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AMELIA'S PLANE: THE ELECTRA
One of the main characters in AMELIA is made of metal not flesh, but nevertheless was one of the great loves of Amelia Earhart's life. This was her famed, twin-engine, silver-and-orange Lockheed L-10 Electra airplane, in which she would ultimately disappear. An innovative design by Hal Hibbard, the plane was first flown in 1934 and soon became one of the fledgling airline industry's state-of-the-art, long-distance vehicles, as well as coveted by Earhart. When she purchased the plane, it gave her the chance to go after her greatest dream: to become the first woman pilot to circumnavigate the globe.
Since only a handful of Electra planes still exist in the world, the film production launched a global search for one that was ready for some serious action. "Finding our Electra was like casting one of the stars of the movie," says Mira Nair. "The plane is so vital to Amelia's story, it led to an amazing journey. We found our Electra in the South of France, and flew it across the entire African continent, in Amelia's footsteps. It was an incredible trip that nourished us through the course of shooting. I think people can relate to the plane because it reminds one of all the beauty and potential of flying."
The film's Electra is owned by veteran pilot and French journalist, Bernard Chabbert, whose own aviator father met Amelia Earhart briefly in Senegal, giving him a unique link to the story. Chabbert says the Electra is the kind of plane that sparks deep passion in all aviation fans.
"The Electra is a masterpiece of a flying machine, an Art Deco, sophisticated, refined airplane with a seemingly magical potential for adventures," he muses. "If you own an Electra - and only a dozen are still in existence - you dream of the day a movie company will call and ask if they can use your aircraft in a film about Amelia Earhart."
But when that day came for Chabbert, it brought, with the honor and excitement, a massive logistical challenge. After all, his plane was in France and it needed to be in South Africa where much of the production was taking place. Mira Nair wanted not only to transport the plane to Cape Town but to capture its long sweep across the African continent, mirroring Amelia's remarkable travels.
This would be no minor feat. The Electra Chabbert owns -- known as "Hazy Lily" or just "Lily" for short -- had already been in operation for more than 6 decades, had served as a flying limousine during World War II and was flown by the British pilot and alleged spy Sydney Cotton, one of the inspirations for James Bond. After all that, the plane was now sitting in a hanger without an engine or propeller and damaged from a belly landing.
"Now we had just four months to fix everything, find two new engines, have new propellers made, and more," recalls Chabbert. "We then had to plan a very unusual trip around Africa. In 1937 such a voyage would have made us front page news! We duplicated a flight equivalent to what Amelia had done in her time, allowing the film to honor her travels with shots of ours."
Chabbert emphasizes: "The difference is that we were a thing of the past - flying this old, low-flying, gasoline-burning, strange machine across Africa -- while Amelia had been flying a thing of the future."
With barely enough time for a test flight, the refurbished Electra took off from Annemasse Airfield near Geneva and headed towards the coast of Spain. Two days later, it landed in Morocco, then on to Bamako, Mali through rows of thunderstorms. "The old beast turned out to be a real adventurer," enthuses Chabbert. The journey continued as the plane hopped across Africa, often in search of the increasingly rare fuel known as Avgas (most modern planes use kerosene gas.) The Electra flew over the shark-infested waters of the Gulf of Guinea, was grounded for several days after landing to fuel on the island of Malabo, crossed Angola and Namibia and at last landed in Cape Town with just 24 hours to spare before it had to be painted and ready for its closeup.
The emotions of watching the cast and crew interact with the plane made the long, hard trek worth it for Chabbert, who served on the flight crew. "That old, graceful lady of the skies really became part of the cast," he says. "Hilary acted right away as if she were Amelia and this was her Electra."
Most of all, Chabbert was proud of how the plane performed, covering the kind of miles it hadn't seen in decades. "The old aircraft never coughed," he notes. "We flew difficult scenes, like Amelia's last takeoff from Lae, in New Guinea, when her Electra was so overloaded that she had to make a dive towards the sea to desperately grab some airspeed. We did that 22 times. We filmed Amelia's night take off from Calcutta under monsoon rains, four times in a row, from an unlit dust strip lost in the high grounds north of Capetown. We did many unique things, flying the old machine low above Victoria Falls, skimming the Okavango Delta desert, slipping between vertical mountain slopes, caressing endless soft beige sand dunes near Port Elizabeth. Through it all, it seemed the aircraft became a real actor, far more than a piece of décor."
