Bernie Pollack's Challenge?
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RichardSK
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Bernie Pollack's Challenge?
There is a front page article in Saturday's L.A. Times about Bernie Pollack dressing Harrison Ford for the new movie and how difficult it was for him as none of the original costumers are around any longer. I couldn't stop myself from writing a letter to the editor after reading it. The article is available online.
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Indiana Strones
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Darth Indiana
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GoldenHistorian
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yeah,
and this sort of ties in with no matter how happy i am that a fan has been allowed to of made the fedoras for the new film (adventurebuilt) i think it has sort of ruined a tradition of herbert johnsons but i cannot fault adventurebuilt hats they are great and a indyfan deserved to make the hats for the new film.
besides the jacket wasnt a wested either which is a big mistake thwe sleeve looks stupid.
atleast the mkvii's were origional, most period movies use replicas.
and this sort of ties in with no matter how happy i am that a fan has been allowed to of made the fedoras for the new film (adventurebuilt) i think it has sort of ruined a tradition of herbert johnsons but i cannot fault adventurebuilt hats they are great and a indyfan deserved to make the hats for the new film.
besides the jacket wasnt a wested either which is a big mistake thwe sleeve looks stupid.
atleast the mkvii's were origional, most period movies use replicas.
Meh, I don't subscribe to that theory, myself. Even if there was a tradition of using HJ's (which may or may not have been used in Temple of Doom), why use one if they are just not up to par? If anyone ruined the tradition of the HJ being in Indiana Jones films, it was HJ for letting the quality of their hats go down so much over the years.
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RichardSK
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Genaro Molina / Los Angeles Times
“If I do my job well, then nobody notices the wardrobe,” says Pollack, the man responsible for costuming Harrison Ford
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It wasn't easy re-creating Indy's look for 'Indiana Jones and the Kingdom of the Crystal Skull.'
By Paul Davidson, Special to The Times
May 10, 2008
WHEN audiences flock to see the fourth "Indiana Jones" installment in less than two weeks, chances are slim that the first sight of Indy's weathered fedora and leather jacket back on the big screen will elicit anything more than a quick smile of recognition. No one will ponder how tough it was, after nearly two decades, to re-create the archaeologist's signature look. Or who was charged with the task.
But just so you know, that would be Bernie Pollack.
Pollack's goal when he became involved with "Indiana Jones and the Kingdom of the Crystal Skull" as Harrison Ford’s wardrobe designer was to re-create the classic costume so flawlessly that audiences would never question its authenticity. But he would quickly find out that making an identical outfit would be more difficult than he'd expected.
Related
STORY: Harrison Ford returns as Indiana Jones STORY: Hollywood A-Z: 'Indiana Jones'More Related:
'Indiana Jones and the Kingdom of the Crystal Skull': A primer
"The last film was made 18 years ago," says Pollack (yes, he's Sydney's brother). "Everybody that worked on it was out of business. The hat maker was gone. The costumer was gone. So I had to start from scratch. I had to find fabric, find people who could make it. I mean, I'm making an iconic movie. He has got to look as good or better than in the other films in the series. If he looks less than that, I'm an ###."
Steven Spielberg, upon seeing Ford in character, was relieved with what Pollack had pulled off after an exhaustive search for fabrics, styles and craftsmen. "The first day we went in to test the hat," Pollack recalls, "Steven said, 'Oh, thank God -- I lost sleep wondering if you were going to be able to come up with the look of the hat that I wanted.' "
Ford, who has worked with Pollack on multiple films (including "Firewall," "What Lies Beneath," "Random Hearts," "Sabrina" and "Clear and Present Danger"), was equally pleased. "He's not just a designer who can read a script and say, 'This would be appropriate for this character and I suggest this,' " the actor says by telephone. "I consider costume critical to the representation of the character and as clues to his identity. What people see is far more important than what they're told. . . . He has a sense of storytelling and drama."
