Milena Canonero

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Vida e obra de Milena Canonero, figurinista com extensa produção para o cinema e vencedora de 4 Oscars.

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Milena Canonero

  1. 1. MILENA CANONERO
  2. 2. Vida Nascida em 01 de janeiro de 1946. Figurinista italiana. Estudou arte, história do design e figurino em Gênova. Primeiros trabalhos para teatro e propaganda na Inglaterra (anos 60). Conheceu Kubrick no set de 2001: Uma Odisséia no Espaço e foi convidada por ele para trabalhar em Laranja Mecânica. http://en.wikipedia.org/wiki/Milena_Canonero http://www.imdb.com/name/nm0134382/bio?ref_=nm_ov_bio_sm Milena Canonero no set de "Barry Lyndon"
  3. 3. Carreira Indicações ao Oscar (Best Costume Design) 1976 Barry Lyndon (dividido com Ulla-Britt Söderlund) 1982 Chariots of Fire 1986 Out of Africa 1989 Tucker: The Man and His Dream 1991 Dick Tracy 2000 Titus 2002 The Affair of the Necklace 2007 Marie Antoinette 2015 The Grand Budapest Hotel http://en.wikipedia.org/wiki/Academy_Award_for_Best_Costume_Design http://www.imdb.com/name/nm0134382/awards?ref_=nm_awd Oscar, 1976 Oscar, 1982 Oscar, 2007 Oscar, 2015
  4. 4. Carreira Indicações ao British Academy Film Awards (Best Costume Design) 1976 Barry Lyndon 1982 Chariots of Fire 1986 Cotton Club 1987 Out of Africa 1991 Dick Tracy 2007 Marie Antoinette 2015 The Grand Budapest Hotel http://en.wikipedia.org/wiki/BAFTA_Award_for_Best_Costume_Design http://www.imdb.com/name/nm0134382/awards?ref_=nm_awd Raffaella Fantasia accept the award on behalf of Milena Canonero (2015)
  5. 5. Carreira Indicações ao Costume Designers Guild Awards Career Achievement Award 2001 Excellence in Contemporary Film 2005 The Life Aquatic with Steve Zissou 2005 Ocean's Twelve Excellence in Period Film 2007 Marie Antoinette 2015 The Grand Budapest Hotel http://www.imdb.com/name/nm0134382/awards Milena Canonero at 2015 Costume Designers Guild Awards
  6. 6. 1971 • 1975 • 1977 O Desaparecimento • 1978 OLaranja Mecânica Barry Lyndon Expresso da Meia-Noite • 1980 • 1981 Carruagens de Fogo • 1983 Fome deO Iluminado Viver • 1984 Give My Regards to Broad Street • 1984 Cotton Club • 1985 Entre Dois Amores • 1987 Barfly - Condenados Pelo Vício • 1988 Tucker - Um Homem E Seu Sonho • 1990 Corações Covardes • 1990 Dick Tracy • 1990 O Poderoso Chefão III • 1992 Mulher Solteira Procura... • 1992 Perdas e Danos • 1994 Só Você • 1994 Segredos do Coração • 1994 Camilla • 1994 A Morte e a Donzela • 1998 Politicamente Incorreto • 1999 •Titus 2001 O Enigma do Colar • 2002 Solaris • 2004 Eros (segment "Equilibrium") • 2004 A Vida Marinha com Steve Zissou • 2004 Doze Homens e Outro Segredo • 2006 Belle toujours • 2006 • 2007 Viagem a Darjeeling • 2007 I vicerè • 2010 OMaria Antonieta Lobisomem • 2010 C'était Marie-Antoinette (TV Movie) • 2011 Deus da Carnificina • 2013 Castello Cavalcanti (Short) • 2014 • 2015 Last SummerO Grande Hotel Budapeste
  7. 7. Carruagens de Fogo Cotton Club <www.listal.com/list/milena-canonero-italian-artist>
  8. 8. Entre Dois Amores Tucker - Um Homem E Seu Sonho <www.listal.com/list/milena-canonero-italian-artist>
  9. 9. A Vida Marinha com Steve Zissou O Lobisomem <www.listal.com/list/milena-canonero-italian-artist>
  10. 10. Laranja Mecânica 1971 Directed by: Stanley Kubrick Production Design by: John Barry Art Direction by: Russell Hagg, Peter Sheilds. Gênero: Ficção científica, Drama, Policial No futuro, o violento Alex (Malcolm McDowell), líder de uma gangue de delinquentes que matam, roubam e estupram, cai nas mãos da polícia. Preso, ele recebe a opção de participar em um programa que pode reduzir o seu tempo na cadeia. Alex vira cobaia de experimentos destinados a refrear os impulsos destrutivos do ser humano, mas acaba se tornando impotente para lidar com a violência que o cerca. <http://www.adorocinema.com/filmes/filme-260/> <http://www.imdb.com/title/tt0066921/fullcredits?ref_=tt_ov_st_sm>
