Thursday, January 7, 2016 at 4:15PM It's Guild Week. The week when many artists get their hopes up for nominations since the guilds have so many categories for their particular craft unlike Oscar's mere 5 for the altogether. But since we love costumes, the more the merrier. Congratulations to the nominees who we'll discuss after the jump...
Thursday, January 7, 2016 at 12:36PM 
Jacqueline West at the premiere of The Revenant.© Frazer Harrison for Getty ImagesClothing was always in her blood though Costume Design came later. Two time Oscar nominee Jacqueline West (Quills, The Curious Case of Benjamin Button), the daughter of an avante garde designer, originally pursued fashion. After building a successful clothing line of her own her career made a sudden fate-filled turn in the late 80s via a favor for a personal friend, the director Philip Kaufman.
Her filmography in the subsequent 25 years has been a grab bag of film genres -- her latest The Revenant (2015) is a 180 from Henry & June (1990) you must agree -- but the consistent throughline is that she's in demand with the auteur set. She's worked repeatedly with Terrence Malick, David Fincher, Philip Kaufman, and Ben Affleck. The Revenant marks her first, though one assumes not last, collaboration with Alejandro González Iñárritu. To get in the right mindset, she drew on her personal history -- she was intimately familiar with the Hugh Glass story before Inarittu and Leo were all about making it for the screen-- and eventually read a ton of journals by fur trappers, including the invaluable "40 Years as a Fur Trader on the Upper Missouri."
Our conversation starts with The Revenant but you know yours truly won't let this talented woman go without talking Henry & June and other more glamourous gigs...
NATHANIEL R: You've designed many gorgeous movie costumes over the years but for The Revenant your challenge is so different. I imagine a lot of your job this time was making the clothes look disgusting!
JACQUELINE WEST: [Laughter]
NATHANIEL: They're overworn. They're muddy. They're bloody. [More...]
Wednesday, January 6, 2016 at 7:52PM 
Odile Dicks-Mireaux. Image via Female FirstThe thing about Brooklyn is that everyone can relate to it. Stories of immigration touch almost everyone, or at least run through their family's DNA. Even the move from one state with a personality quite unlike your original home, can feel like a reinvention. Nearly a year after seeing Brooklyn for the first time it's strange to think that I worried that people wouldn't connect to it! Who needs sensationalistic drama when a story is this really. When it's power can sneak up on you?
I had the pleasure of discussing this universal resonance, and the job of defining Eilis (Saoirse Ronan) through her costume changes with the designer Odile Dicks-Mireaux, who herself related to the story. Her mother was French and her father British and they met, both immigrants, in Brooklyn in the 1940s, and built a life in a foreign country together. Odile is London based and was best known, prior to know, with her frequently BAFTA nominated work on British television miniseries like Gormenghast and Great Expectations though she's also designed Oscar nominated dramas like The Constant Gardener and An Education.
Here's our interview.
NATHANIEL R: I first saw Brooklyn at Sundance and I loved it but I remember feeling that I had no idea how people would react to it when it was released. Which in retrospect was kind of foolish of me.
ODILE DICKS-MIREAUX: You never know when you're making a movie how it's going to turn out and whether it will hit a nerve. Would it be too much of a simple story or too old fashioned? So it's been a real pleasure that it's resonated. [More...]
Wednesday, December 30, 2015 at 4:15PM As you may have heard The Hateful Eight expanded a smidge early today into nearly 2000 theaters after the success of its roadshow weekend. So here are 8 links about the movie because we're feeling masochistic...
Variety The Hateful Eight is leading current movies in spending the most for TV ads
Deadline an interview with Hateful Eight's costume designer Courtney Hoffman. (Everyone knows I hate the movie but I actually liked her work in it a lot!)
Awards Daily Sasha struggles to suss out what Tarantino is doing with Daisy (Jennifer Jason Leigh) in The Hateful Eight and tries to make sense of the many journalist opinions on whether its an inherently "misogynist" work. I'd love to defend Tarantino on this front personally but I have to face facts. He hasn't written a good female character since Inglorious Basterds. He's lost that particular skill. But I don't think he's misogynist so much as betraying his ultimate misanthropy with his ugliest most masturbatory movie.
Escape From Minnie's Haberdashery (for more hospital climes)
Gothamist Russell Crowe throwing tantrums again -- this time about hoverboards
Guardian I'm eager to hear what our resident Australian Glenn thinks of their choices for best Aussie films of the year
Gawker "the year in Gay"
Empire first look at Michael Fassbender in Assassin's Creed
Vanity Fair picks the best new TV characters of the year from series including Daredevil, Empire, UNReal, Fresh Off the Boat and more
Antagony & Ecstasy Tim's razor sharp review of 45 Years is a must-read but then so is his...
Antagony & Ecstasy ...review of Carol. Basically he continues to be one of the web's most underappreciated frequently inspired film critics.
Meanwhile on Jakku...
Variety Carrie Fisher on her body shamers
imgur "how BB-8 works"
NPR Nigerians are getting excited about Star Wars... in large part thanks to John Boyega
i09 going to see Star Wars: The Force Awakens a second time? i09 has a list of 23 things to watch out for
LA Times talks to the designers of Mad Max, Star Wars, and Mockingjay sequels on their dives into genre work
LA Times and here's a dissenting voice on the cultural phenomenon if you're not feeling the love
Reverse Shot has an amazingly insightful lengthy review of The Force Awakens that grapples with the film only speaking its own Star Wars language and impatiently exploiting old adventures to venture out on new ones.
Ryan Gosling and Russell Crowe are "Nice Guys" - Movies are make believe!
2016?
We're so not ready to go there. It's not really our practice at TFE to look ahead to the following year before the Oscars wrap (the true end to the film year) but I have bookmarked this article "61 Original Movie We're Dying to See in 2016" because it's cute on the rare occasion that people realize that non-sequels exist. The Guardian has no such anti-sequel slant in their "75 films we're excited about" and they go full in for any movie that drives traffic so say hello to the superhero films even the ones that are daring us to agonize over how bad they might be like the scowl-a-thon of Batman v Superman.
Saturday, December 26, 2015 at 5:52PM 
Mark Rylance and Spielberg on the set of "Bridge of Spies"Costume Designers are among the great unsung heroes of the cinema, regularly helping actors to define their characters and directors to create those images audiences get lost in. The latter achievement comes in tandem with the other creatives most connected to the mise-en-scène, the cinematographers and the production designers. It's perhaps not surprising that when you sit down with the behind-the-scenes professional they are often disarmingly modest, used to serving and enhancing the vision of the director. General moviegoers might not know their names but cinephiles, critics, and industry professionals are wise to learn and love them for the unique contributions they make to fine movies.
I recently had the opportunity to speak with the Polish designer Kasia Walicka-Maimone, who designed two high profile projects this year: Scott Cooper's gangster drama Black Mass and Steven Spielberg's cold war drama Bridge of Spies. The latter was her first collaboration with Spielberg but the designer is no stranger to auteurs. She's worked with Wes Anderson (Moonrise Kingdom) and Mira Nair (Amelia) and is best known for her work with Oscar fixture Bennett Miller having costumed all three of his narrative features (Capote, Moneyball, Foxcatcher).
It's perhaps unsurprising, given the temperament of Miller's filmography, to find her disarmingly modest and low key and not all that excited about the more glamorous aspects of costume design. At one point she even gave your host, a self-confessed costume nut, a coronary with a casually dropped "I don't care about the costumes" though she quickly revived me with an interesting explanation of what she really meant.
See for yourself in our interview after the jump...
