SETTING THE STAGE --HOW "GHOST TOWN" USED COSTUMES & SET

[Rachel Galvin]

SETTING THE STAGE & CREATING A LOOK -- "GHOST TOWN" By Rachel Galvin

Besides clever dialogue, an interesting plot and great acting, part of what makes a film memorable is the feel of it, the look, the mood. These elements can be created in a variety of ways. In this article, I use the example of the upcoming film "Ghost Town" (opening Sept. 19) (see videos for trailer) to illustrate how both costume choices and location/ set dressing can add so much to a production.

Now whether or not it resonates with you, be assured that each film (most films I should say) really concentrate on what they want the viewer to feel and try to achieve this through setting and look. In "Ghost Town," they chose the location of Manhattan, and to avoid the same old scenes seen again and again like many other productions, they chose out-of-the-way locales nested within popular hot spots. For example, they showcased the Literary Walk, which features statues of Shakespeare, Sir Walter Scott and Robert Burns.

They also challenged themselves by shooting at The Met! "Shooting at the Met is a big commitment," said Executive Producer Ezra Swerdlow, "You can't make a mistake because you really can't go back. So you're working under a lot of pressure. But we got lucky and everything looked great." They used the Egypt Gallery at Brooklyn Museum as a stand-in as needed. The mummy Pepi III was built to look real. "Using research on Ramses I, we started with a human skeleton then added layers of dried, shriveled skin made out of latex and paint, explained production designer Howard Cummings. "It looked so real it fooled some people in the museum."

In individual locations, such as in the office of the lead character, Bertram Pincus (Ricky Gervais) certain elements had to be added or subtracted to reflect the character that most uses that space. In the case of Pincus's dentist office and his home, they kept it very sparse to reflect his general bland personality. This is in sharp contrast to the home of Gwen Herlihy (Tea Leoni), whose space is colorful and brighter. This is to subtly show the differences in these two characters, which adds to the tension between them as Pincus desperately tries to communicate with Herlihy to stop her from marrying the wrong man. (This is not a review so I am not going to go much into plot right now. Look for a review soon.)

As locations are chosen, sets are prepped and propped, the Costume Designer is rifling through clothes, creating drawings and sometimes even getting out the measuring tape and pins to tailor as needed (unless they have an assistant for that.) They scour the shelves of department stores and wardrobe racks to find just the right blouse or shoe or accessory that will bring the characters to life.

Costume Designer Sarah Edwards, who recently won an Oscar for designing clothes for "Michael Clayton," dressed 'Mr. Bland' (Pincus) in drab blacks, greys and tans. Of course, as his character arcs, his clothes brighten ever so slightly, warming up somewhat as the audience warms to this character and other people around him warm up as well. Even his hair becomes less rigid.

Tea Leoni's character, instead of being a stereotypical Egyptiologist, looks smart and savvy.

Greg Kinnear, also a main character, playing the dead Frank Herlihy, wears a tuxedo, bow tie and suspenders throughout the film. Dead men don't care about changing fashion fads, I guess. :)

For the other ghosts, who follow Pincus like he was the Pied Piper, Edwards did some research. The ghosts range from the 1940s until today and are seen on the screen at all times, rather than becoming invisible. They only disappear in order to walk through something. So their clothes needed special attention. "David [David Koepp, screenwriter -- who also wrote "Stir of Echoes," "Secret Window" and "Indiana Jones and the Crystal Skull," among others) wanted a broad mix of ghosts," said Edwards, "and we went through files and files of pictures. We have a couple from the '60s, a World War II nurse, a Serpico-style cop from the '70s, a poor naked guy. We also have a hardcore biker, a tennis player and some ladies who lunch. But they were all just sort of scattered in. He didn't ever want one particular look to take over the whole frame."

This film really allows the costumes and locations to infuse their own spirit into the film and that, combined with the colorful characters, was the focus, rather than special effects, which those in charge felt were not needed just because this comedy was a ghost film. "All the effects in the world are useless if you don't feel that special connection to the characters," expressed producer Gavin Polone.
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Photo Credit: Sarah Shatz
(Left to right) Bertram Pincus (Ricky Gervais), a socially awkward dentist, is trying to prevent Gwen (Téa Leoni), a widow, from marrying again, as a favor to Frank Herlihy (Greg Kinnear), the ghost of her former husband, whom only Bertram can see, in the comedy “Ghost Town.” DreamWorks Pictures and Spyglass Entertainment Present A Pariah Production
“Ghost Town” starring Ricky Gervais, Téa Leoni, Greg Kinnear, Billy Campbell, Kristen Wiig and Dana Ivey. The film is directed by David Koepp and written by David Koepp & John Kamps. The producer is Gavin Polone. The executive producers are Roger Birnbaum, Gary Barber and Ezra Swerdlow. This film has been rated PG-13 for some strong language, sexual humor and drug references.