#Kubrick By Candlelight

[aloysiavirgata]

Prompt: candlelight concert, jealousy, ust to msr. Thanks so much, big fan here😊.

It was the kind of hotel where you could have set The Shining if it had any charm or ambiance. It had only desolation to recommend it to Kubrick and storm-downed trees across the lonely highway to recommend it to the X-Files division.

***

It was the kind of hotel you wouldn’t even have an affair at because it was too depressing to be salacious.

It was the kind of hotel where the homeless lived by the week, where alcoholics were subsumed, where mid-level corporate managers in short-sleeved button downs killed themselves. There was cheap wood paneling, shag carpet, and a desk clerk named Rabbit.

Rabbit smelled of Marlboros and Olde English 800. Mulder bet there was an El Camino, lovingly cared for, under a tarp next to a double-wide.

Mulder was a snob at times.

“We got a room each for you and your pretty niece,” Rabbit said, winking at Scully like he was Tom Jones in Vegas. “Unless….?”

Scully slapped down her badge like a royal flush, also in Vegas.

“Room each,” she said, tight-lipped and terse.

Rabbit folded.

***

Mulder found the piano when they were hunting for a laundry room. It was in a forlorn, moth-eaten event hall with swags of sun-faded velour curtains; cobwebs frosted with neglected dust.

He sat down at the decrepit thing, white keys like a smoker’s teeth, and he limbered his fingers. There was a candelabra on the top, a sad object filled with half-melted candles the color of old bones.

Scully lit the candles with the Zippo she’d carried since the Apalachicola National Forest. “You don’t play, Mulder.” She paused, cocked her head. “Or do you? Fox Mulder, do you play the piano too?”

He had the stab of jealousy that he always had about Ed Jerse. Ed got her to ink her body after a few hours, and she didn’t know he’d taken fucking piano lessons from 4 to 17.

He played her Clara Schumann’s Piano Concerto even though he knew she wouldn’t recognize it. He played it because Scully and Clara might have been friends.

Scully’s mouth was a blooming peony as she watched him, eyes the Star of Bethlehem. Scully watched him like oysters watch the tide.

“Agent Scully is already in love,” he heard again, and played as though he were auditioning for Julliard.

***

Scully went to the hallway in the thundering dark. The storm gods had been aroused and the night was such a lonely place, especially by flashlight. A cold Coke would be something to do, at least. Something to roll between her palms.

He thought the same - a Lipton iced tea in hand.

“Hi,” she said, looking abashed. “The thunder was -“

“The storm,” he said, at the same time.

They smiled. They looked away.

There was nothing else, there was nothing, just the shapeless silken lines of her pajamas and the foxy silk of her hair and the smiling Cheshire Cat slice of a waxing moon.

***

The moon was so bright and the universe was so big and forever is a long, long time to be alive and alone.

***

She followed him so she could leave later, he knew that. He’d learned her the way he learned everything - intensely and entirely and in a way that consumed him, piece by piece.

He made love to her like an acolyte at a shrine. He made love to her the way flowers make love to the sun.

Fish do not know they are in water.

***

He felt her stir at 3 AM. “Scully,” he breathed, a prayer hastily invoked.

“I didn’t mean to wake you, I-“

He heard her blushing, somehow, in the dark. He heard the blood rush to her good cheekbones, to her beautiful, lopsided mouth. Her capillaries plumped, lush with hot blood. Everywhere, everywhere.

“Please,” he said. “Scully don’t.”

Scully froze, her shoulder blades tensed, ready to unfurl. Ready to let her fly. “It wasn’t-“

He touched her spine like the Western Wall. He touched her spine like a rosary.

***

She never unmade her hotel bed and she didn’t care who knew it and she knew he was jealous of Ed or maybe Padgett and she was jealous of Diana and possibly Phoebe but Fox Mulder had a mouth like the last ripe plum in October. Fox Mulder kissed her throat like a man in the desert kisses an oasis.

