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As ill-fated coffee shop burglar Pumpkin in Quentin Tarantino’s “Pulp Fiction,” Tim Roth knows the truth about a privileged piece of movie mythology.

“We tend to know only as much as [our character] would know, but one thing that I do know because my character would know, which is what’s in the suitcase,” Roth reveals. “But Quentin asked me not to mention it.”

In a film full of mysteries, the contents of that sacred object remain among the biggest. But even without Jules Winnfield’s 9mm pistol pointed at his head, Roth is kind enough to volunteer an answer that, though perhaps slightly disappointing, is at least factually accurate. “I remember him saying that the answer if they ask you was, ‘A battery and a lamp’.”

To commemorate the 30th anniversary of “Pulp Fiction,” Variety spoke with more than 20 members of the film’s cast and crew about their experiences,...

Few filmmakers can claim to have helped shape an entire era of cinema, but the boom in 1990s indie cinema is impossible to imagine without producer Stacey Sher.

“If you say, U.S. independent cinema of the ’90s, whatever film touched your feelings, your emotions and your memory, most probably, it has Stacey involved in it,” says Locarno film festival artistic director Giona A. Nazzaro, on the reason Locarno is honoring Sher with its 2024 Premio Raimondo Rezzonico, or best independent producer, award.

After a six-year mentorship under legendary producers Deborah Hill and Linda Obst, making such films as Chris Columbus’ debut Adventures in Babysitting and Terry Gilliam’s The Fisher King, Sher joined the Danny DeVito and Michael Shamberg’s newly-founded indie shingle Jersey Films, soon becoming a partner. At Jersey, she was instrumental in championing a new generation of directors — Quentin Tarantino, Steven Soderbergh, Andrew Niccol, Ben Stiller — whose films would define a decade.

John Travolta (Grease) and Katherine Heigl (Firefly Lane) have boarded the rom-com That’s Amore!, written and to be directed by two-time Academy Award winner Nick Vallelonga (Green Book), with Christopher Walken (Severance) also in talks to star.

The film heading into production in August follows Nick Venere (Travolta), who is a modern-day ‘Marty’ – he’s never been married and his best dating years are well behind him. He’s never heard the words ‘I love you” and figures he never will. Patty Amore (Heigl) has her share of problems, as well. Shy and introverted, she’s filled with various tics and nervous habits. A secret from her past, combined with her over-protective father, have caused her to withdraw from the dating game. But when Nick and Patty meet, literally bumping into one another, they share an immediate connection. When these two emotionally damaged people attempt to date one another,...

A 4K Steelbook! Haven’t seen this show lately, and discovered that it holds up remarkably well. Mr. Qt’s sophomore outing made an indelible mark on American movies — the darling of hipster crime filmmaking dazzled viewers with showcase set-piece scenes, entertainingly profane dialogue and ultra-hip inside-out time-shuffling narrative tricks. Add to that genuine star turns, especially Uma Thurman and John Travolta’s iconic dance scene. It’s old-fashioned movie-going in an avant-garde pattern, with raw violence and even rougher language. The stars include Samuel L. Jackson, Harvy Keitel, Ving Rhames, Tim Roth, Amanda Plummer and Bruce Willis.

Pulp Fiction 4K

4K Ultra HD + Blu-ray + Digital Code

Paramount Home Video

1994 / Color / 2:35 widescreen / 154 min. / Street Date December 6, 2022 / Available from Amazon / 30.99

Starring: Tim Roth, Amanda Plummer, John Travolta, Samuel L. Jackson, Frank Whaley, Bruce Willis, Ving Rhames, Rosanna Arquette, Eric Stoltz, Uma Thurman, Steve Buscemi, Emil Sitka, Christopher Walken, Maria de Medeiros,...

Genre: Drama, Crime

Rating: R

On 4K Ultra HD: November 15, 2022

Running Time: 100 minutes

Cast: Tim Roth, Michael Madsen, Steve Buscemi, Harvey Keitel, Chris Penn, Edward Bunker, Kirk Baltz, Quentin Tarantino, and Lawrence Tierney

Written by: Quentin Tarantino and Roger Avary

Directed by: Quentin Tarantino

Produced by: Lawrence Bender

Executive Producers: Richard H. Gladstein, Monte Hellman, Ronna B. Wallace

Co-Producer: Harvey Keitel

Director of Photography: Andrzej Sekula

Production Designer: David Wasco

Edited by: Sally Menke

Casting by: Ronnie Yeskel

Costume Designer: Betsy Heimann

Synopsis:

Frenzied, soaked in blood, and featuring gangsters both ruthless and engaging (who debate the deeper meanings of “Like a Virgin”), Reservoir Dogs — Quentin Tarantino’s debut film about a heist gone horribly wrong — attained iconic cult status upon its release in 1992, and launched the career of a director whose singular vision has influenced a generation of filmmakers. To celebrate the movie’s 30th anniversary, the cocked-and-loaded world of Mr.

Two decades after Cameron Crowe’s “Almost Famous” hit theaters for the first time, its story of a rookie music journalist traveling the nation with a band on the brink of stardom remains timeless—as do the costumes, even with their ’70s flair.

