Latest / The Art of Costume Podcast / Wicked with Costume Designer, Paul Tazewell

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Wicked with Costume Designer, Paul Tazewell · The Art of Costume Podcast

• 0:06
  Hello and welcome to the Art Costume Podcast.
• 0:08
  I'm Elizabeth Joy Glass. And I'm Spencer Williams,
• 0:11
  Elizabeth. Hey, look at us in the same
• 0:15
  room. I I'm.
• 0:17
  So I'm like buzzing right now. I'm so excited.
• 0:19
  I know we've been working on this set.
• 0:22
  I'm almost cursed. But we can't for the 1st 10
• 0:24
  minutes on YouTube. Oh.
• 0:28
  Hey, costume nerds, it's so good to see all of you.
• 0:31
  It is. Elizabeth is here in person.
• 0:35
  We're in a new set, a new season.
• 0:38
  Five people. We're at the start of Season 5
• 0:41
  and you know, we're starting off with a bang in a year that is
• 0:47
  going to be interesting for film and costume and so many other
• 0:51
  reasons, and I just cannot wait to get into it.
• 0:55
  Yeah, you might be thinking, oh, the emerald set, they must be
• 0:59
  doing wicked. Yeah, and you'd be half right.
• 1:02
  Yeah, we are doing wicked. But the emerald set is not
• 1:05
  because of wicked. No.
• 1:06
  And actually, at one point Elizabeth and I were talking
• 1:09
  about getting pink chairs. We were, then we realized we
• 1:14
  couldn't do that, at least not yet.
• 1:17
  But I mean, we have a green set because we were going to do
• 1:21
  black. And then we realized we own too
• 1:24
  much black clothing. Like this is one of the only
• 1:26
  like not black shirts I own currently.
• 1:29
  Yeah, Elizabeth, she actually said in that production mean
• 1:33
  like we'll actually lose Spencer and camera every single time.
• 1:37
  And honestly, we still might be, we're still working on the
• 1:40
  technology, but black probably would have been rough.
• 1:43
  Yeah, I still have liked to see what black look like, but that's
• 1:45
  neither here nor there. Let's get into the movie of the
• 1:49
  year. We're talking about Wicked this
• 1:51
  week, the film that you all have been emailing us, commenting,
• 1:55
  messaging us on Discord, YouTube comments.
• 1:58
  Y'all are excited, yeah and. We are too, but we didn't want
• 2:02
  to do it without some very integral pieces like the the
• 2:07
  Emerald City backdrop. Yes, yes.
• 2:10
  And the costume designer, Paul Tazewell.
• 2:12
  But before we get into that, let me give you all a little
• 2:16
  summary. Misunderstood because of her
• 2:19
  green skin, a young woman named Alphaba forges an unlikely but
• 2:24
  profound friendship with Glenda, a student with an unflinching
• 2:28
  desire for popularity. Following an encounter with the
• 2:32
  Wizard of Oz, the relationship soon reaches a crossroad as our
• 2:36
  lives begin to take very different paths.
• 2:39
  And that is Wicked, directed by John Chu.
• 2:43
  It is if you haven't seen Wicked and you can go see it in the
• 2:46
  theater. Go to the theater for this
• 2:49
  movie. I can't stress that enough.
• 2:52
  Go to the theater. I it's was probably my best
• 2:57
  theatre going experience of 2024.
• 3:00
  Yeah, it came out during the holidays.
• 3:02
  It was glicked, which Elizabeth has a lot of thoughts about
• 3:04
  Gladiator. But I waited for all the holiday
• 3:07
  crowds and families to go because I was very afraid of
• 3:10
  hearing theatre singers. Yeah.
• 3:12
  So I showed up by myself, and there I was at my AMC just
• 3:17
  crying, wearing my yeah sweats and hoodie, just all by myself.
• 3:21
  And now I've gone several times. I took my mom the other day.
• 3:25
  That's yeah. That's magic.
• 3:26
  That's when I saw it. I saw it with my mom.
• 3:28
  It was actually really funny. I.
• 3:30
  Bring your mom to work, baby. But let's get into the film of
• 3:34
  the hours. Yes, let's meet our costume
• 3:36
  designer, the incredible, the incomparable Paul Tazewell,
• 3:41
  which you will know his work from The Tempest, The Wiz Live,
• 3:46
  for which he received an Emmy Award, The Immortal Life of
• 3:52
  Henrietta Lacks, Jesus Christ Superstar Live in concert,
• 3:58
  Harriet Hamilton, for which he won a Tony Award, and West Side
• 4:05
  Story for which he got an Oscar nomination.
• 4:09
  And at the time of recording this People Wicked has a BAFTA
• 4:13
  nomination and ACGA nomination, Critics Choice Award and like 16
• 4:21
  other organizations are like yes these costumes slap.
• 4:24
  Yeah, I I was playing to get a list of all of Pauls nominations
• 4:27
  so far and I counted I think 16 of just like, you know, random
• 4:31
  film films and whatnot. Yeah, and hey, if the Art of
• 4:33
  Costume also has a film award. Top of the list.
• 4:37
  We'll make it 17. Yeah, honestly, I'm sure by the
• 4:41
  time in this episode comes out, Paul's gonna be another Oscar
• 4:44
  nominee. I'm.
• 4:45
  Just I'm sure it's. I'm sure.
• 4:47
  So obvious. And also Paul Tazell, is he
• 4:50
  gonna be the first EGOT winner costume?
• 4:53
  I. OK, I was literally thinking
• 4:55
  about that. I was like, wait, hold on.
• 4:56
  He has an Emmy. He has a Tony.
• 4:58
  He's gonna get an Oscar. He's gonna get an Oscar at some
• 5:01
  point. How can we get Paul Tazell to
• 5:04
  win a Grammy? Paul, you need to put out your
• 5:07
  your debut album. Learned in our upcoming
• 5:12
  interview with him He he was a theater kid.
• 5:14
  He can probably sing not to he you can probably sing.
• 5:17
  Do a rendition of like the fine Gravity or the Wizard and I just
• 5:20
  put that out, you know, make a couple mil.
• 5:23
  Yeah, EGOT winner. We're going to figure this out
• 5:25
  for you, Paul. Anyways, let's get to what
• 5:29
  you're all here for. Of course, costume designer Paul
• 5:32
  Tazewell has done so much press over the past couple of months,
• 5:36
  which we really appreciate. Yes, and we just had to get on
• 5:39
  his list as well. We did.
• 5:41
  So we were very honored to be joined by Paul just yesterday.
• 5:45
  So we're going to play you that interview in just a second.
