Tag Archives: Artis Pictures

Fashion show

The cast of Amazon’s latest release, The Collection, open the doors to the fashion house drama.

Actors signing on to appear in a period drama can usually expect to be transported into another world by the costumes they have to wear. But that claim has never been more valid than it is for The Collection, a stylish drama set in a haute couture fashion house in 1940s Paris.

The series stars Richard Coyle, Tom Riley and Mamie Gummer in the story of an illustrious fashion house emerging from the dark days of the Occupation. Brothers Paul and Claude, played by Coyle and Riley respectively, are at the heart of the family saga, which threatens to expose the grit behind the glamour of the business they, their family and employees all work in.

Frances de la Tour, Alix Poisson, Jenna Thiam and Irène Jacob complete the main cast.

“The costumes are amazing,” says Coyle, best known for roles in Covert Affairs and Crossbones. “I had to travel to Paris to be fitted to have suits made – I’ve never had suits made before. Even though the legs were far too wide for my tastes, they were beautiful suits – and Mamie’s worn some incredible things.”

Oliver Goldstick
Oliver Goldstick

Gummer, who plays Paul’s American ex-wife, continues: “Our designer Chattoune is a genius. Her scope and her appreciation for every single element and character is so specific and, for me, a costume fitting is always so informative and I’ve learned so much about my character, Helen, through that process.”

There was more to the appeal of starring in The Collection than just the costumes, however. Created by Oliver Goldstick (Ugly Betty), the series is set in a time when France is recovering from the Second World War – a period that Gummer (Emily Owens MD) says was brought to life immediately in the scripts.

“It was so engaging and I felt really pulled in by it,” she explains. “When I was done reading it, I wanted more. It was so clear from the outset that Oliver was so passionate and so well informed about every aspect of this time and of the characters – he worked on it for nearly a decade. Whenever you sign on to a television project, when you’re only given a couple of scripts to read, it is a bit of a leap of faith but I just sensed that we were in very good hands.”

Riley (Da Vinci’s Demons) picks up: “It was really visceral and there’s an element of it that, despite being a fashion show, felt kind of ugly, which was appealing. The darkness behind it, just beneath the surface, is very appealing as far as a world that seems so shiny but all that glitters is not gold.

“It all starts from the script and if the script is great, it makes your job a lot easier. It’s like driving a really nice car – it makes it easier to do your thing on top. If you’re polishing a turd, it makes your job a bit harder but thankfully they’re brilliant scripts.”

The actor is also full of praise for director Dearbhla Walsh, who he says shared the same passion for The Collection as Goldstick. “Dearbhla was the perfect backup because she was very excitable and cared very deeply about the project and had strong opinions,” he explains. “Even if you don’t always agree with them, it’s always nice to have someone who clearly knows what they want. You can disagree but at least you can trust someone has a vision for the show. It makes you feel safer about slipping up.”

The Collection is set in post-Occupation Paris
The Collection is set in post-Occupation Paris

The story plays on the traditional upstairs-downstairs dynamics often found in period drama by splitting the fashion house into front-of-house and backstage areas.

“There’s a place where it’s all elegance and then there’s backstage where it’s catty and there’s a lot going on,” Riley reveals. “It’s something I don’t think has been done before; I don’t think anybody’s really opened the doors on a fashion house and said, ‘This is what it’s like.’ It’s an interesting backdrop. It’s like another character, this sense of having just come out of this incredibly shameful period of French history – it’s so fresh. Everyone’s reeling and trying to recover from it.”

Speaking to the trio, it’s clear they have an affinity for each other as well as the show they’re working on – a relationship they say came very naturally and easily to them.

Coyle reveals he first met Riley in a Starbucks just before the first script read-through: “It was a fateful meeting. I feel like we immediately slipped into an easy working relationship.”

Riley continues: “The first scene we shot was very indicative of the brothers’ relationship. I was in the bath, getting completely naked while your brother just sits on the toilet chatting to you. It really said a lot about their relationship very quickly.

Much of the action was shot in Wales
Huge stages were built in Wales to accommodate the elaborate sets

“It showed a great deal of confidence from the producers in our abilities to do that kind of thing on the first day. Similarly, the first couple of days with Mamie were crazy. They gave us our biggest, most fraught emotional scenes. Normally they let you get a feel for it but they were just like, ‘Here you go.’ But we got through it. There was a lot of generosity and goodwill and care. It’s hard when you’re thrown those tough scenes straight off the bat and everybody’s getting used to everybody else. It’s really tricky to pull that stuff on early on.”

