How the Guardians of the Galaxy costumes were made. How a Guardians of the Galaxy Minor Character Crushed a Sequel


Cinemafia has selected 11 of the best scenes from the movie for you. But, attention! SPOILERS!

At a time when Guardians of the Galaxy has crossed the $160 million mark at the box office, we've taken and collected the best scenes. True, you can argue with us.

And, yes, the text contains solid spoilers, including a detailed description of the scene after the credits. So if you haven't seen the movie yet, blame yourself. We warned!

Dancing Star Lord

The second "opening scene" we see after the Marvel cutscene is Star-Lord (aka Peter Quill) dancing on the abandoned planet Morag to Come and Get Your Love. This moment is imbued with a non-trivial combination of wit and fun, which creates a very right mood. Right there right now. Later we will once again see Chris Pratt dancing as he challenges Ronan the Accuser to a "dance battle". Let's just say that such a bold technique does not work so harmoniously in every blockbuster.

The Legend of Kevin Bacon

One of the funniest jokes is dedicated to Kevin Bacon. When Gamora informs Peter Quill that she is an assassin and a warrior, and therefore does not dance, he answers (we quote the phrase as it is in the dubbing):

There is a legend on my planet about people like you. It's called Free. This is the story of how a great hero named Kevin Bacon taught an entire city of puffed up turkeys the great art of dancing. And it was incredible.

To which Gamora replies, "Who swindled those turkeys?" This shows how literally everything is perceived on the other side of the Galaxy.

Note: The 1984 film Loose, starring Kevin Bacon, is an American classic. According to the plot, the main character arrives in a small provincial town where dancing is prohibited. And only he manages to change these old-fashioned orders.

Rocket jokes on people with disabilities

The first time we encounter this is during the Prison Break, when Rocket asks Peter Quill to get him a prosthetic leg from one of the prisoners. A little later, when discussing the plan to attack Ronan's ship, he tries to convince everyone around that the false eye of one of Yondu's Ravagers is the most important element. Even in the most "hot" situations Raccoon does not lose his signature sense of humor

Drunk Rocket Speech

Possibly the most powerful moment of Raccoon in the film is the scene in the bar where Rocket vents all his feelings and emotions. In particular, resentment that he is called a "pest". He's crying because he didn't seem to be asking for laboratory experiments on him that turned him into a monster. At this point, we understand that specific humor and insulting others is just a defensive reaction. This scene is really dramatic, because for a moment you completely forget that the Raccoon is just a computer character.

100% asshole

Let's make a reservation right away that in the original it sounds like 100% Dick. Thus, working out a plan to destroy the Black Aster, Star-Lord sends a “dick” message to one of the representatives of NovaCorps, which says that he is, of course, an “asshole”, but not one hundred percent. And asks for help.

Yondu Udonta and his arrow

Michael Rooker's Yondu is more than just a savage. He managed to turn this character into a very charming "bad guy". When Yondu's ship crashes, he is surrounded by Ronan's servants. But with the help of his faithful arrow, he calmly cracked down on twenty opponents. Yondu collects figurines on his dashboard, which, on the one hand, throws us straight to the Firefly, and on the other hand, shows a soulful nature. You know, like bikers who actually work in a flower shop.

Groot smile

Groot's smile is literally the icing on this Guardians of the Galaxy pie. Making their way to Ronan, Drax, Star-Lord and Groot stumble upon an entire army. Which Groot destroys... hmm... brutally. And then he turns around with an innocent and sincere smile, as if asking: “Have I done something good?”. Yes, Groot, you really did a good job.

We are Groot

Towards the end of the film, Groot saves the entire team by forming a "protective nest" around them. At the same time, the hero, who throughout the film says exactly one phrase - "I Am Groot", this time says "We Are Groot", which can be read as "We Are Friends". Yes, it was possible to do something completely different and give Groot fundamentally different words at the end of the film, but the creators went exactly in this way, thereby endowing the usual words with a completely different meaning.