They stayed three nights, for the storm and then the pancakes and then the burnt-orange solitude.

Mulder’s fingers were restless and searching and eternally wanting someplace firm to settle. He kissed her by Bolero and he made love to her by Giazotro and he fucked her to Bizet.

Scully had learned Hot Cross Buns on a keyboard, Scully had learned the recorder in 4th grade. She had learned from Mulder that money can’t buy you happiness, but it can buy opportunities and access and mitigate risk.

She started dressing like she’d been raised with it - silk lingerie and a good stylist and Chanel Brown Sugar lipstick. She saw the way society responded and doubled down. Her heels were high and thin and clicked like distant gunshots.

***

She cupped her hand over his at the steering wheel. He had beautiful hands, the color of graham crackers, with bones from an anatomy text. If she could draw she would draw them, and then his strange mossy eyes and the way his lips kissed themselves.

She would draw his back and she would laugh and say “Fox Mulder, you vain thing.”

And then, because she could, she would drag him on top of her. His body was hot and heavy and dangerous and safe.

***

Her hand cupped his and it was an eggshell, so tiny and pale and fragile. He wanted to kiss her little white knuckles and say I love you, I love you.

He wanted to crush her house-sparrow bones into a powder and drink them.

***

They drove into the east, into the east, and they were tenderly, tremulously, alive

[werewolfetone]

Barry lyndon is an amazing film because it's 185 minutes of the most painstakingly historically accurate depiction of eighteenth century society that kubrick could possibly create, particularly in the war scenes, as well as having excellent costuming and even things that were absolutely not strictly necessary such as scenes actually shot by candlelight, filled with some of the worst accents, acting, and music choices I have ever seen in my entire life

[sapphicgoblinblog]

So... I was looking up some theories for the horror film "The Shining" and it reminded me just how deliberately bad it is.

Things are done wrong on purpose to make you feel unsettled and although horror stuff has no impact on me, I admire the way things were arranged.

However, nobody truly knows what the movie is about. The story is unclear with a lot of bizarre stuff tossed in for dramatic effect to throw people off its true meanings.

People have theories, but every one I've heard is mostly incorrect. There's no Jack. Wendy isn't evil. Danny is not innocent. The "set errors" aren't accidental - they're deliberate and obvious for a reason.

People also ignore the use of colours in a lot of theory videos and how the angles are all supposed to be interpreted in the opposite or mirrored way. The movie is called "The Shining" and you must ignore what shines to see the truth - at least part of it.

Honestly, the amount of effort put into such a bad horror movie is impressive. It's Stanley Kubrick's greatest film. An inspiration to all who create horror-themed stuff and I do plan on adding maybe a pinch more of his style of horror within my horror game "Candlelight".

I've already incorporated some faint elements from various spooky things.

You can play my horror game here: https://hauntaku.itch.io/candlelight

[ofallingstar]

You seem to really like Barry Lyndon. I love Barry Lyndon. It's one of Kubrick’s best in my opinion. My question to you is: what's your favorite scene from the film?

The whole film is gorgeous, but the candlelight scene is my favorite one.

[byneddiedingo]

Ryan O'Neal and Marisa Berenson in Barry Lyndon (Stanley Kubrick, 1975)

Cast: Ryan O'Neal, Marisa Berenson, Patrick Magee, Hardy Krüger, Steven Berkoff, Gay Hamilton, Marie Kean, Murray Melvin, Leonard Rossiter, Leon Vitale. Screenplay: Stanley Kubrick, based on a novel by William Makepeace Thackeray. Cinematography: John Alcott. Production design: Ken Adam. Film editing: Tony Lawson.

