Latest / The Art of Costume Podcast / Blue Velvet

Transcript

Blue Velvet · The Art of Costume Podcast

0:06
Hello, Welcome to the Arctic Costume Podcast.
0:08
I'm also Joy Glass. And I have a friend who's
0:11
missing an ear, so if you know anyone, please let me know.
0:15
Also, my name is Spencer Williams.
0:18
I'm going to be staying out of whatever that is, if you don't
0:21
mind. I have enough drama in my life.
0:24
There's enough drama in the world without dealing with your
0:26
earless friend. Hey Elizabeth, how are you
0:30
doing? I am doing OK.
0:35
I am doing OK. A little annoyed at big
0:38
companies right now, but other than that I'm doing all right.
0:42
How about you? Oh.
0:44
His laying off entire visual development departments Not up
0:48
your alley right about now. You know, I, I feel like it's,
0:51
it's a boycottable offense in, in my opinion.
0:57
But you know, yeah, you know how the world is.
1:00
Yeah, not not super cool, not definitely doesn't have you and
1:04
I in the best of moods at the moment, but.
1:07
No. Yeah, you might be wondering why
1:09
I appear to be in a teenage girl's bedroom at the moment.
1:14
Probably not the best way to start that sentence.
1:18
Well, I will let you all know that I am not in a teenage
1:22
girl's bedroom. Is actually my mother's craft
1:25
room, which is why the background is zoomed out.
1:30
I am in a well, I am not in the studio at the moment, Yeah.
1:37
I kind of figured that's where you were, but I was like, I
1:42
wasn't sure because I was like, this must be his mom's craft
1:46
room. But I've, I've never seen your
1:47
mom's craft room before. So I I.
1:50
Yeah. We're I wasn't sure.
1:51
We're taking the Art of Costume podcast on the road at this
1:54
episode, which feels pretty fitting for the Blue Velvet
1:58
episode because this is a episode of very unusual times.
2:03
So we we really had to really mix things up for this episode
2:07
as David Lynchwood want us to. We really want to make, of
2:11
course, this episode full of mysteries and unusual,
2:13
unsettling things, just like As This Room.
2:16
Confusing as possible. Full of pictures of mouses and
2:22
toucans and stuffed sloths and rabbits.
2:28
You. Know and.
2:29
Your mom's awesome, yeah. I love, but yeah, good times.
2:37
So we're here and I'm excited. This was a fun episode.
2:41
We are continuing our David Lynch series Dressed in the Red
2:44
Room, and we are our next chapter.
2:48
We are moving on from Dune in 1984, which was so much fun.
2:52
But we are moving on to Blue Velvet, a film that a lot of
2:56
people love, a lot of people are terrified of, and I think for
3:00
good reason. But this is a film that was such
3:04
a good time. And yeah, David Lynch actually
3:08
loves on. Like, you know, Dune was not a
3:11
good experience for him. And, you know, audiences did not
3:14
enjoy. David Lynch did not enjoy, and
3:18
Blue Velvet was altogether a good experience for basically
3:21
everyone involved. So yeah, and I think it shows,
3:24
even if it makes people feel a little uneasy watching it, which
3:29
I think it's totally fair. I agree, I wasn't uneasy
3:33
watching it. Wildly.
3:35
Confused, yes. Uneasy.
3:39
No. This is your first time.
3:40
Watching it, right, Yeah, it was.
3:44
I had a great, I had a great time watching it.
3:47
I was just like, huh. But then I was like, is David
3:52
Lynch that like this tracks, this tracks for for what he has
3:58
going on? I was so sad when I, when I
4:01
texted you and I was like, have you watched it yet?
4:03
And you're like, I'm watching it right now.
4:04
And I was like, I wanted to like slam my head into the wall.
4:08
I was like no I've missed it. Like I wanted to start running
4:12
next door like put on my. You wanted to see my reactions
4:16
to things. I wanted to put on my bathrobe.
4:18
I was like, no, like, I've, I've done it.
4:21
I've blown it. No, sorry.
4:24
I wanted to see your live reactions to some of the scenes.
4:29
I mean, I mean, what did your face look like when, when
4:35
Dorothy revealed? I mean, just, there's just so
4:39
many good scenes. I mean, spoiler alert, like the
4:42
moment in front of in front of Laura Dern when she says he put
4:47
his disease inside of me. Oh, Oh my God, it's I.
4:54
It's. I was like, like that whole
5:01
thing, like, because like this stupid teenage boy, right?
5:06
Be like, oh, you still my girlfriend.
5:09
And I'm like, maybe you should have been better at keeping her
5:13
and maybe you should be mad at her and not this other guy.
5:17
I don't know. I don't know.
5:20
Right. But maybe don't ram the back of
5:22
their car. Yeah, that's like everybody life
5:25
advice. If you're mad at somebody, don't
5:27
ram the back of their car, especially in today's litigious
5:30
society. But like I loved seeing the
5:40
regret on those kids faces when she walks out naked and just
5:46
clearly having a mental breakdown because they're just
5:49
like sorry, sorry, we're going to go.