Dancing Groot

The first scene after the short credits shows us a dancing little Groot against the backdrop of Drax rubbing knives after the battle. It all happens to the Jackson 5's I Want You Back. This moment gives the audience its positive charge, and people leave the hall smiling (although we know that no one leaves the Marvel films after the first scene).

Listen baby. Ain't No Mountain High Enough

The final scene, when Peter Quill finally unpacks his mother's farewell gift - the Awesome mix 2 cassette, literally breaks the heart, not without the help of the song Ain "t no mountain high enough. We understand that the heroes finally found not just friends, but a new family. Yes , it's a great moment.

Howard the duck

Yes, here it is, the main spoiler. The scene after all all all credits shows us how the unfortunate Tivan the Collector inspects the damage done to his collection. And then Howard the Duck appears with a snide comment. Fans are still arguing who gave Howard the voice - Seth Green, announced on imdb, or Nathan Fillion, whose cameo everyone was waiting for.

UPD. Still Seth Green!

Groot - a fighting talking tree who knows only one phrase ("I am Groot") - sacrificed himself in the first "Guardians of the Galaxy" to save his friends, but managed to survive and in the finale was reborn in the form of a small dancing tree. The script move pleased the audience so much that Baby Groot suddenly became almost the main character: for his sake, the director even changed the plot of the sequel. Why is the wood such an honor?

It's very simple: little Groot brought a lot of money to Marvel and Disney studios bypassing the movie screens. Although he wasn't intended to be the star of the show (Rocket the Raccoon was cast for the role), Baby Groot's dancing melted the hearts of audiences, causing director James Gunn to admit with some surprise, "Groot turned out to be the film's most popular character." Even before the release of the film on DVD, the figures of the dancing Baby in a flower pot were sold in huge numbers. The studio assures that it “did not expect such an effect,” but the phenomenon was there, and something had to be done about it. Of course, Groot should have been brought back in the sequel. But return in what form? After all, the adult Groot was not as popular as his "young" version ...

Now we know from the trailers what the studio did: Groot is replaced by Baby Groot (voiced again by Vin Diesel, although now, after filtering, his voice has become "cartoonish" and completely unrecognizable) instead of Groot. He is already older than the tree from the first series, but in general he has become even mile. And the time allotted to him in commercials has increased markedly.

Of course, director Gunn assures that the sale of toys has nothing to do with it, but it just happened by itself. First he wrote about it on Twitter, then on Facebook. But along the way, he himself let slip that he planned to start the sequel not with a small, but with an already grown Groot. Why did you end up changing your mind? The adult Groot idea, he says, "didn't work" (whatever that means).

“Then I came up with the idea to make the second series start shortly after the end of the first and Groot was still small,” Gunn wrote. “And that decision became the key to the whole film, all the parts suddenly came together.” Moreover, the director even reported that he was afraid that the studio would not allow him to leave Baby Groot in the plot.

You can believe these words or not, but there is a suspicion that if the studio wanted to rake in the maximum money on little Groot, it would have done exactly this: 1) threw old plot developments into the trash can; 2) tied the entire plot to the time zone where Groot remains a baby; 3) increase his screen time; 4) would slightly change its design in order to release new figures; 5) at the end would allow Groot to grow up to spur sales of "adult" figures.

In view of all these “coincidences”, it seems that the matter could not have been done without the recommendations of the authorities. From the point of view of merchandise, Baby Groot is a new character (he even behaves differently than in the first film, becoming naive and playful a la immature Pinocchio), and Marvel always welcomes the introduction of additional characters, especially in cases where it is clear in advance that souvenirs with their image will be swept off the shelves.

