Saturday, February 28, 2015
NEW Personal Picture of Dakota with her brother Jesse
From Jesse's IG.
Livestreams Links for "Saturday Night Live" hosting by Dakota
Today is the big day and Dakota will be hosting on SNL tonight. And thanks to everythingdakotajohnson here we have some Livestreams for you to watch it live, check them:
NEW Pictures of Dakota rehearsing to Oscars 2015 today [February 20, 2015]
HQ
Large
Twitter Pictures
Twitter Pictures
From craigzadan's Twitter: Rehearsing #Oscars2015
#DakotaJohnson here going through her words. She's delightful.
(#FiftyShades going strong.)
From USA Today:
The Oscars rehearsal turned into a Fifty Shades of Grey reunion on Friday afternoon when Dakota Johnson and Rita Ora met up backstage at the Dolby Theatre.
"Fifty Shades of Grey" Stunt Coordinator Melissa Stubbs talks about Filming Process and mentions Dakota
From Esquire:
Raiders
of the Lost Ark is the pinnacle of blockbuster filmmaking because
Steven Spielberg deals in optical illusions. Editing, suggestion creates
energy. We see high angles, low angles, villain shots, hero shots,
punches in close-up, beads of sweat punched in even tighter, then — boom
— a danger-filled stunt packed in a wide frame. It's calculated and
thrilling.
There aren't car flips, bare-knuckle brawling or explosions exploding out of explosions in the subdued hit Fifty Shades of Grey, and yet the film's sexual encounters speak the same language as an Indiana Jones movie. The experimental passion that erupts between Anastasia Steele (Dakota Johnson) and bondage connoisseur Christian Grey (Jamie Dornan) is artful and precise, building sensations out of implication rather than sustained, gratuitous moves. Director Sam Taylor-Johnson comes from the visual art world, where her body of work has been praised for examining "the split between being and appearance, often placing her human subjects – either singly or in groups – in situations where the line between interior and external sense of self is in conflict." That's Fifty Shades too, a meticulous orchestration of portraiture and movement, cobbled together with Spielberg bravado.
Like Raiders, Fifty Shades is a movie where the stunts make or break the action's magnetic quality. To believe Christian and Anastasia's relationship is to buy Dornan and Johnson in the Red Room, ties, floggers, and anything else in play. To execute these physically and emotionally involved sequences, Fifty Shades recruited stunt coordinator Melissa Stubbs, whose resume includes The Last Samurai, the X-Men series, stunt-doubling for Angelina Jolie in Mr. and Mrs. Smith, the upcoming Terminator Genisys and over 25 years executing stunts for jobs big and small. Speaking to Esquire from Los Angeles, Stubbs likened the sex in Fifty Shades to a coordinated fight scene, planned and ingrained in the actors' minds.
"It was a lot of working with Sam Taylor-Johnson and the actors, getting to a place where [Jamie Dornan] could play dominant," Stubbs said. "They wanted it to look realistic and keep it true to the book. So my purpose was helping the actors to get there without hurting them. My job description can be anything to a martial arts teacher to rolling a car. This was a completely different thing. It was about helping the actors getting to where they needed to go."
Stubbs recalled that she and the Fifty Shades team spent two weeks researching and developing a layout for Christian's Red Room, learning what accessories their lead character would keep in his home and weighing each item's visual appeal. In a mock Red Room layout, Stubbs became her own Anastasia stand-in, engaging with various setups to see how they would play on screen. The stuntwoman worked with a bondage tech advisor that instructed the production on tools, devices, and ropes used in regular practice. Stubbs and the design team toiled over the simplest knots. "We played with them, [finding] visual ideas for Sam," she said. "If you look at Sam's work as a visual artist and photographer, you'll see interesting images of human art, physical art, of subjects hanging."
There's only so much that a stunt team can fake when a scene requires two bare actors and a series of rough maneuvers. The rack where Christian hangs Anastasia had few modifications, save for some off-camera comforts. The duo's actual "play" couldn't fake contact. Props had to move like real bondage toys to give Taylor-Johnson options in the editing room. Stubbs worked with prop master Dan Sissons to design whips that had soft leather or rabbit fur tips to avoid hurting Johnson, or leaving a mark on her. Takes involving Dornan and Johnson varied from calm to quite violent (a salaciousness that rarely shows its face in the finished film).
