For the 45th anniversary of The Godfather’s release in movie theaters, the Tribeca Film Festival gathered director Francis Ford Coppola, Al Pacino, Robert De Niro, Diane Keaton, James Caan, Robert Duvall and Talia Shire for a back-to-back screening of The Godfather and The Godfather Part II followed by a panel discussion. Tomris Laffly highlighted some of the high points of the discussion.
“I found it a very emotional experience. I forgot a lot about the making of it,” said Francis Ford Coppola, who viewed the two films for the first time in many years. “This film could be made today, but it wouldn’t get a go ahead from a studio. The first film was made for about $6.5 million; the second was made for $11 or $12 million. They would never get a green light today,” he stated, briefly touching upon the dire state of the industry today. Diane Keaton, who said she watched the films on a computer quite recently, built on Coppola’s sentiments. “I hadn’t seen it in about 30 years. I couldn’t get over it,” she said. “It was so astonishing, Francis. It was so beautiful,” she continued. “And everybody is so great in it. Every choice you made was so authentically brilliant. I just kept crying, and that damn Talia. I am not kidding…. Everything was astonishing to me and I didn’t expect it.”
Every time I watch The Godfather, I’m struck by how much Pacino reminds me of Matthew Broderick in the first half of the movie. It’s gone by the end of the film and in every subsequent movie he made. Broderick, on the other hand, still seems very much the same, not so much the adult Ferris Bueller eventually became but more like a Ferris that never grew up at all.
For the past 33 years, The Criterion Collection has been “dedicated to gathering the greatest films from around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements” and includes films like The 400 Blows, Hoop Dreams, and Seven Samurai. One of the more unusual movies in the collection is Michael Bay’s Armageddon. You definitely won’t find many other films with a Rotten Tomatoes rating of 39% in there.
On the commentary track included on the Armageddon DVD, Ben Affleck goes off for a couple of minutes about the scene where Bruce Willis’ character argues for sending oil drillers into space rather than training astronauts to drill. It’s hilarious.
I asked Michael why it’s easier to train oil drillers to be astronauts than it was to train astronauts to become oil drillers. He told me to “shut shut shut the fuck up.” So that was the end of that talk. … See here’s where we demonstrate that because Bruce is gonna tell the guys that they did a bad job of building the drill tank. See, he’s a salt of the earth guy and the NASA nerdonauts don’t understand his salt of the earth ways, his rough and tumble ways. Like somehow they can build rocket ships but they don’t understand, like what makes a good tranny.
But Ben Affleck is far from finished with this movie. He recounts an argument wherein an incredulous Michael Bay asked him why he’d never learned how to pretend like he was floating in acting school. Affleck told him most acting training does not, in fact, include “weightless mime.”
A duo called Palette-Swap Ninja has produced a mashup of Star Wars and the entirety of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album. Each song on the album is paired chronologically with a scene from the movie:
Princess Leia’s Stolen Death Star Plans (Sgt. Pepper’s Lonely Hearts Club Band)
Luke Is In The Desert (Lucy In The Sky With Diamonds)
Being From The Spaceport Of Mos Eisley (Being For The Benefit Of Mr Kite!)
Matte paintings are fake sets that-most of the times-used to be made with plexiglass and oil paint. The artists used oversized panels to create the necessary detail that the camera needed to fool the audiences when the film was projected over the large surface of the theater screen. The paintings were combined with live action filmed to match the perspective of the painting. If done well, the public would totally buy into the shot.
Robert Bechtle has nothing on these guys. Bonus painting: the warehouse scene from Raiders of the Lost Ark.
They had to use a painting because the filmmakers were unaware of Ikea at the time.
Plug your headphones into the bag, press play, and enjoy the Doritos packaged inside!
Their custom hashtag isn’t taking off the way that they had hoped (only 1 result on Twitter and 2 on Insta), but I have to admit, this is kinda cool…exactly the sort of weirdo product promotion that people would have gone bonkers for in the 80s.1 Engadget has a look at the bag and how it works:
The bags are sold out on Amazon (and I don’t think they were ever available anywhere else), but if you really want one, they are selling on eBay for anywhere from $50 to $500.