• 5:47
  We talk about a lot. We go back into all the way back
• 5:51
  to high school, I believe, with Paul talking about his
• 5:54
  trajectory from Paul working on the Wiz in high school all the
• 5:58
  way up to, you know, Wicked and the future and talking about
• 6:02
  some of our favorite characters. It's it was a really fun
• 6:06
  interview and I hope you all enjoy and after that interview,
• 6:09
  come back and we're going to catch up a little bit because a
• 6:11
  lot of has happened since you've.
• 6:14
  Since you saw us last. Or not heard us last.
• 6:17
  Since you've heard us last, a lot has happened.
• 6:19
  Yeah, we're going to get into all that and also play our
• 6:22
  favorite game. We'll constantly rule them all
• 6:24
  and give a Stitch rating, which I mean, we could probably get
• 6:27
  that out of the way now, but we'll do it after the break.
• 6:29
  We'll keep a format. All right, talk to y'all soon.
• 6:37
  Hi, I'm Dan who does all the magic behind the scenes.
• 6:40
  I wanted to say thank you. And if you want to support the
• 6:43
  show even farther, go to tpublic.com/user slash the Art
• 6:49
  of Costume where you can buy a couple variations of our logo on
• 6:53
  T-shirts, mugs and stickers. Also, be sure to leave a like
• 6:58
  comment and subscribe. And if you're an audio listener,
• 7:01
  leave us a five star review on Apple podcast.
• 7:04
  Now back to the show. Hey, Paula, how's it going?
• 7:12
  Hi, Spencer and Elizabeth, how are you?
• 7:15
  I'm. So good.
• 7:16
  We're so excited finally talk to you.
• 7:19
  But before we get to Wicked, we want to talk about your journey
• 7:24
  to Wicked. One of my favorite stories I've
• 7:27
  heard you tell is actually going back to some of your first
• 7:31
  productions. I believe you grew up in Ohio on
• 7:35
  your first production was maybe The Wiz, which is kind of great
• 7:39
  foreshadowing. Yes, you've done your research.
• 7:42
  I, I grew up in Akron, OH. And, you know, as I was growing
• 7:47
  up, I went to a school that was a magnet school for high school.
• 7:52
  And when I was a junior in high school, which means that I was
• 7:58
  about 16 years old, I was given the task of designing the
• 8:03
  costumes for The Wiz. And that was really where I fell
• 8:08
  in love with theater, where I fell in love with the, you know,
• 8:10
  the, the whole idea of, of entertainment.
• 8:13
  But I, my, my intention was to be a performer.
• 8:16
  And the, my instructor at the performing arts, it within the
• 8:20
  performing arts program saw that I, I had a proficiency in
• 8:26
  designing costumes. And so he offered me the the job
• 8:30
  of being costume designer as well as casting me as the Wiz.
• 8:34
  So I had the the honor and task of of actually designing my own
• 8:41
  costume. I didn't make that costume.
• 8:43
  My mother actually made it. It was a white suit and then I
• 8:46
  had a a wide brim hat and AI think I might have made the Cape
• 8:50
  that was lined in green satin. You did your top.
• 8:54
  Yeah, right. Exactly.
• 8:55
  But I did design the rest of the, the production and with the
• 8:58
  help of my family, we got everybody clothed in, you know,
• 9:03
  in, in all sorts of a costume. So that, I mean, that was the,
• 9:06
  the very beginning. And that was, I think that that
• 9:08
  was where I saw that I could actually do it.
• 9:12
  I still was headed to, you know, I, I wanted to go to New York
• 9:16
  and, and start to audition and take dance classes.
• 9:20
  And, you know, I was, I was on that journey and then I
• 9:24
  transferred to North Carolina School of the Arts in Winston
• 9:27
  Salem. And anymore it's called
• 9:29
  University of North Carolina School of the Arts.
• 9:31
  Yeah. Then, you know, after
• 9:33
  graduating, I started designing professionally first at the
• 9:37
  Arena Stage. That was probably the, the my
• 9:43
  because I ended up being the resident costume designer there.
• 9:46
  So that, that was my home base for about 8 years.
• 9:51
  And then I, at the same time as I was designing for productions
• 9:55
  there, I was also designing for other regional theaters around
• 9:59
  the country. Once I hit, I guess it was four
• 10:04
  years into that, that tenure of, of, of time, I, I was asked by
• 10:11
  George Wolf to come to New York and design.
• 10:14
  First there was a production called Blade to the Heat that
• 10:17
  was a straight play. And then at the same time he
• 10:21
  asked me to design, Bring it to Noise, bring it to Funk, which
• 10:26
  was a new Broadway show. It was my first Broadway show.
• 10:31
  It started Savion Glover. Then I was nominated for Tony
• 10:36
  for that. And you know, I just continued
• 10:38
  working. You have designed some fantastic
• 10:42
  productions. You brought up bring in the
• 10:45
  noise, bring in the funk, along with The Color Purple in the
• 10:49
  heights of course. Hamilton.
• 10:51
  Such an amazing show. I'm curious, how did all of this
• 10:56
  previous work prepare you for Wicked, which is certainly a
• 11:02
  huge task to be taking on. If that's a great, a great
• 11:06
  question and it's one that I, you know, I acknowledged, you
• 11:10
  know, I definitely acknowledge it to myself because wicked
• 11:14
  incorporate so many different elements and, and I had the, you
• 11:19
  know, the, the, you know, the delight of, you know, pulling
• 11:24
  all that together and being able, being able to orchestrate
• 11:26
  it with some amazing talents. But, you know, I've said this
• 11:31
  about my work on Hamilton. I couldn't have delivered the
• 11:36
  design that I did without the experience, you know, the
• 11:40
  collective experience that that I have had previous to that, you
• 11:44
  know, previous to that experience, you know, what I was
• 11:47
  talking about, about Arena Stage, there was a, you know,
• 11:50
  there was a full time staff of costume makers at the Arena
• 11:54
  Stage at that time and they were all building costumes at the top
• 12:01
  of their, you know, the top of their game.
• 12:03
  When I came into that, having all the knowledge that I had
• 12:07
  from school and, you know, my, my own interest in building
• 12:10
  costumes, you know, it gave me the opportunity to really study
• 12:16
  and understand as I was, you know, actively designing how to
• 12:20
  best work and collaborate with, with other makers.
• 12:25
  And so those eight years, I was perfecting my craft out, you
• 12:30
  know, kind of on the sidelines, not in full focus of everyone
• 12:33
  else. You know, my my experience would
• 12:35
  have been much different if I had been in New York, but it
• 12:37
  gave me the opportunity to design many, many different
• 12:40
  kinds of productions because much of my career, and, you
• 12:45
  know, we might get into this later in that conversation, but
• 12:48
  much of my career has been designing stories about people
• 12:51
  of color and, and some were, you know, like did lean into the
• 12:57
  21st century, but most of them were 20th century.
• 12:59
  Many were about, you know, characters that were, you know,
• 13:04
  were more urban than St. and you know, I and and so you know that
• 13:08
  I was asked to do a, you know, a an array of different
• 13:11
  characters, but those periods were pretty limited.
