Costume & wardrobe

And the odd thing, I said, let's do something odd, peculiar. She liked the idea of just cleaning out her shelves or cleaning out her wardrobe. Two deep rollers. Are they young? Their offspring will roll all the way down, hit and die. Agent Starling is a deep roller. That's Hope. One of her parents was not. Now he's in the house.

1:31:02 · jump to transcript →

that by the footage that he, the music was just so evocative and transcendent. Absolutely. And we were also fortunate enough to have Merritt Allen who designed the costumes authentically and once again, you know, diligent to detail, but

1:18:27 · jump to transcript →

The other thing I was gonna mention... We're constantly behind in the mentioning. Part of the reason we ended up in Prague and actually ended up with Allan was because of Neno. - Yeah. Neno Pecur, who was Croatian. We hired him as an art director to scout Prague and to scout the real European locales before we knew we were going to Prague. Basically, he would go to Paris and go, "This is what it really does look like." Then he went to Prague and said, "We could do something like this here." And from his pictures, we used some of his actual locations that he took photos of and made the decision to go to Prague. And then Neno has worked with Allan for many years as his art director, and he helped us get Allan. The two of them, their team... They brought Bill... Cimino. Our set decorator. - Cimino. That's right. Just fantastic and along with the guys from Prague. I think it's now time to mention, though, at the robot scene, which was the first time... We've been writers for a long time and you sort of go, "Look, I think we know what this is gonna be. This is gonna be really funny. It's gonna be a slow-motion kung fu fight scene between two people being robots." You write it and it seems funny. There's the old joke about the writer writes "Rome burns," and the director has to realize that. We were on the spot here because it was easy when we wrote it to just hand it off, but now we handed it off to ourselves. Actually, this is one of the things... - At one point, we cut this, actually. At one point... - We cut it from the script. We talked about cutting it. We were afraid we didn't know how to realize it. We just were like, "What is this? This could be bad." Left it in for a table read. - We left it in for the table read. And it got such huge laughs at the table read that we realized, "We gotta at least try and shoot it." We then initiated a worldwide search for a robot man. This is J.P. Manoux, who's an incredibly talented actor. We found him here in Los Angeles. Yeah. We looked at all these mimes... We looked at real French guys. - ...weird acrobats, and French guys whatever, and, of course, a guy from LA who was actually a friend of a friend and was in the Groundlings, of course, ended up being a really good guy. He is just outstanding. - And he came in with this ability... I mean, a lot of what you're seeing, like him laughing and just his attitude as a French guy, was in his audition. We were also very lucky that Scott... - Scott, exactly. ...knew how to robot. I guess Scott grew up watching Shields and Yarnell... No, no. J.P. - Was that J.P.? Scott had an acting teacher... - Who was in the Barney costume. Yeah. - Okay. And we went there on a Saturday to basically work it out. And we had blocked off an entire Saturday. We choreographed the fight with little bits of Enter the Dragon and some Matrix in about... Twenty minutes. - Yeah, like, 20 minutes. And the first time we did it in Our crazy wide shot... because we knew to get a master... the crew laughed, and we were like, "Oh, okay." It was also-- This was pretty early in the schedule. And I think it was maybe the first time the crew thought, "Okay, these guys actually know what they're doing." Like, "This is something we haven't seen." Wrongly, but they thought that. - But they assumed it.

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And he had drums and flowers and girls in native costume. I realized that my version was actually too tame. So at the same time you thought you'd drop it on your arms dealer? Well, I was beginning to wonder whether that was still your profession. You know, you're a hard man to get a hold of all of a sudden. That is a shame. My son and I, we were hoping to do a little shopping while we were here in New York. You knew they were watching you? Yes.

