Adults Laa-Laa Teletubbies Fancy Dress Costume

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It’s what makes the “Epilogue” sequence so striking, visually and emotionally. We return to the old scenes of their relationship, Sebastian reconsiders his decisions, and for the first time we see Mia and Sebastian surrounded by a full rainbow. The opening sequence of La La Land establishes the tone, mood, and message of the film, especially through its Mise en Scène. The director of La La Land , Damien Chazelle, uses the elements of Colour and Costume particularly well to convey a message behind the characters living their hopes and dreams. How do you create an interesting Mise en Scène to captivate the audiences’ attention? Mise en Scène is defined as the design and look of a scene. There are important elements which make up the overall appeal, including but not limited to – Colour, Costume, Character, Lighting, Props, Set and Location. How these elements are laid out on screen determine the overall theme and aesthetic of the film.

Lala dresses – Dressed in Lala

Some of the great on-location settings involved in the scenes among Mia and Seb’s date night include the old and disused ‘Rialto Theatre’ in Los Angeles, where they watch a screening of Rebel Without a Cause (1955). The camera holds on ‘The Planetarium’ scene, featuring Jim Stark (James Dean) and his classmates on a trip to the infamous Griffiths Observatory.

Five years later: Mia's monochrome wardrobe

Perhaps the most interesting way Chazelle builds up reality’s power through red is by mixing it with other colors. Our main characters find themselves in rooms and streets bathed in warring blue and red lights, like when when Mia and Sebastian discuss her show’s first draft and his club’s name. Though the creativity and authenticity of red and blue mix to make purple, a personification of love (see the first rendition of “City of Stars,” or the stunning waltz in through the galaxy), Chazelle all too often doesn’t let the colors mix. Their clothes, their light, their neon – it rarely finds a place to comingle. In the final epilogue, when they’re thinking ‘What if we stayed together?’ there’s a white dress that Emma wears in the Paris fantasy sequence. The waltz is a very obvious reference to Ginger Rogers and Fred Astaire, who made such a brilliant [screen] partnership. There’s a dress that Ginger wears in Swing Time (1936) that just looks so fluid: it specifically has a very 1930s feel to it, but the way the dress moves feels like it has an anti-gravity effect. I was trying to get that same effect with the dress we made for Emma, which is actually my favourite. All the dresses that Mia wears were designed with dance in mind. As we get progressively further into the film, the volume in the skirts gets bigger and bigger: the white dress’s skirt wasn’t just a whole circle, it was a circle and a half.'

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Emma’s white dress had more volume and a more complicated pattern than her other costumes,” explained Zophries. “It had a silk chiffon top and a very lightweight silk charmeuse underneath, so it was like two layers, all hand sewn. It’s beautifully done. I’ve seen the movie seven or eight times, and that white dress slays me every time. . . . It’s funny, because the movie is so known for its color. But the white dress . . . I get teary-eyed when it is on camera, because it’s everything I wanted it to be. It just rises up in the air as you spin in it.”In these times of stress and turbulence, the musicals of the 1930s-1950s with their notes of hope and escape may end up providing a relevant model for some of today’s movies. Certainly our dystopian movies of the last ten years have run their course. And the Golden Globe voters agree, having lavished the movie with a record seven awards. La La Land features intertextual references from the Musical Golden-Age of Classical Hollywood cinema. Chazelle captures the old Hollywood feel and pays homage to Classical Hollywood musicals including, While the choice to film in real locations adds to the sense of nostalgia and escapism for an older Hollywood. The colour manipulation of the lighting foreshadows the future of the characters’ paths. Overall, the techniques used in La La Land range from montage sequences to using primary colours, intertextuality and paying homage to the musicals of Classical Hollywood. Shown above is Mary Ann Nyberg’s original costume design sketch for Cyd Charisse in Band Wagon, 1953. Charisse plays the younger ballet trained dancer to Astaire’s older (now somewhat tarnished) star. But sparks fly as they walk and then Dance in the Dark in Central Park. The costume sketch design has been somewhat modified for the film as the top has the front décolleté. Remaining is the free-flowing pleated skirt shown below. Likewise, the color pallette of a scene matters. Director and writer Damien Chazelle’s bright, detergent-commercial colors are (like many mechanics of the movie) an homage to big Hollywood musicals of old. But the primary color choices he makes also conveys much more about the pair of artists, and the lives they choose to lead.

Lala Costume - Etsy Singapore Lala Costume - Etsy Singapore

See, details matter in La La Land. The fact that Mia changes out of heels to matching tap shoes when Sebastian and her have their twilight dance is important; we won’t see her in heels again until she’s left Sebastian. That Sebastian drives a classic, brown Riviera distinguishes him from Mia’s sensible, modern Prius. The costumes are blasted in primary colours – green, red, yellow, and blue to represent the fantastical world. These bright and bold colours highlight the drivers’ real emotions as all they wish to do is escape reality and express their feelings through movement and dance. The bright colours bring a stark contrast to the typical business attire and suits of people’s everyday workplaces. Before rolling cameras on La La Land, the musical starring Ryan Gosling and Emma Stone, writer/director Damien Chazelle made sure his entire crew was on his Technicolor wavelength by hosting movie screenings.

Epilogue: the white 'what if?' dress

That party scene foreshadows Mia’s creative potential early on. Unlike her partner, Mia isn’t quite distinctive right off the bat; up until then the movie has painted her as just another hopeful starlet. And while Sebastian gets a few scenes that demonstrate his skills as a pianist, Mia’s talent is a bit more obscure. Some of that is just part of the nature of a musical; it’s a lot easier to showcase someone’s instrumental expertise than it is someone’s acting talent within a film.