5:52
Yeah, it's, it's like all of a sudden, like takes the air out
5:55
of the room. I actually, I got to see it a
5:58
couple of months ago at the Academy Museum, which was so
6:01
fun. I've seen it a million times
6:03
before. But it was introduced by Kyle
6:05
McLachlan, actually, and that it was a packed theater.
6:09
And that moment when Dorothy appears out of the darkness and
6:13
everyone realizes this like naked woman is just walking
6:17
across the grass. I mean, it sucked the air out of
6:20
the room because suddenly everyone just like, I mean, it's
6:23
horrifying. It's not a horror film.
6:25
I wouldn't classify this as a horror film.
6:28
But that moment we see her, it just, it's, it's, it's
6:32
frightening, you know, and it's just you're, you're watching
6:36
this like this poor beaten down woman, just like, I don't know,
6:40
it's like a mental breakdown that you just can't take your
6:43
eyes off of. And just, you feel so many
6:46
feelings in that moment. And I don't know, it's, it's so
6:50
fascinating. Just it's, I don't know, it's
6:52
such an incredible moment. I I felt bad for her.
6:56
Laura Dern every Like, literally everybody.
7:00
I felt bad for Laura Derns mom. Poor Laura.
7:04
Laura Derns mom, though, handled that like a chance.
7:07
She did honestly, Mother of the Year, 'cause she's just, yeah,
7:11
she's really going through it. This is a.
7:14
She's like, she's like, there's a lot happening here.
7:17
Clearly my daughter is very upset and is going to need help.
7:20
But maybe let's help the lady having a medical crisis first.
7:24
Yeah, she she, she's good at prioritizing.
7:28
She literally is mother of the year because she did not lose
7:32
her temper one bit. So good.
7:36
Well, we have so much to get into.
7:38
I think we should just get into it.
7:40
Yes. Starting with of course, this
7:44
film is directed by director David Lynch.
7:46
You will know him for his notable work such as Eraserhead,
7:50
Elephant Man, Blue Velvet, for which he was nominated for an
7:54
Oscar, Wild at Heart, Lost Highway, Mulholland Dr. and
8:00
Inland Empire. And for our summary, Elizabeth,
8:06
we actually have a special guest.
8:11
Yeah, instead of me trying to summarize Blue Velvet, you know,
8:15
some of these summaries, trying to summarize David Lynch films
8:20
are kind of difficult, you know, because they're like, what the
8:24
hell is going on here? And trying to, trying to
8:28
summarize a Blue Velvet, trying to summarize a David Lynch film
8:32
to someone is sometimes a pain in the ass.
8:36
So I, I found this, this interview clip of, I think it's
8:41
a Canadian news show of someone trying to ask David Lynch what
8:46
Blue Velvet was about. And I just feel like they're
8:49
kind of struggling in the moment.
8:51
And I can't tell if they're in on the bit, if they're fans of
8:56
the film or what. But I watched it like 3-4 times
8:59
and it's so hilarious to me. It's like a minute and a half
9:02
long, and David Lynch doesn't like to tell people what his
9:06
films are about. He gives them like bits and
9:08
pieces, but he really likes to kind of watch them kind of like
9:12
figure it out themselves. So this is a little bit of David
9:15
Lynch back in back when the film was coming out and just kind of
9:20
giving them a little bit of what Blue Velvet was to him.
9:24
So without further ado, here's David Lynch.
9:28
But the success that gave Lynch all the financial backing he
9:31
could ask for led to the colossal flop of his next film.
9:35
Even a $40 million budget and color couldn't save the science
9:39
fiction epic Dune from box office disaster.
9:50
With his current movie Blue Velvet, Lynch takes us into the
9:52
strange, subconscious world of his other films.
9:56
It's cast includes bad guy Dennis Hopper and the exotic
9:58
Isabella Rossellini, and it's nightmarish vision is likely to
10:02
disturb as many people as it fascinates.
10:06
And David Lynch joins me now from Montreal.
10:09
David, what is this movie about? This movie, I say, is about the
10:16
mysteries of darkness and love. That's sort of hard to do, isn't
10:23
it? I actually found the movie very
10:24
disturbing. It's a disturbing thing because
10:29
it's a trip beneath a a beautiful surface, but to a
10:35
fairly uneasy interior of a small town.
10:40
Why did you want to do that? Why tell that story?
10:43
Why? Why is that so important to you?
10:46
I love the I, I, I to me, I grew up in the, in the Northwest in a
10:51
very, very beautiful world. And a lot of my life has been
10:56
discovering this, this strange sickness.
10:59
And it's got a fascination to me.
11:03
And I, I love the idea of going into something and discovering a
11:07
a world and, and being able to watch it and experience it.
11:11
What? What do you mean by this strange
11:13
sickness? Well, there's, there are things
11:17
going on that that are hidden that we don't know about.
11:25
But, but somehow we were drawn to at least wanting to see it,
11:28
to wanted to watch it maybe from a distance.
