nazi hair salon and then you get party and then the nightclub it’s like they’re all just vastly different these worlds there’s a very clear clean look to them we’re in pimo famous for classic eing Studio Movie passport the pinco where Miss pedigree bumps into Michael outside of prison let me help you with that oh they have me back in prison for this we’ve created Our Own Prison here by building a wall and attaching it to the pub on the left hand side and making it slightly dber but this is just a housing estate behind this is where people live and we’ve actually put some kind of grills in the window if you can see and just turned it into a I think a very realistic 1930s prison it’s all going to get very windy here at the moment so God knows what’s going to happen but hopefully something exciting no there’s wind and there’s lots of dust going in your eyes and there’s clothes everywhere and kind of complicated blocking figure out and then there was friends mcdorman so that first day was it was a lot there was just a lot going on no no thank you God minute my dear lady your your uh uh belongings this scene I think particularly is going to be uh that sort of thing that sets a film apart you know when it has its own sense of of Comedy that is original and different sorry it’s nothing like set up a small figure in a vast space of London then an audience will come ins a lot but look at the apartment she created you haven’t had any other guests have you no darling it’s just a girl together I thought I saw Phil Goldman’s car outside Phil Goldman it’s just great and lavish and fantastic and why wouldn’t you have that ridiculous statue in the corner because it’s just fabulous and they have these ice sculptures and these the cute stairs and because the whole film is on such an energy this set has to kind of match it really and it has to be close to being over the edge um but still obviously based in reality I think it works really well it’s really really good backdrop for the characters ladies and gentlemen as you might know I I think I must anyway it is my pleasure to announce that Ed and all of that so you know again you can’t work one without the other and you very much need the contrast between the two my favorite upon thinking about it was shooting outside it’s also bizarre because you’ll be walking down and everyone looks like this and go go going and then you go through the doors of the seavoy and it’s like a row of tourists staring at you in their Bermuda shorts and their modern things and you’re like oh yes it’s not real Amy the seavoy and the seavo was originally written in the book so Sarah thought it would be Fab to recreate the scene in here what she loves about this room is how it actually looks like launder it’s all the only intricate sort of roko finishing and you know it actually looks so sort of frr and then the rest of the set the inspiration is it’s all about bringing Hollywood to London what Sarah is so brilliantly done is incorporated the pallet in with what already exists here and also with the laundry as well so they’ve all worked and it’s all kind completely harmonious today is in Edith Jar’s beauty salon and this is the place where our heroine Miss pettigru has a makeover is transformed from ugly is duckling into beautiful Swan that one It’s actually an old hospital that Sarah found our production designer and this is a stairwell here actually and she’s built it all up she’s done this amazing piece of construction turned into either tobares which is uh she tends to be on The Cutting Edge whether it’s fashion or whether it’s the way she uses her words or whether it’s in her manners and we kind of wanted to reflect it in the salon that she owns and runs so it’s it’s has a very different vibe to the rest of the movie I wanted something very hard you know which kind of suited Ed’s character something quite kind of brittle and you know so that equally the seavoy was intimidating to miss petu for one reason that this would be intimidating in another reason going to here I think we’re ready but it had to strongly contrast with you know the softness of the svoy and so Ravens Court Park kind of fitted the bill with slightly kind of fascistic almost architecture it’s a foyer of a of a derelict Hospital you know so trying to make that work was tricky [Music] we’re at a place called The rivy ballrooms which is in the south of London and we’ve turned it into Nick Calder Elli’s Scarlet peacock nightclub which plays a big part at the end of the movie it’s basically designed to look like a night club of the late 30s 1939 in London uh where black music blues music jazz music was making big influence big impact in London what was created was this fantastic kind of melting pot of music music and musical styles where we starting to hear the first bits of jazz bits of Blues in in Europe where we had people from many cultures and races all mixing together oh you drone on Joey Leonard will take me for a spin won’t you Lenny be delighted Ed what’s fantastic historically okay at 1939 is pretty much the end of the borom in London we’re going to nightclubs these people are not really here to dance they’re here to listen to the music and dance there’s a big difference AB Borum you go to dance not to listen necessarily to the music cuz the tempo would be quite strict here it’s it’s more shared to have fun to drink drink alcohol mainly when you’re Borum dancing you don’t drink alcohol so it’s social and basically put a stop to all this kind of fun and foltin we really in England didn’t get this excitement back in our world till the 60s Barrett his relationship with this film feels so organic and it’s such a pink thing he always says it’s the most pink thing I’ve ever done meaning you know there’s just well I think you get I think you want understand the first week you say okay my next one I’m going to explode some heads they’re going to be a lot of big guns we’re going to explode some heads in his younger days is ail

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