Shot from the film "Guardians of the Galaxy"

Gunn does not deny that he understood the financial potential of Baby Groot from the very beginning: “I am not an idiot and I knew that if Baby Groot works, then the whole world will want to buy toys, figures and plush Groots…” Further, however, the director states this: “ But I wasn't sure about that at all when I was writing this story alone in my office, and it certainly wasn't the driving force behind my decision [to keep Groot as a baby]. I just fell in love with this dude, although at that time he lived only in my head.

There is some inconsistency: on the one hand, the director was aware that Baby Groot had become “the most popular character”, but on the other hand, for some reason, Gunn was “not sure” that people would want new toys in the form of Groot, and even “ I was afraid" that the studio would not allow Groot to be left small! That is, he almost begged his bosses to let him earn a lot of money for them.

To anyone who knows how much merchandise affects American cinema, such arguments will seem ridiculous. I, they say, didn’t give a damn about toys, and if they sell in large numbers, then this is just a pleasant coincidence. For comparison: it’s as if Michael Bay suddenly said that, while filming the sequel to Transformers, he didn’t plan to raise sales of the toys of the same name and silly twin robots, he inserted them there with a purely noble goal - for the sake of a powerful plot development. That is, he could say - but who would believe?

After the story that came out that Cars 2 was filmed by Pixar only for the sake of selling new figures (which is very felt while watching the tape), one can only guess how often a “souvenir” becomes a true “plot engine” in Hollywood. Recall, for example, Ewoks - creatures that appeared on the screen purely for the sake of toy sales ... And they really sold with a bang.

The English language even has a special word toyetic (used to refer to any entertainment content with a high "souvenir" potential) - before the era of summer blockbusters, this term did not exist, and the release of toys was never planned before the movie or series became a hit. But today, when figurine collecting has become part of pop culture, the "souvenir" can go on sale even before the premiere, so as not to lose those buyers who rush to the stores immediately after the movie screening.

And this "souvenir", conscientiously calculated by marketers, almost always finds a market. Sometimes she “saves” the entire project (for example, “Godzilla” by Roland Emmerich performed poorly at the box office, but vigorous sales of the “merchandise” associated with it averted a financial disaster). Moreover, with its huge circulations, it may even be in short supply: for example, Frozen souvenir products sold for more than $ 5 billion, squeezing other toys from store shelves for a long time - and still on Christmas 2013 for Anna, Elsa , Olaf and Co., there were real battles between American parents who were in a hurry to make their children happy ...

Although the ultimate owner of both Frozen and Guardians of the Galaxy Vol. Part 2 "one is Disney," director Gunn is somehow embarrassed to admit that his employers are interested in high revenue. He resolutely dismisses accusations of "mercantile designs." Apparently, Gann does not want to look like a toy salesman, but wants to look like a man of art - although it is clear to anyone that all of Hollywood is built on commercialism, and the point of producing commercial films is precisely to obtain benefits.

Selling things with the image of Mickey Mouse back in 1934 began to bring Walt Disney more money than his cartoons, and Walt only welcomed this. What’s more, Disney not only pioneered film merchandising, it’s still the first in this regard today: the company he created owns the Pixar, Lucasfilm and Marvel studios that are so successful in toy sales. Over the past quarter century, merch has permeated Hollywood from top to bottom. It is simply not acceptable to state it openly. After all, the consumer really likes to think of cinema as an art...

Meanwhile, the Marvel bosses mentioned a year ago that they intended to increase the number of accompanying merchandise by the release of the sequel, relying on Groot. Gunn may not want to advertise how important the "souvenir" is to Marvel, but the studio itself sees no reason to hide it. And what is it?


Vin Diesel is the only actor whose voice was not dubbed in the Russian version of Guardians of the Galaxy, as he recorded lines for Groot in six languages. In the sequel, Diesel went even further and voiced his character already in 16 languages ​​- another confirmation that the studio has high hopes for Baby Groot.