11:31
And this film allows a person to become a voyeur and, and to see
11:35
this and, and have an experience of a, of a, of a, of a, a world
11:42
that was hidden. Do you think that's the purpose
11:45
of films or, or some films to really disturb and upset and
11:49
horrify people? Well, no.
11:52
It's I think that for me, I get ideas and I I go with those
11:58
ideas. It's not that I set out to
12:00
disturb someone or or do something to to an audience.
12:04
I I set out to try to translate these ideas into film and to
12:09
create some sort of a world for me that I can say yes, this is
12:13
what was in my mind. So it's purely personal for you
12:17
to do this, to have a vision and then make a film.
12:22
A lot of it is like going into a dream for me.
12:25
Yeah. And yes, it is.
12:30
Your dreams must be awful. Do you ever sleep?
12:32
Well, I sleep, but these are more like waking dreams I guess.
12:37
Do you think? You're a genius or a really sick
12:40
person. Well, Valerie, I don't know.
12:49
Oh, that poor woman was. Struggling.
12:53
I mean, I get it, but so I've watched that like 5-6, seven
12:59
times. I can't get enough.
13:02
What is this movie about? I mean, I, I kind of, I get what
13:08
he's saying, I think. I mean.
13:11
It's I understand why a lot of people might not.
13:14
I get it though. I mean, it is true.
13:17
I mean, Blue Velvet so much is about like this underworld
13:20
that's just right at the surface of this what feels like this
13:23
pitch perfect town. You know, it doesn't matter how
13:26
beautiful things are on the surface.
13:29
Bad things happen, mysterious things happen.
13:32
You never know what's going on with somebody even like the
13:35
opening. I got real confused by the
13:37
opening and then, you know, the dad gets, I think I believe he
13:45
gets stung by a bee and has like a massive allergic reaction.
13:50
That's what I that's what I thought was happening.
13:55
And it's like, you know, it doesn't matter how perfect
13:57
everything looks, that's not going to stop bad things from
14:00
happening. Spencer, do you want to go
14:02
behind the costumes? I do.
14:04
I'm so excited. Let's do it.
14:05
We have the incredible costume designer Patricia Norris.
14:11
You will know her work from The Elephant Man for which she
14:15
received her first Oscar nomination, Days of Heaven, for
14:19
which she received another Oscar nomination, Lost Highway Victor
14:24
Victoria, for which she received another Oscar nomination, The
14:29
Twin Peaks Pilot, Twin Peaks Fire Walk with Me 2010, the year
14:36
We Made Contact, for which she got a another Oscar nomination,
14:40
Sunset, another Oscar nomination, and her final film
14:45
12 Years a Slave, for which she received her final Oscar
14:50
nomination. Wow, talk about an extraordinary
14:55
body of work to have in your lifetime. 6 Oscar nominations.
14:59
That's a. Lot, yeah, Ending on 12 Years a
15:03
Slave. Like, Oh my gosh, that's
15:06
incredible. That's an incredible body of
15:10
work. And I know David Lynch was a
15:12
huge fan of Patricia Norris's work work, collaborating with
15:15
her many, many times. I mean, Twin Peaks, Lost
15:18
Highway, The Elephant Man, Blue Velvet, He was a big fan of
15:22
Patricia Norris. So let's get into Blue Velvet.
15:28
So when we left off, we were talking about Dune and as we
15:31
talked about quite a bit, not a fan of Dune.
15:37
Obviously it was not a success. He virtually had no control over
15:44
the process and it just, it was a colossal failure.
15:51
But he was granted essentially the funding and the freedom to
15:55
carry forward with Blue Velvet, as we talked about and which.
16:01
I love Blue Velvet was like his consolation prize.
16:04
From the producer and with that, like he was able to then also
16:10
build upon the law of these relationships that we were
16:13
talking about. You know, he was able to and
16:16
Kyle McLachlan was that talked about this at that screen at the
16:19
Cami Museum. You know, he said that like
16:21
David Lynch approached him was like, hey, you know, I know Dune
16:27
was a little. And even though, like, I know
16:31
that they said that Dune really was like a jumping pad for Kyle
16:36
McLachlan, when he talked about, he really didn't make it sound
16:40
that way, you know? Yeah, He was like, that's what
16:43
you guys might have thought, but it didn't really feel that way
16:46
to me. It I feel like it was probably a
16:50
jumping off point for him in terms of then he wasn't Blue
16:55
Velvet, then he, you know, because this is a much more
17:00
impressive performance than. On paper, it might look like
17:04
Dune, but probably wasn't Dune because David Lynch of then
17:09
later approached McLachlan was like, hey, I have a project
17:12
that's like, you know, is trust me on this.
17:16
This is going to be a lot better.
17:18
So he started that relationship with Kyle.
17:21
He later brings on Laura Dern, which of course he works with
17:25
Laura Dern on so many other projects, you know, Wild at
17:29
Heart in an Empire. He works with Laura Dern, you
17:32
know, for many, many years. Obviously, I mean, have to say
17:35
he works with Kyle on Twin Peaks and so on.
17:37
Forever. Isabella Rossellini.
17:41
His relationship with Isabella Rossellini is also legendary.