  11. 11. (...) película cheia de dualidades (...) cuecas usadas por cima das calças, que continham enchimento para, supostamente, aumentar seus órgãos genitais; simbolizando a sexualidade explícita. As roupas são, de certa forma, futuristas. Porém, foram inspiradas no pré punk, na estética do fim dos anos 60, no início dos anos 70 e na cultura do pop art (...) – movimento artístico que usava do colorido para ironizar a vida materialista. (...) Não podemos nos esquecer também das formas geométricas. (...) ar psicodélico (...) transmitir a atmosfera das contradições e da juventude transviada <http://fashionatto.literatortura.com/2013/09/04/confira-analise-figurino-iconico-laranja-mecanica/>
  12. 12. The costumes in ''A Clockwork Orange'' were inspired by then-current London street styles. Malcolm McDowell, the film's star, and his gang of stylized ruffians wore black boots known in England's youth cults as ''bovver'' - meaning bother - boots. After ''A Clockwork Orange,'' a new cult, Bovver Boys, reviled for their tendency to cause ''a spot of bovver,'' as in ''Clockwork Orange,'' sprang up in London. Rock musicians began sporting the film's white pants with suspenders, black bowlers and bovver boots. Young women in the film wore color-streaked hair, a style that would resurface in punk rock and new wave circles. <http://www.nytimes.com/1986/02/11/style/milena-canonero-fashion-on-and-off-the-big-screen.html> Laranja Mecânica supostamente transcorre em um futuro próximo, o que explica a escolha das casas (a do personagem escritor) e dos edifícios (a prisão) mais modernas, quase futuristas. O filme também é muito marcado pela estética de fim dos anos 60 e de início dos anos 70, da pop art: cores muito vivas, quadros psicodélicos, moda pré-punk, música pop e eletrônica. Antoine de Gaudemar <http://revistacult.uol.com.br/home/2011/10/doc-kubrick/>
  13. 13. Campbell's Soup Cans (1962) Andy Warhol Marilyn Silkscreen Prints Andy Warhol
  14. 14. Barry Lyndon 1975 Directed by: Stanley Kubrick Production Design by: Ken Adam Art Direction by: Roy Walker Costume Design by: Milena Canonero, Ulla-Britt Söderlund Gênero: Histórico, Aventura, Drama No século XVIII, Barry (Ryan O'Neal), um aventureiro irlandês, transgride a lei e é obrigado a deixar sua cidade. Junta-se ao exército para logo em seguida tornar-se espião e traidor. Seu principal objetivo é chegar até a aristocracia através do casamento. Ele consegue, mas após um breve período de felicidade, um triste destino o aguarda. <http://www.adorocinema.com/filmes/filme-135/> <http://www.imdb.com/title/tt0072684/fullcredits?ref_=tt_ov_st_sm>
  15. 15. A myth grew that the Academy Award-winning costumes used in the film were genuine antique clothes, but this is only partly correct. Some of the costumes were genuine antiques bought at auction by costume designer Milena Canonero, while others were custom-made specifically for the film and were based on clothing of the period and costumes seen in period paintings. <http://www.imdb.com/title/tt0072684/trivia> (...) figurinos absolutamente impecáveis e primorosos em relação à pesquisa, uso de materiais - alguns tecidos originais do século XVIII ou fabricados e tingidos de acordo com a tecnologia da época <http://www.ideafixa.com/milena-canonero-e-sua-absoluta-maestria/>
  16. 16. Many of the shots were composed and filmed in order to evoke certain eighteenth century paintings, especially those by Thomas Gainsborough. <http://www.imdb.com/title/tt0072684/trivia> Canonero declares she was inspired by painting, unveiling her penchant for tableaux- vivants, and 18th century minor painters: by Thomas Gainsborough and Joshua Reynolds for the British atmosphere, by German painters such as Menzel for the candle-lit scenes. The resulting costumes are of extraordinary richness. <http://www.vogue.it/en/encyclo/people/c/milena-canonero> Mr and Mrs Andrews (about 1750) Thomas Gainsborough
  17. 17. Captain George K. H. Coussmaker (1759-1801) Sir Joshua Reynolds Many of the shots were composed and filmed in order to evoke certain eighteenth century paintings, especially those by Thomas Gainsborough. <http://www.imdb.com/title/tt0072684/trivia> Canonero declares she was inspired by painting, unveiling her penchant for tableaux- vivants, and 18th century minor painters: by Thomas Gainsborough and Joshua Reynolds for the British atmosphere, by German painters such as Menzel for the candle-lit scenes. The resulting costumes are of extraordinary richness. <http://www.vogue.it/en/encyclo/people/c/milena-canonero>