Groot, we note, is not the first case of this type. There are enough secondary characters that look brighter than the main characters in the history of cinema - take at least the saber-toothed Scrat from the Ice Age, which has become the hallmark of the entire franchise, or the penguins from Madagascar. Of course, the authors were aware that these guys fell in love with the audience, because they tried to insert Scrat and penguins into all subsequent series, and mountains of souvenirs were sold primarily thanks to them. The Penguins even earned their own series. But adjust the main plot for them? This has never happened before. Therefore, apparently, Gann is embarrassed to call a spade a spade.

Obviously, when the unexpected potential of Baby Groot appeared, it was necessary to strike iron without leaving the cash register. Neither Scrat nor penguins are "perishable" products: their appearance does not change from series to series. And the grown-up Groot would quickly lose his childish charm and comedy. And it would sell worse. Therefore, it was necessary to squeeze the maximum out of it, while it was still possible. Whatever Gunn said, in our opinion, Baby Groot was an inevitability.

Another question: is it bad? Certainly not. Both Marvel and Gunn know their stuff: they make money, but they don't forget to entertain the audience. The constant expansion of the cinematic universe by adding new characters has so far been possible for the studio without problems, so Baby Groot will certainly not spoil the mess, and will surely amuse everyone.

Moreover - from the "souvenir" there is an unconditional benefit for the audience. For example, if there were no merchandise, the legendary Han Solo would have gone to the next world 30 years ago. Harrison Ford said that at some point he really wanted to kill this Star Wars hero, but George Lucas flatly refused - for the reason that the figures of dead characters sell worse than living ones. The fact is that thanks to a deal with 20th Century Fox, Lucas always received his main income from a licensed "souvenir" (the studio gave it to him at the mercy, because they did not really believe in the "toyetic" nature of the first film), and now it is already clear that it was an extremely successful deal, since Yoda and his friends have sold $20 billion worth of toys since 1977. It is not surprising that George did not want to give Han Solo, one of his central moneymakers, into the clutches of death.

Lucas, in general, never hid from his colleagues that it was the sale of toys that laid the financial foundation of his film empire (that is, if he had not succeeded in selling merchandise in the late 70s, there would be no world-famous Star wars"). Moreover, once Lucas even stated in public that the entire franchise was created just for the sake of toys. That's right: for toys.

So Khan was not destined to die. And how many other favorites of the public were saved from death thanks to caps, cups, badges and figurines?

...Returning to the title theme, we can not help but mention this fact in the end: a few months ago, Vin Diesel blabbed that James Gunn wants to make a Guardians of the Galaxy spin-off entirely dedicated to Groot and Rocket. The question arises: if the studio gives the go-ahead, then only because of the "toyetic" nature of this couple? I would like to believe that it is not, and that the plot of the tape itself will be worthy of the voiced idea. But if money-bearing Baby Groot reappears in the spin-off, we won't be surprised at all.

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After the release of the fantastic film "Guardians of the Galaxy" on the big screens, its characters became very popular. Of particular note is the tree-like creature Groot. Small figurines literally flooded the Internet and are sold for decent money. In this article we will tell you how to make Groot from Guardians of the Galaxy out of polymer clay.

Materials and tools for work:

  • baked polymer clay
  • work surface: glass or ceramic tiles with a flat, smooth surface
  • knife or scalpel
  • toothpick
  • soft wire
  • pliers

How to make Groot from Guardians of the Galaxy

To create a woody pattern, we need baked polymer clay in beige, brown and dark brown. If you want a dark wood, then you can take an even darker brown, if light, then add more white.

We roll out layers of baked polymer clay of the same thickness and size.

We stack them on top of each other, from dark to light.

We roll out the resulting layer in length and a little in width. Cut in half and stack the halves on top of each other.

We repeat several times.

When we like the thickness of the strips, we cut the resulting layer into three or four parts, depending on the length.

With toothpicks or wooden skewers of different thicknesses, we press the grooves on the cut pieces across the pattern of the strips.

We roll tubes of the appropriate thickness from dark brown plastic and put them into the grooves. This will help create the knot pattern.