17:46
I mean, Blue Velvet is like this precursor to David Lynch's
17:52
entire career. I mean, so many relationships
17:54
branch off from Blue Velvet, and you just really kind of see him,
17:58
like, get his groove back. And he just seems so much
18:01
happier. So in that last episode, we
18:04
played a little clip of an interview and you and I were
18:08
just laughing about how you could just tell how much he
18:11
could not, how much he did not enjoy doing.
18:13
So we have the next bit of that interview where he starts to
18:17
talk about Blue Velvet and you could just kind of see the 180
18:20
he takes. It's a short little bit.
18:22
So I just want to play the rest of his of that bit about Blue
18:25
Velvet. I had final cut, I had to cut my
18:29
salary in half, cut the budget and but I had freedom and I when
18:37
you have a failure, it's in some ways kind of beautiful because
18:43
there's nowhere to go but up and it gives you a sense of freedom.
18:47
So that was kind of beautiful. And I really enjoyed working on
18:52
Blue Velvet. And I was telling somebody today
18:55
that there were 13 films Dina was making and we were the
18:59
lowest budget, the least regarded of those films.
19:06
And so it was off everybody's radar, a very good sense of
19:11
freedom all the way through. Yeah, You know that saying, like
19:16
when you have when you're at rock bottom, all you can do is
19:19
really just you have nowhere else to go but up.
19:23
I feel like that was really the case here.
19:24
And I feel like David Lynch and his team just took all the
19:27
swings and I think it just came with a lot of success with Blue
19:30
Velvet because to me, it's one of my favorite films.
19:33
I think it's a perfect film. I don't know how you feel.
19:36
I it's definitely crazy, but I just love everything about it
19:40
so. I I really liked it, would not
19:43
say it's one of my favorite. Films.
19:47
But I think if you like wanna, if you're going into film
19:54
learning about the greats, David Lynch is obviously one of them.
19:59
And I think if you want to understand him and his his
20:04
personal style, this is the movie to watch.
20:07
Yeah, well, with that, let's start talking about the
20:10
costumes. I did find some great quotes
20:12
about David Lynch and his relationship with costume
20:15
designer Patricia Norris. This actually came from an
20:19
interview with Indy Wire written by Anne Thompson.
20:24
So Patricia Norris did pass away in 2015.
20:27
So this comes from a interview looks like with Lynch when
20:33
Patricia Norris passed away. So this is a quote from Lynch
20:38
about Patricia Norris. This came with some interesting
20:42
facts which I did not know, and I don't know if Elizabeth knows
20:45
it yet, but to me, it said so much to me about Blue Velvet and
20:49
why I think why I think Blue Velvet works so well in terms of
20:53
the costume and the visual identity of Blue Velvet, Lynch
20:58
says. We became good friends on The
21:01
Elephant Man. Lynch told me on the phone.
21:03
She's got a tremendous talent for costumes.
21:06
She's got exquisite taste. She always gets the job done.
21:09
It's a magical thing when she dresses an actor and helps them
21:12
to set the character. Their clothes fit the character
21:15
perfectly. On Elephant Man, it was a pure
21:17
piece and we had to fit the era and of course they did the
21:21
different classes of people. She makes a character no matter
21:23
what. She's done pretty much every
21:25
film since then. On Blue Velvet, Norris wanted to
21:29
take on the production design as well as the costumes.
21:34
I said fine, said Lynch. I had a lot of ideas about the
21:38
production design. Costumes were her area.
21:41
I didn't really think about that.
21:43
I would have. I would have if I had to, but
21:46
Patty takes care of that. 100% perfect.
21:49
A Blue velvet. We collaborated on the sets and
21:52
things like that. We talked about color, where
21:54
things were going and what was happening, the feeling and the
21:57
mood. You've got the layout of the
21:59
thing, the mood, colors and shapes.
22:02
Then Patty goes to work. We work together on production
22:05
design. Patty was super professional,
22:08
very strong, Lynch added. I trusted her 100% to get things
22:11
done and get it done right. She always put in long hours and
22:15
paid attention to every detail. She was a great friend and a
22:18
great worker. She's not a quitter.
22:20
I'll tell you. She takes a job and does it
22:22
perfectly. Patty reads the scripts and
22:25
dials into character and dresses them.
22:27
She has great taste. Each person comes out and
22:29
couldn't be better. And blue and blue velvet.
22:32
What Dennis Hopper is wearing, when you look at him immediately
22:36
the way he's dressed, you get a feeling for who he is.
22:39
A lot of things come through the way he's dressed.
22:41
And that's from David Lynch. So it it didn't daunt me that
22:50
Patricia Norris is both the production designer and costume
22:54
designer on Blue Velvet. I yeah, I think it makes a lot
22:58
of sense though, because one thing that stuck out to me is
23:04
how visually cohesive the film is.
23:08
And I at first I was like, well, it's not in terms of like
23:13
locations they go to. There's not terribly too much
23:18
variety and they tend to be very small spaces.
23:21
So I was like, you know, a lot of collaboration.
23:24
You know, I was, they had a small budget.
