by Sean Donnelly
After sending my wife off to work and dropping Justin at his pre-school for the day I headed over to the Fort Green Brownstone to continue my coverage of A Rogue In Londinium. Once again the art department has turned the front parlor into Victoria’s bedroom in New York City. The room is less opulent than her London counterpart. It is no less impressive. I see Lisa, one of the art directors in the kitchen downing a tall cup of coffee and looking bleary-eyed. While we were outside shooting for two days they designed and dressed the room. Inquisitive, I began asking what reasons she had for this particular room and what is it exactly that she does.
“If you recall the London bedroom, the wallpaper was in a green floral scheme, brown bedspread with green highlights, green pillows, green floral rug, etc. I like to work with colors that reflect what is going on with the core reality of the character. It is Victoria’s bedroom. No one enters unless invited. Not even Charles. She is a very, very private person. On the outside she seems conservative, conventional, pragmatic. The room is a reflection of her heart. Various religious and spiritual icons are represented letting the audience know that she is somewhat progressive, non-judgmental and ecumenical in disposition and faith. The room is rich in color and in art. We can see that she feels things on a very deep level, on a heart level. The heart is where the vertical (spiritual) and the horizontal (material) planes intersect. There are red curtains and red pillows that hint at Victoria’s hidden passionate side. By the middle of the story she invites Richard into her room, i.e. into her heart. And this is the point where she trusts herself enough to let him express his gratitude and love. This is where the consummation of their feelings for each other takes place and this is also where the conception occurs---where heaven and earth meet.
In Victoria’s New York bedroom it is a place of escape and survival. We covered the walls in a red floral print, the windows in heavy red and gold damask curtains. It is about security, about stark reality, about the purely physical aspects of living day-to-day. She is pregnant and her health is at risk.” Lisa explains.
“STOP! Don’t tell me what happens. I want to watch the scene(s) unfold with fresh eyes.” I say.
“Okay, well getting back to the design I spoke with the director about some of the other elements. We didn’t want a totally red room. That could be misinterpreted as bordello-like. So we decided that Victoria’s bed would be covered in yellow/gold. Gold being the pinnacle of self-realization. The sheets would be green and so she would have to work through her heart to achieve her dreams.” Lisa said.
“This all sounds very woo-woo if you ask me. Do you really think people are going to get that?”
“You’d be surprised what people walk away with on a subconscious level. What we do is support the script and the character and we even ask the actors what they think since it effects them in a subtle way. That is what Art Therapy is about. Ask yourself why you like a certain painting? I bet it’s not because it is of any subject matter. It will be how the colors or tones are juxtaposed against each other supported by composition, line and strokes, impasto and glaze that bring up a visceral emotional reaction to that work of art. Go to the museum and see for yourself.” She challenges. “Check out Rothko and Van Gogh and really explain how you feel by looking at their work.”
“Okay, you’re on.” I reply.
I wander back to the green room where Ashley is pinning Rebecca into a lovely pink bustle gown. Thom is supervising since the dress was not tailored and doesn’t fit exactly right. Patrick is setting up the Jib arm and extension for the second scene. On the set Rebecca hits her mark and at that moment the sun beams in through the sheer curtains and illuminates her in a midday shimmering glow. Victoria gazes out over her new life in New York but her face betrays her tragic choice to try and save everyone but herself. At that moment something physically disconcerting happens and she must recover bent over and fragile, fear and sacrifice sweep across her face and the shot is done. The director quickly confers with Ms. Damon, camera resets and they shoot it again and again with different variations of emotional candor. I think I know what is coming and a sinking feeling washes over me.
William Laney walks in and his booming voice and intimidating stature command respect. He is playing Dr. Willoughby, an American physician tending to Victoria. I’ve seen Bill’s work and I wonder why the director did not utilize his talent with a bigger part. When I bring this up to Patrick he tells me that Bill is being considered for a much bigger role in their next project. “Besides, Bill works quite a bit and so we were happy he was able to come on board for this film.” He is perfect as Willoughby.