Costume designer Betsy Heimann already had an impressive arsenal of credits behind her before the film’s debut in 2000, including “Reservoir Dogs,” “Pulp Fiction” and Crowe’s “Jerry Maguire.” However, the autobiographical nature of “Almost Famous,” which was based off of Crowe’s own adventures on tour with bands like Led Zeppelin, The Allman Brothers and The Eagles, allowed Heimann to, as she puts it, “keep it real.”

She found a wealth of inspiration in Crowe’s own tour photographs, in addition to those of photographer Joel Bernstein from Neil Young’s “Time Fades Away” tour in 1973. Though Heimann handmade all of the staple pieces in the film,...

“I remember those days,” says production designer Tim Galvin of the time period portrayed in “Green Book,” so it interested him to “go back down that road a little bit.” Directed by Peter Farrelly, this Universal release tells the true story of how Tony “Lip” Vallelonga (Viggo Mortensen), a working-class Italian-American bouncer, took a job driving African-American classical pianist Dr. Don Shirley (Mahershala Ali) on a concert tour through the Jim Crow-era South. Watch our exclusive video interview with Galvin above.

See Patrick J. Don Vito Interview: ‘Green Book’

“Green Book” is unique in that it was co-written by the protagonist’s real life son, Nick Vallelonga (in collaboration with Farrelly and Brian Hayes Currie). That first-hand experience proved vital in Galvin’s research, particularly when it came to recreating Tony’s Bronx apartment. “I had to be kind of specific about things with him,” he explains, “because it isn’t the entire life story.

The supporting actor category at the Screen Actors Guild Awards is the only one of the four individual acting categories not to have a repeat winner, but that could all change next month if Mahershala Ali prevails.

The “Green Book” star, who won for “Moonlight” (2016), is the only nominee this year who was even a previous nominee in the category, let alone a winner. But the Oscar frontrunner is currently in third place in our combined odds, behind Richard E. Grant (“Can You Ever Forgive Me?”) and Sam Elliott (“A Star Is Born”). Timothee Chalamet (“Beautiful Boy”) and Adam Driver (“BlacKkKlansman”) are in fourth and fifth, respectively. Grant, the critical favorite, and Elliott, one of “A Star Is Born”‘s field-leading four bids, are veterans with lengthy careers, which could give them an edge with a group that likes to recognize older stars.

See ‘Green Book’ costume designer Betsy Heimann...

One of the closest relationships an actor has on a movie set is with a costume designer, who is there from the beginning and in such intimate settings as a fitting room to help them find their character. And the crux of that relationship comes down to trust, according to the four costume designers on our Meet the Experts panel, moderated by this author (watch the exclusive video above).

“You want the actor to go to camera in something that they’re completely at ease and they feel that they’re inhabiting they’re character in, no matter what you’re doing, whether it’s a period film, fantasy or contemporary,” Mary Zophres said. “That’s probably job No. 2. Job No. 1 is you make sure the costume is helping to tell the story and helping to tell the story of that character and tell the story of the script. So...

One of the perks of having the son of one of the film’s subjects be its co-writer is that the production gets all kinds of access for research. That’s exactly what it was like for Betsy Heimann, who created the vintage ‘60s looks on “Green Book,” which chronicles the friendship between pianist Don Shirley (Mahershala Ali) and his one-time driver Tony “Lip” Vallelonga (Viggo Mortensen).

“I had access to some fabulous photographs of Tony at the Copacabana with Tom Jones and Don Rickles and all kinds of characters,” Heimann shared at Gold Derby’s Meet the Experts: Costume Designers panel, moderated by this author (watch the exclusive video above). “I had some pictures of his mother and [Tony and Dolores’] wedding. And I had a few pictures of the family.”

It was a Vallelonga family affair on the project, which was co-written by Tony’s son Nick. Vallelonga family members were also in the movie,...

Don’t miss our upcoming special Q&A panel as Gold Derby welcomes four of the best costume designers in the world on Tuesday, December 4. Join us at the Landmark Theater on Pico Blvd. in Los Angeles for the event at 7:00 Pt. It’s free to anyone who wants to attend, but top priority in getting one of the limited seats is to be a guild member or Oscar voter.

Click the following link to register: https://meettheexpertscostumedesign.splashthat.com/

Our senior editor Joyce Eng will moderate the Q&A with the following contenders for 2019 awards consideration:

Alexandra Byrne represents Focus Features for “Mary Queen of Scots”

Byrne is an Oscar winner for “Elizabeth: The Golden Age” (2007). She was also nominated for her work on “Hamlet” (1996), “Elizabeth” (1998) and “Finding Neverland” (2004).

Jenny Eagan represents 20th Century Fox for “Widows”

Eagan is an Emmy nominee for her TV work on “Olive Kitteridge...

“Green Book,” which Universal releases Nov. 16, centers on the unlikely real-life friendship between Jamaican-American classical pianist Don Shirley and his driver Tony Vallelonga, a laid-off New York nightclub bouncer, during a 1962 tour of the Midwest and the racially tense South. The film premiered at the Toronto Intl. Film Festival in September and has surged to become an Oscar contender, including possible actor noms for the two leads, Mahershala Ali and Viggo Mortensen.

Director-co-writer Peter Farrelly, best known for offbeat comedies (“There’s Something About Mary”), says it was a tough production: “We had 35 days and $20 million to shoot this 120-page script — and with dozens of locations, all set in 1962.” The result looks effortless, partly because of the cast and crew: “A lot of people did a lot of work for very little money because they liked the story.”