Gummer, Meryl Streep’s eldest daughter, adds: “It was really like a sink or swim. It was good because people are essentially trying to survive, they’re trying to make their love endure, they’re trying to keep their families together, they’re trying to stay afloat.”

It’s not just the costumes that help transport the actors to post-war Paris but the sets as well. Although exterior shots were filmed in the French capital, huge stages were built in Wales to accommodate the sets.

Coyle says: “The production is amazing, the sets are brilliant. When you walk into the sets they’re just beautiful. It helps immensely to be able to transport yourself to where you’re meant to be.”

Gummer continues: “It’s like walking through a wardrobe. You see evidence of the ravages of war, contrasted to the stark determination to rebuild and beautify life again.

Produced by Lookout Point, Artis Pictures and MFP, the eight-part series is executive produced by Goldstick, Anne Thomopoulos, Pascal Breton for French production partner Federation Entertainment, and Kate Croft. BBC Worldwide is handling international sales.

The Collection has been picked up by both France Télévisions and Amazon, which is set to launch it on September 2.

“It’s clear they care and they want to make a big splash with it,” Riley says of the SVoD platform. “The one thing that’s very different about streaming services, it seems, is they’re more confident. Despite the fact it’s a coproduction where so many people have an opinion that it ends up being produced by committee, they seem to have a lot more faith in the showrunner, saying, ‘Go and do your thing.’”

Gummer concludes: “It seems they grant a lot more artistic freedom, which is a great vote of confidence and that trickles down – the trust they place in Oliver that he’s then handed down to us. You can feel a real ownership of it, which is great.”

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The Collection: style and substance come together in new drama

Post-war fashion drama The Collection is setting up shop at Amazon and France 3. DQ hears from the creative team about their designs for this UK-France coproduction.

Period drama will dress up in high-end fashion for a new series set in post-war Paris in the aftermath of the Occupation. The Collection follows two brothers who run a haute couture business in the French capital in 1947, with storylines exposing internal rivalries, betrayals and the grit and treachery behind the glamour.

The cast is headed by Richard Coyle and Tom Riley as brothers Paul and Claude Sabine, with Frances de la Tour as their mother Yvette, Mamie Gummer as Paul’s American wife Helen and Jenna Thiam, who plays Nina, the working-class daughter of the chief seamstress who becomes the iconic face of the fashion label.

But behind the scenes, the show could also become a template for the way international coproductions are made in the future.

Oliver Goldstick
Oliver Goldstick

Showrunner Oliver Goldstick (Ugly Betty) says The Collection was born when he visited a museum exhibition about the golden age of couture during a trip to London.

“It was delicious and visually arresting on so many levels but I also knew there was something more to uncover,” he explains. “So I set out to write a story about a fictitious fashion house. I particularly imagined a saga about a family that’s bound not only by blood. Some of them are linked by sheer trauma from the war and all are bonded by their passion for couture and national pride. It occurred to me this was not a show so much about fashion but about transformation and reinvention and revival.”

Goldstick says post-war Paris was chosen specifically as the show’s setting as he was fascinated by the impact and aftermath of the Second World War on the city.

“It’s a crucible of a lot of potential drama. Our show centres upon a thorny relationship between two brothers – one who undresses women with his eyes and the other who dresses them in something much better.

“Here was a world where it’s not so much what they’re wearing but what they’re covering up. Everybody’s got a secret. Everybody’s got a life that no one else knows about. We are putting together a very special show. It’s the most exciting project I’ve ever been involved with.”

Goldstick partnered with executive producer Kate Croft’s Artis Pictures and War and Peace producer Lookout Point to help develop the project, with backing from distributor BBC Worldwide.

The Collection
The Collection: ‘It’s fast-paced, witty and it’s got an edge to it’

Lookout Point CEO Simon Vaughan says he was keen to attack a big period drama with a very modern voice. “It’s fast-paced, witty and it’s got an edge to it,” he says of The Collection. “The marriage of that and big period drama felt fresh and interesting. And the idea of something set in Paris, shot in English but for a global audience just felt like the kind of thing Lookout Point would be good at putting together.”

The Collection boasts a creative team that notably includes celebrated costume designers Chattoune & Fab, director Dearbhla Walsh (Penny Dreadful), producer Selwyn Roberts (Parade’s End) and production designer Alison Dominitz.