You might even say — wait for it (actually don’t, this is stupid and beneath us all) — that it’s all that and a bag of chips. (Told you.)↩
1984. I believe I last saw this movie in high school, which seems unlikely given the nudity. Or maybe we saw a censored version, in which case: lolololol. (B+)
Big Little Lies. I almost gave up on this after two episodes. I can watch TV characters do all sorts of horrible things to each other — lie, cheat, steal, betray, kill — but apparently epically bad parenting is my last straw. But. The final episode contains one of the best scenes I’ve ever watched on TV and was just fantastic all around. Was literally on the edge of my seat for the entire 60 minutes. (A-)
Future Sex. Among the least titillating books about sex you’ll ever read. (That’s a compliment.) (B+)
The Undoing Project. I was unsure about this one until about 1/3 through but persisted because it’s Michael Lewis. Fascinating in places and unexpectedly emotional. (B)
Mr. Bean. I have never seen my kids laugh quite as hard as they did watching Mr. Bean rush to the dentist office. My dad instilled in me an appreciation of British comedy and I guess I’m passing that on to my kids. They seem to get it, but not all kids do. They were so excited recently to show some friends The Ministry of Silly Walks sketch from Monty Python and the friends looked really really confused and didn’t laugh at all. Fawlty Towers is up soon. (B)
The Rules Do Not Apply. At one shocking, heartbreaking point in the book, time reels backwards. If you’ve read Ariel Levy’s Thanksgiving in Mongolia in the New Yorker, you know exactly what I’m talking about. (B+)
Tim Carmody’s Best of the Web series for kottke.org. I love getting to be a reader of the site sometimes, just like all of you. I always enjoy Tim’s residencies here, but this one made me clap my hands in joy and stomp my feet in a jealous rage. It’s not entirely fair that he does the site better than I do, but I’m glad he does. (A)
The final season of Girls. Not their best season, but I’m sad to see it go nonetheless. The ensemble is what made the show special, and they just weren’t together enough this season. The single episode “goodbyes” for each character felt forced. (Same reason why Arrested Development season 4 wasn’t up to scratch.) (B+)
Terror of the Zygons. I started watching old Doctor Whos with the kids and they love them. (B-)
Hedgehog Launch. Ancient iOS game…my phone might contain the last functioning install of it. I started playing it a few weeks ago and now I am addicted to it for absolutely no good reason. The game sucks: it’s tough and not that fun until a certain point and then it gets really easy to win. But I can’t stop playing it. It’s like a metaphor for something in my life I can’t quite figure out. Fuck this game. (F)
Damn. I need to listen to this more. So I shall. (B+)
Get Out. Really good but not great. I saw this weeks after everyone else and my expectations were too high. Kept waiting for it to slip into a slightly higher gear but it never did. Don’t @ me! (B+)
Cloud Atlas. I’ve seen this movie at least four times and I love it. (A-)
The Prestige. Hadn’t seen this since it came out. Holds up. Had totally forgotten about Bowie as Tesla. (A-)
Studio Ghibli has been making incredible animated movies since 1985. This video traces the history and the work of the studio and its principal director Hayao Miyazaki from his pre-Ghibli work (including Nausicaä of the Valley of the Wind) all the way up to Miyazaki’s recent unretirement & involvement in Boro the Caterpillar.
The name Ghibli was given by Hayao Miyazaki from the Italian noun “ghibli”, based on the Libyan-Arabic name for the hot desert wind of that country, the idea being the studio would “blow a new wind through the anime industry”. It also refers to an Italian aircraft, the Caproni Ca.309 Ghibli.
I still remember seeing Princess Mononoke in the theater in 1999 (having no previous knowledge of Ghibli or Miyazaki) and being completely blown away by it. Made me a fan for life. (via film school rejects)
Errol Morris’s surprising new film is simplicity itself: a visit to the Cambridge, Massachusetts studio of his friend, the 20x24 Polaroid portrait photographer Elsa Dorfman, who specifies on her website that she likes her subjects “to wear clothes (and to bring toys, skis, books, tennis racquets, musical instruments, and particularly pets…).” As this charming, articulate, and calmly uncompromising woman takes us through her fifty-plus years of remarkable but fragile images of paying customers, commissioned subjects, family, and close friends (including the poet Allen Ginsberg), the sense of time passing grows more and more acute.