Sean Porter, Cinematographer

“I’m a story guy, so I wanted a visual balance.

Ok, class, who can explain what a Green Book is? For those who don’t know, it was a handbook for black motorists seeking “vacation without aggravation,” an indispensable travel guide listing friendly places to stay and tips for avoiding trouble in the Jim Crow South. As such, “Green Book” makes a clever title for a road movie unlike any other: the true story of the unlikely friendship between a black concert pianist and the New York City bouncer hired to chauffeur him through unfriendly territory.

Although inspirational on its surface, the film presents a pretty bleak picture of intolerance in 1962 America, when segregation and other openly racist policies would have made such a trip a dangerous prospect for a wealthy, well-educated black man, with or without a bruiser like Frank Anthony Vallelonga to watch his back. Featuring a pair of terrific performances by Viggo Mortensen as a goombah with...

Can Netflix snag Best Limited Series at the Emmys for “Godless”? Written and directed by Scott Frank, this seven-and-a-half hour western opus centers on a man (Jack O’Connell) hiding out from a violent outlaw (Jeff Daniels) in a town populated almost entirely by women after a deadly mining accident wipes out most of the men. Gold Derby recently spoke with Frank, stars Daniels and Merritt Wever, cinematographer Steven Meizler, costume designer Betsy Heimann, composer Carlos Rafael Rivera, and makeup department head Tarra Day about their work on the series. Scroll down and click on their names below to be taken to their full interviews.

“It’s a golden time” for television, says Daniels, who’s also in the Emmy race this year for his leading role in “The Looming Tower.” “The writing has gone to Hulu and Netflix and HBO and Showtime … and actors chase good writing.” Playing the...

According to makeup department head Tarra Day, “Godless” is unique in the western genre simply because of its “strong women characters.” Day has a lot of experience with cowboys in the Wild West, having worked on such films as “Appaloosa” (2008) and “The Magnificent Seven” (2016). But in most cases “the women are prostitutes or girlfriends or wives. There hasn’t been a lot of room for female characters to lead the western.” That changed with this Netflix limited series. Watch our exclusive video interview with Day above.

See Merritt Wever (‘Godless’) on female-centric western: In a traditional western, ‘there probably wouldn’t have been a part for me’ [Exclusive Video Interview]

Written and directed by Scott Frank, the series centers on a man (Jack O’Connell) evading a violent outlaw gang leader (Jeff Daniels). He takes refuge in the town of La Belle, New Mexico, which after a mining accident is populated almost entirely by women,...

Netflix transported Emmy voters back to the Old West with a recent Fyc event for their limited series “Godless.” Gold Derby was on-hand at Netflix’s Fysee space at the Raleigh Studios in Hollywood where a panel discussion was held with stars Michelle Dockery, Jeff Daniels and Merritt Wever, writer/director Scott Frank, and executive producer Casey Silver. Listen to the entire 33-minute Q&A above.

“Godless” centers on Frank Griffin (Daniels), a violent outlaw gang leader hunting down his ex-protege, Roy Goode (Jack O’Connell), who’s hiding out in the town of La Belle, New Mexico. The town is inhabited almost entirely by women after a mining disaster killed most of the men.

See Scott Frank (‘Godless’ showrunner): ‘Feminist western’ was originally about fathers and sons [Exclusive Video Interview]

A two-time Oscar-nominee for Best Adapted Screenplay (“Out of Sight” in 1998 and “Logan” in 2017), Frank first conceived the idea for “Godless” as a feature film.

Had “Godless” been a more traditional western, Merritt Wever may not have been “attracted to it, and more likely, there probably wouldn’t have been a part in it for me.” Yet this Netflix limited series is unique in its genre for having so many strong roles for actresses. Written and directed by Scott Frank, the show centers on the town of Labelle, New Mexico, which is inhabited almost entirely by women after a mining accident wipes out a majority of the male population. Their world is further upended by the arrival of a wounded man (Jack O’Connell) evading a murderous outlaw (Jeff Daniels). When Wever read the script she felt she “had to do it.” Watch our exclusive video interview with Wever above.

See Scott Frank (‘Godless’ showrunner): ‘Feminist western’ was originally about fathers and son [Exclusive Video Interview]

Wever plays Mary Agnes, widow of the town mayor and sister to its sheriff,...

For costume designer Betsy Heimann, the most unusual aspect of Netflix’s western limited series “Godless” was how much it focused on “these women who were put in a circumstance where they had to improvise.” Written and directed by Scott Frank, the show follows a murderous outlaw (Jeff Daniels) hunting down an ex-protege (Jack O’Connell). His search leads him to a small town in New Mexico that, after a mining accident, is populated almost entirely by women, including Michelle Dockery and Merritt Wever. The veteran costumer was excited to “put my stamp on it by showing [women] doing all different things than you would normally” in the male-dominated genre. Watch our exclusive video interview with Heimann above.

See Jeff Daniels Interview: ‘The Looming Tower,’ ‘Godless’

Heimann delved deep into research to find instances of women defying conventions in the Old West. She discovered photos of female miners, builders and farm...