  18. 18. Flute Concert with Frederick the Great in Sanssouci (1850-1852) Adolph Menzel Many of the shots were composed and filmed in order to evoke certain eighteenth century paintings, especially those by Thomas Gainsborough. <http://www.imdb.com/title/tt0072684/trivia> Canonero declares she was inspired by painting, unveiling her penchant for tableaux- vivants, and 18th century minor painters: by Thomas Gainsborough and Joshua Reynolds for the British atmosphere, by German painters such as Menzel for the candle-lit scenes. The resulting costumes are of extraordinary richness. <http://www.vogue.it/en/encyclo/people/c/milena-canonero>
  19. 19. O Iluminado 1980 Directed by: Stanley Kubrick Production Design by: Roy Walker Art Direction by: Leslie Tomkins Gênero: Terror Durante o inverno, um homem (Jack Nicholson) é contratado para ficar como vigia em um hotel no Colorado e vai para lá com a mulher (Shelley Duvall) e seu filho (Danny Lloyd). Porém, o contínuo isolamento começa a lhe causar problemas mentais sérios e ele vai se tornado cada vez mais agressivo e perigoso, ao mesmo tempo que seu filho passa a ter visões de acontecimentos ocorridos no passado, que também foram causados pelo isolamento excessivo. <http://www.adorocinema.com/filmes/filme-863/> <http://www.imdb.com/title/tt0081505/fullcredits?ref_=tt_ov_st_sm>
  20. 20. <http://www.wardrobemalfunctioned.blogspot.com.br/2012/07/normal-0-false-false-false-en-us-ja-x.html>
  21. 21. <http://www.wardrobemalfunctioned.blogspot.com.br/2012/07/normal-0-false-false-false-en-us-ja-x.html>
  22. 22. <http://www.papodecinema.com.br/filmes/o-iluminado>
  23. 23. <http://www.wardrobemalfunctioned.blogspot.com.br/2012/07/normal-0-false-false-false-en-us-ja-x.html>
  24. 24. <http://www.wardrobemalfunctioned.blogspot.com.br/2012/07/normal-0-false-false-false-en-us-ja-x.html>
  25. 25. <http://www.wardrobemalfunctioned.blogspot.com.br/2012/07/normal-0-false-false-false-en-us-ja-x.html>
  26. 26. <http://www.wardrobemalfunctioned.blogspot.com.br/2012/07/normal-0-false-false-false-en-us-ja-x.html>
  27. 27. Titus 1990 Directed by: Julie Taymor Production Design by: Dante Ferretti Art Direction by: Massimo Razzi, Domenico Sica (co-art director), Pier Luigi Basile (supervising art director). Gênero: Histórico, Drama Titus Andronicus (Anthony Hopkins) um bem-sucedido general romano que está de volta sua terra natal, após várias vitórias sobre os inimigos do Império Romano. Junto consigo traz Tamora (Jessica Lange), a rainha dos godos, povo inimigo aos romanos, que se torna prisioneira, juntamente com seus três filhos. Buscando vingança da morte de 21 de seus 25 filhos na guerra, Titus decide por matar em nome de sua honra o primogênito de Tamora. As consequências de tal ato se desencadearão mais tarde, quando Tamora se tornar a nova rainha do Império Romano. <http://www.adorocinema.com/filmes/filme-26827/> <http://www.imdb.com/title/tt0120866/fullcredits?ref_=tt_ov_st_sm>
  28. 28. In Titus, (...) widely divergent epochs are represented throughout the film, existing side by side without any commentary on why, or how. <http://www.imdb.com/title/tt0120866/faq?ref_=tt_faq_3#.2.1.7> Costume, paraphernalia, horses or chariots or cars; these represent the essence of a character, as opposed to placing it in a specific time. This is a film that takes place from the year 1 to the year 2000. Julie Taymor <http://www.imdb.com/title/tt0120866/faq?ref_=tt_faq_3#.2.1.7> It's retro-contemporary-futuristic. Everything was interpreted, nothing was exact. It's like a comic strip. It's much easier to do a movie in a specific period. Here, all the costumes mean something more than just dress-up. It's a very difficult way of doing a movie. Milena Canonero <http://articles.latimes.com/2000/mar/26/entertainment/ca-12649>