Jeremy Peterson a.k.a. Mrs. Hopkins has arrived along with Claire White who plays an attending nurse. Patrick, Thom and Eddie along with the other grips move the jib arm onto the set and commence a practice run. The move starts high up over the bed like a fly on the ceiling, then slowly moves down to a medium close up of Mrs. Hopkins sitting on the bed with Victoria’s semi-conscious head in her lap, the doctor and nurse helplessly observing a woman on the brink of death. Victoria has miscarried and is in the throes of hovering between worlds. As I watch the scene play through the monitor I am aware of how it is affecting me. A deep despair has taken root in my gut. Anyone who has kids can understand the immediate effect the loss of a child can have on one’s entire being. Just the tiniest hint of my wife losing our son, Justin is enough to make me bawl like a school girl and want to immediately drown my sorrows in strong liquor or become insanely obsessed with an activity like Forrest Gump and run across America. I watch as the director covers the scene and am intrigued with the way it moves. We only see Victoria for a moment in her dire state, but the camera holds on everyone else in the room. Jeremy’s performance as Mrs. Hopkins is particularly moving since she is for all intents and purposes a surrogate mother to Victoria. Watching her cling to a shred of hope and then let go all in silent, subtle moments is entrancing. The Doctor does not have to say a word to convey his sense of urgency and that decisive moment when everything that can possibly be done has been exhausted. And although we only see the nurse in this one scene Claire’s sympathy and innocence brings the scene home. I wonder if this is it for Victoria. I don't want her character to die. I feel kind of silly since I know it is all part of movie illusion but these guys do it so well. Perhaps, Lisa is onto something. These things wash in through the subconscious and intellectually I wonder why I'm feeling so much.
The next set-up occurs several days or even weeks later. Victoria has recovered enough to see visitors. It is the first time Charles is allowed to see his wife. As he walks into the room he takes Victoria in for a moment and then collects his thoughts near the window. Keith’s performance is complex and intricate and incredibly endearing since he is the betrayed. In their tense silence both are aware that the doomed pregnancy was Richard’s child. It is as if some omniscient force had changed the rules of the arrangement for them both and yet there is a sense of devotion still intact. In a turn of absolute gratitude despite the circumstances, Charles realizes his own responsibility within the triangle and promises to continue his support by giving Victoria her life back. It is fascinating that a man of that time would feel more betrayal from the fact that she did not tell him how she felt and what she wanted regarding Richard rather than the actual affair. Victoria is finally free and in a sense so is Charles, their agreement outliving its purpose. I bid the cast and crew farewell and head for the nearest watering hole. I want to get blotto. My cell phone rings and I can see my wife’s picture pop up on the screen. I change my mind and head home instead willing to be open to the surprises my family has waiting for me.
In Victoria’s New York bedroom it is a place of escape and survival. We covered the walls in a red floral print, the windows in heavy red and gold damask curtains. It is about security, about stark reality, about the purely physical aspects of living day-to-day. She is pregnant and her health is at risk.” Lisa explains.
“STOP! Don’t tell me what happens. I want to watch the scene(s) unfold with fresh eyes.” I say.
“Okay, well getting back to the design I spoke with the director about some of the other elements. We didn’t want a totally red room. That could be misinterpreted as bordello-like. So we decided that Victoria’s bed would be covered in yellow/gold. Gold being the pinnacle of self-realization. The sheets would be green and so she would have to work through her heart to achieve her dreams.” Lisa said.
“This all sounds very woo-woo if you ask me. Do you really think people are going to get that?”
“You’d be surprised what people walk away with on a subconscious level. What we do is support the script and the character and we even ask the actors what they think since it effects them in a subtle way. That is what Art Therapy is about. Ask yourself why you like a certain painting? I bet it’s not because it is of any subject matter. It will be how the colors or tones are juxtaposed against each other supported by composition, line and strokes, impasto and glaze that bring up a visceral emotional reaction to that work of art. Go to the museum and see for yourself.” She challenges. “Check out Rothko and Van Gogh and really explain how you feel by looking at their work.”
