5 posts tagged "Tim Burton"
The very important date that you’ve been waiting for since the previews started circulating last year has arrived: Tim Burton’s Alice in Wonderland hits theaters nationwide today, giving you a wide-screen look down the rabbit hole. Starring Helena Bonham Carter, Anne Hathaway, Johnny Depp, and Mia Wasikowska as Alice, it’s a topsy-turvy display of bobbling hairdos, brows stretched up to there, aqua eye shadow, and heart-shaped puckered lips—and that’s just one character! We caught up with lead makeup artist Valli O’Reilly to find out how she revived Lewis Carroll’s classic story for the twenty-first century.
This is not the Alice in Wonderland of your childhood. How did you go about reimagining these iconic characters for a new age?
Tim [Burton]‘s films have a very specific feel. You can tell his work without even seeing the credits. For this project, he asked me to watch an old Bette Davis film, The Private Lives of Elizabeth and Essex, where she plays Queen Elizabeth and wears her hair pulled back tight, like we did for the Red Queen. I also looked at Margaret Keane’s paintings from the sixties of children with very haunting eyes. I rubbed eggplant eye shadow around Mia [Wasikowska]‘s eyes to re-create that darkness.
Have you ever wondered what two seconds of footage of Lily Donaldson thrashing her long blond locks around in the midst of four wind machines, slowed down to 1,000 frames per second, would look like? Yeah? This one’s for you. [Nowness]
The problem with renouncing plastic surgery and making statements like, “Somebody has got to give a face to getting old,” is that when you do decide to go in for a little nip/tuck, you look like a bit of a hypocrite. Not that we’d ever judge you, Jane Fonda, but… [Daily Mail]
Hatters in Victorian England often had reddish hair because of the orange-tinged mercury used in the manufacture of felt back in the day. But that’s not what compelled Tim Burton to make Johnny Depp a carrot-top in his forthcoming Alice in Wonderland adaptation. “There is just something really scary about orange hair,” Burton says. “Every performer in my childhood who had orange hair, it seemed to signify that they were not to be trusted and could be dangerous.” There was something kind of frightening about Bozo, come to think of it… [L.A. Times]
Vogue Italia‘s new Web site is dedicating a section to plus-sized women by launching Vogue Curvy, a satellite destination that features video interviews with models like Crystal Renn and Lizzie Miller. So…it’s a “separate but equal” mentality, then? [Stylist]
The Olsens offered us so many runway-to-reality talking points at MoMA’s Second Annual Film Benefit honoring Tim Burton last night that we’re not quite sure where to begin. Shall we start with Ashley’s subtle, pastel hair streaks à la Proenza Schouler, or should we dive right in and applaud Mary-Kate’s two-toned berry lip, as seen at Rodarte? Either way, we’ll need to take a few moments to dwell on their Chloé-esque, full natural brows. (They’re well executed, but maybe a little too much for us to handle!) What do you like best?
When we heard last year that Tim Burton was directing a real-life remake of the classic animated version of Lewis Carroll’s Alice in Wonderland —and that it would star Johnny Depp as the Mad Hatter—we felt a special kind of excited anticipation typically reserved for the start of a lengthy vacation, or a reality television results show. First-look pictures of the film’s elaborate hair and makeup released by London’s Daily Mail this morning only served to confirm our suspicions that the movie, which is now in post-production, will not disappoint. Check out Helena Bonham Carter’s heart-shaped cupid’s bow lip! Will we see you in line for tickets in 2010?
“Much too pretty,” makeup artist Lucia Pieroni said to a member of her team last night at Zac Posen. “She needs to look tougher.” And so the minion headed back to her station, MAC’s Smolder Eye Kohl in hand. “We’re going for a Tim Burton girl,” Pieroni explained: “a tough, moody, but still beautiful” look that centered around big eyes and huge lashes—think Helena Bonham Carter incarnate. Pieroni swept MAC Carbon and Print Eye Shadows from the lower lash line up around the outer corners of models’ eyes and filled in lids with softer shades of the gloomy hues. Echoes of Burton’s hauntingly gorgeous animation continued with a cupid’s bow lip in a bright orange color called Morange, which the makeup artist applied in a sheer layer and with a stronger hand toward the center of the mouth. Studded “headbands of thorns” and the casting of Sasha Pivovarova also helped Pieroni’s cause; the model can bear a striking resemblance to Burton’s Corpse Bride when she wants to.