Ref style used in article [1] looks like: ^ Radish, Christina (14 October 2010). "Screenwriter Peter Morgan Exclusive Interview". Collider.com. Retrieved 21 October 2010.
TTSS (film)
Production Values
editMuch has been written about how creatively and purposefully the 1970s British spy world was recreated in this film through its production values. "The sense of period is superbly evoked – a pre-digital world of telephone boxes, clunking great tape-recorders, of rain, austerity and gloom," Mick Brown writes in The Telegraph.[2] London back in 1973 and now, "it's two different cities," Director Alfredsom tells Brown. "Today it’s a white city, then it was black; it was so dirty, and you could still feel the war all around. And I think we’ve captured that."
Director Tomas Alfredson went through an exhaustive selection process to find the right production designer. He chose Maria Djurkovic.[3] Using an Edwardian exterior, a "great brutalist 60s lump" was used for the interior of "The Circus," Djurkovic explains. Working on the director's idea of what it should be, she pushed the idea to use soundproofing foam for the Conference Room. "It worked on several levels," she says. "And I knew that it would also be a striking visual and quite a bold one as you have 360 degrees of this stuff and a single picture, window or anything else to interrupt it." [4] Based on information gleaned from conversations with John Le Carré, she describes other detail put into the film to recreate the British spy world of the 1970s, e.g. glass blocks used to prevent pen imprints in paper, empty waste paper baskets, etc. [5]
"The biggest problem was having a movie where all of the cast are middle-aged men," Jacqueline Durran, the film's costume designer told ''GQ''. "And trying to get across the different characters while being aware of how coded men's costuming is for that stratum of society, at that time. The details of dressing are quite intricate."Cite error: There are <ref> tags on this page without content in them (see the help page). Basically, she was asked to work with the classic outfit for men: the suit.[6] The clothes the spies wore were atypical of the time, not "brash highstreet." Clothes "were less accessible, and people just wore things for longer. So there's a kind of reality to it that the '70s didn't really look like the '70s." Cite error: There are <ref> tags on this page without content in them (see the help page). Durran worked from photographs of Graeme Greene and notes given to her from Alfredson, ...... <ref>http://www.guardian.co.uk/film/2011/sep/11/jacqueline-durran-tinker-tailor-suits<[REF]/ref> http://www.theage.com.au/entertainment/movies/the-very-model-of-a-savile-row-spy-20120122-1qbzm.html
- ^ Radish, Christina (14 October 2010). "Screenwriter Peter Morgan Exclusive Interview". Collider.com. Retrieved 21 October 2010.
- ^ Brown, Mick. "On the set of Tinker, Tailor, Soldier, Spy". The Telegraph. Retrieved 19 June 2012.
- ^ Grobler, Craig. "The Establishing Shot: Tinker Tailor Exclusive! Title of Tinker Tailor sequel confirmed and decoding Tinker Tailor with the film's makers". January 16, 2012. The Establishing Shot. Retrieved 19 June 2012.
- ^ Grobler, Craig. "The Establishing Shot: Tinker Tailor Exclusive! Title of Tinker Tailor sequel confirmed and decoding Tinker Tailor with the film's makers". January 16, 2012. The Establishing Shot. Retrieved 19 June 2012.
- ^ Grobler, Craig. "The Establishing Shot: Tinker Tailor Exclusive! Title of Tinker Tailor sequel confirmed and decoding Tinker Tailor with the film's makers". January 16, 2012. The Establishing Shot. Retrieved 19 June 2012.
- ^ [REF]