In a week where the first and best Superhero movie of the modern era was welcomed into the National Film Registryarchive and its latest media release awarded ‘Best Product’ by fans on theSuperman Homepage, SUPERMANIA concludes 2017 with another first –
Martin Lakin – Editor, SUPERMANIA78.com
Just as Superman IV: Redux was a personal triumph, SUPERMANIA was doubly honoured to act as consultant on this magnificent project initiated by two friends made from back in the earliest days of web fandom.
It fills me with pride when I recall, some 20+ years ago now, how a random bunch of young fans united by their passion for the Superman series deigned to meet and explore some of the locations shown above and marvel at how little had changed since filming had completed years before. The experiences from that day obviously left lasting impressions on more than just myself, and now here we are, with once coy Oliver Harper chairman of his own YouTube empire and quiet Introspective Tim Partridge now a tenured filmmaker. Keeping in touch with these talented folks over the years has culminated in the superb piece of broadcast-standard material above. Think you know everything about Superman IV? Think again and be entertained doing so.
Many times since this website has been live I have mused on quite why a 30-year old movie reviled by most should still court quite so much analysis and attention today. I could go on and on as to what I love about it, but like religion, would never force it on anybody else. What surprises me is I never have to and I’m gratified beyond words when many fans tell me the best reference for the film is to be found right here. Like many fans I wish to pass on my thanks to Tim and Oli for putting it to such memorable use, I look forward to future collaborations…
Tim Partridge – Director
I’m a professional filmmaker and Oliver Harper is a popular YouTuber, specialising in video essays. Both of us have known for decades about the filming locations of Superman IV, thanks mostly to SUPERMANIA, and we always felt there was a great story to tell about the unusual choice of it’s settings. We wanted to both analyse and celebrate the film’s undeniably creative production design. We thought this project was very appropriate for Oliver’s YouTube channel, and would enhance his format by putting him on-camera in the Superman IV locations.
We went through all of the original production/publicity material we could find in order to research this, as well as speaking to some of the crew members who worked on the film. Oliver and I had spoken of making the video as early as 2012, and had aimed to release it in the autumn of 2016, exactly 30 years after Superman IV went into production. However, the project grew and our narrative adjusted itself. We were very lucky to interview double Oscar-winning set decorator Peter Young about his experiences on the film, enriching the video with a first hand perspective and insight into the production design of Superman IV.
A huge thanks to everyone who helped us along the way.
Oliver Harper – Film Documentarian/Video Editor
I’ve been fascinated with Superman IV ever since I was a kid. It’s obviously a bad movie but I always appreciated its good intentions and its production and design I found very interesting. With the movie making use of the United Kingdom for many of its locations, far more so than Superman 1 to 3 and Supergirl, I wanted to explore these places and see how they made use of them. However, this was always just an idea in the back of my mind. I had made a trip to Milton Keynes in the late ’90s with Martin Lakin and Tim Partridge (director) but that was as far as I got in seeing what they used. Come 2011 when I started my YouTube channel, which focused on movies of the ’80s and ’90s, my first review was on Superman IV and the idea of making a video on the locations was something that I felt could be interesting. The director of the ‘Man of Steel and Glass’ video, Tim, and I both shared similar views on the film and we had discussed ideas about making something a couple of years before we even decided to officially move forward with it. Come 2016 I finally said let’s get this going so we could celebrate the 30th anniversary of the production, although it grew into a bigger project which we would release the following year.
The documentary started out as something quite simple but the narrative began to change. The whole design of it shifted radically into something more than just a before and after video like most traditional videos of this nature that you find on YouTube. Tim especially wanted to push the magic of the movies and how filmmakers have continuously tricked audiences into believing they’re shooting in one location but in fact are shooting in a entirely different country. Superman IV could’ve successfully done that but was let down by some poor decisions regarding the photography of the locations, thus undoing the illusion…
2018 marks the fortieth anniversary of Superman: The Movie’s cinematic release and advance word is that the celebration will last in various forms all year long. In the US, 40th Anniversary Cons attended by many of the original cast have already begun with more promised across the world in the coming months. Indeed, for a franchise entering middle age, it shows no signs of slowing down and new discoveries continue to emerge such as these exclusive images below from the Milton Keynes location of Superman IV in 1986 –
SUPERMANIA wishes you & yours a Merry Christmas and Happy New year. The Adventure Continues in 2018..!
“Behind Superman’s outfit was a Super-woman. That was Yvonne Blake, the current president of the Academy of Motion Picture Arts and Sciences of Spain. She was the one who designed the superhero costume for the movies directed by Richard’s Donner and Lester, and originating from the comic-book character created by Jerry Siegel and Joe Shuster .
‘The Superman Costume’ is a short film by the Algecirian filmmaker Juan Manuel Díaz Lima, who reveals the in’s and out’s of the creation of the Man of Steel’s dress through its own creator.
The costume designer has four Goya awards (‘Remando al viento’, ‘Canción de cuna’, ‘Carmen’ and ‘El puente de San Luis Rey’) and won an Oscar for the film ‘Nicolás and Alejandra’ in 1971. She has also been part of the technical team of productions such as ‘Fahrenheit 451’, ‘Robin and Marian’, ‘Jesus Christ Superstar’, ‘Don Juan in the Underworld’ and ‘The Goya Ghosts’ among many others.