Stubbs couldn't laud Johnson's commitment to the Red Room scenes enough. "She was completely naked and vulnerable," said Stubbs. "It's fine if it's an intimate setting with your actor and director, but you have an entire film crew in the room. There were shots where she was flogged, but in the most gentle, controlled manner possible. It was a tough couple of weeks for her."
While the glimpse of a whip may provoke audience reactions, many of Fifty Shades provocative beats were dependent on Dornan and Johnson's performances. Body language was as important as bodily reactions. Stubbs talked about a scene where Jamie crops Dakota to stage combat. "If someone gets punched, we don't actually punch someone," she said. "It's a swing and a miss, but the use the actor's reaction sells that they were struck." Very little of the sex in Fifty Shades was "blocked," leaving intimate movements up the actors and their character motivations. Stubbs said that there was pre-shoot training, but it was all in preparation to work "freestyle," ingraining this behind-closed-doors acts into the actors' repertoire. "My job is not how to tell Jamie how to move sexually," she said. "It's his decision and a private one."
As a stunt coordinator, Stubbs was on standby throughout the shoot, a pair of eyes who could step in when a move wasn't working. She could offer alternatives, descriptive explanation. "Sometimes you're a fly on the wall and gently get them pointed on the right direction from their character point, from a safety point," she says. Dornan and Johnson's simulated moves had to look convincing, and, even more importantly, they had to be repeatable. Each shot could take four hours.
Despite surface appearances, nothing in the Red Room was as painful for Johnson as one of the film's minor, fully-clothed moments. When she walks into Christian's office for the first time, Anastasia takes a nasty pratfall on to the marble floor — which was completely real. "That's 100 percent Dakota and she probably did 23 takes of falling on her face to the ground." Stubbs thought Dakota was anticipating the fall, losing the spontaneity of the gag. The more takes she did, the more mechanical it became. So, knowing Dakota was committed to making it work, Stubbs hid behind lens, grabbed her foot, and assisted her fall. "It's the little things that can be the most difficult sometimes, and not making things more than they need to be," Stubbs says. "[Dakota] is a trooper. She was fully committed."
Stubbs' contributions to Fifty Shades of Grey are hard to trace. She prides herself on it. A move that went too soft could pull a viewer out of the movie and have them questioning the core relationship. Too hard of a hit sends the movie into camp territory, a movie that's about bondage as opposed to challenged by the lifestyle. Like Spielberg's whirlwind car chases, the sex in Fifty Shades just… happens. And, with the film killing it at the box office, it'll likely happen again. Stubbs says, if production sticks the course, cameras will roll on the Fifty Shades sequel in June. Whether the coordinator be on board a second time is uncertain, but she expects the on-set stunt methodology to remain the same: Work safe, work smart, and above all else, sell the illusion.
There aren't car flips, bare-knuckle brawling or explosions exploding out of explosions in the subdued hit Fifty Shades of Grey, and yet the film's sexual encounters speak the same language as an Indiana Jones movie. The experimental passion that erupts between Anastasia Steele (Dakota Johnson) and bondage connoisseur Christian Grey (Jamie Dornan) is artful and precise, building sensations out of implication rather than sustained, gratuitous moves. Director Sam Taylor-Johnson comes from the visual art world, where her body of work has been praised for examining "the split between being and appearance, often placing her human subjects – either singly or in groups – in situations where the line between interior and external sense of self is in conflict." That's Fifty Shades too, a meticulous orchestration of portraiture and movement, cobbled together with Spielberg bravado.
Like Raiders, Fifty Shades is a movie where the stunts make or break the action's magnetic quality. To believe Christian and Anastasia's relationship is to buy Dornan and Johnson in the Red Room, ties, floggers, and anything else in play. To execute these physically and emotionally involved sequences, Fifty Shades recruited stunt coordinator Melissa Stubbs, whose resume includes The Last Samurai, the X-Men series, stunt-doubling for Angelina Jolie in Mr. and Mrs. Smith, the upcoming Terminator Genisys and over 25 years executing stunts for jobs big and small. Speaking to Esquire from Los Angeles, Stubbs likened the sex in Fifty Shades to a coordinated fight scene, planned and ingrained in the actors' minds.
