Deborah Nadoolman Landis claims the legacy of Yvonne Blake and craft of costume designers Junto a Tatiana Hern ndez, Clara Bilbao, Pedro Moreno y Cristina Rodr guez, protagoniz un encuentro organizado por la Fundaci n Academia de Cine en colaboraci n con la Academy Of Motion Picture Arts and Sciences, Swarovski y UCLA David C. Copley Center for the Study of Costume Design.
The memory of Yvonne Blake, la importancia del vestuario para construir a los personajes y dar credibilidad a las pel culas y la lucha contra la invisibilidad de este oficio se dieron cita este jueves en la Academia de Cine at the round table Dise o de vestuario a la espa ola.
The prestigious costume designer and teacher Deborah Nadoolman Landis, que visti a Harrison Ford en Raiders of the Lost Ark and he drew up red leather jacket worn by Michael Jackson in Thriller, moder este encuentro en el que debati con sus compa eros de profesi n espa oles Clara Bilbao, Tatiana Hern ndez, Pedro Moreno y Cristina Rodr guez, estrechando lazos entre la comunidad internacional de dise adores de vestuario.
Nosotros creamos personajes a partir de la p gina del gui n , reivindic Landis, que habl del poder de transportar al espectador. Cuando vemos una pel cula estamos absortos en la historia y las im genes, y no nos damos cuenta de que el dise o de vestuario ha ayudado a construir esos personajes. Es como un hilo musical que suena de fondo , explic en esta cita organizada por la Fundaci n Academia de Cine, en colaboraci n con la Academy Of Motion Picture Arts and Sciences, Swarovski y UCLA David C. Copley Center for the Study of Costume Design.
Convencida de que la audiencia debe creer que las personas de una pel cula son nicas. Todos somos complejos. Tenemos pasado y vestimos recuerdos , se lament de que a veces err neamente nos consideran proveedores de ropa y otras veces nos confunden con parte del mundo de la moda .
Todos coincidieron en que el mejor vestuario es aquel que no se nota. En el que el actor es realmente el personaje , en palabras de Pedro Moreno; y el mejor director, el que comprende lo que vestidos, trajes, adornos y complementos pueden aportar. Me aterran los que me dicen hazme algo bonito', porque no saben lo que quieren. El que me tira cinco veces una idea es el interesante , asegur el ganador de dos goyas por The dog in the manger, de Pilar Mir , y Goya in Bordeaux, de Carlos Saura.
Tatiana Hernandez, que se alz con un busto por su labor en Lope, de Andrucha Waddington, le secund se alando que no es hacerlo bonito, es hacer lo que necesita la historia y lo que es veros mil , y la cinco veces nominada a los premios del cine espa ol, Cristina Rodriguez, apunt que a trav s de la ropa tambi n se cuentan historias .
La influencia de vestuarios ic nicos del cine y la ficci n televisiva en la moda de la calle, la diferencia entre afrontar una producci n de poca, futurista o contempor nea - las m s dif ciles de resultar convincentes, porque todos somos expertos en la vida cotidiana , seg n Bilbao- y la estrecha relaci n con los departamentos de direcci n art stica y maquillaje y peluquer a son otros de los temas que se abordaron en la mesa redonda, donde tambi n tuvo espacio la balanza entre intuici n y experiencia.
Cuando leo un gui n siempre tengo una primera idea. Luego investigas, a ades el simbolismo, el c digo de colores por el camino has a adido muchas m s cosas, pero al final vuelves a esa primera intuici n , relat Bilbao, premiada con dos goyas por sus trabajos en Nadie quiere la noche, de Isabel Coixet, y Blackthorn, de Mateo Gil.
Tucking actors Y un interrogante com n: por qu un dise ador de vestuario no se puede encargar del dise o de arte cuando hay veces que lleva el peso de la carga visual? Tenemos una visi n global, ayudamos a crear el marco , manifest Landis, al tiempo que Hern ndez asegur que siempre estamos pendientes de que nuestro vestuario est acorde y envuelto en el decorado. Perseguimos m s a los directores de arte que ellos a nosotros .
For Cristina Rodriguez, que recientemente ha moldeado a Superl pez, de Javier Ruiz Caldera, otra de las facetas de su trabajo es la de psic logos, porque vestimos a actores, a personas que se sienten desnudas. Con los trajes les tenemos que arropar para que se sientan seguros y piensen que ya est n empezando a crear el personaje , desgran .
El vicepresidente de la Academia, Rafael Portela, abri este evento con el que la instituci n pretende poner en valor los oficios del cine y la importancia de todos los profesionales que participan en la creaci n de una pel cula, y en el que se reivindic la figura de la presidenta y presidenta de honor, Yvonne Blake, fallecida este a o. Ella es la principal raz n por la que estoy aqu , asegur Landis, que se al su liderazgo y el adjetivo que mejor la defin a: optimista .
Portela aprovech la ocasi n para anunciar que la instituci n est preparando un homenaje al legado de Blake, galardonada con cuatro goyas y un Oscar. El pr ximo oto o esperamos poder ver un recuerdo y reconocimiento con una exposici n en el Museo del Traje, que estamos preparando con el ICAA , avanz .
Numerosos profesionales del dise o de vestuario, como Lorenzo Caprile, asistieron a esta mesa redonda; as como la actriz Natalia de Molina, los directores Pablo Berger, Javier Fesser y Esteban Crespo y miembros de la Junta Directiva de la instituci n, entre otros rostros de nuestra industria.
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Deborah Nadoolman Landis claims the legacy of Yvonne Blake and craft of costume designers Junto a Tatiana Hern ndez, Clara Bilbao, Pedro Moreno y Cristina Rodr guez, protagoniz un encuentro organizado por la Fundaci n Academia de Cine en colaboraci n con la Academy Of Motion Picture Arts and Sciences, Swarovski y UCLA David C. Copley Center for the Study of Costume Design. 