Pollack has helped flesh out characters for some of Hollywood's most celebrated films ("Ordinary People," "All the President's Men," "Tootsie," "Rain Man"), working steadily with such talents as Ford, Robert Redford, Dustin Hoffman and Tom Cruise. Interestingly enough, it's a career that he never planned to have.
The Pollack brothers had hoped to come to L.A. from their South Bend, Ind., home and find success as actors (Sydney, of course, went on to direct, produce and sometimes act). But along the way, dreams were replaced by necessity, and jobs became about paying the bills.
Bernie Pollack landed a low-on-the-totem-pole job working for costumer Ted Tetrick and designer Edith Head in the Redford-Natalie Wood film "This Property Is Condemned."
"I felt in the beginning," says Pollack from his San Fernando Valley home, "that I wasn't sure I could do it. But somehow I seemed to fall in easily. I enjoyed the work and the creativity."
That first film was a random opportunity that sparked Pollack's longtime collaboration with Redford, rising to costume supervisor and then designer on more than a half-dozen of the actor's movies.
"My experience with Bernie over 40 years has amounted to a journey and a lasting friendship," Redford says. "The strongest feature has been his professional and creative skill. He is simply the best -- not to mention his patience, as I have many times been a pain in the ###."
First, Pollack breaks down the script to identify the characters and their backgrounds. Era-specific films like "The Natural" or "Havana" require extensive research and photos from that time to ensure an authentic re-creation. For movies set in the present day, he often looks to the world of fashion, then adds his own twist, putting Hoffman and Cruise in high-collared, tie-less shirts and jackets in "Rain Man," for example.
"I worked with Bernie on 'Rain Man,' 'Tootsie,' 'Straight Time,' 'Marathon Man' and 'All the President's Men,' " Hoffman says. "Suffice it to say, those characters would not have existed without his artistic input. He is a rare bird."
And yet, for all the praise, Pollack's hope is that audiences don't realize what he's done. "If I do my job well, then nobody notices the wardrobe. It just assists in telling the story and creating realistic characters."
Wear many hats
After Bernie Pollack re-created Indiana Jones' iconic look for the fourth in the film series, he ran amok with it -- for good reason. As insurance against damage from water, fire, blood, dirt, stunts and anything else the narrative might throw at the action hero-archaeologist, Pollack had to create:
* 30 identical fedoras
* 30 leather jackets
* 60 pairs of khaki pants
* 72 shirts
Attack of the momagers, dadagers, and sistagers
Photos: So many celebs let family members manage their careers and in most cases, things get sloppy.
Kira Plastinina: From Russia with style
The 15-year-old wunderkind designer throws in her lot on Robertson Boulevard with a new shop. Photos
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“If I do my job well, then nobody notices the wardrobe,” says Pollack, the man responsible for costuming Harrison Ford
Email Picture
It wasn't easy re-creating Indy's look for 'Indiana Jones and the Kingdom of the Crystal Skull.'
By Paul Davidson, Special to The Times
May 10, 2008
WHEN audiences flock to see the fourth "Indiana Jones" installment in less than two weeks, chances are slim that the first sight of Indy's weathered fedora and leather jacket back on the big screen will elicit anything more than a quick smile of recognition. No one will ponder how tough it was, after nearly two decades, to re-create the archaeologist's signature look. Or who was charged with the task.
But just so you know, that would be Bernie Pollack.
Pollack's goal when he became involved with "Indiana Jones and the Kingdom of the Crystal Skull" as Harrison Ford’s wardrobe designer was to re-create the classic costume so flawlessly that audiences would never question its authenticity. But he would quickly find out that making an identical outfit would be more difficult than he'd expected.
Related
STORY: Harrison Ford returns as Indiana Jones STORY: Hollywood A-Z: 'Indiana Jones'More Related:
'Indiana Jones and the Kingdom of the Crystal Skull': A primer
"The last film was made 18 years ago," says Pollack (yes, he's Sydney's brother). "Everybody that worked on it was out of business. The hat maker was gone. The costumer was gone. So I had to start from scratch. I had to find fabric, find people who could make it. I mean, I'm making an iconic movie. He has got to look as good or better than in the other films in the series. If he looks less than that, I'm an ###."
