Everyone mourns what could be made if we only had the time, money and resources. So the entire process is streamlined into what can be made in quantity and quickly.
But there just isn’t the time because you need 60m of specific fabric yesterday. You know if you could have even a week to source something from, say, Italy, you can get something divine. This paired with scheduling limitations above means more often than not we must use what we can get immediately. That means fabrics are needed in huge quantities, and workrooms must effectively have factory productions. This with the commonality of stunts means that sometimes as much as 20+ repeats of element of a costume are needed, depending on necessity. That means, simply, more costume as they all must have their own. On another job we had three (3) days between a principle actor needing a visually iconic costume being cast and being ON CAMERA.Īdditionally it is becoming increasingly common for actors to expect higher use of doubles - both stunt and picture doubles m.
#Fruity rumpus plus#
I did a job last year where - aside from our two leads - we had zero cast until the week we started shooting which meant we could only do extremely linited advance work plus we had a minuscule team despite being for a huge streaming platform with major stars. This limits contact time for development and conception (actors must also be involved int he design process), fittings, etc. Because productions never consider the wider logistics of outlying departments like costume, props etc.Ĭast is increasingly last minute, w negotiations dragging out. That feeds back into the materials available (and a dependency on what IS available?, but also staffing levels - smaller workrooms, limited outsourcing etc etc. Additionally budgets - despite the ridiculous sums of money being sunk - are becoming more shrunk, focused and scrutinised. Prep time is constantly being shrunk to the absolute bare minimum which limits design time, fitting time, r&d, sourcing (materials, hardware habdash, etc), making time (drafting, construction, embellishment, etc). What is happening is a degradation of production schedules. The only thing more astounding is how little they are being properly utilised. The number of phenomenally talented and knowledgable Costumiers and maker working is astounding. Ok, but what is happening here is not a degradation of skill.
#Fruity rumpus tv#
Meanwhile, sitting in his villa somewhere on the coast of Spain or France or Italy … is a man who’d apparently had a ticket machine installed completely on his own and then had simply begun to show up every day, commencing to collect and keep the parking fees, estimated at about £560 per day - for 25 years.Īssuming 7 days a week, this amounts to just over 7 million pounds … and no one even knows his name.This trend should upset you not just because it looks cheap, but because it suggests a strong anti-art and anti-labor movement in film and tv making. The City Council responded that the lot attendant had never been on the City payroll. The Zoo advised the Council that the attendant was a City employee. The Council did some research and replied that the parking lot was the Zoo’s own responsibility. Then, one day, after 25 solid years of never missing a day of work, he just didn’t show up so the Zoo Management called the City Council and asked it to send them another parking agent.
The fees were £1.40 for cars and £7 for buses. For 25 years, it’s parking fees were managed by a very pleasant attendant. Outside England ‘s Bristol Zoo there is a parking lot for 150 cars and 8 buses.
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