![]() He wore pretty much one or two trousers the whole movie, and they showed off his feet. I wanted women in the audience to be wooed by Ryan, and the men to feel romantic about Emma. We thought he could dress like a composer, but it wasn’t romantic enough. Damien didn’t really have anything specific in mind for his character. And there were two French New Wave films in the montage in particular - The Umbrellas of Cherbourg and The Young Girls of Rochefort - that were most influential. Bill Evans, Hoagy Carmichael and James Dean are all people I looked at. Was there a certain jazz great he was modeling himself after? ![]() Let’s talk about Sebastian’s costumes - his pants had a higher waist and wider legs, and the shirts were silky. They were on the road in Griffith Park on an incline, so she takes her heels off and puts on the two-toned shoes. There’s also a moment when Sebastian and Mia are sitting on a park bench, and their feet are going side-to-side, and I said, ‘They have to wear matching shoes!’ So first, Ryan was wearing them and then Emma. (The style is the Nuevo Epoca Buenos Aires in black-and-white leather.) Ryan loved them and they are so right for the character. So I went to a dance store in Westwood called Worldtone, and picked out those. But when they started rehearsing, the choreography was going on next door to the costume department, I could tell they weren’t thrilled with the shoes. We first thought we’d use Stacy Adams, which is a line of men’s shoes I use a lot in period films. He talks so much about keeping jazz alive, so it’s obvious he’d be inspired by previous generations. Sebastian’s two-toned shoes really set the tone for his character, in the way that they were a bit retro but whimsical. ![]() Then, for three days, my team met with Damien and the production designer and set decorator and went page by page through the script exchanging ideas. Then I went through my books of actresses from other time periods, modern photography - anything that had an interesting image that could be good for a scene. It was such an inspiring piece, it got me in the mood, and it had everything from The Bandwagon (1953) to Singin‘ in the Rain (1952) to Baz Luhrmann’s Romeo and Juliet (1996) and Strictly Ballroom (1993) to Boogie Nights (1997) and Catch Me If You Can (2002). I went to Vidiots and started renting all the films, and printed up freeze-frame images. In order to explain the film, Damien cut a montage together of romantic musicals and movies. I always do a breakdown of the script by hand it helps me by writing and repeating. Zophres chatted with The Hollywood Reporter about her historical touchstones for the film Gosling’s distinctive, character-defining shoes Stone’s dance dresses and how grueling it was to work on that freeway scene. To help create the distinct, color-saturated look of La La Land and straddle the line between classic cinema of the 1950s and 1960s and a contemporary coming-of-age tale, writer/director Damien Chazelle tapped costume designer Mary Zophres ( No Country for Old Men Interstellar O Brother, Where Art Thou?). locations as Griffith Park Observatory, the Rialto Theatre and yes, the freeway at rush hour. 9, is likely to stir up memories of youthful dreams, romances and, if you live here, the City of Angels.Ī love story about a jazz pianist Sebastian (Gosling) and a struggling actress Mia (Stone), it’s also a modern musical full of song-and-dance routines set against such iconic L.A. Feel-good film of the season La La Land, starring Ryan Gosling and Emma Stone and set to bow Dec.
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