We stack the layers in a pile.

Squeeze a little on all sides and cut across the knots into strips of equal thickness.

We lay out the strips in the pattern of wood. You can change the sequence and sides of the stripes as you like.

Roll out by hand or with a pasta machine. We need a thin layer, because we will wrap the figure with it.

Using pliers, we assemble a frame from soft wire. The head is a loop, the base for the torso and arms.

From the remnants of unnecessary plastic we create a figure.

We give a pose by bending the arms and torso.

Now we wrap the torso and head with a layer with a wood pattern.

We wrap our hands in separate pieces.

Carefully smooth all joints. We form fingers, hair and roots.

The blade cuts through the mouth and eyes. For the eyes, we need pieces of black plastic.

Now, with a toothpick, we scratch along the entire figure grooves that coincide with the wood pattern. The thickness and pressing force can be different to create texture. You can make recesses in the places of knots.

This is what Groot looks like ready to bake.

We send it to bake in a jar that is suitable in size. So the shape of the hair and roots will not change, and there will be no prints left in places where the figure would be pressed against the glass. Bake according to polymer clay instructions.

After the figurine has cooled down, it can be slightly sanded to remove excess chips from scratching with a toothpick. Then carefully cover the figurine with acrylic paint. White for a lighter figure, or black and dark brown for a dark figure.

We give the paint almost dry, and wash off the paint with a damp cloth from smooth surfaces. The paint will remain in the grooves, highlighting the texture. This figure of a character named Groot can be placed in an individual pot or placed next to an existing plant.

Gru from the movie "Guardians of the Galaxy" with his own hands

A popular character from a famous science fiction action movie may be yours. It is not at all difficult to make a figurine of the guardian of the galaxy with your own hands. The manufacturing technique is simple, and the result is very realistic. You can use such a figurine at your own discretion: as a figurine for a mini-garden, as an interior decor item, etc.

materials

Before starting work, prepare:

  • wire;
  • brown paint;
  • clay pots;
  • sand;
  • stones;
  • texture brushes;
  • salty dough.

Step 1. The very first stage of work will be the manufacture of the skeleton of the figurine from durable wire. Having outlined the main proportions and parameters on paper, twist a kind of skeleton of a figure of a guardian of the galaxy out of wire.

Step 2. Now the figure needs to be shaped. To do this, slices of salt dough must be applied to the wire skeleton. Instead of this material, you can use other plastic and hardening materials, such as polymer clay and more. Give the shape of a tree with a head to the figure of the guard, form the outlines of the face.

Step 3. From the dough, roll up small sausages of different thicknesses and, pressing down, put them on top of the mold, starting from the bottom. Shape the arms of the guard into curved tree branches.

Step 4. Also give the head a characteristic shape. To begin with, form the eyes and mouth with the sharp end of the brush, correct possible flaws with a toothpick and fingers. Make "hair" out of sausages. They should resemble broken tree bark.

Step 5. The resulting figure needs to be painted. To begin with, cover it all with brown. Let the paint dry. Then, using a thin brush, give the wood a deeper texture, close to natural. Darken all the recesses with a darker shade of brown, and lighten the convex places, on the contrary.

Paint a few veins with green paint, imitating weaving leaves, and paint the tips of the finger-branches.

Step 6. After the paint has dried, completely cover the figure with acrylic varnish. Wait for it to dry completely.

Step 7. Take a pot and put the name of the guard "Groot" on it with dough sausages. Varnish the pot and letters.

Step 8. Pour sand into the bottom of the pot and add glue. Insert the guard figurine into this solution. Let the glue set and dry. Sprinkle the top of the pot with stones and pieces of moss.

The costume designer for this film was a permanent collaborator with Marvel Alexandra Byrne. I already wrote about her in an article about the first Thor, and she also worked on The Avengers, "Avengers: Age of Ultron" and forthcoming "Doctor Strange".