Minor Spoilers

At a pivotal juncture during the Fathers & Sons episode of Godless (2017), the camera tracks into a pink ribbon tied on the back of young woman’s hair; a woman who is suffering from the onset symptoms of smallpox and unlikely to find recovery. Later in the episode we pan across dozens of freshly dug but unnamed graves each with it’s own crucifix. We don’t see the woman again, but on one of the crucifixes is tied a pink ribbon. Such is the power of even the slightest costume and accessory details in Godless, the narrative is informed by their very presence.

Costume designer for Godless was Betsy Heimann. Perhaps best known for costuming Reservoir Dogs (1992), Pulp Fiction (1994) and Almost Famous (2000), she is extremely well respected in the industry. Godless is some of Heimann’s most complete work yet. The western era in question, 1884 in Colorado, is well documented historically.

While 1999 may not seem that long ago, there are stylistic differences in fashion and clothing that had to be observed and followed for those working behind the scenes on A Walk Among the Tombstones. Based on Lawrence Block’s best-selling series of mystery novels, the film tells the story of private investigator Matthew Scudder (Liam Neeson), who is hired by drug kingpin Kenny Kristo (Dan Stevens) to find out who kidnapped and murdered Kristo’s wife. Costume designer Betsy Heimann’s challenge was to design a 1999-inspired look that was also timeless. For Scudder’s character, she created a dark uniform of sorts. “Scudder’s … Continue reading →

The post VOD Spotlight: Behind The Scenes on A Walk Among the Tombstones appeared first on Channel Guide Magazine.

In May, The Academy began the video series “Academy Originals” focusing on the behind the scenes artists and the various creative processes that get a film from page to screen.

Since the launch, AMPAS has released 16 episodes that have covered everything from how Jurassic Park changed the VFX world to an episode about everyday people toiling away at screenplays in coffee shops.

With Oscar emcee Ellen DeGeneres and the re-election of AMPAS President, Cheryl Boone Isaacs, the Academy’s diversity abounds.

The videos below highlight women filmmakers and how their considerable contributions inspire young girls to become filmmakers.

“Movie watching is people watching.” Director Ava DuVernay, from the upcoming Selma, relates how she writes and helms her films.

The independent artist finds that making a low-budget movie like Middle Of Nowhere comes from “being out in the world. It comes from observing people, asking questions – people want to talk.”

Costume...

What a busy twelve months it’s been for costume design. Really though, this art, or craft, or business (Deborah Nadoolman Landis insists it is definitely a business) gets more talked about each year. 2013 was especially exciting however as it seemed every month something even more thrilling arrived to fawn over. In the last few weeks alone we have had The Hunger Games: Catching Fire and Sleepy Hollow, and now American Hustle and The Wolf of Wall Street on the horizon. Dipping back further, it was Stoker that got us excited about subtext, The Great Gatsby that slammed the lid on that twenties revival once and for all, and Behind the Candelabra that put Michael Douglas in a 16ft fox fur cape and white brocade jumpsuit.

With just so many memorable movies and TV shows to cover, Clothes on Film asked some respected contributors to the site for their opinions on the best,...

Catch up with costume links and stories you might have missed this week.

Gangster Squad

Mary Zophres on creating Emma Stone’s 1950s moll.

Much Ado about Nothing

Nathalie Atkinson analyses Shawna Trpcic’s costume choices for Much Ado about Nothing.

The Internship

Leesa Evans’ office style tips.

Miss Pettigrew Lives For a Day

The 1930s gentlemen of Miss Pettigrew dissected by Dtsft.

Django Unchained

Sharen Davis chats to Hello! about blood and Beyonce. Our interview was much better.

Costume vs. Actor

Terrifyingly accurate video about costume fitting.

Superman

Tyranny of Style have exhaustively traced Superman’s costume evolution on stage and screen.

Part 1, Part 2, Part 3, Part 4

James Daugherty

Pioneering African American designer who worked with Edith Head dies.

The Bling Ring

Video: Stacey Battat recreates blingy clubwear.

Wish I Was Here

Costume designer Betsy Heimann joins Zach Braff’s Kickstarter project.

Barbarella

Clothes on Film contributor Amber Jane Butchart...

Zach Braff’s sophomore feature, Wish I Was Here, has been progressing incredibly well in recent weeks.

Braff launched the project in April on Kickstarter, and after completing its goal within a matter of days, it was fully funded at just over $3m. at the end of last month.

With much of the leading cast already set, Braff has begun meeting with people to work on the other side of the camera alongside him, and after sitting down with Betsy Heimann, he’s announced that she’s officially on board to be the costume designer for Wish I Was Here.

Heimann’s career spans across three decades, and she has worked on some of the most memorable and acclaimed films over the years, including (but certainly not limited to) Reservoir Dogs, Jerry Maguire, Almost Famous, Vanilla Sky, Art School Confidential, Funny People, and what Braff notes is his personal favourite,...

The international trailer for The Wolverine was released this week. From a costume point of view the most interesting thing in it was Hugh Jackman wearing an awful lot of black. In the context of the story his character travels to Japan and falls in with a Yakuza clan. Black suits, shirts and ties are the unofficial uniform of the Yakuza, a look largely adopted from Hollywood gangster movies. The use of black in costume design denotes mystery, death and for want of a better word, ‘coolness’; it is as obviously symbolic as sexy red or cold blue.