I've never shared in the enthusiasm that many people have for Stanley Kubrick's Barry Lyndon, which placed at No. 59 on the most recent critics' poll by Sight and Sound of the Greatest Films of All Time. It is undeniably one of the most visually beautiful films ever made, its images intentionally echoing works by Hogarth, Reynolds, Romney, Gainsborough, and other 18th-century artists. But it seems to me to have a vacuum at the center: the rather uninvolved performance that Ryan O'Neal gives in the title role. Scenes are stolen from him right and left by such skilled character actors as Patrick Magee, Hardy Krüger, Steven Berkoff, Murray Melvin, Leonard Rossiter, and Leon Vitale. This detachment of the titular character seems to be part of Kubrick's plan to de-emphasize the story's drama: He even provides a narrator (Michael Hordern) who gives away the plot before it develops on the screen. When actions and emotions erupt in the story, they do so with a kind of jolt, the audience having been lulled by the stately pace of the film and by the undeniably gorgeous visuals: Ken Adam's production design, Ulla-Britt Söderlund and Milena Canonero's costumes, and John Alcott's cinematography all won Oscars, as did Leonard Rosenman's orchestration of themes from Schubert, Bach, Mozart, Vivaldi, and Handel. Alcott used specially designed lenses, created for NASA to allow low-light filming, to allow many scenes to be filmed by candlelight. But it's also a painfully slow movie, stretching to more than three hours. I don't have anything against slowness: One of my favorite movies, Tokyo Story (Yasujiro Ozu, 1953), is often criticized for slowness. But the slowness of Ozu's film is in service of characters we come to know and care about. Kubrick gives us no one to care about very much, and O'Neal's Barry never registers as a developed character.

[marisatomay]

kubrick and alcott were so fucking cool for filming so many scenes in barry lyndon lit exclusively with candlelight

[politemagic]

From the ask game: 4, 20, 25? 💖

4. what is your favorite book?

AMERICAN GODS!!!! specifically the author's preferred text version

20. what's a random and useless fact that you know?

oohoohoo more random and useless facts!! did you know that Stanley Kubrick actually used special film lenses on his film "Barry Lyndon" that were used by NASA in the Apollo moon landings because they were the fastest in history (in film terms a "fast" lens has a very low aperture (the opening that lets light into the camera) and so a very fast lens can let in a lot of light, making it suitable for low-light scenes) because he lit the so much of the movie BY CANDLELIGHT!!!!! he wanted to keep the lighting as natural as possible, so they used practical lighting and only supplemented when needed. these were the only lenses that would be able to pick up on the details of the shot in such low light!

25. do you/have you played any sports?

when i was a kid i played soccer, and then when i was in middle school/high school i ran on our cross country/track teams! i suffer great injuries as a result lmao but i loved running competitively

thank you so much for the ask lovely anon! <3 ask game

[the-celluloid-correspondent]

Quickie Movie Reviews

Phantom Thread: Directed by Paul Thomas Anderson

Who doesn't love toxic relationships? Well, it seems that most people do but are completely oblivious to it, given the popularity of rom-com. So it makes me happy that Phantom Thread recognizes the toxic, whirlwind relationship between the two leads and fully explores this bad romance. Though the story seems simple on paper, it is its subtlety that makes it brilliant. Director Paul Thomas Anderson pushes his two leads to their romantic and subtle limits. Daniel Day-Lewis is again Oscar-worthy with his sublet yet touching performance. Vickey Krieps holds her ground with Day-Lewis and is still surprised that she did not receive an Oscar nomination for her performance. Anderson again pushes the visual language with stunning cinematography and beautiful production and costume design to maximize the story. Overall, a beautiful film that explores the toxicities of relationships.

My rating: A-

********************************************************************

2046: Directed by Wong Kar-Wai

I am slightly disappointed with 2046. The film is beautiful and filled with all the mannerisms that one can expect from a Wong Kar-Wai film. The acting again is excellent from the entire ensemble. However, I didn't feel the emotional gut punch that this film was going for. I didn't feel anything toward the lead character and his relationships. This might be because his character is not exactly a good person. Furthermore, the story felt disconnected and incoherent. Instead of having a clear linear path, the story bounces back and forth between numerous relationships, with nothing tying them together. Overall, I am just disappointed with this film, and I expect more out of it.