1:30:55 · jump to transcript →

We did concept-design work with an artist called George Hull... ...Who Larry, Andy and James all Know from Matrix. And he drew up the initial sketches that we approved... ...and put into the digital pipeline. When we were shooting it, we didn't actually do a great deal different. We kind of left them to it. We ended up having some rig removal. And the way the blood was done was very crude, if you like. We literally taped plastic bags of stage blood... ...to the costumes of the S.W.A.T. members. And V's stunt double, Dave Leitch... ...used a real knife. And he just had to be very precise to cut the bags... ... Just at the right level so that the blood would splurt out. There are some shots when the knife is in the air... ...where we have got digital knives. CG knives that we put in there. And then, throughout the sequence we had tracked V's motions... ...and rendered in the trails that you see. It's the final confrontation... ... sort of ideological confrontation... ... between Creedy, who represents the administration... ...and V, the independent-minded terrorist. The great line at the end of it is that, you know... ...when Creedy can't shoot him. And he says, "You can't kill me because an idea cannot be killed."

1:55:24 · jump to transcript →

Jane Petrie was the designer... and that was really difficult for her to work in day-for-night. You have to think about the colours, about the luminosity, the brightness of these... of these shots, no? When you shoot in day-for- night, you need to pay attention to costumes, because the technique implies that you need to reduce the light later on, so that's why you can't use, you know, specific colours, and you need to... you need to control these things. And makeup is very important. - Makeup is very important. Here, for example, we don't see Robert Carlyle's eyes, which is really nice. This first appearance of Carlyle, I think is really cool. It... This movie, in this sense, is a kind of chase. These kids are chased by their father now. And, you know, the run away, in terms of the structure, is clear now, because apart from the fact that the soldiers, the militaries, are trying to kill everybody, the infection and the infected are chasing them. Clearly, with the figure of this father infected, now the moment's more difficult in terms of emotion as well.

1:03:43 · jump to transcript →

And by the way, guys, I know you had great costumes for Halloween this year. Having all this stuff laying around was great. We've got a couple toys. Those heads weigh an awful lot, though. Your neck gets tired. And that slime dripping down. Originally, this scene was a lot longer, and there was actually shots of the Predalien up on the roof. Yeah, there was actually a Predalien POV mode that we actually had in the movie where he could...

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Peter Becker

Yeah. - No, you know, I think that Moonrise-- I think that Moonrise as an experience making a movie was really actually pretty unique in my experience, only in that-- Because it was both a necessity and a choice on Wes's part to try to make the film in a very efficient, very stripped down way, unadorned by a lot of the kind of carrying costs of, you know, Wes really said, like, "Look, we're gonna do this in a very-- In a way that feels-- It felt more like being in a repertory company. You know, it was like we were living in a house together. You got in costume at home, did your own hair and makeup. There weren't any trailers. They had some tents, you know, for people to--

10:12 · jump to transcript →

And the toughest part here was probably because the kids have hot dogs dangling from their costumes. Every time the kids would, after a take, would basically drop their costumes and the hot dogs would be laying on the pavement. And our dog, Riley, would just run out and he would start eating the hot dogs. And by the time we finished the scene, I think he ate probably five or six hot dogs, which just made the crew completely sick.

1:14:14 · jump to transcript →

Joss Whedon

And she was a secret weapon because we had to keep Linda out of all of the promo stuff, because the one secret I was most anxious to protect was that Hawkeye's dark secret is that he has a family. Chris there, by the way, just killing it. He did four hilarious reactions, which was great because, in our heads, when the Avengers walked in here, it would be the strangest thing in the world, but with only two of them in costume, two or three, and the house being so big and beautiful, they didn't look that out of place. And so for Evans to keep doing very broad bits of, "What's going on here?" was just a lifesaver. Traitor.

1:01:00 · jump to transcript →

That's only kind of an accident. Remember I was going to do it in my bare feet at one point? Oh, in shorts. Yeah, I was going to do the motorcycle chase in bare feet. Joanna Johnston, our costume designer, was mortified when you suggested that. And you were like, dude, trust me. Trust me, don't do that. Trust me. I was like, really? You just scraped your pants on the road. You're going to feel it. Okay, so sorry. I was saying, whenever you see the close-up of the guy with the mirrored helmet, we never actually had time to get that. So we actually digitally put a mirrored visor on Rebecca's helmet.

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