To honour The Wolverine and his tendency to layer black on black (and black on black) we have compiled a list of the most interesting posts centred around this colour at Clothes on Film. As usual click the image to take you to the article.

Monica Belluci as Malèna, a woman punished...

Trailer number one for The Wolverine starring Hugh Jackman. He is joining the Yakuza, fighting the Yakuza; dressed head to toe in black, basically he is trying to fit in.

Wolverine, or more accurately Logan, appears to be adopting the paradoxically traditional yet modern uniform of crime organisation the Yakuza, aka the Japanese Mafia. This is black on black shirt, tie, suit and lightweight (slip on) coat with black leather shoes. Despite a past that reaches all the way back to the sixteenth century, the Yakuza of today made most of their money during the 1980s financial boom. Their unofficial uniform is sourced from the French interpretation of classic era gangster films, which was then re-interpreted by Hollywood in 1980s/90s. It is a look that costume designer Betsy Heimann and director Quentin Tarantino embraced and also parodied to some extent in Reservoir Dogs (1993). What makes this style of dress...

Cross Creek Pictures President Brian Oliver and Exclusive Media's Co-Chairmen Nigel Sinclair and Guy East announced today that principal photography has begun in New York on A Walk Among the Tombstones the new crime thriller starring Oscar winner Liam Neeson (Schindler's List, Taken). Joining the cast are Dan Stevens (Downton Abbey); Ruth Wilson (Anna Karenina); Boyd Holbrook (The Host, Milk); David Harbour (Snitch, End of Watch); Mark Consuelos (American Horror Story); and recording artist / U.S. The X Factor (Season 1) fan favorite, Astro.

Written and to be directed by Academy Award nominated Scott Frank (Out of Sight, The Lookout), the film is based on one of 17 Matt Scudder novels written by acclaimed crime novelist Lawrence Block. The Scudder series has been in print for over 40 years and translated into over 20 languages. The movie is being produced by Michael Shamberg and Stacey Sher, with their company Double Feature Films, with Danny DeVito and his company,...

Cross Creek Pictures President Brian Oliver and Exclusive Media’s Co-Chairmen Nigel Sinclair and Guy East announced today that principal photography has begun in New York on A Walk Among The Tombstones the new crime thriller starring Oscar® winner Liam Neeson (Schindler’S List, Taken). Joining the cast are Dan Stevens (Downton Abbey); Ruth Wilson (Anna Karenina); Boyd Holbrook (The Host, Milk); David Harbour (Snitch, End Of Watch); Mark Consuelos (American Horror Story); and recording artist / U.S. X Factor (season 1) fan favorite, Astro.

Written and to be directed by Academy Award® nominated Scott Frank (Out Of Sight, The Lookout), the film is based on one of 17 Matt Scudder novels written by crime novelist Lawrence Block. The Scudder series has been in print for over 40 years and translated into over 20 languages. The movie is being produced by Michael Shamberg and Stacey Sher, with their company Double Feature Films, with Danny DeVito and his company,...

Quentin Tarantino has directed films that feature some of the most iconic costumes of the last twenty years, e.g. Reservoir Dogs’ black suits (Betsy Heimann), Mia Wallace’s trouser suit (Heimann), the Kill Bill tracksuit (Kumiko Ogawa, Catherine Marie Thomas). Yet no Tarantino movie has ever won or even been nominated for a Costume Design Oscar; a travesty that may boil down to his stories often being contemporary, not period. World War II set Inglourious Basterds (Anna B. Sheppard) was an exception, but again, amazingly, not even a nomination.

Django Unchained, costumed by Sharen Davis, might just buck this trend. It is period so immediately stands in good stead. Secondly, judging by the trailers released so far, the palette is primary colourful, fun and rich with detail; one thing the Academy does not tend to appreciate is subtle. Davis is already a highly regarded costume designer, currently riding high after her work on Looper,...

American Gigolo (1980, directed by Paul Schrader) is a vapid expression of style without substance that has somehow become an academic’s favourite. Yet to argue the emptiness of the film and its bland protagonist as subtext is to miss the big picture: American Gigolo is not even about its protagonist; it is about what he wears. American Gigolo is about Armani.

It was Italian designers who led a revolution in tailoring during the early 1980s, reinventing the male suit by removing hitherto essential padding for a lightweight, almost floppy silhouette. Combined with unusual fabric choices and bold colours, they defined the decade. Giorgio Armani was at the forefront of this revolution, certainly in terms of bringing it to the masses. Moreover, his clothes were just as popular with both sexes, the Ga logo coming to symbolise luxurious excess disguised as simple class.

Armani trained with Nino Cerruti before becoming established...

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Betsy Heimann’s costume design for Reservoir Dogs (1992) spawned a legacy in pop culture and fashion that is still being felt today. Heimann and director Quentin Tarantino determined a cinematic sub-genre by redefining the appearance of the petty gangster. From shambolic to symbolic; a man in a black suit, white shirt and black tie walking in slow motion is possibly the single most memorable costume image of the nineties.

Here, talking exclusively to Clothes on Film, Ms. Heimann describes how the Reservoir Dogs look came together:

“I am very pleased that the narrow silhouette I created influenced and still influences men’s fashion” she offers. “I think that Quentin is responsible for the pop culture legacy of the film. The characters and the mood are contagious, just like Quentin’s enthusiasm for filmmaking.

