Chloë Grace Moretz

C.Moretz Website,

First, let wish Miss Moretz well, and I hope she had a nice birthday. I will relate that “Breakfast At Tiffany’s” is one of my favorite films. With this film in mind, I don’t know if you are aware of the odd Georgia Alabama connection with the film? The counter-intuitive Deep-South connection involves Johnny Mercer and Truman Copote. Mercer is from Savannah, and Copote was born in Louisiania, but grew up in Monroeville Alabama. Copote was childhood friends with Harper Lee of “To Kill A Mockingbird” fame, and he is reputed to be the model for her young friend in the story. However, I must comment that it is indeed ironic (in Post Modern literature, irony is the foremost aspect that is searched for) that the pentultimate film about upscale New Yorkers–Breakfast At Tiffany’s was so influenced by 2 deep-south Southerners?

I see Miss Moretz was born in Atlanta Georgia, I was born there as well, and I am still living in Atlanta. As an aside, I see Miss Moretz still employs the old Southern colloquialism of “Yall” in her postings, and I appreciate that little respectful down home touch. My family has a French connection–from the Low-Country of South Carolina, French Huguenots. I know the Moretz family also has a connection to the Royal Scottish Crown, and like most Southners, my family is filed with Scotish surnames.

However, I am writing about another item and a bit of a request? I am sure you are all aware of the supposed controversary regarding “Hit Girl’s” costume. You know that when the first photo appeared with her wearing the “Gunslinger Girl” outfit: the plaid school-girl skirt, white-sox, white-shirt, and pig-tails, there were several postings amongst the copious critical “Kick-Ass” cognoscenti in that they were attendantly and absolutely adamant that the “Kick-Ass” film had fundmentally betrayed the image of “Hit-Girl”, and they were fanatically furious in feeling betrayed and telling everyone not to see the film.

Thus, I see in this interview that Miss Moretz makes mention or reveals that several interations of the “Hit Girl” costume were denoted, devised, and duly considered? I have also possibly/potentially noted that several slight variations of the “Hit-Girl” were shown in several of the individual scenes. I will admit that nothing major was different, but I believe I modestly detected some singularly subtle changes?

What I was of course most curious to know or discover since all the considerable confusion, cursing, or curt talk abounded, was could this site post all the various wardrobe variations which were considered–wardrobe tests or otherwise?

Admittedly, I was not an authentic “Kick-Ass” aficionado prior to my observing the trailer, but I do want to understand the History of the storyline, and all this considerable controversary is curious. I have obediently or overtly observed that the “final film” costumes happen to possess rather considerable differences or be at significant odds with the costumes worn by all the characters seen in the comic book?

Actually, I think most of the alterations are an absolute improvement. If nothing else, the symbolism is far better with the changes. By the way, are “you” (plural form; also, mr./mrs./miss/webmaster/mistress–of course, I realize I am not contacting Miss Moretz–nor do I find it necessary to do so, but I still would like for her to be told that a Georgian appreciates her work and hopes she had a happy birthday!) aware of the book: “If It’s Purple, Someone’s Gonna Die: The Power Of Color In Visual Storytelling” by Patti Bellatoni?

Now, I admit the book is fundmentally, if not fatally, flawed, but I will relate that it is, indeed, still interesting in some instances. I have noted the perilously predominant purple in Miss Moretz’s munificent material making-up her costume. In many instaances, the person who perishes is the person wearing purple?

By the way, I would have some concerns that Miss Moretz protray Juliet. She is not the first 15 year old to make such a film. In 1968 Olivia Hussey had this role in Franco Zeffirelli’s well considered film. The problem is that Miss Hussey reportedly suffered so much in the making of the film that she had nervous breakdowns for years after, and it is noted that she never really recovered, nor, might I add, did she every attain the stature that most critics, who hailed the production and her performance, said she was destined to achieve with such an auspicious acting start.

Also, it is often said that Juliet was most likely around 13-14, not just 14 or 15. So, just like Hamlet and Ophelia, who were also far younger than we ever see the actors who protray them are, Juliet was very very young. However, it is understood that “Children” in previous centuries were usually very mature when compared to many adults of today.

