Word: set
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Dates: during 1970-1979
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John Conklin's set (inspired by sketches by the late Rudolf Heinrich for Santa Fe's U.S. premiere of the shorter Lulu in 1963) captures the work's heartless, hypocritical milieu with a doorway here, a sofa or a plant there. All is gelid grays and greens except for the lurid red of Lulu's dress and wig. The stage is framed by two skeletal, metallic walls that recede almost to a vanishing point. In the final scene, when Lulu has ended up as a prostitute in a London attic, the walls suggest the street below...
...solve the chemistry problem, he says, "I made them hold hands and not break eye contact for ten minutes. Soon they started giggling, then arguing, and then breaking into gales of laughter." Thelo loosened up. And when Olivier was around, "it was almost like having three kids on the set. He'd joke with them, without patronizing them. He always tried to break them...
...mood on the Pretty Baby set was quite different. Shields recalls that Director Malle "usually talked to my mother, not me. She'd come back and tell me what he said. He was afraid to talk to me, I think. In the beginning, on the set, no one knew what to say to me. Then I tried to talk to the people on the set more as an adult than a little kid. After that it was fun. In the beginning Malle directed me more than the others, but soon we were all treated the same...
Like Shields, who is a friendly acquaintance, Tatum feels most comfortable on a movie set. "You know everybody; it's like a family." She travels with Diane Lewis, a woman in her early 30s who has been her companion since she was small, and a friend called Esme, who is also her standin. Her only complaint about moviemaking is that in California?though not in England, where she filmed International Velvet?the law requires that child actors go to school for at least four hours a day. "On Little Darlings, the picture I just finished, we got in about three...
...more consciously literary than most of the other detective story writers . . ." Despite Wilson's judgment, Sayers and Lord Peter Wimsey, her witty sleuth, have become two of the most beloved figures in detective fiction. An engaging mix of upper-class sang-froid and Sherlockian intellect, Wimsey set new standards in highbrow snooping. As viewers of the PBS series can testify, only Wimsey would drive a Daimler to the scene of the crime, sport a monocle, and dine out with marquesses and murderers...