Pulp Fiction Blu-Ray Lionsgate Home Entertainment 1994/Rated R/154 mins List Price: $19.99 – Available October 4, 2011 Pulp Fiction was one of those event films you could feel coming months before it hit theaters. I remember greatly anticipating its debut for the summer of 1994 only to hear Quentin Tarantino's second feature had been pushed back to Fall after it won the Palm d'Or at the Cannes Film Festival. It began to generate incredible buzz after audiences were amazed at the kind of beautifully structured collage of stories and images that unspooled before them. Us audiences were equally engrossed, as the film caused debate and controversy, with word-of-mouth rocketing the 8 million dollar production past the 100 million mark. In addition, the picture gave a huge kick to the careers of John Travolta and many others. The film stars John Travolta as Vincent Vega, a hitman who we first see working with his partner Jules (Samuel L. Jackson...

"Congrats to Zack Snyder on Superman. Can't wait to see it!!!!" tweeted Brett Ratner last month when news broke that the "Watchmen" director would be helming the latest reboot of the DC Comics franchise.

It was an admirable gesture on Ratner's part, considering he spent a year of his life on "Superman" preproduction, only to see the budget balloon and the project collapse. When he stopped by Splash Page HQ to promote "Skyline" recently, Ratner continued to express support for Snyder, but also admitted to some jealously.

"Is there envy? Maybe a little," he told MTV News. "It was a dream of mine to make a Superman movie."

"I think Zack was a good choice, an interesting choice," he added. "I'm going to be the first one in line to see that movie. I can't wait."

The "X-Men: The Last Stand" director went on to pinpoint the challenges of adapting...

Today is the 10th anniversary of Cameron Crowe's Almost Famous (2000). I never quite understood its appeal but I understand it's beloved. I have only a vague recall of it. I remember Billy Crudup arms outstretched "I am a Golden God!" (and that Brad Pitt was originally earmarked for the part) and Frances McDormand's funny bossy telephone calls. I also vividly remember Penny Lane's (Kate Hudson) coat. You know the one. She never took it off in my mind (but this photo says otherwise) or at least that's how much the coat stayed burned to my retinas. So thanks, Betsy Heimann... and sorry you weren't Oscar nominated. What was that about exactly?

Anyway... I only bring this up because I'm wondering if you, dear reader, are one of this movie's groupies? If so, please explain the magic. Or maybe you'd like to share your own personal "I don't get...

Not much room to comment on a solitary official image from espionage thriller The Tourist starring Angelina Jolie and Johnny Depp. Only to say that after Public Enemies and Alice in Wonderland, Colleen Atwood is now tackling contemporary couture costuming instead.

For our money this is potentially an even more interesting area for Atwood. Obviously her stage/period/ fantasy outfits on the likes of Sweeney Todd, Nine and Memoirs of a Geisha, cannot be ignored. They’re terrific. She’s terrific. However following her early work on The Silence of the Lambs and The Mexican, contemporary costume perhaps offers Atwood an even greater challenge. Rather than recreate, the contemporary costumer often has to instigate. Consider Betsy Heimann’s black Sb suit and splayed white shirt worn by Uma Thurman in Pulp Fiction. Fashion imitates art, not vice-versa.

This shot shows Angelina Jolie wearing what appears to be a slash neck...

Delectable performances by Susan Sarandon and Natalie Portman put a powerful emotional charge into "Anywhere But Here", Wayne Wang's film version of Mona Simpson's novel about a mother and daughter living in the scruffier flats of Beverly Hills.

Thanks to these gifted actresses, viewers come to know these two people as well as their own family members. You can almost anticipate all their little quirks and maddening-yet-endearing behavior patterns.

This Fox 2000 picture, exquisitely written by veteran screenwriter Alvin Sargent, is a gem. With proper handling, Fox should reach a large female audiences of all ages -- and more than a few men who come along with women and get caught up in the painfully funny relationship.

Remarkably similar in some ways to last year's "The Slums of Beverly Hills", "Anywhere" is a more serious film and funnier because of that. The story takes place during three years, beginning when Adele August (Sarandon) yanks her 14-year-old daughter Ann (Portman) out of her small-town life in Bay City, Wis., to move to Beverly Hills.

Leaving behind her stepdad and friends very much against her will, Ann bitterly resents the move every bit as much as her mom glories in the great opportunities she is certain will come their way in glamorous Beverly Hills.

Adele is thrilled by the wealth on display. She cruises through the town to ogle luxury homes that line its sunny avenues. Meanwhile, she will forget to pay the light bill and has to keep moving herself and Ann from one tacky one-bedroom apartment to another. Her solution to every problem is to get an ice cream.

Resourceful and resilient, Ann manages to adapt and make friends. But she views this world of wealth in more realistic terms than her mother. When a tragedy forces them to return briefly to Bay City, Ann realizes her hometown no longer looks the same. She has become a Southern Californian. But this doesn't keep her from plotting to escape her mother, who is a constant source of embarrassment to her.

Sarandon's character could easily be made to look the fool in such a story. But neither Wang nor Sarandon allow this to happen. The choices Adele ultimately makes turn out for the best -- well, sometimes they do -- and her sunny optimism in contrast to her daughter's moody realism has a life force no one can completely deny.