23:26
So that was probably one of the reasons they weren't going here,
23:29
there and everywhere. But that was one of the first
23:32
things that stuck out to me was how well everything looked
23:36
together. It was just seamless and the
23:39
fact that she was doing both makes a lot of sense.
23:42
It makes so much sense. I've been talking about this for
23:44
like a few months now, about how I've always felt like the
23:48
costumes work. Like the colors in this film are
23:52
beautiful, and I feel like the costumes and the sets work so
23:55
well together. And I've just been saying like,
23:58
wow, they just feel so cohesive. They work so well with the
24:01
costumes. I mean, it's just like the
24:03
production designer and a costume designer must have just
24:06
been so In Sync, you know, like the costumes at times feel like
24:09
they just like, it's just feel like this one living entity and
24:13
like, well, yeah, they were the same person.
24:15
They were like, they were just so In Sync.
24:18
It's so incredible to me. So I mean, it's just, it's yeah,
24:22
it's such an incredible thing. So without diving too deep into
24:26
it, we're going to take a little break.
24:27
And when we come back, we're going to start diving into the
24:29
costumes of Blue Velvet, character by character.
24:33
So let's take a little break. Spencer.
24:40
Yes. Are you?
24:42
Are you ready to talk about our favorite teenage detective,
24:47
Jeffrey Beaumont? I am our knight in shining
24:51
armor, who we're going to be talking about quite a bit for
24:53
the next couple weeks here. Mm hmm.
24:58
Kyle McLachlan is here as Jeffrey Beaumont and I just love
25:02
his style on Blue Velvet. Yeah, it's very, it's kind of
25:08
like effortless, effortlessly cool, but like wildly polished
25:16
at the same time, 'cause like, he's here from university, he's
25:20
a university boy, but he's just like, I know who I am, I know
25:24
what I'm here to do, and I'm just going to enjoy myself.
25:27
Yeah, 'cause it's interesting, 'cause he has to play this
25:29
character where he's like, he's on this line where he's supposed
25:33
to be like this nerdy 'cause when he, when he meets Frank
25:36
later, like he's playing like this, He can't be like this
25:38
tough guy that could stand up to Frank, you know, like he has to
25:43
be able to be like beat up on. But then when he rolls up to
25:46
pick up Sandy later in his convertible car, like all the
25:50
girls are like, who's like that freaking hot guy, you know?
25:53
I know. So he has to be on like this
25:56
line so. Who's the college boy?
26:00
Yeah. So how do you play both sides
26:02
here? And I think Jeffrey does it very
26:08
well, actually. It's the sunglasses.
26:10
It's the tie. But like, the collar's just a
26:13
little loose though at the same time too.
26:16
Yeah, she also does a good job of balancing like dark and light
26:21
with him because he I love when he's at the club listening.
26:27
He has like the dark button down shirt, jacket, tie, but then
26:36
when he finds the ear, he's wearing something very similar
26:39
but with like the light shirt. And it's almost like I feel like
26:42
whether he is in something light or dark is kind of like the good
26:46
intentions are for him. Like because honestly, a lot of
26:52
his decisions are questionable. Like he as a teenager should not
26:58
be he. Maybe he's like 20.
27:01
Yeah, I can't really tell. But he's a, he's a college kid.
27:03
He should not be investigating. You know, this especially like
27:10
the whole ear thing. I'm like, I would have just run
27:14
to the police station and then like I found an ear.
27:17
Please come with me. Well, I think this is what David
27:19
Lynch was talking about in that that, you know, questionable
27:23
Canadian interview earlier where it's like he's clearly like his
27:27
dad's in the hospital and he's looking for like this almost
27:30
like escapism where he's like, yeah, I could be at the hospital
27:34
dealing with my dad or like, I just got this window into this
27:37
like, really kind of kooky world that's just right beneath the
27:41
surface of my what I thought was perfect.
27:44
Like Timber Town, where all they seem to be talking about is
27:47
logging all day long. Like, whoa, I found this severed
27:51
year. Like what's going on here, You
27:53
know, now all of a sudden he's thrown into like a true crime
27:56
epic. And then he goes into Dorothy's
27:58
apartment and all of a sudden his like, whole life has been
28:01
turned around, you know? Yeah.
28:03
So now we can't look away. I mean, now he can't help
28:05
himself. He was in love with Sandy a
28:07
second ago. But you know how the rest of
28:10
that goes. Yeah, well, I think he, he
28:13
doesn't stop being in love with Sandy, but he's also, I think
28:17
he's someone who wants to be of comfort and help to others.
28:25
So and I think when he he's drawn into her apartment and
28:29
sees like the insane situation she's in, he just wants to help
28:34
her no matter what. And I think the one thing we
28:38
need to talk about, which I think kind of is like right
28:42
there with all the characters is and I think we really get to see
28:46
it now. Now that we're talking about
28:48
Blue Velvet, obviously this doesn't really apply for Dune.
28:51
I want to talk about how I kind of like the timeless kind of
28:54
element his film, his filmmaking could have in terms of the
28:58
costume design and a style. And so like with Blue Velvet,
29:02
and I think we'll see it a lot in Twin Peaks.