  29. 29. None of the characters wear green at any point during the film. Director Julie Taymor felt that green suggests safety and comfort and told costume designer Milena Canonero that costumes could only be colored metallic, red, blue, gray, black or white. <http://www.imdb.com/title/tt0120866/trivia> Director Julie Taymor used anachronistic props and clothes throughout the film (eg chariots and tanks; swords and machine guns) because she wanted to symbolically depict 2,000 years of warfare and violence. <http://www.imdb.com/title/tt0120866/trivia> Milena Canonero's costume designs incorporate strains of historical periods ranging from ancient to modern, evoking past and present associations of historical memory to play further on the borderline of the real/surreal. STARKS, Lisa; LEHMANN, Courtney. The Reel Shakespeare: alternative cinema and theory. Cranbury: Rosemont Publishing & Printing Corp., 2002.
  30. 30. During both the off-Broadway production of the play and the shooting of the film, director Julie Taymor used the work of Joel-Peter Witkin as inspiration. <http://www.imdb.com/title/tt0120866/trivia> ← Gods of Earth & Heaven (1988) Joel-Peter Witkin → The Birth of Venus (1486) Botticelli ⅎⅎⅎⅎ
  31. 31. During both the off-Broadway production of the play and the shooting of the film, director Julie Taymor used the work of Joel-Peter Witkin as inspiration. <http://www.imdb.com/title/tt0120866/trivia> ← Woman Once a Bird (1990) Joel-Peter Witkin → Le Violon d'Ingres (1924) Man Ray
  32. 32. During both the off-Broadway production of the play and the shooting of the film, director Julie Taymor used the work of Joel-Peter Witkin as inspiration. <http://www.imdb.com/title/tt0120866/trivia> ← Las Meniñas (1987) Joel-Peter Witkin → Las Meninas (1656) Diego Velázquez
  33. 33. Maria Antonieta 2006 Directed by: Sofia Coppola Production Design by: K.K. Barrett Art Direction by: Pierre du Boisberranger, Anne Seibel Gênero: Histórico, Biografia, Drama A princesa austríaca Maria Antonieta (Kirsten Dunst) é enviada ainda adolescente à França para se casar com o príncipe Luis XVI (Jason Schwartzman), como parte de um acordo entre os países. Na corte de Versalles ela é envolvida em rígidas regras de etiqueta, ferrenhas disputas familiares e fofocas insuportáveis, mundo em que nunca se sentiu confortável. Praticamente exilada, decide criar um universo à parte dentro daquela corte, no qual pode se divertir e aproveitar sua juventude. Só que, fora das paredes do palácio, a revolução não pode mais esperar para explodir. <http://www.adorocinema.com/filmes/filme-57887/> <http://www.imdb.com/title/tt0422720/fullcredits?ref_=tt_ov_st_sm>
  34. 34. (...) a modern and contemporary take on the character of the whimsical Austrian <http://www.vogue.it/en/encyclo/people/c/milena-canonero> Canonero’s costumes were mostly based on historical silhouettes, but made with brighter, more modern colors and lower necklines. Most of the historical inspiration for Canonero’s costumes was reflected in colors, rather than extreme detail or copied style - (...) Canonero designed a blue costume with pink accessories that was visually inspired by a portrait of Marie Antoinette in a blue dress with pink bows. Canonero also follows a distinct timeline with her costumes which not only charts Marie Antoinette’s character growth but reflects the changing fashion of the era - from large pannier dresses to simple ‘country’ dresses and beyond. <http://www.specialcabledeals.com/blog/marie-antoinette-milena-canonero-vs-gilbert-adrian/> I got to take this counter-age sort of story about a girl who is a fashion victim in a way. She starts out very young and innocent. But we get to watch her grow through the movie. I started by throwing pieces of material at Kirsten [Dunst] to see what colors suited her best. Milena Canonero <http://www.nbcnewyork.com/blogs/threadny/Costume-Designer-Milena-Canonero-Talks-Stanley-Kubrick-Getting-Inspired-By-Macaroons- 124499284.html>