Next month is the 40th anniversary of the release of Star Wars and at Star Wars Celebration this year, there was a 40 Years of Star Wars panel with George Lucas, Mark Hamill, Billy Dee Williams, and Harrison Ford. At the end of the panel, after some personal thoughts from Lucas and the other panelists about Carrie Fisher, they played this video tribute to Fisher.
For awhile, I think Hollywood forgot that movies are supposed to be fun. This looks fun, like movies in the 80s were before the studios started fixating too much on boobs and bombs for teen boys, gritty reboots, and save-the-world movies.
From concept designer Ash Thorp, a reel of visual effects he worked on for Ghost in the Shell, from animation tests to completed effects featured in the film.
Early on in the film’s development, I met with Rupert to discuss some of the creative direction. He expressed his desire to paint the city with neon lights in a new form that he coined as “Solograms”, which are solid holograms. It is something in the realm of a particle system of light that can be moved and augmented in Z space. I loved the idea and instantly got to work building out concepts and ideas. Below you will see a mix of various style frames, concepts, and final production assets that made it into the film.
I saw this the other day and the effects are amazing; I wish the story could have been a little better.
When The Shining premiered in 1980 in NYC and LA, there was a short scene in a hospital between the shot of Jack Torrence frozen in the maze and the long zoomed-in shot of the framed photo. After the premieres, director Stanley Kubrick decided the scene didn’t work and had it cut from dozens of prints and destroyed.
It’s also important to note that this was likely not the exact scene that Kubrick shot; since the scene no longer exists, it’s impossible to know how exactly it played. Even the many people who saw the epilogue when The Shining was first released have varying recollections of the exact details. Clearly, the final text about the Overlook’s history was an idea omitted during the writing process.
In 2006, Davis Guggenheim directed An Inconvenient Truth, a documentary film about Al Gore’s fight to educate the world about climate change. It made nearly $50 million at the box office, won the Oscar for Best Documentary Feature, and is credited for moving the conversation about climate change along (although not nearly fast enough, in my mind). This July, a followup documentary will be released: An Inconvenient Sequel: Truth to Power. From a review in the LA Times:
Eleven Sundances later, Gore’s star wattage seemed entirely undimmed at Thursday evening’s premiere of “An Inconvenient Sequel: Truth to Power,” an awkwardly titled, stirringly crafted follow-up that measures the progress that has and hasn’t been made in the battle against global warming. Taking over for Davis Guggenheim, the directors Bonni Cohen and Jon Shenk largely abandon the framing device of Gore’s lecture (which he and his international team of trainees continue to give regularly) in favor of a nimbler, more on-the-go approach.
Despite some updates on the continuing decline of the world’s glaciers and the link between climate change and the recent Zika virus outbreak, the focus this time is less on science than on politicking. Cohen and Shenk tag along with Gore on a globe-trotting mission to persuade various heads of state to invest in wind and solar energy, and reduce their reliance on fossil fuels — an effort that culminates on-screen with the signing of last year’s historic Paris climate accord.
Don’t pay too much attention to the letter grades, they’re super subjective. Oh, and don’t pay too much attention to the descriptions…also subjective. You know what, you should probably just skip this post and watch Planet Earth II instead. It’s objectively great.