• 13:18
  What you know the the economic level was limited to what those
• 13:23
  stories could hold at you know that just to get back to what
• 13:27
  your question was like. All of those added up into
• 13:32
  knowing all the techniques and being in full control of how to
• 13:38
  best tell the story of wicked because I understand the vast
• 13:44
  array of different ways of telling the story as well the
• 13:48
  experience of you know how costumes hold the story, support
• 13:54
  the story because they support the character it's.
• 13:58
  It's been 1 incredible culmination which has resulted
• 14:02
  in Wicked, honestly. And before we get into some of
• 14:05
  the specific costumes, one thing that stood out to Elizabeth and
• 14:09
  I, which means a lot to, I think a lot of people, is you've
• 14:14
  obviously done a lot of press with Wicked.
• 14:16
  But I've noticed how you've used your spotlight to kind of
• 14:20
  highlight the people that helped make Wicked possible along with
• 14:24
  yourself. I mean everyone from milliners,
• 14:27
  costumers, assistant costume designers, illustrators.
• 14:31
  Can you tell us why that's been so important to you to make sure
• 14:34
  that all of your crew members are feeling seen in this
• 14:38
  process? Because it's about being seen.
• 14:41
  It's, you know, it's so very necessary for people to
• 14:44
  understand that there is, you know, there's a huge, you know,
• 14:48
  it's a cliche, but there's a, you know, there's a huge village
• 14:50
  of people that are behind all those people that get to be seen
• 14:55
  in front of the, you know, in front of the camera or on stage.
• 14:59
  And I think that, you know, because Wicked was is so out,
• 15:05
  you know, so far outside of the box and in, in terms of how we
• 15:09
  could manifest, you know, all all of these magical costumes
• 15:15
  and, you know, with different kinds of techniques.
• 15:18
  I wouldn't have been able to to manifest the design, to actually
• 15:21
  create the design without the expertise of those people that
• 15:25
  were all pulled together. And with that, it then became
• 15:28
  very important. It's always been very important
• 15:31
  to shine a light on on their work because that, you know, the
• 15:34
  only way that I can do my job and bring that to the stage or
• 15:40
  that to, to film is to have, you know, the support of amazing
• 15:47
  artisans. That that team, those people
• 15:49
  that are behind me are imperative to that process
• 15:54
  because they're the ones that are actually creating it.
• 15:56
  And if it's not done well, then it, you know, it, it doesn't
• 16:01
  look good. You know, it's a, you know, a
• 16:03
  badly made costume is a badly made costume and it will never
• 16:06
  resonate in the way that I want for it to, which is specific to,
• 16:11
  you know, making these characters as real as possible
• 16:15
  so that we can engage with them. You know, the audience can
• 16:18
  engage with them in a way that lets them, you know, really fall
• 16:23
  into the story and go on the ride with us.
• 16:25
  That's so true, and I love that you're highlighting their work.
• 16:29
  So let's get into your and your team's work with Wicked.
• 16:34
  What was your initial reaction to getting this job and to be
• 16:38
  able to get to work with your two amazing lead actresses?
• 16:44
  When I was approached by John Chu, you know, I was beside
• 16:48
  myself, I mean, and, and I had met John before and I was just
• 16:54
  hoping and praying for the, the opportunity, not for wicked
• 16:59
  necessary, but just an opportunity to work with him.
• 17:01
  Because, you know, when, when I was approached, I, you know, I,
• 17:06
  I'm always delighted that somebody thinks and believes in
• 17:10
  me, that I, you know, that what I've done, you know, kind of
• 17:14
  inspires them to offer me the opportunity.
• 17:20
  And then you know what, once I get over that, then it's like,
• 17:25
  you know, now I really have to, I have to, to deliver.
• 17:29
  So there's, you know, there's delight and fear at the same
• 17:32
  time. And then, you know, in, in my
• 17:36
  conversations with John that that we're then after that, that
• 17:39
  first meeting, it was just, it became a delight because he is
• 17:44
  so wonderful to work with. You know, he's very warm, he's
• 17:47
  very engaging. He had a very clear idea of how
• 17:50
  he wanted to tell the story. And he also kept the
• 17:54
  possibilities open, the creative possibilities open to have his
• 17:59
  team become a part of his process.
• 18:04
  And, you know, so I went away and I started to collect all
• 18:09
  kinds of images. I mean, I actually, I think that
• 18:11
  my first meeting with him was a presentation, which was a
• 18:14
  collection of image, visual images that spoke to me as to
• 18:18
  how we might represent the design of Wicked.
• 18:22
  And I was familiar with the, the Broadway show.
• 18:25
  I, I'd listened to the Broadway show a lot and was moved by
• 18:30
  that. I'm friends with the original
• 18:35
  designer of the Broadway show as well.
• 18:38
  So it was important, you know, and because of that, it was
• 18:41
  important for me to create my own world and have my own take
• 18:44
  on it. And so when I heard that John
• 18:46
  wanted to reinterpret what the, the, you know, what this world
• 18:51
  is, I was so relieved because I, it wasn't going to be a
• 18:55
  recreation of anybody else's work.
• 18:58
  I think that it, you know, it's like with the Wiz that I've done
• 19:02
  a number of times since that production in, in high school,
• 19:06
  you know, it's. The dining room table.
• 19:10
  You know, you, you, they're these characters are very well
• 19:13
  known to us and you know, it, it, it then is our task to tell
• 19:22
  the story that feels familiar, but then also where it can be
• 19:26
  experienced in a new way. And that was what we were about,
• 19:29
  you know, and, and you know who, who is, you know, the character
• 19:33
  of, of Glinda and who is the character of the Wicked Witch of
• 19:37
  the West as it's, it relates to Alphaba.
• 19:40
  And what, you know, like going back to the 1939 film and then
• 19:46
  the, the book before that and also the Gregory McGuire novel,
• 19:50
  like collecting all of those pieces that already existed as
• 19:54
  well as, you know, the, the, the, the, the wicked musical on,
• 19:59
  on Broadway, but you know, like really studying what those icons
• 20:05
  are. And what speaks to audiences, it
• 20:10
  is grounded in a collective idea of a storybook, you know, in a
• 20:18
  way. And some of that is informed by
• 20:20
  the 1939 film. When you think about the
• 20:23
  Munchkins and you know that there's a there, there's a kind
• 20:25
  of classic full quality to that group.
• 20:29
  Of. Of people.
• 20:31
  And one thing we've talked about on this podcast quite a bit
• 20:34
  actually, is your use of color feels very specific and
• 20:38
  intentional. So obviously with Wicked,
• 20:40
  there's the green and the pink, but we also noticed that there's
• 20:44
  a lot of other through lines they're carrying through.
