Film Description: Blind Date (1987) Romantic Comedy directed by Blake Edwards and starring Bruce Willis and Kim Basinger. Poster Gradings: I have provided a supersize picture for closer examination of the poster,and have added a simplified grading system. Lesser: A poster greatly in need of restoration will have very significant paper loss or heavy staining. Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common.
The hero is Walter Davis, played by "Moonlighting's" Bruce Willis as such a nerd that the small end of his tie hangs down below the big end.
Bruce Willis stars as a young public-relations executive who goes on a remarkable and disastrous blind date with Kim Basinger .
Tracy Tynan is a costume designer from London who now lives in the US and has worked on many Hollywood movies.
My mother always used to say to me; “What exactly is it that you do?’ And although I tried to explain it to her many times I don’t think she ever really understood and I can’t blame her.
Gone are the days where actors reported, to the costume department where they were shown pre-approved sketches by the costume designer. Today, like everyone else, the costume designer has to be a multi-tasker:  part artist, part historian, part shrink, part nanny, part accountant to mention few aspects of the job. But, when all the stars are aligned and the costume gods are smiling on us, being a costume designer can be deeply gratifying. It starts when you read the script, and you break it down, and you try and imagine the world that the characters live in. Then you present your ideas to the director and they give you their feed -back and concerns. Then you meet with the cinematographer who tells you their issues, like the entire film is being shot at night, so, “please put the actors in something that will show up, but not too much.
Then it’s onto the production designer who tells you the color palate the director wants to use and maybe shows you some photos or paintings that they are using for inspiration. Next you meet with the actors and listen to their thoughts and ideas and discover that they are completely different from the directors and when you mention it to the director he or she says, “Please don’t bother me now because I am really busy and dealing with important stuff like budgets and film company execs, just make sure the actor is happy and gets what they want.” So then you go back to the drawing board and try incorporating, or more accurately sneaking in some of your ideas without ruffling the actor’s feathers. Then you try and make best friends with the hair and make-up people who are being paid twice as much as you are and are best friends with the actor and don’t really care about what you have to say. But there are still these days where the actors refuse to wear the clothing that director, the producer and even the producers’ assistant (Because everyone today is an authority on clothing ) had signed off on a month ago. And finally the film comes out and you discover that they cut out the scene with your favorite outfit or worse, they’ve decided to change a sequence, so that in one scene the actors are wearing one outfit and then right after they are wearing a different outfit and it and stands out like a sore thumb.

Slapstick comedy starring Bruce Willis and Kim Basinger as a couple on a disastrous blind date. Dutch painter Jan-Van Rooyer hurries to keep a rendezvous with Jacquleine Cousteau, an elegant, sophisticated Frenchwoman, slightly his elder, whose relationship with him had turned from art student into one of love trysts.
He works all night on a big presentation, and then needs a date to take to the company dinner in honor of a visiting Japanese businessman.His brother fixes him up with Nadia Gates (Kim Basinger).
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Because a lot of people in the film business don’t really know what a costume designer does. And team of skilled artisans and tailors made the exquisite clothes that you see in the movies of the 30’s, 40’s and 50’s . We are like the welcoming committee, giving them the latest draft of the script, the one where all their best scenes have been drastically cut. Film is a collaborative process and being part of that collaboration can be very rewarding.
And if you are really fortunate, like I have been a few times in my career with Alan Rudolph, Blake Edwards and Jim McBride, they trust you and let you proceed with your vision. And trust me, if you arrive on the set and discover that the whole scene is being played on a blue sofa and the actor is wearing blue and they melt into the background and look like a floating head, they’re not going to change the sofa, so you’d better be prepared to change the clothes! But you try and win them over because you are working so hard to achieve a look and it can be totally sabotaged if the hair and make up aren’t right.
And there is no disclaimer saying that the lack of continuity is not the costume designers’ fault. So next time you see a movie and you see the credit costume designer maybe you’ll understand a bit better what they did, or tried to do. Third-grade businessman Walter (Bruce Willis), a scruffy workaholic failure desperate for a date at a big do, accepts his brother's offer of Nadia (Kim Basinger), a shy southern belle who mustn't be allowed to drink. He arrives and is confronted by Detective Police Inspector Morgan who accuses him of having murdered Jacqueline. Two glasses and she's shouting across crowded restaurants and ripping the pockets off of men's suits. Or we are the ones to tell them that although the script was meant to take place in Tahiti, we will be shooting in Palmdale.
Then you immediately make really good friends with the set decorator because they are deciding what kind of place the characters  live in, and that if you’re designing quirky funky clothing for a character and they live in an ultra modern minimalist apartment it’s going to look odd, because the same person that buys their clothes decorates their living space. And if it is a period film, the hair and make–up are a crucial part of creating an authentic look.

And you have to act cool and unflustered, and rush back to the wardrobe truck that is parked three miles away and try and figure out something else for the actor to wear. Morgan listens sceptically to the dazed denials of Van-Rooyen as he tells the story of his relationship with the murdered woman.
This is familiar territory for Edwards: He has made a comedy about alcoholism ("10"), and his "The Party" (1968) was about the same kinds of social embarrassment that his heroes inflict this time. Or high tail it to the nearest store and stuff your trunk with armfuls of clothing, praying that something will work, and drive back to set at the speed of light so that you get before they are ready to shoot the scene, because the one thing that can never, ever, happen is for shooting to be held up because of ‘wardrobe’! Morgan, after hearing the story, realizes that the mystery has deepened and it becomes more complicated when the Assistant Commissioner, Sir Brian Lewis, explains that Jacqueline was not married but was being kept by Sir Howard Fenton, a high-ranking diplomat whose names must be kept out of the case. One drink will do it, and it is the misfortune of the hero of "Blind Date" that he gives her that one drink. What's more, he buys a bottle of champagne to take the girl along to the recording studio where he used to play guitar.
There are individual moments in this movie that are as funny as anything Edwards has ever done, but they're mostly sight gags and don't grow out of the characters. And most importantly, how can you possibly do it all for the tiny budget they have allotted you? Willis plays a nerd so successfully that he fades into the shrubbery and never really makes us care about his fate. A witty script would help too, but this one is pretty moderate, and it's only when director Blake Edwards manages to string a set of sight gags together towards the end that the film shows signs of breaking out of its laughter vacuum.
Her hair is always in her eyes, and her eyes are her best feature.She apparently has the stuff to be a comedian, but Edwards handles her too arbitrarily. She is always just exactly as drunk - or as sober - as the plot requires, and that's a mistake. We should believe she's an unpredictable time bomb.If the movie lacks a strong human core that we can care about - the sort of core Peter Sellers and Dudley Moore have created with Edwards - it does have a lot of funny stuff going on. Rarely, for example, has an entire house been moved for less comic effect than in this movie.Is the movie worth seeing? But when I was laughing, I was genuinely laughing - there are some absolutely inspired moments.
This is the kind of movie that serves as a reminder that comedy is agonizingly difficult when it works, and even more trouble when it doesn't.

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