What Happened, Miss Simone? Nina Simone is underrated. There are some spine-tingling live musical moments in this film. (B+)
The Three-Body Problem. Recommended by Barry. The first book is great, the next two are good but pretty depressing. (B+)
Moonlight. While this didn’t grab me as much as it did everyone else, the Academy got it right. (A-)
The Night Manager. I can see what Taylor Swift saw in Tom Hiddleston. (B+)
T2 Trainspotting. If you saw and loved the original, you should see this. It is somehow nostalgic and also not. (B)
Girls. The struggles of 20-something New Yorkers and the crises of 40-something males may not be the same, but they sure do rhyme. (B+)
Beauty and the Beast. Better than I expected, even for a musical about the Stockholm syndrome. (I mean, why didn’t the Beast let Belle go like waaaay sooner?) I never saw the original when I was a kid but somehow knew all the songs anyway? I even got a little teary at the end but perhaps that’s just because my emotional life is a puddly mess rn. (B)
Turing’s Cathedral. Raging Bull. Manchester by the Sea. I am increasingly bored by stories about white dudes. Look at the rest of this list. The best stuff, the things I liked the most, are stories about or stories told by women or people of color or non-Americans. (C)
Homo Deus. Still haven’t finished this, but I’m persisting because Sapiens was so good. Hard to escape the conclusion that the sequel is not quite so good. (B-)
Planet Earth II. This is the best thing I’ve seen in the last year. Just fucking watch it already. (A+)
More Life. Liking this more than Views. Drake’s non-albums are better than his albums. (B+)
Mad Men. My second time through. Better than I remember and I remember it being great. (A+)
The Crown. Expected Downton (soapy but fun) but was rewarded with great acting and writing. Claire Foy as Elizabeth and John Lithgow as Churchill were *kisses fingers*. (A)
“Awaken My Love”. I’m sorry, I just couldn’t figure this one out. (C-)
Logan. Producers are realizing they’ve stocked their superhero movies with great actors so maybe they should give them material worthy of their talents. (B+)
Abstract. Pretty good, but I agree with Rob Walker’s take. Niemann is closest to the way I work/think but I liked Bjarke’s episode the best…even though I’ve got some, er, issues with the guy. (B)
Harry Potter and the Cursed Child. The script, not the play. I have now read all 8 of the Harry Potter books with my kids…it took more than 4 years. Very sad it’s over…it ended up being one of the most rewarding things I’ve done with them. (B+)
For movies based on historical events, getting the details right can be essential in convincing the audience they’re watching something meaningful and important, particularly if the real-world scenes are iconic. But often, historical happenings are changed to make scenes more cinematically effective. This video shows several historical events coupled with their cinematic recreations in films like Jackie, Into the Wild, JFK, Catch Me If You Can, and Selma.
From director Martin McDonagh, who is also responsible for In Bruges, comes Three Billboards Outside Ebbing Missouri. Frances McDormand stars and even in the trailer, she is a force of nature. (No offense to Meryl Streep, but McDormand is a very strong candidate for the best actor or actress working today.) The red band trailer above is entertaining in its use of many of George Carlin’s seven dirty words but I prefer the more conventional trailer I saw in the theater the other day — which I cannot locate online for some reason — because, among other reasons, it contains more Peter Dinklage.
Citizen Jane: The Battle for the City is a documentary films about Jane Jacobs and her legendary battle against Robert Moses for the soul of New York City.
People have to insist on government trying things their way.
The film will be available in theaters and on-demand on April 21.
I’m a bit more than halfway through the audiobook of The Power Broker and Robert Moses is approaching the height of his influence. The power that Moses possessed in NYC almost cannot be overstated — I can’t think of any other single person who affected the “look and feel” of the city more than he did. I have heard the story many times, but I can’t wait to get the part with Jacobs, to hear in Caro’s words how this infinitely powerful man lost his grip on the city because of this remarkable woman and a group of concerned citizens. (via @daveg)
The ending of Rogue One — spoilers! — shows an unconvincing CG clone of Princess Leia receiving the plans for the Death Star just before her ship jumps into hyperspace. The beginning of Star Wars takes place just a few minutes (or hours?) after the final scene in Rogue One. Vader’s ship has caught the Rebel ship. He boards it and captures Leia, but not before she hands off the plans to R2-D2, who escapes to Tatooine with C-3PO. Watching them cut together like this, the whole narrative makes a lot more sense. BTW, on March 24, you’ll be able to watch both movies back-to-back in the comfort of your home when Rogue One is available for digital download.
Update: This video is even better…it includes a deleted scene from the original Star Wars inserted between the two movies. (You also get to hear Luke’s original nickname: “Wormy”.)
Artist Simon Birch and architect Paul Kember have recreated the famous bedroom from Stanley Kubrick’s 2001: A Space Odyssey as part of a larger art project called The 14th Factory in the Lincoln Heights neighborhood of Los Angeles. Weirdly, when Birch approached Kember about doing the project, Kember revealed that his uncles had worked on the actual set for Kubrick:
Birch showed the project’s architect, a guy named Paul Kember, a series of stills from the film hoping he’d be able to recreate it. Then Paul goes, and I’m paraphrasing here, “Oh, Si, didn’t I tell you? My uncle and great-uncle — you know, Tony and John? — were draughtsman on that movie, and they literally — literally! — worked on that exact room! Isn’t that bonkers?!”
