johnnysilverhand:“When Almodóvar wrote the script, he had the distribution of his home in mind, and
johnnysilverhand:“When Almodóvar wrote the script, he had the distribution of his home in mind, and he wrote the scenes based on that distribution, including details such as how light enters during particular moments in the day. It’s not an exact replica, neither in size, nor in color, nor in where the artwork and the furniture are situated, but if anyone knows Pedro’s house and sees the decor, they will feel transported to the universe of his home.[The cave dwellings in Paterna, in Valencia, Spain] had fascinated us. Right now almost no one lives in these kinds of caves.We added chimneys to the surface, as well as skylights where light could come in and air could flow. We also painted cracks on the ground to make it look like the scars of time. The process [of creating the interior of young Salvador’s cave on a set in Madrid] feels something like tailoring a suit from scraps of cloth and then making sure none of the seams are visible. The cave we needed did not exist! So we had to construct it.We talk a lot about how the spaces will be. It’s a pleasure to work with a director for whom the set is like another actor in his film. It’s a luxury.” – Antxón Gómez, production designer for Pain and Glory (2019), his ninth production with Pedro Almodóvar [x] -- source link
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