All the information came in handy when Larlarb began working one-on-one with Fukunaga and the cast to align each character’s look with what the actors envisioned for their performances. “I come from the theatre, so, fundamentally, I start with the script,” says Larlarb. “I needed to know what the script would throw out in terms of action sequences, the emotional states.” Conversations with Bond vets like Craig, Naomie Harris, andproved to be enlightening.
Craig’s humanist take on Bond also factored in. “We go on an emotional journey with Daniel,” says Larlarb. “When you look at previous Bonds, there’s a little bit more bravado and hiding of who the man is. But with Daniel, you see the man, not just the agent or playboy.” As such, Bond gets a chance to dress down – sort of. His luxurious N.
His final outfit alludes to his military training rather than his ladies-man persona. “Daniel put it on and immediately loved it,” says Larlarb. “If I had to pick a favourite, that might be it as it’s what he leaves the film in, and it had meaning on multiple levels. I found a vintage British commando jumper from the mid-1940s, then we remade it in navy blue and modernised the silhouette.
As Safin, Malek sports a traditional Japanese mask during a pivotal scene where he seeks out revenge against Mr. White, the leader of criminal organisation Quantum and the man responsible for the death of Safin’s family. The mask is used within the classical Japanese dance-drama Noh, and was a nod to Safin’s heritage. “Noh masks are expressionless. How they’re perceived depends on the movements of the actors and the angle you view them from,” says Larlarb.
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