From the Instagram evidence, it looks as though you can walk around the bedroom, sit on the furniture, lay on the bed, etc. This might almost be worth making a special trip to LA.
Cinefix lists the best movie dialogue of all time. This is an unorthodox list…not sure many would rate Aaron Sorkin’s movie about Steve Jobs so highly. I enjoyed the shout out to Primer for its realistic-seeming dialogue of the cofounders of a small startup dealing with terrific success.
Pixar’s next movie, Coco, is coming out in November and here’s the first trailer.
Despite his family’s baffling generations-old ban on music, Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events.
Lee Unkrich (Finding Nemo, Toy Story 3) directs and the movie is out on November 22.
A heist film featuring a getaway driver named Baby — B. A. B. Y. Baby? — directed by Edgar Wright of Hot Fuzz fame? Take. My. Money. This is like the comedy version of Drive. In making the film, Wright himself was influenced by the “holy trinity” of heist films from the 90s: Point Break, Reservoir Dogs, and Heat.
The events and highly intricate plot lines of Breaking Bad take place over 62 episodes spanning 5 seasons, a true megamovie. Is it possible to edit all that down into a feature-length film that makes any sense? This fan-edit aims to answer that question.
What if Breaking Bad was a movie?
After two years of sleepless nights of endless editing, we bring you the answer to that very question. A study project that became an all-consuming passion.
It’s not a fan-film, hitting the highlights of show in a home-made homage, but rather a re-imagining of the underlying concept itself, lending itself to full feature-length treatment.
An alternative Breaking Bad, to be viewed with fresh eyes.
I haven’t had a chance to watch it yet — perhaps tonight — but am curious if it’s any good.
Update: Aaaaand it got taken down. Fun while it lasted! I’ve updated the embed to this copy on YouTube but that probably won’t last that long either.
Update: If you missed it yesterday before it got taken down, it seems to be back in its original home on Vimeo. *shrug* (Hahaha, it was up for about 10 minutes. Gone again!)
I tend not to like superhero movies as a genre — they take themselves far too seriously for something that’s supposed to be fun — but I really enjoyed Deadpool and it looks like Deadpool 2 is going to be more of the same so, yeah, I’ll see that when it comes out.
(This trailer was attached to the front end of Logan, which I also really liked. Yes, the movie took itself very seriously, but it was also a reminder that modern blockbuster movies are stuffed with acting talent and if you give those underutilized actors good material and let them go, good things happen.)
To The Right is a collection of left-to-right tracking shots from movies assembled by Candice Drouet. Included are films like Jackie Brown, Fight Club, Little Miss Sunshine, Psycho, The Shining, and The Grand Budapest Hotel.
Ezra Edelman’s fantastic documentary OJ: Made in America won the Oscar for best documentary this year. In a video for Fandor, Joel Bocko explains while the film’s focus is on Simpson, it also explores seven broader themes about contemporary America: sports, the media, Los Angeles, class, domestic abuse, policing, and race.
OJ: Made in America emerges not simply as a brilliant biography, it’s also a stunning social portrait that can stand beside any novel, epic film, or piece of longform journalism.
And in this video for The Atlantic, Edelman explains how, before murdering his ex-wife, Simpson was an advertising pioneer, the first black athlete to become a nationally known product pitchman, appearing in commercials for Hertz, Chevy, and Schick.
One of the most interesting aspects of Edelman’s film is how Simpson’s feelings about being black shifted after his arrest. For most of his life, he distanced himself from the black community, famously declaring “I’m not black, I’m OJ.” He didn’t get involved in the politics of the day or speak out like Muhammed Ali and other prominent black athletes did. He enjoyed preferential treatment by the LAPD, who help him keep his abuse of women under wraps. Black America had nothing to offer a man who enjoyed being rich and famous in white America. But then the trial happened and he hired Johnny Cochran, who made race into the central issue of the case, deftly aligning Simpson with a black community who had endured decades of racism and brutality in LA at the hands of society and the police.
Every time I watch or read something about how Rogue One was made, I come away more intrigued. And it’s not about how they made the film…it’s about the tools they built to help them make the film. A few weeks ago, I posted about the full-length story reel they made from bits of old movies so that director Gareth Edwards could determine the pacing:
There was no screenplay, there was just a story breakdown at that point, scene by scene. He got me to rip hundreds of movies and basically make ‘Rogue One’ using other films so that they could work out how much dialogue they actually needed in the film.