"It was a lot of working with Sam Taylor-Johnson and the actors, getting to a place where [Jamie Dornan] could play dominant," Stubbs said. "They wanted it to look realistic and keep it true to the book. So my purpose was helping the actors to get there without hurting them. My job description can be anything to a martial arts teacher to rolling a car. This was a completely different thing. It was about helping the actors getting to where they needed to go."
Stubbs recalled that she and the Fifty Shades team spent two weeks researching and developing a layout for Christian's Red Room, learning what accessories their lead character would keep in his home and weighing each item's visual appeal. In a mock Red Room layout, Stubbs became her own Anastasia stand-in, engaging with various setups to see how they would play on screen. The stuntwoman worked with a bondage tech advisor that instructed the production on tools, devices, and ropes used in regular practice. Stubbs and the design team toiled over the simplest knots. "We played with them, [finding] visual ideas for Sam," she said. "If you look at Sam's work as a visual artist and photographer, you'll see interesting images of human art, physical art, of subjects hanging."
There's only so much that a stunt team can fake when a scene requires two bare actors and a series of rough maneuvers. The rack where Christian hangs Anastasia had few modifications, save for some off-camera comforts. The duo's actual "play" couldn't fake contact. Props had to move like real bondage toys to give Taylor-Johnson options in the editing room. Stubbs worked with prop master Dan Sissons to design whips that had soft leather or rabbit fur tips to avoid hurting Johnson, or leaving a mark on her. Takes involving Dornan and Johnson varied from calm to quite violent (a salaciousness that rarely shows its face in the finished film).
Stubbs couldn't laud Johnson's commitment to the Red Room scenes enough. "She was completely naked and vulnerable," said Stubbs. "It's fine if it's an intimate setting with your actor and director, but you have an entire film crew in the room. There were shots where she was flogged, but in the most gentle, controlled manner possible. It was a tough couple of weeks for her."
While the glimpse of a whip may provoke audience reactions, many of Fifty Shades provocative beats were dependent on Dornan and Johnson's performances. Body language was as important as bodily reactions. Stubbs talked about a scene where Jamie crops Dakota to stage combat. "If someone gets punched, we don't actually punch someone," she said. "It's a swing and a miss, but the use the actor's reaction sells that they were struck." Very little of the sex in Fifty Shades was "blocked," leaving intimate movements up the actors and their character motivations. Stubbs said that there was pre-shoot training, but it was all in preparation to work "freestyle," ingraining this behind-closed-doors acts into the actors' repertoire. "My job is not how to tell Jamie how to move sexually," she said. "It's his decision and a private one."
As a stunt coordinator, Stubbs was on standby throughout the shoot, a pair of eyes who could step in when a move wasn't working. She could offer alternatives, descriptive explanation. "Sometimes you're a fly on the wall and gently get them pointed on the right direction from their character point, from a safety point," she says. Dornan and Johnson's simulated moves had to look convincing, and, even more importantly, they had to be repeatable. Each shot could take four hours.
Despite surface appearances, nothing in the Red Room was as painful for Johnson as one of the film's minor, fully-clothed moments. When she walks into Christian's office for the first time, Anastasia takes a nasty pratfall on to the marble floor — which was completely real. "That's 100 percent Dakota and she probably did 23 takes of falling on her face to the ground." Stubbs thought Dakota was anticipating the fall, losing the spontaneity of the gag. The more takes she did, the more mechanical it became. So, knowing Dakota was committed to making it work, Stubbs hid behind lens, grabbed her foot, and assisted her fall. "It's the little things that can be the most difficult sometimes, and not making things more than they need to be," Stubbs says. "[Dakota] is a trooper. She was fully committed."
