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In Oyster magazine, Catherine Martin discusses how closely the film sticks to historical details:
We're not making a documentary, we're trying to tell a story, and Baz was all about the book. Of course, it's going to be his interpretation of the book and the collective interpretation; it's not going to be everybody's cup of tea. We worked really hard to use all those things from the 20s. For instance, there are things like the men's pants and the slimness of the suits that are probably much closer to 1920 than to 1929...But we've chosen [the slim pants] because it's a silhouette that a modern audience kind of understands...And it's much more flattering. [Leans forward and whispers] They look better in them.And how she wanted to capture Jay Gatsby:
Gatsby is an iconic character. It says he was the most optimistic person, you know … He looked at girls the way all girls wanted to be looked at. He smiled the smile that someone wanted to be smiled at [with]. So, you're obviously trying to make him have an iconic look and you want people — as many people as possible — to access those messages in the book.
And how the collaborations with Tiffany jewelers and Brooks Brothers came about:
We have a lot of associations in terms of commercial associations in the movie, which directly link to his life. For instance, he [Scott Fitzgerald] was a Brooks Brothers customer, so I collaborated with Brooks Brothers. And Tiffany's, Fitzgerald was also a Tiffany's customerSource: Oyster magazine, Bazmark