It’s very simple to have a line [in the script] that reads “Krennic’s shuttle descends to the planet”, now that takes maybe 2-3 seconds in other films, but if you look at any other ‘Star Wars’ film you realise that takes 45 seconds or a minute of screen time. So by making the whole film that way — I used a lot of the ‘Star Wars’ films — but also hundreds of other films too, it gave us a good idea of the timing.
In this video, we see a couple more tools the team used to facilitate the making of the film. The first is a VR video game of sorts that ILM built so that Edwards could move a virtual camera around in a virtual set to find just the right camera angles to capture the action, resulting in a process that was more flexible than traditional storyboarding.
The second tool jumped around a virtual set — a complete digital model of Jedha City — and rendered hundreds of street views from it at random. Then the filmmakers would look through the scenes for interesting shots and found scenes that looked more “natural” than something a digital effects artist might have come up with on purpose — basically massively parallel location scouting.
Both are attempts to introduce more serendipity and possibility into a digital filmmaking process that sometimes feels a little stilted. I think animation studios like Pixar have been using these techniques for years, but it’s interesting to see them applied to live-action films like Rogue One.
Update: The Verge’s Bryan Bishop talked to Edwards and visual effects supervisor John Knoll and came away with more interesting details about how they used technology in filming Rogue One.
Typically, you’d have to storyboard these things, and that means you’re pulling from some default, subconscious idea in your head, probably based on another film you’ve seen, where you feel like it should be this shot. I find you get much better, more unique, shots when you are in a real environment, trying to find something that’s unfolding in front of you. You get inspired because of the light and shapes and things. It was like being in the real world more, and like the way we shot a lot of the rest of the movie.
I think if I ever do a big film again, and there’s a big digital set piece in it, whatever that is, I would definitely want to pre-animate it and then go in with a camera and try and film it like it was real.
Read the whole thing…the bit about the LED screens is fascinating. Prior to the 1980s, aside from some relatively minor editing tricks, effects in movies were mainly done during shooting. More recently, most of the production happens after the cameras stop rolling: extensively green-screened footage of the actors is combined with entire sets and worlds that are completely digital. With Rogue One, they tried to move some of that production back into the shooting phase in order to give the director more control over the scenes and the actors a more immersive environment in which to act. (via @sippey)
The decision comes nearly 3 1/2 years after Miyazaki, 76, announced his retirement amid persistent calls for him to make a comeback from his fans both in and outside Japan.
“He is creating it in Tokyo, working hard right now,” Toshio Suzuki, a producer at the major Japanese animation company, said Thursday on a talk show, adding he was presented by the animation maestro with the storyboard of the new film at the end of last year.
“(The storyboard) was quite exciting,” 68-year-old Suzuki said, adding, “but if I’d told him it was good, I know it would ruin my own retirement,” as making the film would dominate his life, Suzuki told the audience.
Update: Miyazaki is working on a film called Boro the Caterpillar (Kemushi no Boro), which was originally going to be a short film before the director decided it would work better at a feature length. Here are some clips and sketches from the film, which won’t be out for another couple of years.
MinaLima (aka Miraphora Mina and Eduardo Lima) is the design studio that designs all of the graphics, signs, newspapers, decrees, posters, labels, maps, book covers, and packaging that you see in the Harry Potter movies.
The range of design styles on display is impressive and captures the films’ combination of humour, horror and fantasy.
On one wall, packaging and adverts for products in a shop owned by the Weasley family combine early 20th century print advertising with humorous taglines and garish colours, while posters promoting the fictional game of Quidditch (below) reference 1950s Olympics adverts.
Official notices and letters use hand written fonts, and pamphlets demonising ‘mudbloods’ — a wizard born to non-wizard parents — are inspired by Soviet progaganda (top).
“One of the best things about working on the Harry Potter films was being able to try out so many different styles, from Victorian letterpress to modern design,” says Lima.
“The Daily Prophet was designed to look very Gothic, as did the architecture of Hogwarts [the boarding school for wizards where the film is set]. When an organisation called the Ministry of Magic takes control in later films, the school becomes a kind of totalitarian state, so we started looking to Russian constructivist design to reflect that,” says Mina.
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