• 20:46
  You've mentioned nature. I'm seeing a lot of spirals.
• 20:50
  I've heard some math terms like Fibonacci sequence, which I
• 20:54
  haven't heard since high school. What were some of those through
• 20:58
  lines that you try to carry through the entire film?
• 21:03
  Again, it was about digging deep into what is governing, what
• 21:07
  rules govern this visual world, you know, so thinking about
• 21:11
  spirals, what I mean. And, and it was inspired by the
• 21:15
  imagery that I was finding for, you know, first and then
• 21:19
  acknowledging that I'm very much drawn to the, the design of a
• 21:25
  spiral as it applies to this world, you know, And so I went
• 21:29
  searching for other kinds of spirals.
• 21:32
  And then what came up, I mean, this is the, the benefit of, of,
• 21:36
  of being able to research, you know, over the Internet, you
• 21:39
  know, and, and all of the imagery that, that you can
• 21:42
  access. But it, you know, you know, the,
• 21:44
  the, the Fibonacci sequence and spiral that comes out of that,
• 21:50
  what it's, you know, how it's connected to nature.
• 21:52
  And then also how it is the formula to get at what I was
• 21:59
  drawn to as imagery that felt whimsical.
• 22:04
  So, you know, it's really it was trying to create, you know,
• 22:08
  create in some ways, the science that that that helps this world
• 22:13
  to operate. You know, with with Nathan and
• 22:18
  what he was doing with the the scenery.
• 22:20
  He was also very drawn to, you know, spirals with it.
• 22:25
  You know, you can see it in, you know, the the way that you know,
• 22:29
  it's, it's all the detailing, you know, and and much of that,
• 22:31
  you know, starts to look, you know, very art Nouveau.
• 22:35
  But then even in the forest where the the trunks are
• 22:39
  spiraling, you know, into, you know, a curve.
• 22:42
  So, you know, that then is very identifiable for our world of
• 22:48
  Oz. You know, once we were in
• 22:50
  London, we were in this, you know, like like a war room.
• 22:52
  We were, you know, it was, you know, big conference room and
• 22:57
  then all of our work was up on the walls surrounding us and
• 23:01
  Nathan had his huge sets that he was working out spatially.
• 23:07
  And you know, you would see how you know 1 you know, the
• 23:10
  definition of a land was starting to come to life and and
• 23:15
  really hop off the wall, you know, as you would go from from
• 23:19
  look to look, you know, and so you know, it was it it it was
• 23:23
  really exciting, you know, the whole time.
• 23:25
  Yeah, it's every time you watch the film you kind of see
• 23:27
  something different too, I feel like.
• 23:30
  One spectacular piece, I think, is the bubble dress worn by
• 23:37
  Glinda. It's beyond breathtaking and I
• 23:40
  imagine this took a lot of careful thought.
• 23:43
  How did you and your team create something that it felt both
• 23:47
  original and very reminiscent of the original Wizard of Oz film?
• 23:54
  It, it was a delight actually, there was there, there was a, a,
• 23:57
  that first slide that you had up the person who created this, who
• 24:04
  made this costume. His name is Ian Fraser Wallace
• 24:08
  and he's holding the Barbie cake so that he's an amazing tailor
• 24:15
  And he, he ended up starting with the, the Fibonacci spiral
• 24:21
  sequence to get the shape of the skirt that, you know, the, the,
• 24:27
  those cones that create the skirt, you know, so it was, you
• 24:32
  know, that there was a direct relationship to what we were,
• 24:34
  you know, even to how we're managing our pattern making.
• 24:39
  And I thought that was really beautiful.
• 24:42
  The idea just, you know, kind of stepping back a bit because the,
• 24:50
  the, the Glenda from the 1939 film was in pink.
• 24:55
  I really wanted to make use of that as an icon, because when
• 25:00
  you say Glenda, you know, for me, when you say Glenda, that's
• 25:02
  the image that comes up for me. And I find that a very, you
• 25:06
  know, even of the, the, the, you know, the 1930s, I find that a
• 25:10
  very magical dress, how it was created and how it sparkles and,
• 25:15
  and Billy Burke in it, you know, is, is, is, is.
• 25:19
  And, you know, so I wanted to create, you know, an icon that
• 25:25
  could move close to that and be reminiscent of that.
• 25:29
  And then also use the color of pink throughout the rest of, you
• 25:34
  know, because it so much of what we were doing was to give a back
• 25:38
  story to these two central characters so that we understand
• 25:44
  what their relationship was. So we needed to see them, you
• 25:49
  know, and we the two of them, what their style was when they
• 25:52
  enter into shiz and how because of their connection, their style
• 25:56
  shifts and changes. And just as they mature their
• 26:01
  their clothing styles, shifts and changes.
• 26:03
  So, you know, to we, we're presented with Glenda at her
• 26:08
  pinnacle, you know, with the pink dress.
• 26:11
  And then we reel back and, you know, we, we time shift back to,
• 26:16
  you know, back to the, you know, they, they heard their, you
• 26:20
  know, early 20s And, you know, I, I, I am so glad that we were
• 26:27
  then able to use the color of pink, because I think that that
• 26:29
  was something that had been, you know, restricted.
• 26:33
  But to be able to really make huge, a huge use of that color
• 26:39
  to define who Glenda is seemed really appropriate.
• 26:43
  You know, it was also very, you know, it, it for me was the
• 26:47
  image of the bubble and how the pink was, you know, kind of a
• 26:52
  reflective of that. It's like, you know, bath
• 26:55
  bubbles or, you know, just that iridescent idea as well.
• 26:59
  So, you know, I, I think that it all worked out quite
• 27:04
  wonderfully. I mean, just how sculptural it
• 27:06
  is. And also the fact that it feels
• 27:07
  kind of light, light as a feather, you know, because
• 27:10
  everything is so buoyant. It speaks to that character.
• 27:15
  Well, if Elizabeth's favorite costume is the bubble dress,
• 27:18
  mine is definitely the Define Gravity look.
• 27:20
  First, a quick shout out to the hat.
• 27:22
  I think the hat is spectacular and I love looking at pictures
• 27:26
  of it. But my question about the Define
• 27:28
  Gravity look is it's also a technical achievement because
• 27:32
  Cynthia's flying around in this costume.
• 27:34
  So I imagine that that was something that you and your team
• 27:37
  had to take into consideration as well.
• 27:39
  So I'm curious if you could kind of break down that scene a
• 27:42
  little. Oh, sure.
• 27:44
  I mean it the dress, you know, the it's it's her invitation to
• 27:51
  Emerald City. It's the first time that she
• 27:53
  meets the wizard. So she's dressing up before that
• 27:58
  she has gone through a a series of looks that you know, where
• 28:02
  she's opening up, she's softening and you know, you
• 28:05
  realize that there's a connection with with Fiero as
• 28:08
  well. You know, you see that that love
• 28:10
  interest and you know, so you know, she where she's gone from
• 28:16
  being very restrictive and her silhouette is very defined.