Bringing to the project her experience on series including Versailles, Borgia and Camelot is exec producer Anne Thomopoulos, who also oversaw shows such as Rome and Generation Kill when she was an executive at HBO.

“I love period drama, and the post-war period is really interesting to me, having worked on Band of Brothers, so the aftermath – being able to do something from a ground’s eye view of the common man in Paris in post-war – is fascinating,” she says. “Fashion also has a tendency to be perceived as very frivolous. People have tried multiple times to develop and produce fashion projects and that frivolity always seems to come through. Oliver and Kate really found a way to tell the story where there’s a human face to everything and there’s an overlay of fashion.”

Simon Vaughan
Simon Vaughan

If there were any fears that The Collection would put style before story, Croft insists that the fashion setting is only ever a vehicle through which to tell “human stories.”

“We have this wonderful crucible of drama with the family,” she says. “Then you get that incredible layering in the very particular detail of how the costumes are put together, how that couture was made, how that atelier is put together. So hopefully there’s joy in those moments of detail, but it’s not just about the button being sewn on.”

Behind the camera, the series has been put together with as much precision as a Dior dress. Building on Goldstick and Croft’s vision, Lookout Point partnered with French production company Federation Entertainment to produce the series, which has been picked up by Amazon and France 3. It will be coproduced by France Télévisions production arm MFP.

For Vaughan, The Collection represents an increasingly common way of bringing series to air – rather than winning a broadcaster commission, the show is greenlit by the studio before channels, in this case Amazon and France 3, licence it. He describes the partnership as a tapestry between a global SVoD player, a distributor and broadcaster. “Instead of thinking SVoD is taking the show off the table, we’re asking what rights does Amazon need and working out on a country-by-country level how we maximise the value of the show so broadcasters and other platforms can co-exist with Amazon.

“It’s about looking at each market in an intricate way and being intelligent about how you fit those platforms together. That’s at the heart of this deal and that’s at the heart of this business story in terms of the future of dynamically financed drama and it’s bloody complicated.”

Following in the footsteps of series such as The Tunnel and The Last Panthers (both for Sky Atlantic and Canal+), The Collection is part of a new wave of “miracle” UK-France coproductions, says Federation founder Pascal Breton: “The Collection is even more of a miracle because it’s British producers bringing to the world a French topic. It’s good for the industry in France, of course. It’s really exciting because we are learning together to build this new model of international coproductions. It’s not easy, but it’s really great when we manage it.”

The Collection
The series is set in post-war Paris and focuses on the high-end fashion industry

Amazon UK film and TV strategy director Chris Bird says he was drawn to The Collection by the quality of the writing and the ambition behind the project: “It’s a prestigious, dramatic, glamorous television show and when it was first presented to us, it was very clear that Simon could have made this show with anybody, any major broadcaster in the UK or around the world, and that if we wanted to participate we had to move quickly.

“We were able to create a new structure for our involvement that allowed us to come on board at a very early stage. We have tremendously high hopes for it. It’s going to be big. Everything from the costume design – the couture – to the set design and cinematography is going to be of an extremely high standard and, from our customers’ perspective, it’s another example of very high-quality drama we’ll be bringing them this year.”

Filming for The Collection began at the end of January 2016, with Parisian streets created on an expansive studio backlot in Wales to complement exteriors filmed on location.

“We’re doing a very ambitious studio build to create our atelier, both downstairs and up, because that doesn’t exist,” says Croft. “The vision from Dearbhla and Alison was very specific so we thought we had to create that world. Practically, that affords us all sorts of advantages.

“One of the great strengths of working with Oliver is he’s used to working in that studio system way with a big backlot and studio build, and with an enormous amount of research. We’re all used to seeing that period in black and white photographs, but when you find the colour images, it’s incredibly vivid and lush. It’s really exciting because we’ve all seen a lot of dramas set during the Second World War and the 1950s, but that post-war period hasn’t been tackled in this way. It’s a feast for the eyes.”

Vaughan adds: “Dearbhla as a director has exquisite taste, judgement and craft. She turns down nine out of 10 things she gets offered and is extremely picky. If you look at her body of work – Esio Trot, Penny Dreadful, The Tudors – she’s the controlling force from a vision standpoint alongside Oliver and the team. And it feels like everything fits together in a very modern way.”

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