Both mother and daughter acquire friends and boyfriends. But for better or worse, their richest friendship is with each other. Wang and the two actresses beautifully portray a relationship where love can turn to hate and back to love in a matter of moments, and where the daughter must sometimes be mother to her own mother.

Cinematographer Roger Deakins, production designer Donald Graham Burt and costumer Betsy Heimann have created a cocoon of edgy living within the luxurious world of Beverly Hills. There is never enough money in the August household, but Adele continues to dream and Ann to save pennies for college.

Wang, who displayed a talent for finely wrought portraitures of women in films such as "Dim Sum" and "The Joy Luck Club", makes you feel the force of these two distinct personalities. Scenes chart the ebb and flow of emotions as these two females struggle to get a purchase on their lives and a means by which to live with each other.

Although she sometimes acts like one, Adele is no dummy. She eventually comes to realize her dreams cannot be her daughter's. In the end, she does the right thing, not what's emotionally convenient.

ANYWHERE BUT HERE

20th Century Fox

Fox 2000 Pictures presents

a Lawrence Mark production

Producer: Lawrence Mark

Director: Wayne Wang

Writer: Alvin Sargent

Based on the novel by: Mona Simpson

Executive producer: Ginny Nugent

Director of photography: Roger Deakins

Production designer: Donald Graham Burt

Editor: Nicholas C. Smith

Music: Danny Elfman

Costumes: Betsy Heimann

Color/stereo

Cast:

Adele August: Susan Sarandon

Ann August: Natalie Portman

Ted: Ray Baker

Jimmy: John Diehl

Benny: Shawn Hatosy

Carol: Bonnie Bedelia

Peter: Corbin Allred

Josh Spritzer: Hart Bochner

Gail Letterfine: Caroline Aaron

Running time -- 110 minutes

MPAA rating: PG-13...

Suggested by -- as opposed to based on -- "A Prayer for Owen Meany", Mark Steven Johnson's "Simon Birch" is a sincere if somewhat treacly rendering of the John Irving novel.

In condensing the material, Johnson has smoothed over most of the quirky Irving edges, leaving precious little to keep the sentimental element in check.

But while heartstrings get yanked with regularity, Johnson's assured first-feature direction and uniformly strong cast make it palatable. Good word-of-mouth could help overcome the lack of big names (unless you count Jim Carrey's straight narration and bookend screen appearances) and give little "Simon" a modest boxoffice boost.

Impressive 3-foot-1, 11-year-old newcomer Ian Michael Smith plays the colorful title character -- the smallest child born at fictional Gravestown Memorial Hospital -- who grew up, in a manner of speaking, to become an outspoken troublemaker with an old soul and a funny voice.

Basically ignored by his parents, Simon usually hangs around his best friend Joe Joseph Mazzello), born out of wedlock to a pretty, perky mother (Ashley Judd) and an unknown father.

But the boys' more or less idyllic childhood receives a rude awakening when a towering foul ball hit by Simon During an afternoon baseball game meets with tragic results and the secret identity of Joe's dad becomes a pressing concern.

Meanwhile, Simon, who has always believed himself an instrument of God, is given an opportunity to put destiny to the test when a wayward busload of school children (shades of "The Sweet Hereafter") plunges into icy waters.

In addition to Smith's casting-agent's-dream of a performance, the picture benefits greatly from Mazzello's strong, sensitive turn, while the always-effective Judd is cast perfectly as Joe's dream of a mom. Providing sturdy support are Oliver Platt as Judd's kindly beau, David Strathairn as a stiff reverend who manages to let Simon's theological outbursts get under his skin, Dana Ivey as Joe's stern grandmother and Jan Hooks as a frazzled, chain-smoking Sunday school teacher.

Carrey -- obviously recruited to lend the little film some "Truman Show"-sized significance -- appears only briefly at the beginning and end while biding time in between providing sporadic, largely unnecessary narration.

While the script is not without charm and humor, there is an inescapable episodic feel to the period piece, no doubt a result of trying to cut the Irving book to a feature-length serving.

But it all certainly looks great. The extensive Canadian backdrops are basked in warm golden hues thanks to cinematographer Aaron E. Schneider, who neatly captures the story's fable-like aspects. David Chapman's small-town '60s production design and the costumes credited to Betsy Heimann and Abram Waterhouse are also right on the money, while Marc Shaiman's score sounds appropriately wide-eyed.

In a final bid to lure the "Phenomenon" crowd, Babyface wrote and performs the pining end-title track, "You Were There". Guess Eric Clapton was busy.

SIMON BIRCH

Buena Vista Pictures Distribution

Buena Vista/Hollywood Pictures presents in association with Caravan Pictures

a Roger Birnbaum and Laurence Mark production

A Mark Steven Johnson film

Director-screenwriter: Mark Steven Johnson

Suggested by the novel "A Prayer for Owen Meany" by: John Irving

Producers: Laurence Mark and Roger Birnbaum

Executive producer: John Baldecchi

Director of photography: Aaron E. Schneider

Production designer: David Chapman

Editor: David Finfer

Costume designers: Betsy Heimann,

Abram Waterhouse

Music: Marc Shaiman

Casting: Mary Gail Artz and Barbara Cohen

Color/stereo

Cast:

Simon Birch: Ian Michael Smith

Joe Wenteworth: Joseph Mazzello

Rebecca Wenteworth: Ashley Judd

Ben Goodrich: Oliver Platt

Rev. Russell: David Strathairn

Miss Leavey: Jan Hooks

Grandmother Wenteworth: Dana Ivey

Hildie Grove: Beatrice Winde

Running time -- 110 minutes

MPAA rating: PG...