Stubbs' contributions to Fifty Shades of Grey are hard to trace. She prides herself on it. A move that went too soft could pull a viewer out of the movie and have them questioning the core relationship. Too hard of a hit sends the movie into camp territory, a movie that's about bondage as opposed to challenged by the lifestyle. Like Spielberg's whirlwind car chases, the sex in Fifty Shades just… happens. And, with the film killing it at the box office, it'll likely happen again. Stubbs says, if production sticks the course, cameras will roll on the Fifty Shades sequel in June. Whether the coordinator be on board a second time is uncertain, but she expects the on-set stunt methodology to remain the same: Work safe, work smart, and above all else, sell the illusion.
Via JDornanLife <3
Dakota's Hairstylist Mark Townsend talks about Dakota and her Oscar Hairstyle
As
we saw on the SS 15 runways, pony’s are definitely the ‘it’ style for
spring and nothing captures that more than a red carpet moment. Dakota
Johnson’s effortless ponytail was an understated compliment to her
flowing dress and features. Hairstylist Mark Townsend let’s us in on
recreating the look at home.
“Working with Dakota has been such an incredible and inspiring experience. For the 2015 Oscars I wanted her hair to reflect her personality and style, and the Saint Laurent gown she chose to wear was very vibrant. We decided her hair should be off the dress, but not necessarily up, so I went for a young, cool ponytail. She has the most amazing fringe so we kept them down with some face framing layers to keep the style modern and perfectly imperfect.
TO STYLE:
1. I started by adding a few drops of Dove Youthful Vitality Silk Crème to her damp hair and blow dried with a Mason Pearson brush.
2. For texture and grip, I liberally sprayed Dove Refresh+Care Invigorating Dry Shampoo throughout her hair, then gathered it just above the occipital bone, securing with a tight elastic.
3. The key to dressing up a ponytail is in the details, so I pulled a small amount of hair from the ponytail, wrapped it around the base to hide the elastic, and secured with bobby pins.
4. To create additional texture I sprayed Sally Hershberger Glam Waves spray in my hands and raked it through the ponytail.
5. I finished by spraying Dove Style+Care Extra Hold Hairspray to add shine and keep her hair in place all night.”
“Working with Dakota has been such an incredible and inspiring experience. For the 2015 Oscars I wanted her hair to reflect her personality and style, and the Saint Laurent gown she chose to wear was very vibrant. We decided her hair should be off the dress, but not necessarily up, so I went for a young, cool ponytail. She has the most amazing fringe so we kept them down with some face framing layers to keep the style modern and perfectly imperfect.
TO STYLE:
1. I started by adding a few drops of Dove Youthful Vitality Silk Crème to her damp hair and blow dried with a Mason Pearson brush.
2. For texture and grip, I liberally sprayed Dove Refresh+Care Invigorating Dry Shampoo throughout her hair, then gathered it just above the occipital bone, securing with a tight elastic.
3. The key to dressing up a ponytail is in the details, so I pulled a small amount of hair from the ponytail, wrapped it around the base to hide the elastic, and secured with bobby pins.
4. To create additional texture I sprayed Sally Hershberger Glam Waves spray in my hands and raked it through the ponytail.
5. I finished by spraying Dove Style+Care Extra Hold Hairspray to add shine and keep her hair in place all night.”
Source maneaddicts
Via DakotaJLife
Friday, February 27, 2015
"Fifty Shades of Grey" Cinematographer Seamus McGarvey talks about filming Sex Scenes and mentions Dakota
From New York Times:
To hear most actors tell it, filming sex scenes is no turn-on. There
are big cameras, of course, and big crew members that come with them.
It’s a performance with a stranger-turned-scene-partner, for a director
who’s judging every caress and whimper. It’s the antithesis of hot,
stars assure us on late-night TV; it’s awkward and tense. Speak to the
filmmakers, though, and you get a different take.
“I personally am very excited when we shoot sex scenes,” said Sarah Treem, a creator of the Showtime series “The Affair.” “Because I think they can be transgressive; they can be very, very real.”
When they work, she added, “everybody actually enjoys them.”
