5.1 Costumes in Inherent Vice Presenting character When you meet someone, you form your first opinion of them within seconds. Most of that impression comes from their physical appearance. It's not judgmental; it's human behavior. Short, tall, fat, skinny. Well-dressed, under-dressed, long hair, short hair. Beard, mustache, earrings, necklace. When you're designing the look of your characters, all these elements should be considered. In a perfect scenario, the audience will pay attention to the costumes on a superficial level. But subconsciously, the overall effect of the character's wardrobe plays a part in our experience. Inherent Vice has some great examples of costuming that informs the character. Like many of Anderson's films, it is a period piece. Specifically, it is set in Southern California in 1970. Many demographics come together in the film. There are beach bum hippies and the straight-laced cops. There's a white-robed cult, a biker gang, and a member of the Black Panther party. Each group has a distinct and meaningful outer appearance. Let's look more closely at our lead character, Doc Sportello, and Det. Bjornsen. Doc is a private investigator, and Bjornsen is LAPD. We understand very quickly that these two men have a love-hate relationship. Idealistically, they are two sides of the same coin. They clash on many topics, even if their ultimate goal is the same. Doc is a dirty hippie, and Bjornsen is a stern man of the law.

Doc has unruly hair, mutton chop sideburns, and he is either barefoot or wearing sandals at all times. His approach to solving the case is loose and sometimes unfocused. His costume echoes this.

Bjornsen is uptight and frustrated. He sports a buzzcut, no facial hair and often wears a black suit and tie. Bjornsen is a no-nonsense detective. He's the opposite of Doc in every way. This dichotomy is made clear in something we take for granted: costumes. In your next film, don't forget to think about what your characters should wear. Thoughtful costume design is strong filmmaking. It will speak volumes to the audience, and it will enhance the actor's performance.

5.2 Locations in Phantom Thread Confine your characters If you've seen Phantom Thread, you know it's an intimate story. More than that, it is also a claustrophobic story. Reynolds Woodcock (Daniel Day-Lewis) is a premiere dressmaker. He is demanding of others and himself. His home is also where he and his many seamstresses work. The building is an elegant, Georgian townhouse. It is a tall building, but it is not wide. The 5-story home is much more vertical than horizontal. This is not a set that Anderson built on a soundstage. It is an actual location where he shot a majority of the film. Why did Anderson shoot in this building? What was it about the cramped architecture that appealed to him? He chose it to add to the tension his story called for. Woodcock's personality is quiet but intimidating. If he lived in a mansion, this would not come across. His soft-spoken militancy would be an empty threat. The drama is elevated because these characters have no escape. They live on top of each other, and this pushes them past intimacy. Look at this breakfast scene and notice how the lack of physical space is stifling.

Three characters are sitting at a table, which takes up a majority of the space. Even the table is crowded with dishes, food, and teapots. The wall curves around their backs, surrounding them. This is a tight, uncomfortable space. The dialogue in the scene is also awkward. Now, imagine the same scene in a large dining room. It would not have this effect. We might see the literal and emotional distance between the characters... ...but the tension would be gone. When searching for the perfect location for your scene, consider how the space (or lack of space) will add to it. It's not easy to shoot in such tight quarters, but the effect it has on the actors will enhance their performance. This is why your production designer should be aware of the space ahead of time, or even collaborate with the location manager to create the best space for the story.

5.3 script breakdown There Will Be Blood breakdown Writing a screenplay is very different from writing a novel, for example. Screenwriting is usually limited in scope and the filmmakers "fill in the gaps." It is the director’s job to visualize the script and put their personal stamp on it. P.T. Anderson does this every time out, which makes him an auteur. In a novel, you can spend pages describing a location. The reader gets the details from your words and their imagination. In a screenplay, you don't have that luxury. You have to limit your descriptions to what is necessary and move on. This where a script breakdown becomes essential. This is how you can gather your ideas for the look of a scene, or discuss details about the necessary props. In the script breakdown process, you have an opportunity to refine your vision and work out the details. We've taken the spectacular final scene from There Will Be Blood as an example of how it works. The dialogue and performances are great but what details were added to make the scene so memorable?

The script is very light on details. The dialogue is the primary focus of the scene. There isn't much specificity about the look of the location, the costumes, etc. In this scene, Daniel Plainview (Daniel Day-Lewis) is all washed up. His decades of ruthlessness have made him rich but alienated everyone around him. He is alone, alcoholic and unhinged. Outside of the dialogue, what decisions must be made to turn this scene from words on a page to moving images? One of the few descriptions we get from the script says, "There are empty liquor bottles around...signs of a MESS/BOOZE/TROUBLE." We get a very basic idea of what the scene should look like. And this is where a script breakdown comes in. Watch the scene here:

Let's start with costume, make-up, and hair. These elements of filmmaking might be taken for granted, but they are crucial. So much of a character's performance is informed by their presentation. There is no denying Daniel Day-Lewis' award-winning performance. It just might be the best acting ever committed to film. But when we examine Plainview's outer layer, we see his hair is unwashed, and his stubble is overgrown. His boots have holes worn in them. His sweater is stained and looks like it hasn't been washed in far too long. In contrast, Eli Sunday (Paul Dano) is clean shaven, his hair is slicked back, and he is impeccably dressed. He is put together in every way that Plainview is not.

Eli, trying his best

Before they even speak, we can tell a lot about their situations. This scene also calls for specific props. Plainview's is eating and drinking in the scene. But he's not drinking from a glass, and he's not eating with utensils. Plainview chugs alcohol straight from a large, glass jug. And he is eating what looks like a steak, cooked days earlier. You might think a question like, "What should the steak that Daniel eats look like?" is a waste of time.

Props Affect Performance