Working closely with production designer Charles Wood, makeup and hair designer Elsabeth Iianni Giorgio and make-up artist David White, Alexandra created an entire cosmic world.

This is a very partnership film. I worked very closely with all departments. The closest thing is with makeup specialists, because if the silicone pads and makeup just end up in the neckline of a T-shirt, it will just look like a bad Halloween costume.

James Gunn, the director of the picture, wanted the film to have a lot of bright colors.

For this film, color has become one of my most important tools. We used a lot of strong, vibrant colors combined with different skin tones of the aliens.

And here it was very important to have good taste, so as not to overdo it, and at the same time achieve a beautiful picture. In general, color combinations are one of the most difficult topics for an artist, and, despite the many recommendations, in many ways you have to rely only on your intuition.

Peter's costume is one of the most interesting among superheroes.

His cape is a mixture of so many cool things. We took and mixed some of the cowboy, some of the biker, some of the rock star, a bit of technology from a broken suit and added a bit of retro.

All of the Ravagers wore the same style of clothing—the silhouette of a certain type of cloak and a single crimson color. But at the same time, this gang needed to look heterogeneous, so five variants of different types of costumes were created, all personalized.

And for the final battle, the Guardians also don Ravager costumes. Note the single flame symbol on everyone's costumes - Yondu's on his chest, Peter's on his arm, and Gamora's on his shoulder.

It turns out that Chris Pratt's weight loss for the role also gave the costume designer a lot of problems:

It was a real challenge. Chris was cast very early for the role and needed to lose weight. So we had to try to predict what his body would be like when he got into perfect shape. This is very important in terms of the silhouette, but I also know from experience that it is impossible to have only one tailor-made suit ready for the first day of shooting, because you can’t do the rest in one night. We could not say: "Well, when we have a body in the right shape, then we will start sewing things." So we had to make a lot of prototypes of Chris's supposed body. He has an amazing physique and is a big guy, and making it work for the camera was like juggling porcelain. I wanted Peter to look both modern and alien at the same time, almost alien. And, of course, there were a lot of fittings.

Also, one of the practical difficulties was that he had all these blasters and pistols. It took nine people and the coordinated work of several departments to integrate the pistol holsters into Quill's trousers. We couldn't start designing the sides of the pants until the guns and holsters were designed in other departments so we could know how big those guns would be. And so in many things - it takes a long time and a lot of interaction to make a tiny element of the suit work.

The leather upper is a common motif in Peter's clothes. Cloak, jacket, vest - everything is made of red leather and is very similar in style, repeating the idea of ​​the Ravager costumes.

Apparently, this jacket is very dear to our Star-Lord - even after changing clothes for Nova Corps suits after the battle, he remains in it:

Alexandra herself says that she always draws on comics in her work:

First I study the script, then I move on to the comics. When working for Marvel, they are always the main source of materials. But then I expand my search to different visual areas, compiling a series of images for inspiration and setting the right mood. I'm looking for ideas that will inspire the viewer to discuss the costume. Sometimes it gets too far, and I go back to the comics again to see how it fits into the character.

Also, when thinking over a costume, an actor is very important, this was especially pronounced with Zoya Saldana:

You can draw as many sketches as you want, but until there is an actor, especially for a character with such a strong personality like Gamora, you do not see the physical embodiment of the character. Working with an actress in a dressing room and turning a sketch into a real thing is a completely different thing.

The image of Gamora is a collective image through all the comics in which she has appeared. When I learned that it was Zoe Saldana who would become the performer of the role, a lot of ideas immediately came to my mind, she brought a lot to this role. In addition, Gamora is a warrior, and therefore it was important to maintain the convenience of movement in costumes.