29:05
You know, this is a from what to me and what I believe I found in
29:11
my research is this film, I mean, it takes place in the 80s,
29:14
I believe, but it still has a very like 5th.
29:18
It's very reminiscent to the 50s, though.
29:21
It's. Yeah.
29:22
Still, I was a little confused on that as well.
29:25
Yeah, I mean, and I think that's very purposeful.
29:27
You know, he wants his films to feel very vague and timeless.
29:32
And I oh God, gosh, what? What year did Blue Velvet come
29:36
out? Oh gosh, it's like 86.
29:39
No, Yeah, 80. Six OK, because and like I
29:43
wouldn't the whole like nostalgia for like the 1950s
29:50
started during this time period because like you have like happy
29:54
days and a couple other TV shows that kind of idealized that time
29:59
point. So I do think David Lynch is
30:03
probably looking back at the 50s and being like, OK, we all think
30:08
that everything was shiny and happy and kind of perfect during
30:13
that time, but like what was actually happening in people's
30:17
lives? Like what were struggles and
30:20
what what were the bad things that were happening?
30:22
And it's like Mafia was going pretty strong in the 50s.
30:26
Yeah, exactly. So with that being said, like
30:30
you see like a little bit of like a 50s inspiration and
30:33
Jeffrey's like, like you could see a little bit of a 50s
30:37
inspiration in Jeffrey's look with his ties and whatnot.
30:41
I think you see a lot in Sandy's looks, of course, but we'll go
30:45
there. So we'll see it throughout this
30:48
show and we'll talk about more. And like in Twin Peaks too,
30:51
where that one get definitely gets vague and Twin Peaks, where
30:54
that's another one that takes place and I think 89 but still
30:58
like the actual town is definitely stuck in a different
31:02
time period and different times as well.
31:05
But let's let's leave Jeffrey behind.
31:08
We have another character we need to introduce as Jeffrey
31:12
makes a very interesting choice to break into a possible
31:17
suspect's apartment, which was a choice that will change his life
31:22
for, well, the rest of his life as he breaks into Dorothy
31:27
Valance's apartment to spray bug spray, which I'll never let
31:32
anyone do after watching Blue Velvet.
31:35
Dorothy Valance is in there, played by the Isabella
31:38
Rossellini. Incredible, incredible
31:43
performance. Yeah.
31:46
But also just wow. Wow, wow, wow.
31:49
I love her costumes. Yeah.
31:52
Very, very, very odd character though.
31:57
What did you think seeing her performance?
31:59
It must have been put you on your head a little bit.
32:03
Oh my gosh, it was incredible. It was incredible because is
32:10
she, her entire life is being controlled by this mafia element
32:14
in this town. And it's like, at first she just
32:17
looks like a very like glamorous lounge singer.
32:22
But then once you get into her apartment, it's like, you
32:24
realize, like, she's not just a lounge singer, she's being
32:29
abused. Her family is being abused and
32:33
held captive. And she is truly just like a
32:37
woman barely holding it together mentally and physically.
32:43
Like, talk about like seeing the dark side behind of like perfect
32:50
veneer. That is who the character of
32:54
Dorothy is. Yeah, very femme fatale.
32:59
The first time you like really get to see her.
33:02
I I mean, one of my favorite shots ever is her on stage
33:06
singing blue velvet and like that slinky black dress when the
33:10
light hits her. Honestly, like that shot of I
33:14
used to think it was like straps on her dress, but it's not.
33:16
But like when the shadow hits her mic.
33:20
Like. Reflects across her like halter
33:23
dress. It's I mean it just looks so
33:27
cool though, like glow across her dress to me.
33:32
But like all of her performance dresses, the way they sparkle.
33:37
Yeah. And they're just simple too.
33:40
But they just, I don't know, it's just, it's just peak, peak
33:44
cinema. That's the moment.
33:48
Yeah, it's definitely like peak glamour for her performances.
33:55
And I feel like that glamour kind of like carries over into
33:58
the blue velvet robe she wears. But it's like it's in that
34:05
moment when you see her in that robe in her apartment where
34:09
you're like, oh, this whole look is being controlled and
34:16
manipulated by this evil man who is using her just for her body
34:25
and like what he can do for her. Yeah, she's essentially draped
34:31
in the curtains of the stage too, that she's streaming on
34:34
too. Because she's trapped, she can't
34:36
get away from it. Her kid will be murdered.
34:40
Her husband's ear was cut off. She can't, she can't get away.
34:46
Of course she's draped in the the curtains of the lounge.
34:51
She cannot get away. I think that whole apartment is
34:55
owned and operated by the mafia like.
34:58
Yeah, it's, it's absolutely sick.
35:00
But that entire scene though, I mean oh man, I would have paid
35:04
to watch your reaction to him being in like the closet just to
35:08
see your reaction. Spencer, I because you know me,
35:16
I'm always like a second screening everything.
35:21
And so I had dream like Valley on my on my switch.
