Movie Galleries Movie Galleries
 Best Sellers
Erotic Posters
|
How to Deal Picture 11
|
 More Movies
|
|
 |
 |
 |
|
 |
|||
|
|
|
|
|
|||
How to Deal Full Production Notes "A lesson in love for non-believers"
|
|||
 Chapter 4: Different Generations of WomenProducer Erica Huggins, who also serves as executive vice president of production for Radar Pictures, has high hopes for the project. "This is a romance between Halley and Macon, but secondarily this is a multi-generational ensemble movie," she says. "We love Neena's writing ` it's sophisticated and authentic at the same time."
As the option on the books loomed, the filmmakers knew it was do or die. Around the same time, Huggins had a general meeting with Mandy Moore soon after Moore had completed filming her first starring role in A Walk to Remember. As the meeting ended, Huggins told Moore about How to Deal and the role of the spirited and independent Halley Martin. After reading the script, Moore responded enthusiastically and accepted the part.
With Moore attached, David Linde of Focus Features (formerly Good Machine International) came on board to finance the film and then Radar brought on New Line Cinema as the domestic distributor. It was time to search for a director.
A few years prior, Erica Huggins and William Teitler had the opportunity to see a film called Janice Beard: 45 wpm and meet its director, Clare Kilner. Kilner and her comedy about a working class woman left an impression on both of them. Teitler comments that Kilner's "emotional authenticity, original sense of humor, unique point of view, and strong woman's voice were appropriate and big plusses for the project."
"I'm attracted to projects about family dysfunction, people struggling to live their lives and learning how to love and who to love," Kilner notes. "I'm also interested in the different generations of women in the story ` the grandmother, mother and granddaughters and the little jealousies between them."
The film's multi-generational appeal is also evident in its design. Production designer Dan Davis describes the look of the film as comprised of two different worlds: "There's the regular suburban world inhabited by the adults, and there's the teenage world that is more industrial and bleaker, with hard-edged landscapes," said Davis. Shooting took place in locations as varied as a school, a water dam and the church where Ashley and Lewis' wedding takes place.
"This film is set in contemporary America," producer William Teitler adds. "We didn't want either a picture perfect, Norman Rockwell look, or the typical dysfunctional look at suburbia, that appears so often in film. We wanted a combination of a sense of heightened reality, as well as something that felt classic and familiar."
Costume designer Alexandra Welker wanted to keep the look of the characters as "real as possible." For her, the costumes needed to express what the characters were going through by focusing on the texture of what made them interesting and, therefore, sympathetic to an audience. From a practical standpoint, her task was made more challenging because the story takes place over the course of a year. "There's the behind-the-scenes challenge of finding clothes for each season while shooting in the summer, and there is the story challenge of moving the characters through an entire calendar year ` seeing how they grow and change," says Welker.
Welker did not want Halley to be the typical, cynical teen. "The trick with Halley is that we were trying to express the fact that she's a very individual girl," Welker notes. "She's a fully formed person in many ways. I felt that she expressed herself through clothing that would look really cool, but not like she was making an effort at it. She's fairly oblivious of fashion. I concentrated on color palette and texture and mixing things in interesting ways."
|
|||
Sitemaps, RSS Feeds & Social Networks
|
|||||||
 |
 |
|
|
|
|
||
Destination London 