• 28:22
  She then moves into a look that is much more agile.
• 28:28
  It had it it she her boots become taller and she's got
• 28:33
  trousers on and a kilt and a blouse and and and vest.
• 28:39
  But then, you know, in getting invited to Emerald City, she
• 28:44
  chooses to wear a dress, you know, she dresses herself up to
• 28:48
  meet the wizard. And with that dress, it moves
• 28:52
  her in a silhouette that is reflective of the Wicked Witch
• 28:56
  of the West from the 1939 film in a similar way to, you know,
• 29:03
  with, with, with Glenda and the pink bubble dress.
• 29:08
  You know that it is, you know, it's reflective of that icon
• 29:11
  that you know where we're going to end up and knowing that
• 29:16
  Alphaba is going to really find her power at the very end of the
• 29:22
  film. You know, I was setting it all
• 29:26
  up visually so that we, we, you know, it it.
• 29:30
  So we get that moment when she's looking at, you know, the the
• 29:33
  one this this one that you got right in front of you, which is
• 29:35
  probably my most favorite moment of the film.
• 29:38
  And she, you know, she turns around and and whips the Cape
• 29:41
  around and, and we, you know, it's it's, it's just really
• 29:45
  brilliant. You know, it's just that she,
• 29:47
  you know, has fully arrived and all those pieces kind of
• 29:50
  accidentally coming together to be the silhouette both
• 29:55
  reflective of the Wicked Witch of the West, but most definitely
• 29:59
  Alphaba. And, you know, I think that that
• 30:02
  was really moving for me. But, you know, as you can see, I
• 30:06
  mean, there, there's much more that's going on.
• 30:08
  It's not just, you know, it's not a recreation of the the 1939
• 30:12
  Wicked Witch of the West dress. It is informed by the other
• 30:15
  silhouettes that we've seen on on Alphaba throughout the film
• 30:19
  with the, you know, the shape of the shoulders, her connection to
• 30:23
  texture, you know, which is, you know, I, I call that, you know,
• 30:27
  the, the underside of a mushroom texture that we have on the
• 30:31
  dress, you know, which is microplated chiffon that's laid
• 30:34
  on to him. It's, you know, very laborious,
• 30:36
  but beautifully done by another amazing tailor.
• 30:42
  And you know, all of those things together along with a
• 30:46
  hat, the silhouette of the hat and you know it, it, it makes
• 30:50
  her a very original alphaba slash wicked Witch of the West.
• 30:55
  If you know, as a, as an icon and even on the, on, you know,
• 31:02
  on the, on the Cape, you know, thinking about what fabrics can
• 31:06
  I use that will give her gravitas that will, that will
• 31:09
  ground her and that she can whip around in the way that she does,
• 31:15
  But that will still be visually interesting and, and speak to
• 31:20
  the rest of the textures that I've, I've been using on her
• 31:24
  clothing, you know, throughout the film.
• 31:27
  And so, you know, another amazing fabric painter artist,
• 31:32
  you know, created a pattern, you know, the two of us created a
• 31:35
  pattern that would get burned away on this silk velvet, you
• 31:40
  know, so knowing that silk velvet, one will drape
• 31:43
  beautifully, it'll have a weight and a gravitas, but then we can
• 31:49
  emboss this, you know, kind of wave pattern that that looks
• 31:53
  like bark. Yeah.
• 31:55
  No, it, it, it, it all then comes together really.
• 31:59
  Sure. It's it.
• 32:00
  It gives me chills every time I see it.
• 32:02
  It's it's the best. Just like this one final scene
• 32:06
  we want to talk about. Yes, in just a film of
• 32:10
  incredible spectacles, I think 1 Short Day really stands out,
• 32:18
  especially we get to such a fun cameo with Idina Menzel and
• 32:24
  Kristin Chenoweth. What was it like bringing that
• 32:27
  scene together and then adding this fun cameo of the two of
• 32:33
  them into this already spectacular scene?
• 32:36
  It's a theater nerd. You must have been excited it.
• 32:39
  Was yeah, absolutely it was it was exciting that the prospect
• 32:43
  was exciting. It was terrifying in getting it
• 32:46
  done One, because we were pressed to the very end as to
• 32:51
  whether we were they were going to do it or not, you know, so
• 32:54
  we, we weren't exactly sure that it was going to be Adina and,
• 32:58
  and Kristen and that scene was coming up on our calendar and we
• 33:02
  were running out of time. The set itself hadn't been
• 33:05
  completely designed either, you know, so it was all kind of
• 33:08
  happening in the, in, you know, all together in the moment.
• 33:13
  Not, you know, we, we, we did have, I wonder how many weeks
• 33:17
  that we, you know, because we, we, we only had a couple of
• 33:19
  weeks to actually build the costume and they were not in
• 33:24
  London. So I actually had to travel to
• 33:27
  New York to, to Fetidina in New York.
• 33:32
  You know, what the idea for Nathan was this kind of pop up
• 33:38
  book, you know, that the, the idea of the, you know, the, the,
• 33:42
  the, the theatricality of, of it would be that it was like a pop
• 33:45
  up book. And so I really, you know, kind
• 33:49
  of latched on to that and, you know, created these costumes
• 33:53
  that would move in a way like, like moving pages.
• 33:58
  And then, you know, the, you know, each of those different
• 34:02
  leaves or, or, or layers is individually printed, you know,
• 34:07
  so you know, they, the, the printing is, is ombre.
• 34:10
  It's it's on a, a nylon organza that will, you know, it, it
• 34:15
  would hold the color and, and actually print in the way that
• 34:19
  we needed for it to be printed because it was, it was a, a heat
• 34:25
  process, you know, that was very specific to that fabric.
• 34:29
  And then creating the shapes with the Draper in the amount of
• 34:33
  time doing the fittings, you know, having all those edges,
• 34:38
  you know, edge with monofilament and then doing all the beating
• 34:41
  that needed to happen on top of it.
• 34:43
  And it was, you know, it, it was quite an extensive and it was
• 34:48
  all hands on deck and creating them at the same time.
• 34:52
  You know, we're creating, you know, the, the, the, the, the,
• 34:55
  the soldiers on stilts and, you know, and, and the, the
• 34:58
  flatheads and you know, it's, it, it, it just didn't stop, you
• 35:01
  know? It needs its own podcast.
• 35:05
  But it was, you know, it was just so exciting, you know, and
• 35:11
  I, you know, everybody was in their element.
• 35:13
  Well, before we let you go, we had two silly questions for you.
• 35:17
  First, do you consider yourself an alphabet or a Galinda?
• 35:22
  Oh gosh, I know that I'm I'm an alphabet that is my true self.