  35. 35. Sofia’s portrait of Marie Antoinette in the film is accurate, but human. To me, Marie Antoinette was very unlucky. She lacked the right upbringing for such a role. She was the sweet playful girl of the family. Sofia has grasped the lightness and superficiality of the young Marie Antoinette, but also the dignity of the woman. She has done it by using light brush strokes and not too much dialogue. Milena Canonero <www.colourlovers.com/fashion/blog/2010/12/27/technicolor-fashion-marie-antoinette> I would get bored when it would get sort of too detailed. I didn’t want to get bogged down with history, but to focus on the personal relations between these people. Milena Canonero <http://www.nytimes.com/2006/09/10/movies/moviesspecial/10hohe.html?_r=0 As revealed in the "Making of" documentary on the DVD, the look of Count von Fersen ↑ was influenced by 1980s rock star Adam Ant ↓. <http://en.wikipedia.org/wiki/Marie_Antoinette_%282006_film%29>
  36. 36. Sofia [Coppola] gave me a box of macaroons from Ladurée. We looked at them and the beautiful colors and they became a guideline in a way. We didn’t do everything based off of them, but they were definitely an inspiration. Milena Canonero <http://www.nbcnewyork.com/blogs/threadny/Costume-Designer-Milena-Canonero-Talks- Stanley-Kubrick-Getting-Inspired-By-Macaroons-124499284.html> [At the start of pre-production, Coppola handed Canonero a box of pastel- coloured macaroons from the Ladurée pastry house.] She told me ‘These are the colors I love.’ I used them as a palette. Sofia was clear about the coloration, but left the rest to me. We squeezed the essence of the period, without reproducing it. Even if you think you know a lot about it, you always have to look for a new angle. I simplified the very heavy look of the 18th century. I wanted it to be believable, but more stylized. Milena Canonero <http://www.colourlovers.com/fashion/blog/2010/12/27/technicolor-fashion-marie-antoinette>
  37. 37. <http://www.costumersguide.com/cr_ma.shtml>
  38. 38. When Marie-Antoinette is going through her shoes while preparing for a big party you see a pair of blue Converse All Star 1923 Chuck Taylor basketball shoes for about one and a half seconds. While these shoes were definitely not in existence at the time of Marie-Antoinette, their inclusion in the film was intentional, to portray Marie-Antoinette as a typical teenage girl despite the time she lived in. <http://www.imdb.com/title/tt0422720/trivia?ref_=tt_ql_2>
  39. 39. Sofia Coppola had Spanish footwear designer Manolo Blahnik create hundreds of specially made shoes for the film. <http://www.imdb.com/title/tt0422720/trivia?ref_=tt_ql_2>
  40. 40. O Grande Hotel Budapeste 2014 Directed by: Wes Anderson Production Design by: Adam Stockhausen Art Direction by: Stephan Gessler (lead art director), Gerald Sullivan (supervising art director), Steve Summersgill Gênero: Comédia, Drama, Policial No período entre as duas guerras mundiais, o famoso gerente de um hotel europeu conhece um jovem empregado e os dois tornam-se melhores amigos. Entre as aventuras vividas pelos dois, constam o roubo de um famoso quadro do Renascimento, a batalha pela grande fortuna de uma família e as transformações históricas durante a primeira metade do século XX. <http://www.adorocinema.com/filmes/filme-207825/> <http://www.imdb.com/title/tt2278388/fullcredits?ref_=tt_ov_st_sm>
  41. 41. “We had meetings and also exchanges of ideas and references not just for the costumes themselves, but the total look of the principal characters from head to toe,” she ´[Milena Canonero] says. Photographers like Man Ray and George Hurrell, and painters like Gustav Klimt, Kees van Dongen, Tamara de Lempicka, and George Grosz served as inspiration points. “One also is stimulated by looking not only at the real people of that time, but also at other images and literature that are unrelated to the period and the setting of the story,” she says. “The look of each actor has to have its raison d’être.” <http://www.vanityfair.com/hollywood/2014/03/the-grand-budapest-hotel- fashion> Man Ray
  42. 42. George Hurrell “We had meetings and also exchanges of ideas and references not just for the costumes themselves, but the total look of the principal characters from head to toe,” she ´[Milena Canonero] says. Photographers like Man Ray and George Hurrell, and painters like Gustav Klimt, Kees van Dongen, Tamara de Lempicka, and George Grosz served as inspiration points. “One also is stimulated by looking not only at the real people of that time, but also at other images and literature that are unrelated to the period and the setting of the story,” she says. “The look of each actor has to have its raison d’être.” <http://www.vanityfair.com/hollywood/2014/03/the-grand-budapest-hotel- fashion>
