Costume & wardrobe

Tim Burton

Colleen Atwood, I worked with many times, of course. And, you know, with that kind of work and the costumes, it's such an important thing because it's like a character in the movie. The costumes are the character. I mean, if you look at each one of them, Rory, Dolores, all of them, every character, it's important to me because what they come dressed in is who they are, you know? And so, you know, and again, this is what's the joy of making a movie, working with creative people. And photography, costumes, sets, you know,

32:41 · jump to transcript →

Tim Burton

I'm co-chaperoning Lillard Jane's Girl Scout troop. We spent weeks coming up with a group costume theme. We agreed nothing Disney. The closest we ever got to Disney was when Astor dressed as Cinderella's dead mom. You'll never guess what the girls came up with. Fruit salad. Isn't that genius? It's healthy and non-triggering. I'm going as... Reverse mortgage. Which is...

1:01:05 · jump to transcript →

Tim Burton

that felt sort of right. So it wasn't just deadhead slight undulating quality to it. It's just so that there's a weird kind of a hypnotic rhythm to the whole thing. So it's like with costumes, sets, cinematography, we discussed all of this in terms of creating what it ultimately is. You are no more my king, but with the blessing of the angels of undying love.

1:05:14 · jump to transcript →

Edward Berger

I told him, I want to destroy the images. I don't want to beautify them. I don't want to sentimentalize. I don't want to make them pretty. I want to destroy it. And this is what he came up with. And the third was, find a sound. You know, this should be a sound that, you know, everything is there to, you know, whatever it is, costume, makeup, production design, camera, VFX, music.

13:36 · jump to transcript →

Edward Berger

We had a wonderful costume designer. If you look a little bit at the costumes in the movie, they're really worth a look. You might think, well, they're uniforms. They're not. They're really... Lisy Christl is her name. Wonderful, beautiful costume designer from Bavaria in Germany. And every character wears their uniform differently. Felix, first of all...

56:08 · jump to transcript →

Edward Berger

the costume designer, I wanted to explain the buttons. So she is so thoughtful. She thinks like, all right, he's gonna have to cut off these buttons. They're sitting in a crater for 10 hours a day, four days in a row.

1:27:40 · jump to transcript →

These ancestors and their costumes. Oh, by the way, there's a werewolf back there. Maybe you can see. There's a nice little Easter egg. But because in many of the sagas, Vikings who are berserkers have some werewolf blood in the family. But in any case, the Oseberg Tapestry is, you know, one of the few stories that's actually from the Viking Age, not a story in the sagas that has...

15:24 · jump to transcript →

her costume, which is probably the most theoretical costume in the movie. This headdress is based on bridal headdresses from a later period in Ukraine, but we tried to do our own spin on it and make it more primitive. And these cowrie shells

32:01 · jump to transcript →

you know, mild insecurity is nowhere to be seen here. And so I hope that you feel that Amleth has a formidable foe. The Valkyrie costume,

1:46:10 · jump to transcript →

Hair and makeup are done with Hayley, all of which is very subtle. And the wardrobe on Hayley. The wardrobe is sensational. And all of it is just playing to her strengths. And it wasn't until much, much, much later that we found the music. Do you remember? Oh, my word. The music in the nightclub. Yeah. We originally had a track which the dancers had choreographed their movements to.

1:19:10 · jump to transcript →

they all subtly kind of bring in that sense of adventure. Even Hayley's costume, the wardrobe she's wearing, has a slightly pirate feel to it. Same with Rebecca. God, I remember when you were shooting this and how dynamic all these different moves were and these moments with Pom. And the intercutting that we then had to do. And also, I feel for Hayley, because the fight with Gabriel was originally quite a bit longer.

1:36:58 · jump to transcript →

Great cinematography is relying on great production design, and great production design is relying on great locations. And costume design, hair and makeup, it's all working together to make the image you see. And it's a really important thing to remember that when you're looking at the work of one sensational person, one sensational performance, one sensational credit,

2:37:32 · jump to transcript →

Nia DaCosta

Yeah, developing this with the prosthetics was super fun. But the first time I saw... The first person they showed me was LA, who plays Jane Ji. And Gareth and Carson, who are the amazing production designer and costume designers, they also were super inside of, like, those sorts of looks, like anything that was full-body like that in terms of prosthetics, they were really inside of that process creatively. And they called me in to see LA in her skinned look, and LA was, like, had tears in her eyes and she was performing, basically. And I was like, "Oh, my God." It was so disturbing. I was like, "This is very distressing," and I'm looking at it and I know it's not real, but it just felt so real. And that's just like a testament to the amazing work that the prosthetics team, John Nolan and his team, do on this film. That's real. Well, not... Obviously, it's not his skin, but that's, like, prosthetics. That's all in-camera. With a little bit of help from VFX to clean up anything.

35:03 · jump to transcript →

Nia DaCosta

This was so fun to shoot. This... Our amazing stunt performer, who we lit on fire, I think, three times. And the crazy thing about this, which I didn't know, is basically he gets covered... His body... Like, underneath the costume, he gets covered in something that protects him from fire. And then he gets... puts on the costume, puts on a gel that was supposed to light up. And then he wears a mask over his face so that he doesn't, you know, his face doesn't burn off, obviously, and... But he has to hold his breath for the entire time that he's on fire, which I didn't think about. But obviously, you wouldn't want to be inhaling and burning your lungs to shit. So I was so impressed. And I always am with everyone I work with, but especially him being lit on fire three times, I think, on that night, and then three times on this night, to do the shot that's about to come.

48:04 · jump to transcript →

Nia DaCosta

So, yeah, pretty much all of this is practical. Like, we... A couple of the candles went out, so we added them in VFX. But just... Again, Gareth and Carson, our production designers and costume designers, did an amazing job with this set and also with saving some of... some things to discover for me so that in this film, the audience wouldn't just be like, "Okay, been there, done that," but would really feel like, "This feels like a new place," or, "I'm seeing more of this place," which is really great.

1:23:18 · jump to transcript →