• 35:30
  I, I toy with being Galinda, but I'm also kind of a people
• 35:39
  pleaser. So that makes me kind of
• 35:42
  Galinda. But really, in my heart, in my
• 35:46
  in, in quiet moments, I'm. Alphaba And then finally, what
• 35:51
  is your song from Wicked that you're humming or singing in the
• 35:54
  shower? Ohh God all of them.
• 35:56
  But I the the wizard and I was one of my favorites.
• 35:59
  That's mine, yeah. I'm always.
• 36:02
  I lost my voice a little bit last night before when we were
• 36:04
  playing. Literally.
• 36:05
  Yeah. Yeah.
• 36:07
  Well, costume designer Paul Tazewell, this has been such a
• 36:11
  joy. We still have like 1000
• 36:13
  questions, but luckily for us, we have a whole other film.
• 36:16
  So maybe we'll we'll do it again in a year or so.
• 36:19
  Yeah, that's, and I'm so excited to share all, all of those
• 36:22
  because it, you know, they, we have some great looks.
• 36:25
  You know, it's just, there's so much for this world and, you
• 36:30
  know, I'm, I'm so excited. Great.
• 36:32
  Well, we're so excited. I mean, I can't even.
• 36:35
  So thank you so much, Paul. This has been such a joy and we
• 36:38
  can't wait to talk soon. All right, we'll see you soon.
• 36:41
  Thank you. Thank you.
• 36:47
  That was fun. That was so fun.
• 36:49
  I love, I love getting to know how people got into the career,
• 36:55
  yeah, that they're in like the journey to that place.
• 36:59
  And I love how in depth he went. But it yeah, it's always very
• 37:03
  inspiring and I love, I love hearing Paul talk.
• 37:05
  Like I said, I've I've seen him on probably 456 panels now
• 37:09
  throughout my career of working with the art of costume.
• 37:12
  Like, talk to you and you're like, I got to go to a panel
• 37:14
  with Paul Taswell. I'm like, oh, OK.
• 37:16
  Even if it's about the same movie or show production, I'm
• 37:20
  like, I'll be there. Paul is the nicest.
• 37:23
  I also love that we got to find out what wicked song he comes in
• 37:26
  the shower I. Know, I know.
• 37:28
  These are the hard hitting questions that you are
• 37:30
  continuing to tune in and subscribe for.
• 37:34
  Yeah, yeah, the wizard and I, we.
• 37:35
  Get we get, we get the answers. The wizard and I is a good one,
• 37:41
  yes. Yeah.
• 37:42
  Although like this, the Wicked just has such good music, good
• 37:46
  lyrics. Well, some things we want to
• 37:49
  mention before we play our favorite games, 1st Order
• 37:53
  business, new set, new US. All of our episodes now are
• 37:56
  going to be in full video, which we've been talking about for
• 37:59
  years. And Elizabeth moved out here and
• 38:02
  we were like. It's the time.
• 38:03
  No time like the present. I need to give a major shout out
• 38:07
  to my father Dave, because he helped me build this thing.
• 38:12
  I we literally sat down with like a piece of paper and we
• 38:15
  sketched it out, measured, built all the piping together, cut the
• 38:19
  piping. Yeah.
• 38:20
  So he really came through. He happened to be in town.
• 38:23
  We've been going through a lot of like family stuff that I want
• 38:25
  to get into this year. So he's been around a lot, which
• 38:27
  has been awesome for me and my my family.
• 38:30
  And he was like, let's do this thing.
• 38:32
  So yeah, props to your dad and also to our incredible producer
• 38:37
  Daniel, who's been helping us put this thing over FaceTime,
• 38:41
  which is not easy, but he really cares as doing his best to make
• 38:46
  this look as amazing as possible.
• 38:47
  And we love him and thank you, Daniel, for doing that.
• 38:50
  It's been great. Mind us as we work on the
• 38:52
  lighting and whatnot, you know, this episode 1 we're figuring
• 38:55
  out and if you guys subscribe like we've been asking you to,
• 38:59
  well, you know, maybe things will get different.
• 39:01
  We'll be able to upgrade and get nicer cameras, maybe get a
• 39:03
  couple so you could get close-ups on Elizabeth.
• 39:05
  When we talked about Paul Mezcan stop update #2 Elizabeth has
• 39:09
  moved to LA. Are we liking it?
• 39:11
  Aside from the things we're getting ready to get into in a
• 39:14
  little bit. I'm loving it.
• 39:16
  It's better. It's warmer than Pennsylvania
• 39:19
  though. I'm mad because the one thing I
• 39:21
  like about the cold is snow because the snow makes all the
• 39:25
  dead. We have a different kind of snow
• 39:27
  in LA. Trees look pretty.
• 39:30
  The snow makes all the dead stuff look pretty.
• 39:33
  And apparently they've been getting the last couple years I
• 39:35
  lived back home, very little snow.
• 39:38
  What are they getting 7 inches of today?
• 39:40
  Yeah, snow. They've.
• 39:41
  Been. Getting lots of snow and I'm a
• 39:44
  little upset about it, but I'm very happy that I can walk out
• 39:47
  of my home without like, mittens and a hat on.
• 39:50
  Yeah, that's good. And it's been fun having
• 39:53
  Elizabeth and I are literally neighbors now.
• 39:55
  Yeah, we have to get into the first fun thing we've done
• 39:59
  together, aside from putting together this hat.
• 40:02
  We went to this magical place called Costco.
• 40:09
  It was so fun. Oh my gosh.
• 40:10
  So I'm a member now. We went there.
• 40:12
  We didn't know what I mean. We kind of knew what to expect,
• 40:16
  but we had so much fun. We were it.
• 40:19
  Was overwhelming. We're going to include some
• 40:20
  pictures, but like, we were looking at like a ice plunge.
• 40:23
  We were looking at a inflatable like little spa thing.
• 40:28
  It gave you a snippet into what your 30s will be and I was like,
• 40:31
  yes, Spencer. Yeah, I I found these Adidas
• 40:35
  like joggers that made me really stoked.
• 40:38
  You were excited. Elizabeth was so hyped on the
• 40:41
  frittatas that she found. So excited for the frittatas.
• 40:44
  Look at this picture. It's so open.
• 40:47
  OK, now wait. I didn't realize I took the
• 40:58
  picture of you with the frittata in front of a huge bulk section
• 41:03
  of me. Relax, you've noticed.
• 41:11
  That you have great photography skills, Spencer.
• 41:17
  Look look at it. I did not notice that.
• 41:23
  I should not have noticed it unless you said something.
• 41:26
  Great. I I should be a director of
• 41:27
  photography. Absolutely.
• 41:29
  So yeah, it's been having fun. It's been fun having you here.
• 41:33
  I'm glad we get to do this together.