"Out of Sight" is Elmore Leonard lite, a breezy, doozy of a mismatched-lovers story that spins all over the place narratively but eventually glides into a recognizable place.

Based on the pleasing lead performances of George Clooney and Jennifer Lopez and Steven Soderbergh's cheeky direction, this Jersey Films production is snap-happy entertainment that should please summer moviegoers and heist a solid haul at the boxoffice for Universal.

Down to skivvies, "Out of Sight" is a romantic comedy blocked into Leonard land, namely the sleazy crime environs of Florida and Detroit. The mismatched lovers are career bank robber Jack Foley (Clooney) and U.S. Marshal Karen Sisco (Lopez), and the meet-cute situation comes during his escape from a Florida prison.

In short, don't expect the traditional big wedding march at the end, given the story's seedy circumstances, but "Out of Sight" percolates with the same kind of wacky comedic thrust of more standard-backed romantic comedies that involve lovers from across class lines.

In this caper case, "Out of Sight" doesn't necessarily mean out of mind -- unless you're talking about the mental set of the two leads. Against both their better judgments, they have fallen for someone across class -- in this case, criminal -- lines. Jack's a bad guy with decent urges, while Karen's a straight shooter with, well, that smart-female affliction: rotten taste in men. She always falls for the smooth-talking wife cheater or some other loser, much to the chagrin of her lawman father (Dennis Farina), but this time Karen has topped herself: She's charmed by a three-times-convicted bank robber, falling head over badge for Jack's jumpy charms.

Narratively, "Out of Sight" bounds around the geography enough to be classified as a road comedy, as Jack returns to Detroit for one last score, while it darts back and forth between present and past enough to mark it as a psychological thriller. It's a little of both as screenwriter Scott Frank distills the inner natures of both characters from these plot meanderings and cutbacks. Although their lives have taken drastically different courses, we come to realize that their urges, inspirations and outlooks are very much in sync.

Admittedly, there isn't much intricacy in the plotting itself, and "Out of Sight" sometimes seems slightly out of sync in its frequent flashbacks and cross-cuttings -- a tendency that will leave some viewers in the dark in its earlier stages. Fortunately, Soderbergh augments the film's narrative thinness with some deft comedic touches and canny cuttings.

"Out of Sight" is sharpest and, appropriately, most clear around the edges. It's all the small-picture stuff, the character quirks and circumstance oddities, rather than the big-picture plottings, such as the big score itself, that clue us to "Out of Sight"'s real nature. Overall, it's an appealing glimpse into human contradictions and foibles, of passions and dreams that are confounded by events and the characters' inability to overcome their own behavior and deeds.

Leads Clooney and Lopez sparkle. He is salt-and-pepper engaging, once again evincing a Cary Grant-ish charm and fast-of-foot manner that makes one warm to his otherwise criminal character. As the intrepid but loony-in-love marshal, Lopez's girl-in-a-whirl performance is altogether credible and appealing.

Special praise to casting director Francine Maisler. The colorful supporting performances are perhaps the film's highlight. Farina is superb as Karen's worrisome, cagey father, while Ving Rhames is both daunting and sympathetic as Jack's partner who is trying to go straight. Don Cheadle is terrific as a punk boxer with attitude, and Albert Brooks is cannily cast as a Milken-ish con who has a yen for diamonds. Steve Zahn's squirrely performance as a dumbbell con is consistently hilarious but never ridiculous -- a certain audience pleaser.

"Out of Sight"'s tech contributions are well-scoped: Costume designer Betsy Heimann's aptly slick-and-cheap duds and production designer Gary Frutkoff's smartly off-kilter backdrop bring perfect perspective to everything that is "Out of Sight".

OUT OF SIGHT

Universal Pictures

A Jersey Films production

Producers: Danny DeVito,

Michael Shamberg, Stacey Sher

Director: Steven Soderbergh

Screenwriter: Scott Frank

Based on the novel by: Elmore Leonard

Executive producers: Barry Sonnenfeld,

John Hardy

Director of photography: Elliot Davis

Production designer: Gary Frutkoff

Editor: Anne V. Coates

Music: Cliff Martinez

Music supervisor: Anita Camarata

Costume designer: Betsy Heimann

Casting: Francine Maisler

Sound mixer: Paul Ledford

Color/stereo

Cast:

Jack Foley: George Clooney

Marshal Karen Sisco: Jennifer Lopez

Buddy Bragg: Ving Rhames

Maurice "Snoopy" Miller: Don Cheadle

Marshall Sisco: Dennis Farina

Richard Ripley: Albert Brooks

Midge: Nancy Allen

Adele: Catherine Keener

Kenneth: Isaiah Washington

Glenn Michaels: Steve Zahn

Running time -- 123 minutes

MPAA rating: R...