| Revision as of 17:29, 12 February 2007 editDanski14 (talk | contribs)Autopatrolled, Extended confirmed users16,432 editsm Reverted edits by 206.54.66.128 to last version by Danski14← Previous edit | Latest revision as of 05:07, 24 December 2022 edit undoHouseBlaster (talk | contribs)Edit filter managers, Administrators59,276 editsm Bypass redirect per documentation (and typo fixing) (via WP:JWB) | ||
| (47 intermediate revisions by 37 users not shown) | |||
| Line 1: | Line 1: | ||
| {{use mdy dates|date=November 2015}} | |||
| {{wiktionarypar|redress}} | |||
| {{Other uses|Redress (disambiguation){{!}}Redress}} | |||
| ⚫ | In ], a '''redress''' is the redecoration of an existing ] so that it can double for another set. This saves the trouble and expenses of constructing a second, new set, though they face the difficulty of doing it so the average viewer does not notice the same set is reused. Also there could be logistical problems, such as conflicting shooting schedules, continuity if the set is not quite the same as it was (if it should be the same) or different (if it should be). The latter problem arises because the set dresser may be unaware of changes created by the action. | ||
| == Examples == | |||
| ⚫ | In ], a '''redress''' is the redecoration of an existing ] |
||
| A good example of a successful redress occurred in the film '']'' where the bridges of the '']'' and the ''Reliant'' were filmed on the same set. Some of the reasons for its success are as follows: | |||
| * All the scenes on the ''Reliant'' bridge were shot after the scenes on the ''Enterprise'' bridge, eliminating difficulty with continuity and conflicting shooting schedules. Only one actor, ], had to be present on both the ''Reliant'' and the ''Enterprise''. | |||
| * The film was edited so that the scenes on ''Reliant'' and ''Enterprise'' are intercut with each other, strengthening the illusion that both exist simultaneously. | |||
| * It is readily apparent to the audience which ship they are on due to the presence of different characters, a different ], different ] and different seat covers. | |||
| * The ''Enterprise'' set was built so that portions of it could be moved around for filming. Therefore, the set of each bridge could be made to look slightly different, making it less readily obvious that the set was the same. | |||
| * Both ''Enterprise'' and ''Reliant'' are ] starships, so their bridge designs would likely be similar. | |||
| However, such perfect circumstances are rare and any ] will be quick to point out that the schematics seen on ''Reliant'' are clearly those of the ''Enterprise''.<ref>{{Cite web|title=Star Trek II: The Wrath of Khan |url=http://www.scifilm.org/reviews3/trekkhan.html |work=SciFilm.org |author=Bear |accessdate=2012-08-30 |url-status=dead |archiveurl=https://web.archive.org/web/20070928000816/http://www.scifilm.org/reviews3/trekkhan.html |archivedate=September 28, 2007 }}</ref> | |||
| ⚫ | ] | ||
| ⚫ | ] | ||
| During Hollywood's studio era, the disparate studios often maintained standing sets (interior and exterior) which were intended for long-term use over multiple productions, with only minimal re-dressing. This often led to audience members recognising sets which had appeared in previous films. A double feature of two Twentieth Century-Fox films of the mid-1950s, '']'' and '']'', caused unintended laughter{{Who|date=August 2012}} when two different street scenes from the respective films—a street in Manhattan circa 1900, and a street in New Orleans in the present—were very obviously the same exterior set.{{Citation needed|date=May 2010}} | |||
| ==See also== | |||
| {{filming-stub}} | |||
| * ], the permanent exterior sets reused by major Hollywood studios during the 20th century | |||
| == References == | |||
| {{Reflist}} | |||
| ⚫ | ] | ||
| ⚫ | ] | ||
Latest revision as of 05:07, 24 December 2022
For other uses, see Redress.
In film, a redress is the redecoration of an existing movie set so that it can double for another set. This saves the trouble and expenses of constructing a second, new set, though they face the difficulty of doing it so the average viewer does not notice the same set is reused. Also there could be logistical problems, such as conflicting shooting schedules, continuity if the set is not quite the same as it was (if it should be the same) or different (if it should be). The latter problem arises because the set dresser may be unaware of changes created by the action.
Examples
A good example of a successful redress occurred in the film Star Trek II: The Wrath of Khan where the bridges of the Enterprise and the Reliant were filmed on the same set. Some of the reasons for its success are as follows:
- All the scenes on the Reliant bridge were shot after the scenes on the Enterprise bridge, eliminating difficulty with continuity and conflicting shooting schedules. Only one actor, Walter Koenig, had to be present on both the Reliant and the Enterprise.
- The film was edited so that the scenes on Reliant and Enterprise are intercut with each other, strengthening the illusion that both exist simultaneously.
- It is readily apparent to the audience which ship they are on due to the presence of different characters, a different musical motif, different lighting and different seat covers.
- The Enterprise set was built so that portions of it could be moved around for filming. Therefore, the set of each bridge could be made to look slightly different, making it less readily obvious that the set was the same.
- Both Enterprise and Reliant are Federation starships, so their bridge designs would likely be similar.
However, such perfect circumstances are rare and any Trekkie will be quick to point out that the schematics seen on Reliant are clearly those of the Enterprise.
During Hollywood's studio era, the disparate studios often maintained standing sets (interior and exterior) which were intended for long-term use over multiple productions, with only minimal re-dressing. This often led to audience members recognising sets which had appeared in previous films. A double feature of two Twentieth Century-Fox films of the mid-1950s, O. Henry's Full House and We're Not Married, caused unintended laughter when two different street scenes from the respective films—a street in Manhattan circa 1900, and a street in New Orleans in the present—were very obviously the same exterior set.
See also
- Backlot, the permanent exterior sets reused by major Hollywood studios during the 20th century
References
- Bear. "Star Trek II: The Wrath of Khan". SciFilm.org. Archived from the original on September 28, 2007. Retrieved August 30, 2012.