35:29
And then as soon as she realized she was in the closet, I was
35:33
like, yeah, switch down, locked in.
35:40
Yeah, but yeah, Dorothy is giving like, Hollywood glamour,
35:42
but like, also burlesque lounge, jazz lounge.
35:45
Oh yeah, so beautiful. I mean, the rope does look
35:48
incredible on her. I like, I won't take that away.
35:51
She looks great, but it just has such a sinister quality.
35:56
The crushed velvet. It's not just velvet, it's
35:58
crushed velvet. It's like, it's gorgeous how it
36:03
films, but then also like, Oh yeah, she's being crushed under
36:06
the weight of this all. That's a good good job,
36:09
Patricia. Good job.
36:11
That's a good one, Elizabeth. Yeah, I like that.
36:13
Thank you. Thank you.
36:18
OK, let's talk about another cool guy, Dennis Hopper as Frank
36:25
Booth. God, I hated him.
36:27
Pretty chill guy right? Definitely doesn't have any
36:30
issues. No, he's terrible.
36:35
I like maybe it's because we were raised in the era of like
36:42
redeemable villains, but I was just like from go cuz the
36:49
literally the first thing you see him do is assault her.
36:53
I was just like, Oh my gosh, this is such an evil person.
37:01
And but like his leather jacket, his like metal tipped like
37:08
collar. I was like, everything about you
37:11
screams I'm trouble, get away from me.
37:14
Well, first of all, Dennis Hopper plays Frank Booth at a 10
37:17
from beginning to end, which he. Got.
37:20
Disgusting. Got to put respect on his
37:23
performance because it is. There's no brakes with with.
37:27
Frank's no. It's it's.
37:31
It's horrifying. It's disgusting.
37:33
Even looking at the pictures are a little intense.
37:37
Yeah, but I gotta admit to you, Elizabeth, I love his costume.
37:43
The metal tips. Like, oh, his costumes are
37:45
great. The Bolo.
37:46
Tie with like the black and grey like stripes.
37:50
Shirt yeah, like. I love his he has style I got
37:54
him it like. Frank does when?
37:55
Frank Booth shows up. I mean, he looks good.
37:59
I get it. Like he, he has like a cool kind
38:03
of like Lynchian, like, I don't know, he looks like he's he, he
38:11
has style. He does and the mafia, if
38:14
they're doing right, they always have style, especially when he
38:18
he's in his like like alter ego disguise.
38:23
I really love the contrast between that, that deep red and
38:30
like the Heather Gray suit jacket.
38:34
Yeah, I was just like, oh, look at that contrast.
38:37
Look at that contrast. So how would we describe this?
38:40
Because and I'm just kind of like having like a brain moment
38:43
here. Like with David Lynch, like he
38:46
has like these like moments in his films where it's like very
38:49
kind of like abstract kind of absurdist moments with his like
38:53
the way it is filmmaking where it's very like, you know, like
38:57
when we think about Tim Burton, he has like the black and white
39:00
stripes, right? And with like David Lynch, he
39:03
has these moments with like, I'm looking at Frank Booth's
39:05
costumes or when I think about like Twin Peaks in the Red Room
39:08
and like the black and white tiles and the, you know, kind of
39:12
like red velvet, like curtains. Like he has these moments where
39:16
like, you see characters step out like Frank Booth or it's
39:20
like very kind of like interesting lines.
39:22
I don't know. Like, I just feel like this is
39:24
like when I see Frank Booth, I'm like, that's a David Lynch
39:27
character, you know? I think it's because David Lynch
39:32
has these moment. His visually, a lot of what he
39:37
does like blends into each other, especially because he's
39:41
constantly creating this veneer of like, things are OK, things
39:44
are perfect. And then when something of high
39:48
contrast comes along, whether it's Frank Booth or Dorothy and
39:52
her, you know, blue robe, that's when he's telling you to like,
39:59
pay attention to this person, to pay attention to the scene.
40:04
He brings in these elements of like super high contrast and
40:10
almost like heightened reality or absurdist.
40:15
Like, absurd situations where he's just like, hey, look, look
40:20
at this. Yeah, this is where your
40:22
attention needs to be. Because like, this guy's
40:25
clearly, I mean, he's from around here, but you know, like
40:28
he, he's. Yeah, but he's not like the
40:30
other, you know, like. He's very, he has very I run
40:34
this town energy. Yeah.
40:37
But like I also like, I was thinking about this earlier when
40:39
I was watching Twin Peaks. Just so you guys know, if it's
40:42
not clear, Elizabeth and I are very much in Twin Peaks Prep.
40:45
That's not an episode we could just start the day before.
40:49
Like, like Dale Cooper, like when I see him in his overcoats,
40:53
like, this guy does not look like the others, you know, like,
40:55
and Frank Booth gives that energy too.
40:58
Like this guy. If I saw him at the grocery
41:00
store in Blue Velvet Land, I'd be like, well, this guy, you
41:04
know, this, this guy. Something's going on here.
41:10
Anyways, Frank Booth's disguise, though, hilarious.