On the question of the influence of the actor on the image - here is how Zoe herself describes the process of creating a character:

How "alien" should Gamora be? And I thought: She just has to be pretty.” I don't usually think of my characters in that way, but since I was supposed to be green here and the only female lead, I wanted the teens to find me attractive. I don't know why I was so nervous during the screen tests, but it was a wild stress. True, these were my thoughts, others had completely different problems: to use contact lenses or not? To dye your hair or not? Wig or not? How to do hair color? What is the length of the hair? And I'm like, just cute. For teenagers. We must like them. But after spending four months green, I began to think - what is beauty? And I realized that my character is very beautiful, and I was surprised how differently I began to relate to her, getting used to her appearance.

I enjoyed making prison uniforms. There are a lot of details here, because I believe that in such a large film, small details are necessary to allow the viewer to believe in the plausibility of the created world. Therefore, we created a kind of barcode that denotes various crimes and is applied to the uniforms of criminals. In addition, we've aged some background character costumes and added personalized art to indicate how long the wearer of the form has been in jail. And we also developed a kind of trading system from beads and jewelry that they made in Kiln.

Personally, I am amazed by this kind of workmanship. Although the viewer does not pay attention to all this, and does not know the designations, he notices the difference in the barcodes on the uniforms of the captives out of the corner of his eye, sees various decorations on them, and this creates in him a sense of the plausibility of what is happening.

In the case of Drax, the designers had a slightly different problem than with Gamora - the less clothes on the character, the more attention is paid to it and every detail becomes very important. So, for example, it was very difficult to determine the waistline in his trousers.

Dave Batista has a great body and is a pleasure to work with. You just take it and start working with it, being inspired by it.

Pay attention to the beads at his belt - the very decoration that speaks of the period of his stay in the Kiln.

Unfortunately, Groot, for obvious reasons, did not have clothes in the film, but real small costumes were sewn for his partner, which were then used on the set and were very useful when “revitalizing” the character with computer technology, since the artists had something to rely on in life.

But when creating Ronan's costume, functionality faded into the background:

Everything about his costume worked for the character, but he also needed to fight in that costume, so it had to be practical. I had a very strong feeling that his suit should echo his ship, as if they were strongly connected. So we worked very closely with the art department who were designing the look of the ship to create a kind of echo between them. And a little later we decided to add a kind of ritual drawings from his skin and to his costume, and this brought the image of Ronan to a new level.

Notice how the costume echoes the architecture of the ship:

And the almost invisible work here also deserves respect, which, thanks to shoulder pads, shoulder pads and other overlays, made it possible to create a broad-shouldered alien from Lee Pace.

Unfortunately, there is no information about the costumes of his main assistant Nebula, so I just suggest to admire the concept art:

The sources of inspiration for the image of the Collector turned out to be quite unexpected:

When you have someone like Benicio Del Toro, you know that you have a great actor to work with, he is someone who can complete the costume with his mannerisms and habits. He used this look very well, and we tried to bring his mannerisms to life. It's like Liberace dating Billy Idol.

Unfortunately, Russian viewers are not very familiar with Liberace, but he was a very famous singer in America in the 50s-70s, and American viewers probably had no problems with associations. Here are some examples of his stage costumes:

Well, more familiar in Russia Billy Idol:

In general, in fact, this is an extremely interesting topic - what associations the costume designer is trying to put in and how it is perceived by viewers from other countries, and whether it is read or not when watching a film. And, indeed, any detail is brought into the costume for a reason, but to show something, some character trait of the character.

But back to the Guardians of the Galaxy characters. Here's what Alexandra Byrne has to say about the Nova Corps:

And again here the comic is the starting point, we really start with them. And, again, work with color. I think that against the backdrop of a lot of films with dark, gloomy and realistic colors, James was very clear about his vision of color in his film. And, of course, Nova Corps was exactly where we wanted to make a statement with color.

Hull in comics:

And in the movie:

Notice how the folds laid down on the shoulder of the uniform of one member of the Corps are repeated in the clothes of the command. There was a real military uniform created, very unusual due to the beautiful diagonal placement of folds, uncharacteristic of the Earth.

original text
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