I hear the plane is ready by the gateway to take my love away.
Chip_douglas from Rijswijk, ZH, Netherlands
14 December 2016
Now that we've met all the cast and witnessed the construction of the
titular Terminal, this fourth documentary (or sixth if you watched the
last one as three separate pieces) covers the main production of the
2004 film by that name. And even though the is focus again how
wonderful the giant set was for all involved to work in, we learn
enough new insights to make this feature worthwhile.
Producer Walter Parkes mentions that the first two or three weeks were
spent filming the scenes set in the cramped quarters of the bureau of
homeland security. Not the most visually exciting set. Then they
allowed Spielberg and co onto the big cinematic 'T' set, about which
nobody has a negative thing to say. Because of the entire film takes
place in one location, many crew-members expected this film would be a
casual shoot but Spielberg always works fast. He explains that even
though the main character Viktor remains in one place, the movie has a
tremendous pace. Waiting can be exciting and entertaining.
A large part of this feature is devoted to the efforts of Costume
designer Mary Zophres. She had the most fun with the background
passengers. 600 extras walked up and down the set for 20 days in a row.
And in her mind, Mary created a character for every single person that
goes in front of the camera by giving them special props to carry and
items of clothing to wear. Main character Viktor wears the same suit he
came into the country with up until he decides not to leave the
terminal. Then he settles down, first wearing more clothes he brought
with him, and eventually a new Hugo Boss to impress his date.
Speaking of Cathine Zeta-Jones, she gives a shout out to her personal
stylists and also only has tree main outfits in the film. Meanwhile
Stanley Tucci had a bonding moment with Mary when they both decided at
the same time that a tie wasn't right for his character. The visual
effects team also became involved with various wardrobe items when
stunts were needed.
Two of Steven Spielberg's most frequent collaborators, Director of
Photography Janusz Kaminski and editor Mike Kahn receive special
attention. The set was constantly being elegantly lit by Kaminski, who
made it look like actual sunlight during the many daytime scenes. The
tone of the lighting changes as Viktor adapts to his situation,
starting off very blue and cold looking. When he starts to settle into
his home, and the audience warms to Viktor, the colors change to more
warm, yellow and orange tones.
After working together on 17 out of Steven's 21 films, Steven claims he
and editor Michael Kahn are basically one and the same person now.
Steven finishes up by confessing he felt that had to take a break from
serious films after a run of dark films in the late nineties and early
2000's and wanted to make another feel good movie like the similarly
lighthearted Catch Me If You Can two years earlier.
Now that we've settled down, keep relaxing because up next is "In
Flight Service: The Music of the Terminal".
7 out of 10
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