Dir. Joss Whedon
Aus Rating: M15+
Running Time: 142mins
I think my favourite bit - apart from the ace fight sequence between Thor and Iron Man - was when the Hulk goes to pick up Thor's hammer. Teehee.
Singh and Eiko met in the late nineties when Singh hunted her down after seeing her work for Dracula, which was only Eiko’s second job as a film costume designer. Francis Ford Coppola had collaborated with Eiko on the poster for the Japanese release of Apocalypse Now and felt her sensibility was crucial for Dracula. “My strategy in hiring her—an independent, a weirdo outsider with no roots in the business—worked,” the director wrote at the time. “The script was envisaged for very young actors, so I said to myself, Let’s spend our money not on sets but on the costumes, because the costumes are closest to the actors. I decided that the costumes would be the set.”
Mostly, though, it remains surprising—and original. “It’s very hard to come up with unique work again and again and again,” Singh said. “And Eiko never repeated herself. Her goal was not to be an ambassador for Japanese culture or Western culture. Her goal was to be an ambassador for a new world: Eiko’s planet. And she was.”
When she became the chief art director for Parco in 1971, she seized the opportunity in remarkable ways: Her campaigns were provocative, beautiful, and subversive. Her defiantly antiproduct ads featured portraits of often naked women with taglines like “Girls Be Ambitious!” or “Don’t Stare at the Nude; Be Naked.” She used models from Morocco, India, and Kenya in native garb, along with New York street kids in their eighties New Wave splendor. In a particularly memorable series with Dunaway from 1979, Eiko photographed the actress in a gold and silver Issey Miyake satin robe and headdress. Dunaway’s arms are spread wide, and two young Japanese children—Eiko’s nieces—are embraced by the folds of her kimono. The girls are wearing red dresses that reveal their nipples, and a red pigment covers their eyes like a mask. The effect is mysterious, grand, and vaguely religious. The ad reads: “Can West Wear East?” “It was a rather bold question,” Eiko later said. “The image looks to the future—to a time when East and West become one.”