Audiences certainly do, if the blockbuster success of “Fifty Shades of Grey” is any measure. But they are delicate moments to capture. “We did actually save the explicit sex to the final week” of shooting, said Seamus McGarvey, the cinematographer of “Fifty Shades of Grey,” based on E. L. James’s S-and-M-centered novel — though on-screen, some of the whipping is created via digital imagery.
To simulate sex, actors employ tricks: pillows between them, prosthetics and body stockings, and push-ups to get their muscles bulging. But the movement is often improvised. “If it’s overly rehearsed or overly thought through, it seems like a bad soft-core porn on Cinemax,” said Judd Apatow, the auteur of raunchy rom-coms (and a producer of “Girls”). In the forthcoming comedy “Trainwreck,” Mr. Apatow directed the writer and comedian Amy Schumer in her first big-screen sex scenes; she pumped herself up by listening to Beyoncé in her trailer.
On “Fatal Attraction,” Michael Douglas and Glenn Close were loosened up with Champagne and margaritas, said Adrian Lyne, the director of that sexually charged classic as well as “Indecent Proposal” and “Unfaithful.”
Naturally, not all steamy scenes are amorous. Some, like those in Jean-Marc Vallée’s “Wild” and “Dallas Buyers Club,” are meant to be uncomfortable, and those are among the most difficult to create.
In individual telephone conversations, these film professionals discussed one of the weirder aspects of their jobs, the logistics of sex on screen.
Write, rehearse and choreograph? Or just let the camera roll?
Seamus McGarvey: We did have rehearsals and to make the actors feel comfortable initially, look at how we might photograph the sex. Also, that suited the first few sex scenes, to have a slight awkwardness to them; the camera would be more at a distance. In the Red Room, when things heat up a little bit, that was less choreographed. Sometimes we would use a remotely operated camerahead so the actors wouldn’t have an operator leaning in.
Do you ask for nudity, and then worry about covering it up afterward?
McGarvey: We were protecting the actors. Jamie [Dornan] had a cover over his penis. Dakota [Johnson] had kind of a patch that went over her pubic area, and right round her whole body. We were in the curious situation, in postproduction, of adding [pubic hair]. I wouldn’t say it was one of the highlights of my career, but it certainly was one of the most surreal scenarios. We did have a butt double for Dakota. I had the pleasure of casting a nontattooed bottom — Surreal Scenario No. 2.
Sex scenes mean a small crew. But how close are the cameras and how many takes?
McGarvey: For the sex, we would always shoot with two cameras, so they wouldn’t have to do numerous takes. I have done sex scenes before that have more abandon, for instance, in “We Need to Talk About Kevin.” When I did that scene with Tilda Swinton and John C. Reilly, with a 5D [camera], I was literally under the covers.
“I personally am very excited when we shoot sex scenes,” said Sarah Treem, a creator of the Showtime series “The Affair.” “Because I think they can be transgressive; they can be very, very real.”
When they work, she added, “everybody actually enjoys them.”
Audiences certainly do, if the blockbuster success of “Fifty Shades of Grey” is any measure. But they are delicate moments to capture. “We did actually save the explicit sex to the final week” of shooting, said Seamus McGarvey, the cinematographer of “Fifty Shades of Grey,” based on E. L. James’s S-and-M-centered novel — though on-screen, some of the whipping is created via digital imagery.
To simulate sex, actors employ tricks: pillows between them, prosthetics and body stockings, and push-ups to get their muscles bulging. But the movement is often improvised. “If it’s overly rehearsed or overly thought through, it seems like a bad soft-core porn on Cinemax,” said Judd Apatow, the auteur of raunchy rom-coms (and a producer of “Girls”). In the forthcoming comedy “Trainwreck,” Mr. Apatow directed the writer and comedian Amy Schumer in her first big-screen sex scenes; she pumped herself up by listening to Beyoncé in her trailer.
On “Fatal Attraction,” Michael Douglas and Glenn Close were loosened up with Champagne and margaritas, said Adrian Lyne, the director of that sexually charged classic as well as “Indecent Proposal” and “Unfaithful.”
Naturally, not all steamy scenes are amorous. Some, like those in Jean-Marc Vallée’s “Wild” and “Dallas Buyers Club,” are meant to be uncomfortable, and those are among the most difficult to create.