In the end, "Hazy Lily" would have to make the long, slow reverse journey back to Europe - but Chabbert says the journey was part of the reward. He summarizes: "Lily had flown a total of 170 hours in eight weeks and never missed a beat. She had been in the hands of seven aviators, not mere pilots, who had lived with her the adventure of their lives. She had brought all of us deep into a time-warp trip, and helped us understand in the flesh what had been Amelia Earhart's personal truth."
AMELIAS' WORLD: THE DESIGN
When it came to the look of AMELIA, Mira Nair was most inspired by the things in life that inspired Earhart herself - vibrant style, the spirit of advnture, and most of all, the call of nature's wide open spaces. "Amelia was wedded to nature, to the elements, to the skies, to the ocean. These were the elements she loved and these were the elements that swallowed her -- so I wanted to use landscape to capture the part of the world she was drawn to the most," says Nair. "Shooting in South Africa, Nova Scotia and Newfoundland allowed us to really do that."
Nair collaborated closely in creating the film's look with cinematographer Stuart Dryburgh, who garnered an Academy Award nomination for the stunning, rustic imagery of Jane Campion's THE PIANO. "Stuart is a boy's boy who loves action, loves nature, loves planes and photographs them all beautifully," says Nair. "He is so well suited to this story."
Dryburgh drew inspiration from the extensive documentation that has been amassed of Amelia's life and times - screening newsreels and pouring through period photography. Yet one of the first decisions he and Nair made was to keep the film's visual atmosphere fresh and modern.
"Amelia was, after all, a thoroughly modern woman," says Dryburgh. "The idea was not to go for a period look, but to let the people, landscapes and aircraft really speak for themselves."
Shot in widescreen anamorphic to emphasize the vastness of Amelia's story, Dryburgh's other primary goal was to capture the raw thrills of solo aviation. "We wanted the audience to be able to share in her yearning for adventure," he explains, "and her intense love of flight which overpowers all of her earthly loves."
To achieve this, Dryburgh put together a crack aerial unit led by 2nd Unit Director Marc Wolff, a veteran helicopter pilot in his own right and a leading expert in aerial photography. "Marc covered every airplane we had that could actually fly, including vintage acrobatic bi-planes, a beautifully restored Ford Trimotor and of course Amelia's beloved Electra," says Dryburgh. "These are scenes that really convey the joy that Amelia felt in flying and the motivation for her whole lifestyle."
For those planes the production could not find in a flight-worthy state - in particular the Fokker seaplane named "Friendship," in which Amelia first crossed the Atlantic, and the Lockheed Vega in which she set many of her records - the production built replicas. In turn, these replicas were then flown "virtually" via computer animation, overseen by the film's visual effects team at Mr. X in Toronto. Says Dryburgh: "With so much exhilaratingly real flying in the movie, our visual effects powered flights had a lot to live up to -- but I think our VFX team at Mr X succeeded magnificently."
The global landscapes that Dryburgh shot, from both above and on the ground, were largely brought to life in just one, enormously diverse country: South Africa, where Nair lived for three years, and which provided the production not only with vintage art deco airports and unending skies but also the means to forge eight different countries through which Amelia traveled, without ever crossing a border.
Nair was thrilled to have this chance to shoot in South Africa. "It was very moving for me to shoot there," she confesses. "It was a chance to pay homage to a continent I love and it gave us the extraordinary breadth we needed to show Amelia's travels around the world."
The task of turning one county into several fell to production designer Stephanie Carroll, with whom Nair has repeatedly worked with since THE PEREZ FAMILY. "Stephanie rock and rolls between India and America with me with great ease and great love. She has an eye like no other, a sensibility like no other -- deeply informed by art and always seeing with fresh eyes," says the director. "In South Africa, she just bloomed, giving us a true diversity of international looks and merging natural elements with high design, much like Amelia did in life."
Carroll faced a daunting task ahead. "There was a lot of research that had to be done in very little time," she explains. "Mira and I both believe in creating sets and props with as much accuracy as possible - and then drawing from that the answers to what might have really happened or what things really looked like when no one was there to document them. Making the film was very much like Amelia's life - she was always moving from location to location and so were we - it was go, go, go all the time in quick and exciting movements."