In regards to your previous film, I see “Kick-Ass” as being something along the lines of the proverbal “Unexpected Hero” tale. You (plural, all of the site’s personnel) might want to read Tolkien’s “Tree and Leaf” for some introspective and inspirational insight into this? As Joseph Campbell notes in his works (“Hero with a thousand faces”, etc.), most most myths, legends, and folktales (~60%) present the “Hero” as being something of a Superman) as we see with Gilgamesh, Hercules, Beowulf, etc., but the second largest grouping involves tales of the “Unexpected” hero. Frequently, it involves the mild and meak “every-man”, but a surprising large number of these tales involve young boys and a great gangling number of gamine girls. Literary experts note tht in the early days of Queen Victoria (1828~1865) young girl heroes/heroines far and away outnumbered heroic boys, but after ~1870 heroic young boys clearly predominated. Now, I have a theory as to why, but who really cares?

The instances of young girl “heroes” is obvious from the Jungian prospectives, but essentially the motivation for such tales of the unexpected hero is that if the most absolutely unexpected of individuals can become a “hero”, then it inspires anyone that they can become a hero as well. Thus, this form of heroic tale is an inspiration for everyone. This bit of inspiration seems to be the kernel involved in the story of “Kick-Ass”?

I completely confess, that Carl Jung has a lot of interesting things to say on these matters, but I will not bore you any longer.

Admittedly, I do not know if this site can gain full permission to reveal or present all the costume variations which were considered for Miss Moretz or others, but I will siimply ask and let the intellectual property consideratons proceed.

One additional side note, I know you are aware of the HG (Hit Girl) insignia on her “Utility Belt”? My question of symbolism involves the matter that “HG” stands for “Mercury”, and is this another bit of symbolism? After all, “Hit Girl” is very Mercurial and like quick-silver in her personality and actions?

After all, her costume possesses both Purple–for sacrifice/death, and it is useful to recall that Christ’s symbolic sacrificial colour is Purple. Further note that “Kick-Ass” is scheduled to Premiere just before Easter in the UK, and it is to Premiere just after Easter in the U.S.

In an interview, I noted that Miss Moretz did discuss a follow-up film. Also, I am aware of the actual ending of the Comic Book series. Likewise, I noted her reluctance or retiring reticence in discussing the issue, but noted she did comment back to the interviewer that the ending of the series is…disturbing. Along those lines, I am curious about the fatally foreboding change found in Hit-Girl’s wardrobe, to that of the purple motief–we also note that there were several reputed changes included in the film vs. what was seen in the comic book. Thus, I was wondering if the “changes” which we might see in the follow-up film include a reversal of Big-Daddy’s demise, into maybe being into something involving Miss Mindy’s murder?

I also noted that “Kick-Ass” colours are Green-Yellow-colours indicative of being “Green”, immature, untested, untried. Now, “Red-Mist” sounds like “Aramis”. Thus, I was tritely but theoretically thinking that this thematical tale truly borrows some things from the “Three Musketeers” & “The Four Musketeers”?

You might recall that Aramis betrayed the Musketeers in Dumas’ follow-up tales. I might also make miserly mention that in Richard Lester’s 1973 film (Miss Moretz is a film actress, and a study of prior films is someting that might be made?), the initial film of the 2 film series was fantastically fun, funny and even inspiring. It passionately possessed all the enjoyment found in the best of the old Swashbucklers. However, this grand galant gaity, could not be carried over into the second film. This is because this second film had to include all the sad and depressing actions which Dumas had included into the tale. Thus, I feel or fundmrntallyy fear that any follow-up sort of story with “Kick-Ass” will inevitably include this sort of aspect? I am concerned that the parallels between “Kick-Ass” and d’Artagnan are indeed intriguing and interesting?

However, if the site can gain permission to include the various constume/wardrobe variations, then myself and others might find the evolutions and the symbolism intriguing and invariably interesting?