Adam Stockhausen Talks Grand Budapest Hotel

Imagine going from 12 Years a Slave to The Grand Budapest Hotel. That’s exactly what happened to production designer Adam Stockhausen, who was able to convey beauty in the darkest of dramas, but when it came to Wes Anderson’s witty caper, there was no holding back the Czech Republic eye candy: a pink hotel with a dollop of yellow butter cream, and the sugary Mendl’s bakery.

But then Stockhausen is no stranger to Anderson, having previously worked on Moonrise Kingdom and The Darjeeling Limited. However, when he read the script for The Grand Budapest Hotel while still making Steve McQueen’s eventual Oscar winner in New Orleans, he immediately embraced the opportunity to partake in the Eastern European opulence.

“It’s bright, vivid, and poppy but not electric,” Stockhausen offers (Look Effects was instrumental in helping the miniatures seamlessly fit into the set design and look of the invented universe).

In tone, the movie’s a cross between Max Ophuls’ melancholy The Earrings of Madame de and the screwball antics of The Wrong Box. Ralph Fiennes plays¬†Gustave H., a legendary concierge at a famous European hotel between the wars, and it involves the theft and recovery of a priceless Renaissance painting. But beneath the glossy surface lies the darker theme of trying to hold onto a bygone civilized ethos amid war, vulgarity, and degradation.

Read the rest at TOH/Indiewire.

 

Posted on by Bill Desowitz in Below the Line, Clips, Movies, Production Design, Tech, Trailers, Uncategorized, VFX, Virtual Production

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