My rating: C+

*********************************************************************

Heathers: Directed by Michael Lehmann

The 80s prove yet again that they know how to make an angsty teenage movie that is still relatable and funny today. Heathers takes the stereotypical high school tropes to the extreme but subverts them in this twisted, dark satire. The film is hysterical, ranging from its dark humor to its wild character, yet it knows when to be serious. The film knows when it delves into serious subjects and allows those subjects to be serious. The entire cast is having a blast making this film, which helps with their energized characters. Overall, this is a fun watch that call can enjoy.

My rating: B

*********************************************************************

Barry Lyndon: Directed by Stanley Kubrick

Barry Lyndon is possibly one of the most aesthetically pleasing movies I've ever seen. Nearly every frame looks like Baroque and Neoclassicism Paintings. From the quiet candlelight to the stunning costume and production design, you can immerse yourself in this film. The story is incredibly simple yet fascinating. We are drawn into the character of Barry Lyndon to his rise and eventual fall from grace. This character is masterfully portrayed by Ryan O'Neal, who brings to the screen a deep character whose lust for power and wealth gets the best of him. My only real complaint is that it was a little too long. Overall, such a different film from Kubrick that it is just vibes.

My rating: A

[apollopigeon]

Explaining to my wife that Kubrick’s use of NASA designed lenses to film scenes lit only by candlelight in Barry Lyndon make it more entertaining than Bridgerton.

[starkcregan]

hi, are you still playing it? your opinion on the best period dramas? 🤍

yes i am still playing!!! thank you for this one <3

one of the best period dramas of all time has to be barry lyndon (1975)

i'm not a kubrick fan; however, dp john alcott's work in that film is beyond sublime. the use of practical candlelight. every shot is modeled after paintings from the 18th century. the costumes, the ambience. the cinematography is unmatched. it's honestly one of the greatest films, but as a period drama it's truly a feast.

100% sergei parajanov's the color of pomegranates (1969) , and shadows of forgotten ancestors (1965)! gorgeous, gorgeous films

on the other side of the spectrum, i also love period dramas that don't take themselves too seriously and bend the rules of the genre. so, i love bridgerton and its integration of contemporary culture into its aesthetics (can't wait to hear the orchestral version of 'as it was')!

i especially love 'a knight's tale' (2001), which is based on chaucer's the canterbury tales. what i love about that movie is that captures the fun of chaucer's work!

lastly, i'm very biased in that i'm fascinated by dramas that take place during the gilded age and/or late 19th century in new york city–so i love the aesthetics of hbo's 'the gilded age', and enjoy films like "the age of innocence", "gangs of new york"

your opinion on…

[steampunkforever]

Considering one-upping Kubrick’s entire-period-piece-film-lit-by-candlelight stunt from Barry Lyndon and lighting everything in a film about gamers with RGB keyboards.

[rogerdeakinsdp]

Academy Award Winners for Best Cinematography: 2006 — Dion Beebe, ACS, ASC Memoirs of a Geisha (2005) Directed by Rob Marshall Aspect Ratio: 2.39 : 1

Beebe took inspiration from Stanley Kubrick’s Barry Lyndon, the first picture to be lit mainly with daylight and practical candlelight. Though he was faithful to period lighting in the rest of the film, Beebe took great liberties during dance numbers. “Japan had electric lights back then but no ability to use rich color at all,” he says. “But Rob [Marshall] wanted the deep saturation of color that we used in Chicago. We had a lot of light cues throughout the dance — nothing anybody could have done in the 1930s, but we wanted a dramatic impact,” says Beebe. 