“Okay, you’re on.” I reply.
I wander back to the green room where Ashley is pinning Rebecca into a lovely pink bustle gown. Thom is supervising since the dress was not tailored and doesn’t fit exactly right. Patrick is setting up the Jib arm and extension for the second scene. On the set Rebecca hits her mark and at that moment the sun beams in through the sheer curtains and illuminates her in a midday shimmering glow. Victoria gazes out over her new life in New York but her face betrays her tragic choice to try and save everyone but herself. At that moment something physically disconcerting happens and she must recover bent over and fragile, fear and sacrifice sweep across her face and the shot is done. The director quickly confers with Ms. Damon, camera resets and they shoot it again and again with different variations of emotional candor. I think I know what is coming and a sinking feeling washes over me.
William Laney walks in and his booming voice and intimidating stature command respect. He is playing Dr. Willoughby, an American physician tending to Victoria. I’ve seen Bill’s work and I wonder why the director did not utilize his talent with a bigger part. When I bring this up to Patrick he tells me that Bill is being considered for a much bigger role in their next project. “Besides, Bill works quite a bit and so we were happy he was able to come on board for this film.” He is perfect as Willoughby.
Jeremy Peterson a.k.a. Mrs. Hopkins has arrived along with Claire White who plays an attending nurse. Patrick, Thom and Eddie along with the other grips move the jib arm onto the set and commence a practice run. The move starts high up over the bed like a fly on the ceiling, then slowly moves down to a medium close up of Mrs. Hopkins sitting on the bed with Victoria’s semi-conscious head in her lap, the doctor and nurse helplessly observing a woman on the brink of death. Victoria has miscarried and is in the throes of hovering between worlds. As I watch the scene play through the monitor I am aware of how it is affecting me. A deep despair has taken root in my gut. Anyone who has kids can understand the immediate effect the loss of a child can have on one’s entire being. Just the tiniest hint of my wife losing our son, Justin is enough to make me bawl like a school girl and want to immediately drown my sorrows in strong liquor or become insanely obsessed with an activity like Forrest Gump and run across America. I watch as the director covers the scene and am intrigued with the way it moves. We only see Victoria for a moment in her dire state, but the camera holds on everyone else in the room. Jeremy’s performance as Mrs. Hopkins is particularly moving since she is for all intents and purposes a surrogate mother to Victoria. Watching her cling to a shred of hope and then let go all in silent, subtle moments is entrancing. The Doctor does not have to say a word to convey his sense of urgency and that decisive moment when everything that can possibly be done has been exhausted. And although we only see the nurse in this one scene Claire’s sympathy and innocence brings the scene home. I wonder if this is it for Victoria. I don't want her character to die. I feel kind of silly since I know it is all part of movie illusion but these guys do it so well. Perhaps, Lisa is onto something. These things wash in through the subconscious and intellectually I wonder why I'm feeling so much.
The next set-up occurs several days or even weeks later. Victoria has recovered enough to see visitors. It is the first time Charles is allowed to see his wife. As he walks into the room he takes Victoria in for a moment and then collects his thoughts near the window. Keith’s performance is complex and intricate and incredibly endearing since he is the betrayed. In their tense silence both are aware that the doomed pregnancy was Richard’s child. It is as if some omniscient force had changed the rules of the arrangement for them both and yet there is a sense of devotion still intact. In a turn of absolute gratitude despite the circumstances, Charles realizes his own responsibility within the triangle and promises to continue his support by giving Victoria her life back. It is fascinating that a man of that time would feel more betrayal from the fact that she did not tell him how she felt and what she wanted regarding Richard rather than the actual affair. Victoria is finally free and in a sense so is Charles, their agreement outliving its purpose. I bid the cast and crew farewell and head for the nearest watering hole. I want to get blotto. My cell phone rings and I can see my wife’s picture pop up on the screen. I change my mind and head home instead willing to be open to the surprises my family has waiting for me.
Posts