Steven Spielberg, upon seeing Ford in character, was relieved with what Pollack had pulled off after an exhaustive search for fabrics, styles and craftsmen. "The first day we went in to test the hat," Pollack recalls, "Steven said, 'Oh, thank God -- I lost sleep wondering if you were going to be able to come up with the look of the hat that I wanted.' "
Ford, who has worked with Pollack on multiple films (including "Firewall," "What Lies Beneath," "Random Hearts," "Sabrina" and "Clear and Present Danger"), was equally pleased. "He's not just a designer who can read a script and say, 'This would be appropriate for this character and I suggest this,' " the actor says by telephone. "I consider costume critical to the representation of the character and as clues to his identity. What people see is far more important than what they're told. . . . He has a sense of storytelling and drama."
Pollack has helped flesh out characters for some of Hollywood's most celebrated films ("Ordinary People," "All the President's Men," "Tootsie," "Rain Man"), working steadily with such talents as Ford, Robert Redford, Dustin Hoffman and Tom Cruise. Interestingly enough, it's a career that he never planned to have.
The Pollack brothers had hoped to come to L.A. from their South Bend, Ind., home and find success as actors (Sydney, of course, went on to direct, produce and sometimes act). But along the way, dreams were replaced by necessity, and jobs became about paying the bills.
Bernie Pollack landed a low-on-the-totem-pole job working for costumer Ted Tetrick and designer Edith Head in the Redford-Natalie Wood film "This Property Is Condemned."
"I felt in the beginning," says Pollack from his San Fernando Valley home, "that I wasn't sure I could do it. But somehow I seemed to fall in easily. I enjoyed the work and the creativity."
That first film was a random opportunity that sparked Pollack's longtime collaboration with Redford, rising to costume supervisor and then designer on more than a half-dozen of the actor's movies.
"My experience with Bernie over 40 years has amounted to a journey and a lasting friendship," Redford says. "The strongest feature has been his professional and creative skill. He is simply the best -- not to mention his patience, as I have many times been a pain in the ###."
First, Pollack breaks down the script to identify the characters and their backgrounds. Era-specific films like "The Natural" or "Havana" require extensive research and photos from that time to ensure an authentic re-creation. For movies set in the present day, he often looks to the world of fashion, then adds his own twist, putting Hoffman and Cruise in high-collared, tie-less shirts and jackets in "Rain Man," for example.
"I worked with Bernie on 'Rain Man,' 'Tootsie,' 'Straight Time,' 'Marathon Man' and 'All the President's Men,' " Hoffman says. "Suffice it to say, those characters would not have existed without his artistic input. He is a rare bird."
And yet, for all the praise, Pollack's hope is that audiences don't realize what he's done. "If I do my job well, then nobody notices the wardrobe. It just assists in telling the story and creating realistic characters."
Wear many hats
After Bernie Pollack re-created Indiana Jones' iconic look for the fourth in the film series, he ran amok with it -- for good reason. As insurance against damage from water, fire, blood, dirt, stunts and anything else the narrative might throw at the action hero-archaeologist, Pollack had to create:
* 30 identical fedoras
* 30 leather jackets
* 60 pairs of khaki pants
* 72 shirts
Attack of the momagers, dadagers, and sistagers
Photos: So many celebs let family members manage their careers and in most cases, things get sloppy.
Kira Plastinina: From Russia with style
The 15-year-old wunderkind designer throws in her lot on Robertson Boulevard with a new shop. Photos
Save over 50% off the newsstand price. Click here to subscribe to The Times.
Email PictureEmail | Print | Text Size
ADVERTISEMENT
Most Viewed Most Emailed Related News
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Minnesota Jones
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Minnesota Jones
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Also being talked about above. I'll close this one down to keep it in one spot.
Also being talked about above. I'll close this one down to keep it in one spot.