Traditional sources like oil lanterns, cooking fires, paper lanterns, and antique electrical bulbs dominated the rest of the film. “I knew we wanted to pursue a practical-lighting approach,” says Beebe. “I also knew I wanted to work in very low-light situations.” 

Throughout the picture, Beebe’s lighting suggests “a journey through time, a narrative progression,” he says. “Young Chiyo arrives frightened and scared in this strange house. We wanted it to feel dark and mysterious to capture how it must have felt to this young child.” Then, as Chiyo gains confidence and control of her life, “light starts to come in. Very subtly, we used this metaphor: the interior opens up and reveals the transformation from young girl to woman to geisha. This was a combination of lighting effects and set design.” Sliding screens are closed at the beginning but open as the film progresses, and panels change from solid wood to reed, paper and glass. — [x]

[leverage-ot3]

notable moments from The First Contact Job

leverage 5.03

Sophie: Well, he’s setting his sights a bit higher now. Braddock Aeronautics is top-shelf.

Eliot: Military aircraft contractors. They used to stamp their logo on the engine cowls of our chopper, and we’d have to file them off before we... went fishing. For fish

sophie and nate: 👀👀👀

- - - - -

Parker: I’m going in through the vents. Bet I get there first.

Hardison: No, I don’t think that’s a good idea.

Parker: Winner chooses our next date. Ready, set, go!

Hardison: Wait! I-I wasn’t ready

they’re adorable

- - - - -

Parker: I win! I want to go bungee-jumping.

Hardison: Already did that. (hooks his laptop to the computer system)

Parker: Not off a hot-air balloon.

Hardison: I seriously need to win one of these bets

where doES SHE GET THESE IDEAS

- - - - -

Parker: See? Vents are better.

Hardison: It’s not that bad.

Parker: You’re totally surrounded by, like, a million of those dust-mite things. And you can’t even feel them, can you?

Hardison: Now I can.

Parker: Oh.

Hardison: All over. Okay!

parker made it go from sexy to scary for hardison real fucking quick LMAO

- - - - -

Hardison: Thought they were something, too, but it turns out they’re just audio recordings of static... hundreds of hours of it.

Nate: Hmm. Play them.

Sophie: Just sounds like one of your “mixes.”

Parker: I like it. Play the next one

parker: *waves hands and dances in her seat*

I love her, your honor

- - - - -

Eliot (enters room): Hardison, I said sea salt. This is iodized salt. Who got the military satellite intercept? You’re not supposed to...

(Sophie gives Eliot a hard look)

Eliot: It’s a very distinctive static

sophie’s scandalized look is everything

- - - - -

Nate: He’s listening to stars for proof of extraterrestrial life.

Parker: Cool. (pokes at Eliot)

Eliot: Oh, Parker.

Parker: Elliott.

Eliot: I’ll snap that off your han..

hardison: *smiles at parker annoying eliot because they’re a chaotic ot3*

- - - - -

Hardison: You know, Fermi’s Paradox says that it’s improbable for other life-forms to exist.

Eliot: Yeah? Well, Drake’s equation shows that orbiting around the hundred billion stars in our galaxy, there’s up to 10,000 planets with technological civilization. You never know when you might have to fight an alien.

Hardison: Okay

eliot: *speaks about smart, nerdy things*

hardison: 😍😍😍🥰🥰🥰

- - - - -

Hardison: Now hop.

(Eliot begins to move, then stops and looks up angrily)

Hardison (watching Eliot’s movements on the monitor): Where’s you... where you going? Oh, no.

(the van begins to rock)

Hardison: Hey, man! Lucille’s a classic!

hardison: ...my actions have consequences?

- - - - -

Parker: Nate, we have liftoff. Get it? ‘cause of the...

she’s baby

- - - - -

Eliot: What the hell is that?

Hardison: Oh, that’s chase music, baby. Unh. Mixed it myself. Yeah. (singing) Two good old boys/Behind the wheel/Chasing down bad guys in Lucille/Two good old boys. Feel it.

