Craft-Talking The Theory of Everything

James Marsh’s The Theory of Everything brilliantly turns Stephen Hawking’s life into a metaphysical love story about the collision of macro and micro Big Bangs.

The film’s Oscar-buzzy crafts convey thought-provoking metaphors, not the least of which is how his mind expands while his body deteriorates.

“It was important to find the end look of Eddie in the wheelchair because I already knew what I would do to make Eddie look like the young Stephen Hawking,” explained hair, makeup and prosthetic designer Jan Sewell. “If I got the two ends, then I could do my timeline. I did a head cast and a mouth cast of Eddie, who I worked with previously on Les Miserables. I needed to get mouthpieces and teeth made to get the effect of his jaw dropping. Eddie worked with movement coach Alex Reynolds and figured out how he was going to twist his body and head.”

This was done in close collaboration with production designer John Paul Kelly and costume designer Steven Noble. “His life experience was expanding, so we tried to show that in the design where you start with a womb-like world of academia and the world gradually expands around him as his internal world gets smaller, until you eventually end up in huge auditoriums with thousands of people and the world at his feet,” said Kelly.

Meanwhile, the heightened use of natural lighting by cinematographer Benoit Delhomme craftily evokes Douglas Sirk and Krzysztof Kieslowski.

Read the rest at TOH/Indiewire.

Posted on by Bill Desowitz in Below the Line, Cinematography, Clips, Costume, Makeup/Hair, Movies, Music, Oscar, Tech

Add a Comment