Pallet for Home: film interiors

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Film Interiors Unwrapped: Tara Road

Before The Holiday -- in which Kate Winslet owns my all-time favorite movie house -- there was Tara Road. Marilyn (Andie MacDowell) is struggling with her son's sudden death when she decides to escape her Connecticut home and swap places with Ria (Olivia Williams), a Dublin wife and mother whose husband has just left her for his pregnant girlfriend. In Connecticut (Cape Town makes a beautiful but unlikely stand-in), Ria revels in the peace of Marilyn's sprawling house and pool. The sparse modern furnishings and few bright decorator accents are a break from the messiness of her life at home. While in Ireland, Marilyn is confronted by Ria's family drama at every turn and realizes that her marriage is worth trying to save despite its new reality. Ria's house on Tara Road is a character in itself that comes under threat and helps to reveal the full extent of her husband's treachery.

The Connecticut house and pool -- very little adornment.

The Connecticut living room -- the furniture is all right angles

with the art and accessories adding precise blasts of color.

The Connecticut kitchen continues the house's color scheme of blue, orange and yellow. Pool tile adds shimmer to the walls and the lack of upper cabinets leaves room for art. A decorator's hand seems to have guided the entire house and very little of Marilyn's personality can be seen in the space. It gives Ria room to rediscover herself and her passion for cooking.

The house on Tara Road is shot from below to highlight its importance in the characters' lives. Though it has an imposing presence, the first scene shows Ria being greeted by her kids at the door and we understand that this is a happy home for them.

I've always loved a house with a proper entryway. Here the original tile and doors are offset by modern lamps. Red is the dominant color in this house.

The living room on Tara Road -- red walls bring the focus to a gorgeous black marble fireplace. The large mirror over it makes the room seem even bigger, yet the furniture makes the space feel cozy.

The kitchen on Tara Road -- three walls of counter space and a big kitchen table. This is the heart of the house, where Ria has clearly cooked many a meal for her family. Decorative plates add detail to the walls.

Here are a few items on the market that echo the warm family vibe of the house on Tara Road.

Black Marble Fireplace Mantel from Jamb.

Gold-Leaf Mirror from Jean-Marc Fray.

Handmade Lampshade from House of Chintz.

Vintage Greek Plate from 216 Stitches.

Bench from Primitive Passions.

Farmhouse Dining Table from Hastening Antiques.

Film Images: Noel Pearson Productions.

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Filed Under: film interiors, film set design, tara road

Film Interiors Unwrapped: Wimbledon

The perfect prescription for a dull Sunday afternoon, Wimbledon is the story of rising tennis star Lizzie (Kirsten Dunst) and aging player Peter (Paul Bettany) who fall in love amid the competitive atmosphere of the games. Though much of the film takes place on the court and in hotel rooms, the small glimpses that we're given into Peter's life (his apartment under renovation and his family's house) leave me wanting to see more. His childhood home in Brighton (above) is the quintessential English country house that combines formal style with a hint of messiness to keep it from being cold.

The kitchen is clearly the heart of this house, with its large hutch

full of blue and white plates. Mom Augusta arranges

the day's flower pickings from the garden.

A gorgeous stone fireplace in the dining room--

the mantel covered in silver pieces and pottery.

The treehouse--dad Edward's temporary living quarters.

Peter keeps an apartment in his hometown which seems to have undergone a lot of renovation and then stalled (perhaps because of a losing streak in his career). His living room and kitchen are the only finished rooms, with the rest half lived in and half in boxes.

The first shot of Peter's apartment shows that he has some great pieces to make for a cool space--French bistro chairs, stained glass lanterns, a whitewashed dresser.

Salvaged etched glass doors and a wooden coat stand

continue the French touches.

A file cabinet separates the bedroom from the living room.

From the bedroom side, we see that the living room is one space

that is no longer in transit. A cute corner cabinet and accessories--

such as the pair of vases--make the room complete.

Here are a few items on the market now (though some of them are more wish-list picks than anything else) that share the essence of their inspiration pieces in Peter's apartment and in his childhood home.

The Riviera Chair from TK Collections.

A multi-colored glass lantern from Place Bellecour.

A French cartonnier or file cabinet from Olivier Fleury Inc.

A trio of bottles from New Dominion Blues.

An open hutch from Cottage Chic.

(Film Images are the property of Working Title Films. Production Designer: Brian Morris. Set Decorator: Caroline Cobbold.)

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Filed Under: country house, england, film interiors, film set design, french style, wimbledon

Interiors: Black & White

Because we moved a lot when I was growing up, the houses/apartments my family lived in were always understood to be temporary. My father wanted to keep the interiors neutral for the sake of the next owners, which meant that white walls ruled my childhood environment. Once I was out in my own space, I relished painting my walls and decorating with color. What some folks consider to be chic and elegant--an all-white house--is what I consider a decorating tool of last resort. On the other hand, dedicating one room or part of a room to a black & white scheme is another story altogether. A bedroom with white walls and linens, black painted trim and the occasional pinch of color can be extremely soothing to an over-stimulated brain. Small vignettes of black and white items strike a classic note and a bathroom with black/white checkered tile, white towels and vintage plumbing fixtures can be equally modern and retro. Old movies are not the only vehicles for cool black and white style.

Images: At Home with Country: Bringing the Comforts of Country Home by Christina Strutt, photography by Edina Van Der Wyck, publisher Cico Books 2010. Inside Out magazine January-February 2009 issue, May-June 2010 issue, May-June 2009 issue, and March-April 2009 issue. Living etc magazine, August 2009 issue.

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Filed Under: black and white, ephemera, film interiors

Interiors: Typography

As this bronzed letter "G" that I sold on Etsy last year shows, I have a bit of a thing for typography. A single letter or number paired with art or odds and ends has no purpose other than to delight. But for that reason alone, it proves its worth. Grouped together, mismatched letters can be turned into a sign that broadcasts a passion or a room's purpose. In the same way, a phrase painted along a wall or on risers adds interest where there is otherwise just blank space. Done right, these words or phrases can add the balance of humor or gravity to a room's decor. Done poorly, they can be cheesy or sentimental. We've all seen houses whose owners were a little too familiar with the stenciling process. The following spaces are examples of what captures my attention--and not a typographical error in sight.

Images: BBC Homes & Antiques magazine, July 2010 issue. Living, Etc. magazine, February 2010 issue. Inside Out magazine, January/February 2008 issue. The Comforts of Home by Caroline Clifton-Mogg, Ryland, Peters & Small 2010. Recycled Home by Mark & Sally Bailey with photography by Debi Treloar, Ryland, Peters & Small 2009.

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Filed Under: film interiors, interior design, letters, paint by numbers, signs, typography, wall writing

Film Interiors Unwrapped: Still Breathing

The first time I saw Still Breathing was in a motel room on one of my cross-country drives. I only caught the last half hour and was intrigued enough to rent the film when I returned home. I consider it a classic in waiting, which is clear from the fact that I have already referenced it in a blog post on cairns (see post for a synopsis of the story). Besides the beautifully written script, atmospheric soundtrack and inviting cinematography of San Antonio, the set decor serves the characters perfectly. Brendan Fraser's character, Fletcher, lives in the Texas house where he grew up. It's a comfortable combination of family heirlooms and his own artistic additions. Rosalyn, played by Joanna Going, is an L.A. con artist who convinces wealthy men to buy expensive art pieces from her friend's gallery. She brings the men to her apartment for the final brush-off, so her place must look like the home of a savvy art lover. It's full of bright color and mod pieces from the fifties.