Both (singing): Behind the wheel/Chasing down bad guys in Lucille/Two good old boys/Behind the wheel/Chasing down bad guys in Lucille. Hey! Two good old boys/Behind the wheel/Chasing down bad guys in Lucille

eliot: looks exasperatedly at hardison, like he can’t believe what he does to make him happy

- - - - -

Eliot: Oh, yeah. Can I get an orange soda?

eliot channeling his inner hardison

- - - - -

Parker: Cave-jumping?

(Parker and Hardison show their badges to the security guard before passing through metal detectors)

Parker: World’s deepest caves are in Potosi, Mexico.

Hardison: You’re really not listening to me about this whole jumping thing, are you.

Parker: Yes, I am.

(Parker and Hardison show badges to a guard at another security desk as they pass it)

Parker: You’re unhappy with the jumps we’ve been doing.

Hardison: Thank you.

Parker: I’m going higher so they can be better.

Hardison: No

poor hardison

also rip to hardison but I’m different, I’d JUMP to go on those dates with parker

- - - - -

Parker: --you cannot contact Mr. Bosley tonight. Will tomorrow morning do?

Kanack: Sure.

(Parker and Hardison fist bump)

Parker: Will it

their fist bump was so cute wtf

- - - - -

Eliot: All right, but... (sits at keyboard, muttering) Put your hands on me, I’ll break your frigging clavicle.

eliot: 😡

me: he’s a grumpy child

- - - - -

(Hardison shows Parker the wording of the warrant ‘CANDLELIGHT PICNIC UNDER THE STARS)

Parker: Ooh. Fire. I do like fire.

Hardison: You see. You listen, yet you don’t hear

she’s trying her best

- - - - -

(Guard grabs Sophie as she exits the building)

Sophie: I...

(Nate punches guard and knocks him down)

Sophie: Wouldn’t do that if I were you

protective!nate over sophie is the best

- - - - -

(Parker enters with a bin and points to her mouth, then to Eliot, where he is bleeding)

Parker (imitating ET): Ouch.

Eliot: Parker, would you stop with that? And help me get these damn guys off my back!

(Parker helps Eliot get the man off his back)

Eliot: Pick the guys up and put them in the bin.

(they pick the men up and start loading them in the bin)

Eliot: Hang on.

Parker: What?

Eliot: I got an idea

parker: *smiles excitedly*

- - - - -

Nate: That was nice work back there, Elliot.

Eliot (with accent): Oh, man, he flipped. He flipped like a coin. I wish Lenny would have seen it. (normal voice) Hardison gave me the alias, and then Sophie helped me build the character. (walks away)

Sophie: Oh, we just gave him layers. You know, I don’t know why Stanley Kubrick made directing look so hard. It’s... it’s not that hard

I L I V E for when eliot gets very into character, like with the baseball job or the country singer job

- - - - -

the ‘two good ole boys’ song playing as eliot, sophie and nate stare off with the mark

- - - - -

(Parker enters with a picnic basket and flowers)

Hardison: Hey. Problem? (sees basket) Oh. Well, a picnic under the stars. You listened.

Parker: Everything’s ruined with this stupid rain. I’m sorry. I tried.

Hardison: Close your eyes. Close them. Don’t peek. Close them. (dims the lights and turns on pin lights) Nothing is ruined. Okay. Now.

(Parker looks around and smiles)

Hardison: Hmm?

Parker (points finger at Hardison’s heart, imitating ET): I’ll be right here.

