Tape number two for the Lawrence College Education Foundation, Andrea Del Faux at Becker's.
What's today? 23rd.
There you have it.
Tony, are you just going to black it all out for us? We did the same thing that we did on some of the scenery that we were able to save from the original production.
And spray it out to revive the black that leaves the artwork underneath so I don't have to draw it again.
That's perfect because it gives you the pattern.
And then do the alterations that are necessary to bring it into the style that's going to be in the present production.
Okay.
Do you have the curtain? What color are the costumes? Oh, in this scene there is not many colors, but in the ballroom there is many colors.
And you have more or less this kind of color.
They are not very strong, but there are very many colors.
Point again, Andre.
Yes.
In the ballroom scene there are most...
This kind of colors are red, blue.
They're fantasy costumes.
Of course, yes.
They have masks on.
There's a lot of points on points.
Oh yes, a lot of points.
It's mostly on points.
I think three of these down on either side of the stage are going to fill in very nicely.
It's going to really...
But there's two others.
I think you could put more blue on and green.
And let them fade? Yes, it's only with the way it will be painted that it could give some impression.
Some distance.
Yes, so you put less painting on it.
Okay.
As you go up stage on those canvas, the buffet table.
Going to the black, you see.
From the white to the black, something like that.
Okay.
Does that mean that the balustrade that has been added? The balustrade is much too strong as I have painted it.
That's what I wanted to ask you about.
It's much too strong.
It has to be less yellow.
Yes.
I gave Tony this drawing.
This will be his architecture underneath.
But then the painting on top will come and go.
But it's...
Even if you want more...
I think it will be really...
It's a very, very thick depth.
Because it's very far.
I'm thinking of a watery shadow.
There you go.
Perfect.
And if it's too strong, it will come like that.
It could destroy the impression of...
The illusion to look up depth.
Yes.
This you want.
This color, yes.
I like that little bit of...
Yes, it's less boring.
It's a wonderful...
And if it's too strong, we could put some...
We should make an haze around later.
We won't tell that to you.
No, don't tell them, please.
Let's see.
Where's...
The first...
I think we have no problems with the first...
The boutique.
Yes.
I think we have no problems at all.
We'll...
Find a word.
Yes.
We do have to add these two pieces.
And I guess I should give you...
I don't know German, so...
I don't know what is a real word for...
Antiquar or...
We'll find it.
We have to replace these and locate...
The two trees.
I think I've seen those boxes.
I think so, too.
I think one of them is around here.
I have a question about the new background that's being added to the cityscape that goes back...
Which is here someplace.
Here.
The weight and lightness of the arcade in front of the shop...
And then the objects that are in the store behind...
Which will be much paler so that this comes forward so that they have more color.
Can you start over? The antique shop, which will be very white because it's in two levels...
And they're working inside and then keeping the color to reduce the distance or to push back the distance with all the frames and all the objects...
So that we have a very strong framework here.
But my question is that the weight of the solidness of this background...
Do you want to keep it this white or do you want some of it to be a little more sketchy so that it goes back also? It could be more sketchy, of course.
But that would be very small, no? That won't take a lot of space.
Well, actually it's hard to tell in this photograph, in the sketch here...
Because there's actually, in reality, there's a lot more room here.
I don't think that would be good if you are that too big.
It's actually, in size it comes, it's about this tall.
My God, that's too much.
It's too big? Oh yes, because you see the composition was made like that...
With balance between things and that will upset the balance.
Do you think we should go then to half only like so? Yes, yes.
Okay.
I made that, when I made that, I imagine it was something there.
You see? Just to...
Oh, I'm glad I asked.
So why? Yes.
Otherwise we'll have a rally about a fountain.
Because it would destroy the entire thing.
I made that only to please Mr.
Carter.
Oh, Carter, yes.
The reason that this is...
Because he was afraid of the black.
The camera needed something to see.
But I don't need anything personally.
But you see the less obstructive the better.
Well, rather than changing the scale, just double the scale.
That's all.
Put in a one -inch scale, put in a two -inch scale.
So a bit of 12 foot high, it's only six.
That would be, yes.
Something like, something like that.
Yes.
Because originally it's almost 13 and if it comes down to about 6 '6".
Well, this is 13, so it comes, the highest part is...
Yes.
