THE LOOK, THE FEEL, THE FUN

The ’80s are an era that a lot of people are familiar with whether they lived through them or are reliving them 24/7 all over the world on syndicated television. In order to give Kickin’ It Old Skool the look, the feel and the fun of two different eras, director Harvey Glazer had to make a collaborative effort and bring together the talents not only of his cast, but also of his crew.

“Everything in this film was collaborative,” admits Glazer, who says he thrives in that kind of a creative environment. “That’s how it has to be to make the best film possible and that’s how it was on our set. Good ideas came from everyone – Jamie, the other actors, the producers, assistants, and I even threw in a few decent things. It’s my philosophy that if it’s a good idea, and can better the project, I don’t care where it comes from – I’ll take it.”

To that end, collaboration with Robert Stevens, the veteran director of photography behind such comic classics as Naked Gun, The ’Burbs, and Delirious and Dude, Where’s My Car?, was a goldmine.

“Comedy is definitely a big part of my sensibility,” says Stevens, who was initially attracted to the project because of how the producers, the director and Jamie Kennedy were so enthusiastic about the script. “I reveled in every comedic moment that ran through just about every frame of this film.”

But besides shooting the comedy, it was Stevens’ job to underscore the time shift between the 1980s and modern day. To do that, he had to make his camera follow a different palate. “For the ’80s look, I used a softer, more pastel palate, which was in direct contrast to the sharper, more vibrant look I gave the film for everything past 2006,” remembers Stevens. “I think the two looks were very distinct, just as distinct and unique as those two eras were.”

Production designer Tink (The Chris Isaak Show; Welcome to Paradox; Ninja Turtles: The Next Mutation) was also faced with the challenge of differentiating between the two eras. But showing the changes between then and now was all part of the fun. “The resurgence of break dancing in the last few years added the complication of correlating the old school and new school versions through color palette, set decoration, graphics, props and wardrobe,” observes Tink, adding that the film took on a creative life of its own as the cast and crew responded to the energy and comedy of the material. “The movie actually became larger than initially envisioned, but that was tremendously satisfying on a personal level, as we ended up getting great work on screen. Everyone -- cast, crew and director -- added richness to the project.”

Director of Photography Stevens agrees, adding that while it was complicated to shoot two eras, especially over a very ambitious 23-day shooting schedule, it was rewarding. “There was a saying that went about the set while we were trying to bring together the ’80s stuff with the 2006 stuff – ‘We’ll shoot Gone with the Wind in the morning and Dukes of Hazzard in the afternoon.’ There is a bit of truth to that,” laughs Stevens. “And in the end, it certainly added tremendous energy to the process and to the film itself.”

According to director Glazer, costumes were also a key element in realistically evoking both eras. The job fell into the very capable hands of costume designer Maria Livingstone, known for bringing to life the Mary Higgins Clark mysteries, A Crime of Passion and Heart of America, among others.

“The wardrobe was wacky and right off the hook!” says Glazer. “Maria and I had a lot of fun coming up with ridiculous things for Jamie to wear… many of which I remember rocking in during grade school. Maria did a superb job of outfitting the whole cast young and old.”

Recreating the era was a pleasure for Livingstone, who says she was attracted to the project because of the retro scope offered by the ’80’s. She was also hugely challenged by the fact that vintage clothing from that era is currently in vogue and consequently extraordinarily expensive.

“Jamie’s character is stuck in that era and his parents who have gone broke trying to pay his medical bills never really could afford to move forward in terms of what they wore,” observes Livingstone. “So it was pretty much ’80s all the way when outfitting them. But the big dance contest at the end when all the different groups were bustin’ their moves on stage, now that was a challenge. I really had to be inventive to find the right wardrobe to fit their personalities and their dance styles.”

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BUSTIN’ ALL THE RIGHT MOVES
Given the film’s title, the dance moves in Kickin’ It Old Skool are central to the movie’s theme. For Director Harvey Glazer, those break dance routines were a huge part of the fun for everyone on the set, and he feels it will be for audiences as well.