  43. 43. Egyptienne au Collier de Perles (1913) Kees Van Dongen “We had meetings and also exchanges of ideas and references not just for the costumes themselves, but the total look of the principal characters from head to toe,” she ´[Milena Canonero] says. Photographers like Man Ray and George Hurrell, and painters like Gustav Klimt, Kees van Dongen, Tamara de Lempicka, and George Grosz served as inspiration points. “One also is stimulated by looking not only at the real people of that time, but also at other images and literature that are unrelated to the period and the setting of the story,” she says. “The look of each actor has to have its raison d’être.” <http://www.vanityfair.com/hollywood/2014/03/the-grand-budapest-hotel- fashion>
  44. 44. Kizette On The Balcony (1927) Tamara de Lempicka “We had meetings and also exchanges of ideas and references not just for the costumes themselves, but the total look of the principal characters from head to toe,” she ´[Milena Canonero] says. Photographers like Man Ray and George Hurrell, and painters like Gustav Klimt, Kees van Dongen, Tamara de Lempicka, and George Grosz served as inspiration points. “One also is stimulated by looking not only at the real people of that time, but also at other images and literature that are unrelated to the period and the setting of the story,” she says. “The look of each actor has to have its raison d’être.” <http://www.vanityfair.com/hollywood/2014/03/the-grand-budapest-hotel- fashion>
  45. 45. Vor der Kaserne (1918) George Grosz “We had meetings and also exchanges of ideas and references not just for the costumes themselves, but the total look of the principal characters from head to toe,” she ´[Milena Canonero] says. Photographers like Man Ray and George Hurrell, and painters like Gustav Klimt, Kees van Dongen, Tamara de Lempicka, and George Grosz served as inspiration points. “One also is stimulated by looking not only at the real people of that time, but also at other images and literature that are unrelated to the period and the setting of the story,” she says. “The look of each actor has to have its raison d’être.” <http://www.vanityfair.com/hollywood/2014/03/the-grand-budapest-hotel- fashion>
  46. 46. O desafio não consistiu apenas em recriar um período histórico, mais especificamente os anos entre guerras, na fictícia Repúplica de Zubrowka, onde se desenrola a trama. Milena precisou imergir no universo muito particular do diretor Wes Anderson, cuja preocupação estética atinge um nível de detalhamento maior a cada novo filme. Para compor a direção de arte complexa, ela desenhou as roupas levando em conta não somente os personagens, como também os tons do cenário e dos objetos. <http://www.clicrbs.com.br/pdf/17233258.pdf>
  47. 47. Anderson envisioned Tilda Swinton’s Madame D, a wealthy art collector nearly 90 years old, as someone who was a fan of symbolist painter Gustav Klimt. With that in mind, Canonero printed a Klimt-inspired pattern for Swinton’s velvet costumes. <www.nydailynews.com/entertainment/movies/oscars-2015- costumes-article-1.2121656#>
  48. 48. Um dos vestidos de veludo de Tilda Swinton, que interpreta uma colecionadora de arte de mais de 80 anos, tem as cores e desenhos de uma das mais famosas pinturas do artista, o Retrato de Adele Bloch-Bauer 1. <http://www.clicrbs.com.br/pdf/17233258.pdf>
  49. 49. Though Edward Norton plays the stern captain of the Lutz military police, set in Anderson’s fictional Eastern European nation called Zubrowka, his style was arresting. Canonero used her connections with Fendi to have a gray Astrakhan coat designed for the character. <www.nydailynews.com/entertainment/movies/oscars-2015- costumes-article-1.2121656#>
  50. 50. <www.hollywoodreporter.com/news/wga-awards-winners-list-773595>
  51. 51. <www.hollywoodreporter.com/news/wga-awards-winners-list-773595>

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