In individual telephone conversations, these film professionals discussed one of the weirder aspects of their jobs, the logistics of sex on screen.
Write, rehearse and choreograph? Or just let the camera roll?
Seamus McGarvey: We did have rehearsals and to make the actors feel comfortable initially, look at how we might photograph the sex. Also, that suited the first few sex scenes, to have a slight awkwardness to them; the camera would be more at a distance. In the Red Room, when things heat up a little bit, that was less choreographed. Sometimes we would use a remotely operated camerahead so the actors wouldn’t have an operator leaning in.
Do you ask for nudity, and then worry about covering it up afterward?
McGarvey: We were protecting the actors. Jamie [Dornan] had a cover over his penis. Dakota [Johnson] had kind of a patch that went over her pubic area, and right round her whole body. We were in the curious situation, in postproduction, of adding [pubic hair]. I wouldn’t say it was one of the highlights of my career, but it certainly was one of the most surreal scenarios. We did have a butt double for Dakota. I had the pleasure of casting a nontattooed bottom — Surreal Scenario No. 2.
Sex scenes mean a small crew. But how close are the cameras and how many takes?
McGarvey: For the sex, we would always shoot with two cameras, so they wouldn’t have to do numerous takes. I have done sex scenes before that have more abandon, for instance, in “We Need to Talk About Kevin.” When I did that scene with Tilda Swinton and John C. Reilly, with a 5D [camera], I was literally under the covers.
Via JDornanLife :)
Fashion: Dakota in Saint Laurent | 2015 Oscars
WHO: Melanie Griffith and Dakota Johnson
WHERE & WHEN: 87th Annual Academy Awards on February 22, 2015.
WEARING: On Dakota—Saint Laurent dress, Bally shoes and clutch & Forevermark jewelry.; On Melanie—Roland Mouret dress.
Source thefashion-court.
WHO: Melanie Griffith and Dakota Johnson
WHERE & WHEN: 87th Annual Academy Awards on February 22, 2015.
WEARING: On Dakota—Saint Laurent dress, Bally shoes and clutch & Forevermark jewelry.; On Melanie—Roland Mouret dress. - See more at: http://thefashion-court.com/2015/02/dakota-johnson-melanie-griffith-2015-oscars/#sthash.RKviqSt9.dpufWHO: Melanie Griffith and Dakota Johnson
WHERE & WHEN: 87th Annual Academy Awards on February 22, 2015.
WEARING: On Dakota—Saint Laurent dress, Bally shoes and clutch & Forevermark jewelry.; On Melanie—Roland Mouret dress. - See more at: http://thefashion-court.com
WHERE & WHEN: 87th Annual Academy Awards on February 22, 2015.
WEARING: On Dakota—Saint Laurent dress, Bally shoes and clutch & Forevermark jewelry.; On Melanie—Roland Mouret dress. - See more at: http://thefashion-court.com/2015/02/dakota-johnson-melanie-griffith-2015-oscars/#sthash.RKviqSt9.dpufWHO: Melanie Griffith and Dakota Johnson
WHERE & WHEN: 87th Annual Academy Awards on February 22, 2015.
WEARING: On Dakota—Saint Laurent dress, Bally shoes and clutch & Forevermark jewelry.; On Melanie—Roland Mouret dress. - See more at: http://thefashion-court.com
Victor Rasuk talks about "Fifty Shades of Grey" and mentions Dakota
You play Anastasia’s best friend who has always had feelings for her. Can you relate to that part?
Victor: Yes. Everyone can relate to Jose in the sense that we’ve all had our
heart broken and we’ve all moved on from that in one way or another.
That’s what made it easy for me to portray this role.
Surprising things we don’t know about your cast members…
Victor: Dakota [Johnson] purposely didn’t see the Red Room until the first day she filmed there.
Source: TheNewPotato.
Via the50shadesworld.
Thursday, February 26, 2015
Head Designers of Veronica Beard talk about Dakota
Who would be the ideal girl wearing your line?