The Documentary also includes interviews with directors, film critics, seventh art scholars and experts on Krypton’s most famous inhabitant who serve to contextualize and understand the fascination with the designer’s work. Among the personalities are: Jesús Palacios, Antonio Sánchez-Escalonilla, Carlos Díaz Maroto, Miguel Ángel Vivas, Jordi Claramonte, Raúl Álvarez, Manuel M. Velasco, Iskander López, Jorge Jiménez, Jordi Costa, Víctor Matellano and José Manuel Serrano Cueto.
DirectorJuan Manuel Díaz Lima holds a degree in Audiovisual Communication and Doctor from the Rey Juan Carlos University in Madrid. His filmography includes several documentaries and several fiction short films and director of several video clips. ‘The Superman Costume’ is a film financed with the support of the Community of Madrid by Creta Producciones SL, Veo Veo Producciones SL and Pasajes Invisibles SL.”
Debuting on the 19th week of the Short Film of the Community of Madrid, The Superman Costume, a new documentary apparently made without the authorisation or involvement of DC Comics or Warner Bros. seems to have passed right under the radar of the English-Speaking world.
Now a National treasure in her adoptive home country of Spain, legendary designer Blake has already been the subject of a book so it was only a matter of time before she herself made the transition to film, although precious little information about the picture itself seems available online.
With the subject matter obviously very dear to SUPERMANIA’s heart, a hand is extended to our Spanish readership for more information on this (or indeed a link where it can be watched) In the hope it may share some valuable revelations. In the meantime, enjoy the excellent piece below written by Irene Velasco for the Spanish newspaper El Mundo ;
A self-respecting superhero cannot leave his wardrobe in the hands of anyone. And even less so when it comes to the definitive Superman. When the Man of Steel decided in 1978 to make the leap from the pages of the comic to the big screen actor Christopher Reeve needed one of the most reputed specialists in the world to take care of his wardrobe. A woman who had as an arduous mission to dignify, as much as possible, a garment that she herself recognised as quite ridiculous, composed of an electric blue suit with a large “S” printed on the chest accompanied by a cloak and Red underpants. Her goal was to make the grotesque combination work in the movies. She achieved it. This heroine is Yvonne Blake, who has made costumes for some 58 films (some as mythical as Jesus Christ Superstar), has dressed dancers and singers of numerous ballets and operas, has worked under François Truffaut , won An Oscar for best costume for the film Nicolas and Alexandra (1971), has four Goyas awards, has dressed legends the likes of Marlon Brando, Robert de Niro, Audrey Hepburn, Sean Connery, Ava Gardner and Elizabeth Taylor . Since July 2016 she is the president of the Spanish Film Academy. A 76-year-old superwoman has led an exciting life. Aware that a hem, a stitching, or a tie could be more damaging to Superman’s image than the Kryptonite itself, Yvonne made it seamless. The Man of Steel’s suit she made for the film had, of course, the usual seams, but she managed to keep them well hidden and keep her superhuman reputation safe. She also prepared Superman layers of 25 different fabrics, with the aim of getting the desired movement in each of the shots before the camera. But the biggest problem, she confesses, was to find the exact blue. “No doubt that was the most complicated,” reveals Yvonne as she pulls out of a large portfolio the original sketch of the figure, whose upper left corner still retains a sample of that happy fabric that cost him so much. The difficulty was that it was necessary that the patina was not too blue or too greenish to serve for the chroma-key, that technique in which certain scenes (especially those that require special effects) are rolled on a background. But there were also other difficulties. “Christopher Reeve was very nervous, he was sweating a lot, and because his skin was very sensitive and he was immediately irritated, he could not use deodorant,” recalls Yvonne. Result: Superman appeared constantly in the armpits a very little dark patches, an unmistakable sign that the superhero transpired. “We solved the situation the only way we could: drying Christopher Reeve’s sweat stains with a hair dryer.”
Marlon Brando is one of the actors that impressed me the most,” she says.. “He had a fantastic sense of humour, and he was not vain, on the contrary, in the first costume test he did not even bother looking at himself in the mirror, sating he would leave it in our hands.” She made a special cloth suit that reflected the light and made it look white, as if it radiated energy. “He told me that he had a hard time memorising the dialogue, and he often had to use large posters to remember his script, sometimes writing on his hand and sometimes directly off the forehead of the actress when she was off- camera. He also said that this inability to memorise was what prevented him from doing theatre.
But before reaching the summit and making the mythical suit of Superman , Yvonne Blake had to go a long way from Salford, the northern city of England where he was born in 1941. “I have been very lucky in life but also a lot of push, I’ve always been ambitious. Once I had a goal in my head, I went for it,” She confesses…
With their collective eye set firmly on the upcoming (and potentially very lucrative) 50th anniversary celebrations of The Man of Steel in 1988, Warner Home Video went the extra mile with promotional material including the fold out brochure shown above.
This Super-rare glossy pamphlet was presumably an industry handout for the rental boom of the mid to late 80’s and may well have doubled up as advertising in-store. Although mostly devoted to the latest cinematic instalment Superman IV: The Quest For Peace, this would also mark the first appearance on tape of the 1950’s TV series ‘The Adventures of Superman’ with the first two volumes containing ‘Best of’ episodes alongside new transfers of the beloved Max Fliescher Superman cartoons…