(they hug)

y’all I’m S O F T parker and hardison are soulmates

(eliot is their third soulmate tho they’re just not quite there yet)

[expshared]

some fun nuggets from the interviews in the booklet included in the Princess Principal special edition release:

they hired two spy researchers on the show before they even hired a writer

the initial idea was about “high school girls taking over Japan by changing voting laws”. The Victorian, steampunk, and spy elements didn’t come in until later

once they settled on a pitch, the real story began with the question “how realistic can we make a group of teenage spies?”  

the screenwriter would bring in a script and the researchers would tell him “a spy wouldn’t do this” or “a spy would do it this way” and sometimes he’d listen and other times he wouldn’t 

the steampunk aspect allowed them to “lie”—the staff could bend the rules for Rule of Cool, but those big lies were supported by little truths. They could pull off the bigger, showier aspects because the nitty-gritty of it was based in actuality

for example, the cars in the series are steam-powered, but in reality steam-powered cars are very quiet, which “wasn’t very impressive” on screen. So, instead of just having them make noise anyway, they added a turbine supercharger to get the “turbine” sound effects and to make a bigger impression on the screen

Ange uses a Webley-Fosbery Automatic Revolver

the Duke of Normandy’s car is a Rolls Royce Silver Ghost and the prop designer specifically requested that his hood ornament be Nike of Samothrace

Dorothy is a favorite on the staff and while boarding episodes they often thought, “I don't want to make Dorothy go through this!” The morgue episode was apparently very difficult for them to finish, but they thought it was essential for Dorothy’s character

the debt collectors from the morgue episode and the laundry episode were meant to be different characters, but they both ended up being Franky because they didn’t have enough resources to model another character

for the laundry episode, the prop designer did the layout for the mill the correct way first, and then thought about how to organize it in the least efficient way possible

a lot of the staff talk about the laundry episode and how it was the most challenging in terms of prop creation and research, and that it might be the most “spy-like” and realistic episode, even though it ends up being kind of a “fluff” episode 

the lighting designer talks about how the lighting in the series was inspired by Stanley Kubrick’s Barry Lynden, wherein all the lighting is natural sunlight or candlelight

Ayaka Imamura (Ange): “I think this about all the PriPri characters, but they’re really not cut out to be spies. Ange especially.”

Yo Taichi (Dorothy) usually wears casual clothing to record, but to record Dorothy’s lines, she wore dresses. When the sound director asked her why, she replied “Because I’m the sexy one.”

When Ayaka Imamura read Princess’ line “I really hate you,” she turned to Akira Sekine (Princess), and said “Do you really mean that?!?”

Akari Kageyama (Beatrice): “Beatrice’s heart is always pounding really hard but she never lets it show.”

[thecostumevaultblog]

PERIOD MOVIES TO SURVIVE THE QUARANTINE

Here’s today’s recommendation!

Stanley Kubrick’s adaptation of BARRY LYNDON is a prime example than modern cinema and period accuracy are not necessarily at odds with each other, as it is so often assumed.

Much praise has been heaped onto the movie’s cinematography (well deserved, mind you), but the incredible work done by wardrobe, hair and makeup team is often overlooked. 

Yes, it was a feat to light a scene only with candlelight, but the level of detail and accuracy poured at the costume design is just a big a feat. Every single detail of the look is taken into consideration, every hat, feather, and wig primed to look exactly as it should have looked. It’s stunning.

We’ve never done a review for the film, but I was lucky enough to photograph the real costumes a few years back (here, here, here, here and here).

Let me know your thoughts! We’ll be back tomorrow with another Period Drama for your enjoyment!

[scannain]

#IrishFilmOnTv: Kubrick By Candlelight screens on RTÉ2 at midnight tonight

#IrishFilmOnTv: Kubrick By Candlelight screens on RTÉ2 at midnight tonight

David O’Reilly, location scout for films such as Rogue One: A Star Wars Story, Solo: A Star Wars Story, Inception, Pirates of the Caribbean, Harry Potter, The Dark Knight Rises, Charlie and the Chocolate Factory and Fast & Furious, brings his award-winning short film Kubrick By Candlelight, set behind the scenes of Stanley Kubrick’s Barry Lyndon, to network television with a screening on RTÉ2…