Costume & wardrobe

Taylor Hackford

"You've got to be home long enough to knock me up. "I've got to be able to have a life here." And you want to have a sense... ...of Kevin's saying, "All right. I'll do what I have to do, all right. "I'm having a good time. I'll try to make things work for you." And as they're going up to this party, they're truly intimidated. This is Barzoon's apartment, Eddie and Diana Barzoon. And it's not on the top floor, that's Milton's apartment. It's the second to the top floor and it's the biggest apartment in the building. It's got a huge terrace around it. There are apartments like this in Manhattan... ...in New York City, on Fifth Avenue and Carnegie Hill. Now the fact is that we used an interior on Long Island for this. At the same time, for the scene outside on the balcony, we used a balcony... ...on Fifth Avenue and 94th Street, which is on Carnegie Hill. The view you have over the park is absolutely... This is an example of how you kind of mix locations. But believe me... ...I was in apartments throughout New York that were exactly like this, or bigger. And you are meeting the power people that this law firm, in fact, represents... ...or has important dealings with. Here, Senator Alfonse D'Amato... ...and Ambassador Charles Gagano, very important people in New York... ...they are there to show that, clearly, this law firm has influence... ...and power, and at the same time, you know, this is the top of the food chain. Kevin and Mary Ann are impressed. They're having a fabulous time. But, all of a sudden, they get separated. Leamon Heath comes in with Jackie. He pulls him away. There are important people for him to meet. When they were holding hands at the beginning, that's been split up. Now they're two operators working on separate sides of the room. Kevin immediately sees Christabella again. She's speaking German. Then she's speaking French. These are-- This is somebody he's never really even could fathom before... ...a beautiful woman with all this talent. Coming into the room is John Milton, and we see the three women. Look at the way they're dressed. Judianna Makovsky, the costume designer... ...dressed these women like beautiful birds of paradise here. They're fantastic. Jackie Heath and Diana Barzoon, played by Pamela Gray, is just wonderful here. Mary Ann is meeting the top honcho. She's meeting John Milton, so smooth... ...so totally comfortable, and a little bit, you know, sarcastic about the women. You have a sense that there's an underlying relationship there. And meanwhile, in the room there is a lot of business going on. These inserts that I cut to, I keep cutting back to, you see the kind of shorthand. In each of these little moments that you see, something's going on in the room. You understand that this law firm can play tough and sometimes dirty. Everything is maybe legal, but it's just legal. Now you see Mary Ann having a moment of, you know, it's... "This is fantastic. I'm actually sitting with the boss. He's charming. "He's not at all what I thought, and he is actually being very, very, very... "...smooth and nice and incisive, and talking personally with me." And while that's going on, Kevin is working his way across the room... ...following the woman in red, Connie Nielsen, who plays Christabella... ...a woman of mystery and intelligence, a real lawyer, like he is. The difference between Mary Ann, and we're pointing it out with her hair... All the other women here, you know, have these beautiful dos... ...and Mary Ann has this Gainesville do. And it was interesting. Charlize went to Gainesville, Florida with Keanu on a research trip. Keanu was going to the trial, that the courtrooms there... Starting with D.A.s and defense attorneys... Mary Ann went out and repossessed a few cars. But she came back saying all the girls in Gainesville, not all of them... ...but many of them have this hairdo. And it was her idea to come with this... ...and you'll see, as we go through the film, how this affects things. But in this moment, Al Pacino, in a very smooth and very, very nice... ...but rather insidious fashion, points out her hair, asks her to change it... ...basically, you know, doing something that is probably in her interest. I mean, he's right, by the way. Her hair does look kind of "hickey" in the sense. She's a beautiful, beautiful girl, but it's the wrong do. In pointing it out, however, he is disarming her... ...and, at this point, he also is charming her. And, as you see, Kevin is oblivious to all this. He is inextricably drawn to this other woman. So I'm breaking this scene up and letting you know that the two people... ...are going in a very divergent way. And this is an opportunity right now, where Al Pacino is talking to her. She's looking in the mirror, and you have a sense of how this man works... ...how seductive he is. He never touches her. He's very close. He's whispering in her ear, and at a certain point you see her close her eyes. She's under his spell and this is a sexual scene without it actually being graphic.

41:30 · jump to transcript →

Alexander Payne

Because I think you did it. What? Are you accusing me? You're not serious. Mr. McAllister, we've worked together on the SGA for three solid years. Besides, my own best banner was torn down. Did I do that too? Were you or were you not working in the Looking Glass office over the... I've had some comments about the costumes in the film and that the teachers wear these short-sleeved shirts and...

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Ridley Scott

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.

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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Andrew Niccol

And he had drums and flowers and girls in native costume. I realized that my version was actually too tame.

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So the whole idea of taking someone else's ship just seems very, it's very Captain Blood, it's very Admiral Nelson, it's very swashbuckle, it's all that stuff, you know, which is awesome. And you never see that, you know. Big movies just don't do that, it seems like, even though it's such a cool idea. So here we're doing a little retro type of design here where, how about if there's good guy Vader costumes, kind of. Also the hearkening to, okay, Vader is the Black Knight, here's the White Knight, here's the Brown Knight.

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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...

42:35 · jump to transcript →

Oh, no. I remember the first draw up they did of that costume. I said, that's some funny shit now. Yeah, this is one of the more lonely scenes to shoot. Just trying to figure out whether or not that made sense when we were doing it. Look at your crazy eyes. Vivica, get off the line now. A hooker. All right, you killed a hooker. Calm down.

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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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