The Furniture: Framing Perpetual Childhood in The Truth

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Towards the end of Hirokazu Kore-eda’s The Truth, legendary actress Fabienne Dangeville (Catherine Deneuve) admits something quite harsh. “I prefer to have been a bad mother, a bad friend and a good actress,” she announces at dinner. Her talent and her single-mindedness have given her a lengthy career, multiple Césars, and the freedom to take liberties with her own story. Her soon-to-be-published memoir is the occasion for which her daughter, Lumir (Juliette Binoche), has come for a visit, bringing her American husband (Ethan Hawke) and their daughter, Charlotte (Clémentine Grenier). And this short trip quickly becomes a long one, once Lumir agrees to step in as her mother’s assistant on the set of a science-fiction film.

Lumir’s presence becomes an opportunity to relive and relitigate family history. It’s not just that Fabienne’s memoir strays from the truth, but that their entire relationship is based on contested memories. Kore-eda suggests that it might be Fabienne’s work that has so deeply wounded her personal relationships. Has the vocation of make-believe crept into the rest of her life, encouraging her to freely reshape her own memories and ignore the truths of those closest to her? Has acting made Fabienne a forever-child?

And how on earth do you express that with production design?

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Showbiz History: CinemaScope, Recycled Comedy, and Jennifer Tilly

9 random things that happened on this day in showbiz history...

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1936: Henry Fonda (then 31 years old and a fresh new face at the movies) marries his second wife, socialite Francis Ford Seymour (then 28). Their marriage will be unhappy and end tragically in 1950 (with her suicide), but their union will produce one of the great inventions of the 20th century: Jane Fonda. 

1953: Biblical epic The Robe starring Richard Burton and Jean Simmons, world premieres in New York. It's the first movie shot in CinemaScope, "the new dimensional photographic marvel you can see without glasses"...

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Watch Team Experience's Emmy Panel!

by Abe Friedtanzer

Last night, I had the chance to talk all about Emmy memories, hopes, and winner predictions with Juan Carlos, Christopher, and Cláudio. In case you missed it, you can watch the whole panel here:

Almost There: Myrna Loy in "Test Pilot"

by Cláudio Alves

Myrna Loy's an interesting case as far as the Oscars are concerned. She was a great star, a charming performer with a magnetic screen presence, and even appeared in more than one Best Picture winner. It's easy to imagine that such a person would be a shoo-in for an Academy Award nomination at some point in their career, but Loy was never that lucky. Of the many times she came close, we're here to discuss Test Pilot. This Victor Fleming-directed romantic drama nabbed three nods back in 1938. Among them was a Best Picture citation, though no love was shown to the movie's actors…

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The New Classics: The Wolf of Wall Street

By Michael Cusumano  

Scene: Quaaludes
It’s difficult not to lapse into hagiography when talking about Scorsese so I will simply say this and attempt to reign in the fawning as best I can: As much as anyone in the medium’s history he understands that the power of film isn’t in the text. It’s not in constructing an argument like an essay or a speech. It's in the images. 

Like all of Scorsese’s period pieces, The Wolf of Wall Street covers mountains of information in its headlong dash through the years, but what makes these films great are the moments when they distill all that material into a memorable frame. The technical gambling know-how makes you buy into the world of Casino, but it’s an overhead shot of a reckless Sharon Stone making it rain chips at the craps table that leaves a mark on the audience...

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