At the beginning of ”Friendship” Tim RobinsonThe character Craig’s favorite place in the world is a beige armchair. It’s how much the world of film is supposed to be common, contemporary and painfully imperceptible. But contemporary comedies can do as much work to create a sense of character and place as more increased sci-fi or period settings. When Craig meets the new one to the city’s meteorologist Austin (Paul Rudd) and receives an invitation to his home, the space it has been designed to meet Craig’s wildest fantasies about what is cool for it.
Rocío Giménez, the production designer of ‘Friendship,“IndieWire told us that the film’s transformation into something manic and self -destroying when Craig becomes more and more obsessed with Austin telegraphed by the world’s design, but all that Production design Choices put a kind of invisible pressure on the characters to be snapped. Austin’s home is tasteful in the middle of the century modern in design and interior design, but Giménez made sure that these were as hollow as the character stops being himself.
“His aesthetics are the middle of the century modern. It is cool, but it is also a stereotype of what is cool is in the eyes of Craig. He looks on the sofa and says it is such a cool sofa but it is actually a copy of a designer sofa. It is all-super) (austin). Of real design furniture that is supposed to be coherent, and in Craig’s perspective it is super cool, but the audience knows the difference. ”
The audience can also tell you how much of a ghost Craig is in his own home and his own life, as his wife Tami (Kate Mara) transforms more and more into a flower company. Only the armchair is really visible as a choice that Craig made to itself. His “man cave” garage where he pulls the drum he bought to get stuck with Austin (troublesome not interested) is empty. The walls are naked. Giménez slid only one more thing in the house that Craig would have chosen, and it is hardly a choice at all.
“There is a painting by van Gogh above the bed, but if you look at it it says” the engrossing experience. “Maybe he didn’t actually know who Van Gogh was, maybe he just went to the mall, and he went to the Light Show by Van Gogh and he was like,” Oh, this is so cool; So they bought the poster, “Giménez said.” That’s the type we always do. Just putting the little visual twist, people hardly notice that it is there, but we are constantly building the psychological levels in our patterns and really tells who this person is. ”
It is the type of work that is not intended to distract from the comedy flow or ever pay attention to itself. But it helps to guide the actors and the other members of the production to create comedy. Giménez refers to large, engrossing production design to have the ability to create the contrast that comedy must thrive, especially Tim Robinson’s brand of it.
“This movie was taken as” The Master “. Everything is Deadpan. Tim RobinsonAnd he’s the yellow guy in Google Street View, and he expands it. There is something fantastic that can happen in comedy where the environment, the world, is very grounded and it is not super light or pastel or screaming jokes. It is a comedy because it is a comedy without joke. It acts more mentally, ”Giménez said.
These psychological clues are scattered throughout “friendship”, with Giménez who not only takes the production restrictions and the logistical time for where the shot needed to go when, without finding ways to seed small pieces of shrink in Craig’s world and let us know that things are not quite right – with him, or with someone.
“The production design is a silent partner for comedies,” Giménez said. “These sets become characters, if you look. There are many layers. It supports subtly the character’s emotional state and must be, for me, as a playground where the actors and director and DP can completely play in it. We make the 3D, 360 -degree playground for them.”
