![]() ![]() There’s this fantasy and life and work and they just both meld together. Everything he did was to be put on a stage in his own mind. This is somebody who, at a young age, wanted to create a story about who is was and to elevate himself so that he was part of something. Speaking of the idea of the fantasy, watching the movie I was captivated by a very specific tension that seemed to underscore his life: the tension between his desire to capture “a fleeting moment” as it was coupled with his desire to construct his own world. ![]() We had a lot more editing to do for this in the sense of narrowing our choices down and making sure that we had the historical markers and at the same time keeping the fantasy, which is such an important aspect of his life. For this film, we had so much material, from the photographs to the drawings and his letters. Then with Peggy Guggenheim, we had paintings. Vreeland was that we had all of these incredible fashion spreads and the images of the instillations at the Costume Institute. It sounds like there were some similarities that happened during your process, so how did the process of making this film compare to your other works? It’s the archives also that are dictating where I’m going with everything. Everything for me really starts with the research and the research plays a huge, huge role in everything. I seem to be really been mastering the dead subject. How do you begin making a film like this, since the subject isn’t around to give an interview? Courtesy the Cecil Beaton Studio Archive at Sotheby's ![]()
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