Each set that Carroll created is layered with details she gleaned out of reading about Amelia's itinerant life, details chosen to further reveal the inner territory of the ever-exploring character. "Every element you see on screen should, I believe, reflect the emotions of the script and somehow, subliminally the audience should feel it's about Amelia or about flight," she explains. "Mira really appreciates beauty and design, so it's very creatively rewarding to work with her."
In South Africa, Carroll's work was about transformation. For example, one of her biggest challenges was turning a grassy airfield in the Transkei into the Lae airstrip in New Guinea, where Amelia was last seen before disappearing. "Finding the right airfield was much harder than you might think because flying the Electra has certain demands, so we had to find just the right balance between historical accuracy, what the plane needed and what we could afford," she points out. "We ended up using an old military airport and turning it into a far more tropical locale."
Equally key was overseeing the design of numerous historical planes. "We were basically fabricating planes that don't exist any longer," says Carroll. "But we knew that many aviation enthusiasts would be seeing the film so we felt a real responsibility to be authentic."
To help recreate the Fokker F7 seaplane and Lockheed Vega, the filmmakers recruited visual consultant Paul Austerberry, who oversaw the fabrication and construction of all the vintage planes. "Paul did a fabulous job and the film could not have happened without him," says Carroll.
Austerberry tracked down the original Dutch drawings of the F7 from the Fokker factory in Holland to match up the airframe structure and fuselage - and drew from photographic evidence to forge the plane's 29 foot-long pontoons used for water landings. He also was able to use the wrecked fuselage of a Lockheed Vega to rebuild the plane's structure replete with its original gauges. In addition, Austerberry created an interior mock-up of Amelia's Electra that was used for some scenes in addition to the "Hazy Lily."
The whole process, Austerberry says, was like a history course in how modern aviation first got off the ground. "Amelia's life spanned the birth and development of human flight," he notes. "Her first plane had a wooden fuselage and her last plane was a gleaming Art Deco wonder. In her few short years, there were incredible changes and we had the chance to reflect all of that on screen."
More changes are reflected in the costume work of Kasia Walicka Maimone, who says "the period and character of Amelia were a dream come true for a costume designer." Walicka Maimone, who previously collaborated with Nair on HYSTERICAL BLINDNESS, began with the thousands of archival photographs of Earhart, literally lining her walls with them for months as she began her artistic process. "I surrounded myself with these pictures and really studied and from that emerged a feeling of knowing this incredible woman intimately," she says.
In contrast to period films that sometimes suffer from a scarcity of information, AMELIA deluged Walicka Maimone with real-life input. After all, the more Amelia was photographed, the more she began to forge her own image that evoked strength, capability and adventurousness, along with a dash of feminine glamour. "We had pictures of Amelia in every kind of outfit, from her flight stuff to her press conference outfits to her glamorous evening outfits and there was such a massive range," observes the designer. "So Mira and I really had to sift through and find the essential looks that would define our character. It was a constant collaboration between me, Mira and Hilary Swank."
Walicka Maimone especially enjoyed researching the history of flight uniforms - and discovering that, in the 1930s, there was no standard outfit for women pilots, which turned Amelia into a fashion pioneer as well. "A lot of Amelia's flight outfits she designed herself," she notes. "She brought in so many interesting twists: the French cuffed shirts, the perfectly tailored slacks and a custom-made, short leather jacket modeled after military jackets of the time. With that jacket, she started her own fashion trend."
By 1934, Amelia had started Amelia Earhart Fashion Designs, with a line of clothing at Macy's. Her look was instantly recognizable -- streamlined, ready-for-action with a powerful, unfussy elegance - and that was the essence at which Walicka Maimone aimed.
The designer's team ultimately created many of the film's outfits from scratch because vintage items were too fragile to withstand the intense production. In doing so, Walicka Maimone kept one eye on the authentic past and another on women's fashion of the present. "We wanted to create a modern, relevant take on the period fashion of the 20s and 30s, which means you sometimes have to avoid the more extreme details," she explains. "For example, we tried some real 30s hats that were just so outrageous and loud they were distracting. So the fun was figuring out how to create a bridge between the reality of what Amelia wore and the beauty of Mira's film design."
