After the Super Bowl a couple of years ago, Pratt - along with Captain America star Chris Evans - visited children's hospitals in Seattle and New England, Sexy School Costume, dressed as their popular characters.
If you ask Pratt, he still gets excited every time he sees a kid dressed up as Star-Lord. He actually takes a lot of pride in the fact that kids look up to a character that he brought to life.
During a Guardians Of The Galaxy Vol. 2 set visit, Pratt let some reporters know just how he feels when he sees those kids donning the Star-Lord attire.
"It makes me really happy that the first introduction to Peter Quill being Star-Lord – I remember when James and I were collaborating on this, I think originally it was written, ‘There is one more name you may know me by – Starlord,’ and then he kicks the thing and something cool goes off, but there was never that answer of, ‘Who?’ Remember? I think that was something that got added in after I had been cast and I’m really glad that we added that in because it really does feel like it’s changed, like people didn’t know who Starlord was. I mean, unless you were a comic book fan and read Guardians of the Galaxy, but it’s like kids didn’t know who Starlord was. It took this movie to where it could become this sort of ubiquitous household name kind of a superhero character, and for that I just feel really proud and really happy. I just feel lucky to be part of the process of bringing that to kids. It just tickles me, man. I get it all the time. It’s really kind of special, and it feels pretty cool."
No surprise, a lot of coordination went into writer-director Damien Chazelle’s modern-day musical centered on the love story of aspiring actress Mia (Emma Stone) and jazz pianist Sebastian (Ryan Gosling). “The first three days that I was on the film the production designer [David Wasco], myself, the set decorator [Sandy Reynolds-Wasco], and Damien went through the script page by page and he talked about his inspirations for each scene,” Zophres recalls of her early conversations while working on the film. Among the many topics discussed, the group had to figure out why and how the like of The Umbrellas of Cherbourg or The Young Girls of Rochefort — Jacques Demy films released in the ’60s, but inspired by earlier MGM films — worked as well as they did. Answer: “It’s very choreographed, even between the costumes and the set design,” so the four, and others surely, moved forward with an eye toward specificity to tap into those classic flicks, and with a limited budget at that.
Take, for example, Wholesale Oktoberfest Costume, a scene in which Mia wears a scarf that ties into the flower pots that she walks by. “We went to those extents, so anytime we had a major choice that was especially part of a set piece and a dancing piece the art department and myself were in huge communication with each other,” explains Zophres. That communication extended to color — just look to Mia’s bright yellow dress that stands out during the magic hour dance number, or the primary colors of the opening number set against a bleak Los Angeles freeway — and those vibrant shades were welcomed by Zophres, who was previously nominated for True Grit and has worked with the Coen brothers many times; she was also just awarded a Costume Designers Guild Award for Excellence in Contemporary Film for La La Land. “It was so refreshing to work with a [director of photography, xvvry4347, Linus Sandgren] that embraced all color, embraced white,” she says. That the film and costumes certainly do, as well as a classic, timeless, and often formal style that still feels appropriate to 2016.