• 41:34
  I think it's going to rejuvenate our love for the podcast.
• 41:37
  Not that it was diminished, but like it sounds like a fun.
• 41:41
  Doing it bicoastally. Yeah, definitely.
• 41:45
  It's it's nice to have you here. And one thing I wanted to bring
• 41:48
  up before we get into our games is we have to talk about the
• 41:52
  California wildfires, which has impacted so many people.
• 41:58
  Elizabeth and I were in the evacuation warning zone and we
• 42:02
  lost power, whatnot. We were sheltering together,
• 42:05
  which was a great second or third week for you here in LA,
• 42:10
  which was crazy. But I just wanted to say, like
• 42:13
  on behalf of the three of us, our hearts really go out to
• 42:15
  everyone who's lost their homes. Like you heard me saying in
• 42:18
  those FRA 2 episode, you know, we have friends that have lost
• 42:22
  their homes. We know so many costumers,
• 42:25
  costume designers, people working in the industry or just
• 42:28
  families that we know and love that have lost so much.
• 42:30
  So please go to our show notes. We have a link tree.
• 42:35
  I believe it's called Art of Costume Aid and you could go
• 42:38
  there for resources for those that have been impacted or for
• 42:42
  if you're looking for ways to donate and help others volunteer
• 42:46
  opportunities. We also have a list of some
• 42:50
  people that we know that lost homes.
• 42:52
  If you're looking for a place to donate.
• 42:53
  I mean, there's a million different things that you could
• 42:55
  do and it's not always monetarily.
• 42:58
  So please check that out. It would make a mean a big deal
• 43:02
  to us if you could help take care of our community out here
• 43:05
  cuz Ellie's really going through it right now.
• 43:07
  Going through it and it's not over, unfortunately, it's
• 43:11
  they're still working on getting those fires out and people are
• 43:14
  still being affected. So if you could check those out
• 43:18
  and like, even if you can't help out now, if you can help out in
• 43:21
  a month, they're still gonna be like so much to do and so many
• 43:25
  people who need help in the months to come.
• 43:28
  Yeah, it's like a three-year process to rebuild your home.
• 43:32
  Yeah, at least. So our hearts are with you, LA.
• 43:36
  Please do what you can if you're not in the area.
• 43:38
  And you know, we love you and we want to bring this podcast back
• 43:43
  now because we feel like now is the time for celebrating the the
• 43:49
  little things in life that we have, like costume design.
• 43:51
  And with that, I think we need to do some serious business for
• 43:56
  Wicked, starting with a stitch rating.
• 43:57
  Yes, this is, I want to say probably one of my easiest
• 44:01
  stitch ratings. Same.
• 44:02
  It's a 5. It's a five.
• 44:04
  Yeah, it's honestly I did. I was very excited for Wicked,
• 44:10
  was concerned about how it would translate.
• 44:15
  Now granite. I've never seen the Broadway
• 44:18
  production. I just grew up with the
• 44:21
  soundtrack and like seeing bits and snippets here and there and
• 44:25
  like learning about it just through through our culture.
• 44:29
  It's a it's a big touchstone. So I I was concerned.
• 44:34
  I was like, this is like a long musical.
• 44:36
  I know there's, like, a lot in it.
• 44:39
  And I was very relieved when I realized it was the first of two
• 44:42
  movies. And, you know, sometimes, like,
• 44:45
  musical translations to film don't always hit.
• 44:49
  Yeah. And this did.
• 44:51
  Yeah, it absolutely did. It was, I dare say, like an
• 44:55
  actual perfect movie. I, I was also a little hesitant.
• 44:59
  I just the press was like really like really taking over the
• 45:04
  world and I was like, oh, this like might be too over hyped,
• 45:07
  but it was actually maybe under hyped.
• 45:09
  It just, it was that good. I have seen the Broadway
• 45:12
  production like I've mentioned to you before, but probably
• 45:16
  never on mic. But I kind of fell asleep during
• 45:19
  the Broadway production, so I don't know what happens in the
• 45:23
  second-half. So I am also thankful to John
• 45:25
  Chu for us having two movies because the suspense is real in
• 45:30
  my mind because I don't know what happens next.
• 45:32
  I knew what happened up to Defying Gravity.
• 45:34
  After that. It's really a fuzzy spot for me,
• 45:38
  but I thought it was perfect. Aside from the costumes, I just
• 45:41
  think visually it was incredible.
• 45:43
  Cynthia Revo the incredible, such a powerhouse and I knew she
• 45:47
  would kill Azelfaba. Ariana Grande really blew me
• 45:50
  away. I was admittedly like a little
• 45:53
  like this could go wrong, I don't know, but she killed it.
• 45:58
  She killed it. And I'm like, I'm not a big
• 46:00
  Ariana Grande fan, so I wasn't honestly, I was not really
• 46:04
  familiar with her as an actress all that much.
• 46:06
  I was. Familiar with her game?
• 46:08
  Yeah. Because I was kind of by the
• 46:11
  time she was like, what was she a Nickelodeon?
• 46:15
  I like by the time she was on Nickelodeon, I kind of like aged
• 46:18
  out of that. And like, I knew she wasn't
• 46:20
  amazing singer. So I was like, she'll at least,
• 46:23
  you know, sound amazing. But like the way she's just such
• 46:30
  an incredible actress and singer and she both of them really got
• 46:35
  their characters down and it was just so exciting.
• 46:40
  And like shout out to whoever did the special effects because
• 46:45
  the way they mixed like practical sets and stuff looked
• 46:53
  so good. And like he said, Jonathan, he
• 46:58
  wanted it to be like a pop up book.
• 47:02
  They really hit that balance. And Paul Taswell's work, I mean
• 47:06
  that that's if there was higher than a stitch rating.
• 47:09
  I it. Would be higher than a.
• 47:13
  Yeah, it would be a 10. It would be.
• 47:15
  His work is a 10 out of 10 stitches.
• 47:17
  It's it's, it's perfect with that.
• 47:20
  Are you ready to play our favorite game?
• 47:22
  I don't know all. Right.
• 47:24
  Well, Daniel, I'll hit the music.
• 47:28
  The one costume to rule them all.
• 47:35
  All right, so Are you ready, Elizabeth?
• 47:36
  Because I'm ready. I'll go first if you're still
• 47:38
  cooking on it. I'm still cooking.
• 47:40
  So, Spencer, what is your one costume?
• 47:43
  Rule them all. OK, well, I have to give first
• 47:45
  an honorable mention because I really have been toying with
• 47:49
  between these two costumes and Elizabeth knows that I so
• 47:53
  desperately wanted to talk to Paul about it, but like we just
• 47:56
  had. Way too many questions.
• 47:58
  And not enough time, Ariana. Well, golden does costume for
• 48:03
  the popular number the pink. So cute.
• 48:06
  Like night robe. I want that.