Veronica Swanson Beard: "There’s so many! Our inspiration boards are constantly full of women who inspire us, and celebrities obviously. We’re so thrilled when they wear them!"
Veronica Miele Beard: "It’s all these women who want to be chic all the time and they care everyday. We’re giving girls tools for and this one piece of effortless, layered clothing. We love people as young Dakota Johnson, Jennifer Lopez, to 70-year-olds. Our moms wear it!"
Veronica Swanson Beard: "We love [Dakota], she’s on fire right now, and she’s a [great] example of a demographic that would be fabulous. She has a huge lifestyle right now, and a lot of our clothes transcend all kinds of weather, day to evening, and very easy uniform pieces. We like to say we give you your armor and you can slay dragons all day."
Veronica Swanson Beard: "There’s so many! Our inspiration boards are constantly full of women who inspire us, and celebrities obviously. We’re so thrilled when they wear them!"
Veronica Miele Beard: "It’s all these women who want to be chic all the time and they care everyday. We’re giving girls tools for and this one piece of effortless, layered clothing. We love people as young Dakota Johnson, Jennifer Lopez, to 70-year-olds. Our moms wear it!"
Veronica Swanson Beard: "We love [Dakota], she’s on fire right now, and she’s a [great] example of a demographic that would be fabulous. She has a huge lifestyle right now, and a lot of our clothes transcend all kinds of weather, day to evening, and very easy uniform pieces. We like to say we give you your armor and you can slay dragons all day."
Source: wetpaint
Via DakotaJLife
Wednesday, February 25, 2015
Sam Taylor-Johnson talks about "Fifty Shades of Grey" and Dakota & Jamie with Interview Magazine
From Interview:
CAMPION: When I met you, I was really struck by how beautiful you are.
You have a curious strength and humanity, kindness, and vulnerability. I
know you must be ambitious, but there's nothing of the male-directed
machine about you. Clearly you have your opinions, but you're not at all
aggressive in your manner. Is that how things work with you on the set
with your collaborators, as a director? How do you get what you want?
TAYLOR-JOHNSON: With a movie like this, I had to build trust and make Dakota and Jamie feel secure that they'd never be violated or put in a position where I was going to take advantage. I had just a few weeks to build an enormous security blanket around the three of us. Whatever we did was a discussion and a place of love and safety. Not too far from what we were talking about, really.
TAYLOR-JOHNSON: With a movie like this, I had to build trust and make Dakota and Jamie feel secure that they'd never be violated or put in a position where I was going to take advantage. I had just a few weeks to build an enormous security blanket around the three of us. Whatever we did was a discussion and a place of love and safety. Not too far from what we were talking about, really.
CAMPION: With Dakota, it's easy to understand, because women are so used
to being objectified sexually, but for Jamie, was that a struggle for
him at all?
TAYLOR-JOHNSON: I think Jamie was definitely a little shy. His wife, Millie, just had a baby about four days, I think, before we started shooting. To be in the head space of a new father, very protective of the world, and then to step into this role of powerful dominant—it took enormous courage for him to be able to do that and be naked and be sexual at a time when he was feeling very different. I think both of them struggled with the nudity and the sex. They were both fully aware that that was what they signed on for, but when it comes to that moment, both of them were terrified of where we were going to go. Everyone said, "What was the chemistry like? Was it powerful?" As you well know, when you're shooting an incredibly erotic scene, you've got your gaffers and your grips and your lighting and your sound. [Campion laughs] It's hard to create that intimacy.
TAYLOR-JOHNSON: I think Jamie was definitely a little shy. His wife, Millie, just had a baby about four days, I think, before we started shooting. To be in the head space of a new father, very protective of the world, and then to step into this role of powerful dominant—it took enormous courage for him to be able to do that and be naked and be sexual at a time when he was feeling very different. I think both of them struggled with the nudity and the sex. They were both fully aware that that was what they signed on for, but when it comes to that moment, both of them were terrified of where we were going to go. Everyone said, "What was the chemistry like? Was it powerful?" As you well know, when you're shooting an incredibly erotic scene, you've got your gaffers and your grips and your lighting and your sound. [Campion laughs] It's hard to create that intimacy.
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