Nair says that Walicka Maimone walked that razor's edge with impressive balance. "Kasia is an extraordinary artist, uncompromising and always deeply educated in the period she's working in. The costumes for AMELIA are not only authentic, they are also something a modern girl can really relate to and want to wear, which is everything I wanted," she comments. "I didn't want this movie to feel like a museum, but to be completely alive."
Further enhancing the costume work is the work of Hilary Swank's makeup artist, Vivian Baker, and hair designer, Anne Morgan. Sums up Swank: "Without the collaboration of these two artists -- Vivian who gave me Amelia's beautiful freckles and Anne Morgan who did my short hair -- there would have been no character."
Character. That's what lies at the heart of all of AMELIA's elements, says Mira Nair, whether emerging via the design, the performances or the score by Gabriel Yared. She concludes: "AMELIA is about a life-loving, passionate, strong, unpredictable woman who had enormous loves in her life, both on the ground and in the air. As a visualist, I loved the possibilities that making AMELIA gave me, to form a real tapestry of the world, and to do action in a way that I hadn't been asked to do it before. Most of all, I enjoyed in making this movie being able to show the core of what Amelia believed: that really we can do anything."
"I hope that people are as inspired by Amelia as I was. If you have a dream, don't be afraid to pursue it. Believe in yourself. But don't forget to have fun along the way," says Hilary Swank.
Amelia: Timeline
July 24, 1897 - Amelia Mary Earhart is born in Atchison, Kansas. Her father is a lawyer and inventor, but also an alcoholic. Her mother is the first woman to summit Pike's Peak in Colorado.
January 3, 1921 - Just a few months after American women win the right to vote, Amelia starts taking flying lessons from woman pilot Neta Snook.
December 15, 1921 - Amelia receives her flying license.
October 22, 1922 - Amelia breaks the women's altitude record, rising to 14,000 feet.
June 17-18, 1928 - Amelia becomes the first woman to fly across the Atlantic (as a passenger) in a Fokker F7 piloted by Wilmer Stultz. Upon her return to New York, she is honored with a parade, handed the key to the city and invited to meet the President of the United States.
October, 1928 - Amelia begins a series of lecture tours organized by George Putnam to promote her first book: 20 Hrs. 40 Min, which establishes her full-fledged celebrity.
August 1929 - Amelia places third in the First Women's Air Derby, aka the Powder Puff Derby, in her brand new Lockheed Vega. As America falls into the tough times of the Great Depression, Amelia becomes a symbol of can-do optimism and American spirit.
November, 1929 - Amelia helps to organize The Ninety-Nines, the first women pilots' organization.
July 5, 1930 - Amelia sets the women's world speed record of 181.18mph over a 3K course.
February 7, 1931 - George Putnam and Amelia Earhart are married in Connecticut.
April 8, 1931 - Amelia sets the woman's autogiro altitude record of 18,415 feet.
May 20-21, 1932 - Amelia becomes the first woman and second person to fly solo across the Atlantic. She receives the National Geographic Society's gold medal from President Hoover and the Distinguished Flying Cross from Congress. She writes her second book, The Fun of It, about her journey.
August 24-25, 1932 - Amelia sets the women's record for fastest non-stop transcontinental flight.
April, 1933 - Amelia is invited to dinner at the White House with Franklin and Eleanor Roosevelt. - and famously takes the First Lady on her first-ever night flight, sparking a lasting friendship.
January, 1934 - Amelia turns to the Pacific Ocean and becomes the first pilot to fly solo from Hawaii to California. Soon after, she debuts her own brand-name fashion line at Macy's.
January 11, 1935 - Amelia pioneers the first solo flight across the Pacific Ocean, between Honolulu and Oakland, and uses the first civilian plane equipped with a two-way radio.
April l9 - 20, 1935 - Amelia is the 1st person to fly solo from Los Angeles to Mexico City.
June 1, 1937 - Amelia and Fred Noonan take off from Miami, Florida on an around-the-world flight. After 22,000 miles of flying, Earhart and Noonan are last seen in Lae, New Guinea. On July 2nd, en route to tiny Howland Island for refueling, the U.S. Coast Guard cutter "Itasca" loses contact with Earhart and she is not heard from again. President Roosevelt orders a massive search, which is called off on July 18, 1937. Two years later she is declared legally dead.
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