• 48:08
  Oh gosh, that was such a good one.
• 48:10
  And like the big bubbly sleeves, it's just like such great
• 48:14
  foreshadowing. But just looking at the textures
• 48:16
  and the construction of it, it's crazy good.
• 48:19
  But my one costume ruled them all has to be Alphaba's Defying
• 48:22
  Gravity look. Just cause like it, like I think
• 48:27
  everyone kind of knew what it could look like.
• 48:29
  And I just think that Paul really was able to turn it into
• 48:33
  something quite extraordinary. Because first of all, it is hard
• 48:36
  to work in all black just because you really have to give
• 48:39
  a texture to it. And I've seen this costume in
• 48:41
  person now at an event, and that under the mushroom type texture
• 48:46
  that Paul was talking about really comes through on a dress.
• 48:49
  I love the hat. The hat to me is everything
• 48:52
  because it could have just been like a pointy cone hat.
• 48:55
  It was not Paul's team. Kill it with that.
• 48:58
  And then that moment where Glinda grabs the like, black
• 49:02
  fabric and dusted it off. So then when Alphaba spins it
• 49:07
  around for defying gravity, it just was everything to me.
• 49:10
  I was like this. Is.
• 49:11
  So good. So is it the Flashies costume?
• 49:14
  No, but I think it to me it's like the most powerful costume.
• 49:18
  One thing I liked about Alphaba's costumes in particular
• 49:23
  is it let Cynthia Rebo like her talent shine, like her abilities
• 49:30
  shine. It's so supported what she was
• 49:33
  already doing that, you know, 'cause for that character, it
• 49:38
  wasn't about the clothes, it was about who she was as a person.
• 49:42
  So it just let her do her thing, which was amazing.
• 49:46
  And then on the other hand, with Glinda, I have to say I think my
• 49:52
  one costume to rule them all is the bubble dress.
• 49:55
  I should have saw that coming. It's just I want to one of the
• 50:00
  things I was talking about this with Spencer yesterday.
• 50:03
  One of the things I really liked about what Paul did for the
• 50:06
  movie was like the way he combined like inspiration from
• 50:13
  this, the stage musical from the original like what, 1930 nine
• 50:19
  film and then. Something like that.
• 50:23
  Something like that So. Long ago.
• 50:26
  The way like he took inspiration from those and then just made
• 50:31
  something like so unique and brand new, I think really shines
• 50:35
  through with the bubble dress and like the like the cones and
• 50:40
  the skirt. And it's just like, it's just
• 50:43
  such a visual impact right at the start of the movie.
• 50:48
  And Like Like tells you everything you need to know
• 50:52
  about Glinda. Yeah, yeah, it's very strong and
• 50:56
  just yeah, it's overwhelming. And just seeing the construction
• 50:59
  with two, I loved talking with Paul and looking at the
• 51:02
  underpinnings of it and how complex it was.
• 51:04
  I mean, it's yeah, that's a solid one.
• 51:07
  Costume rule them all. Another I think my honorable
• 51:10
  mention for the film would be though The Wizard Jeff Goldblum.
• 51:15
  'S. Like, just like a dapper
• 51:18
  salesman, Sue. I also really like that he
• 51:21
  showed up and I was like, yes, you are the wizard, Mr.
• 51:25
  Goldblum. Goldblum was born to play that
• 51:27
  role. He was.
• 51:28
  He was. Really, the cost, the casting in
• 51:30
  this film was perfect, even it. Was so.
• 51:32
  Perfect. Yeah, every single one of them.
• 51:35
  Michelle Yeoh, Ariana, Cynthia, Jeff Goldblum.
• 51:38
  It. Oh my gosh, the guy who plays
• 51:41
  Fiero, who we love from Bridgerton.
• 51:42
  Oh, Jonathan. Bailey, there you go.
• 51:45
  I I almost called him the bicount.
• 51:49
  The Bicount. Yeah, well, this is fun.
• 51:52
  I was so glad we finally got to do Wicked.
• 51:54
  And it was fun doing in the studio too, honestly.
• 51:57
  And we have so much more coming up, too.
• 51:59
  So much. But before we tell you our next
• 52:01
  episode, don't forget, as we mentioned, resources for LA
• 52:04
  wildfires are in our show notes. We're on YouTube.
• 52:09
  We've been on YouTube, but now we're like really depending on
• 52:12
  you all to check our YouTube. Don't forget to subscribe.
• 52:14
  I know it's down below somewhere right here.
• 52:18
  I've always want to say subscribe to our channel.
• 52:20
  So we can say that now. Instagram at the Art of Costume
• 52:23
  pod, when we were recording our interview with Paul, TikTok was
• 52:28
  banned. And now that we are recording
• 52:30
  the next day, it's no longer banned.
• 52:32
  So for the time being, follow us on TikTok.
• 52:36
  At the heart of costume, we also.
• 52:41
  If you can get to it, if you can get to it here in the USI don't
• 52:45
  know around the world though. Yeah, yeah, go.
• 52:47
  To our TikTok, because it still exists, it's still in.
• 52:50
  The rest of the world, I was on TikTok when I was getting ready
• 52:52
  today, so I don't know. We do have a Discord, so come
• 52:56
  and chat with us and which is pretty fun.
• 52:58
  We're making some cute little emojis over there.
• 53:02
  And if you want to tell us what episodes as you want to see this
• 53:04
  year, we do have a survey that's it's not really a survey.
• 53:07
  It's more like a suggestion box that's open for like the next
• 53:10
  couple weeks. It's also in our show notes.
• 53:12
  Leave us a five star review, so on and so forth.
• 53:15
  We really appreciate that. Elizabeth, what are we watching
• 53:20
  next? I'm so excited.
• 53:23
  It is February, the month of love, and we're not doing fairy
• 53:29
  tale romance, exactly. Oh, we did do that one time,
• 53:32
  huh? We did do that one time.
• 53:35
  We're doing more of a English romance month.
• 53:39
  My favorite? Starting with the Academy
• 53:43
  Award-winning film Oh, That would Be.
• 53:48
  I've never seen it actually. It's good.
• 53:50
  You're gonna, you're gonna like it.
• 53:52
  You're gonna like it. The costume, I do know that
• 53:54
  Sandy Powell did the costumes and won so and we're moving into
• 53:59
  our favorite season of the year, award season.
• 54:01
  Yes, we are. What a good way to start an
• 54:04
  award season with Shakespeare in love.
• 54:06
  This has been fun. Costume nerds, thank you so much
• 54:08
  for joining us for our Season 5 premiere.
• 54:10
  And subscribe, listen to us. Leave a five star review.
• 54:16
  And yeah, can't wait. We'll see you.
• 54:18
  We'll see you soon. We have lots of great stuff
• 54:19
  coming up. Bye.
• 54:21
  Cheers.