41:14
Every time I see you, the mustache disguise guy, I'm like,
41:17
come on. Yeah, I was like.
41:19
You can do better man. Last character we got check in
41:23
the beautiful, the lovely Laura Dern as Sandy.
41:27
Williams, Yeah. So cute.
41:31
It's so lovely to just check in on like a young Laura Dern.
41:36
This isn't her first film but it's definitely one of her like
41:38
first few films. Yeah.
41:42
And this is where you really see, like, the 1950s kick in
41:47
here just cause to me, it's, I mean, almost feels like she's
41:49
being pulled out of Greece here a little bit at times.
41:52
Yeah. I mean, her name's even Sandy,
41:56
honestly. So, yeah, I mean, there you go.
42:00
But very feminine, very cute. I mean, she's very much very
42:05
binary. She's wearing lots of pink.
42:08
So I mean, she's as flowery and pink and girly as she can be in
42:12
almost every photo. And I, I kind of love it because
42:16
what, she's a senior, right? I hope so.
42:19
In this. Jeffrey.
42:28
Me too, Spencer. Me too.
42:33
But I'll leave that for another podcast.
42:35
I could have sworn she said she was a senior.
42:41
Now I'm questioning myself anyway.
42:43
I'm just saying I wouldn't condone picking up high school
42:45
girls when you leave college, but you know.
42:48
Yeah, I mean, if that's not obvious, you maybe need to take
42:54
some seminars on certain subjects.
42:58
Anyway, I, I really like Sandy 'cause she's definitely in like
43:07
a transition period of her life where up to this point, it's
43:11
just been like school, family, friends.
43:16
But her dad's a police officer. She can hear, like she, she's
43:21
always been able to hear like, you know, the talks in his
43:23
office. So she clearly has this interest
43:26
in like the darker side of life and like the bad things that
43:31
happen. And I think when she meets
43:38
Jeffrey, like, that's the first person she can kind of like
43:41
explore that side with, especially because, you know,
43:44
she maybe she'll go off to college.
43:48
I don't know. I think her parents are probably
43:49
assuming she'll marry the football guy.
43:52
But clearly that's not going to happen.
43:55
He's an idiot. Wild week she's had.
43:58
No, but I do think you get to see like, oh, she's growing out
44:06
of this like girlish phase of her life and being exposed and
44:09
wanting to be exposed to like the realities of the world
44:13
around her. Yeah, absolutely.
44:18
Yeah. She definitely feels like she's,
44:20
she's kind of been, she's right at the edge of like feeling
44:23
stuck in this town. And she takes the first
44:25
opportunity to kind of like break that mold.
44:28
And you kind of start to see it too.
44:29
Like in that last scene you see her in, she kind of, she feels
44:33
very conservative up until that last scene where she shows up in
44:39
a crime scene and like a very kind of revealing dress.
44:43
You know, she's showing lots of skin, which is a weird choice to
44:46
pick to go to a possible murder scene, you know?
44:52
And but she does. And she's you could just tell
44:55
like she's shed a lot of layers throughout this.
44:59
I don't know, I don't know if it's been a week, a couple days.
45:02
I don't really know what the time frame of Blue Velvet really
45:05
is. But you know, she's learned a
45:07
lot about herself and what she wants in life.
45:10
And what she wants in life is Jeffrey, even though there's
45:13
been a lot of betrayal and they're very short relationship,
45:15
but she forgives him and it's just a lot of growth in her
45:20
character. So and you could see that in her
45:23
character and costume development.
45:25
I agree, I agree, and. With that, we have one more
45:29
group of characters I wanted to talk about before we leave Blue
45:33
Velvet just It's the collection of kooky characters that.
45:40
Yeah. Frank introduces us to which
45:45
honestly, the one that we really have to talk about is Ben,
45:48
played by Dean Stockwell, who's just our local, I think drug
45:54
dealing or just party house, lip syncing party guy who just likes
46:03
to have a good time, maybe murder every once in a while.
46:07
I don't know. I really don't know what he
46:09
likes to do, but he knows how to have a good time I guess.
46:12
I think he's a drug dealing pimp.
46:14
I think that's what, yeah. I teach their own Elizabeth.
46:20
I I was a little confused, but I think that is the general nature
46:27
of his business. I just think it's hilarious that
46:30
Frank loves Ben so much. Frank is just so enamored with
46:35
Ben. He's like, Ben freaking is cool.
46:39
Yeah. I did.
46:42
I loved kind of like the extravagant nature.
46:45
He clearly the 70s was his time and he's not letting that go,
46:51
which I thought was really funny.
46:53
The ruffled shirt, the like groovy like texture fabric he
46:59
has going. On yeah, his weird lip sync
47:02
performance. I was like, OK, Sir.
47:04
Dreams by Roy Orbison I've I thought that was going to be one
47:09
of my Spotify top five songs last year.
47:13
Really. Yeah, it was pretty close,
47:15
honestly, so. And I would have been proud, but
47:19
it wasn't so. Yeah, such a great performance.
47:22
And just like the cast of characters that are around
47:25
Frank, they're all also like also all kind of dated,
47:29
honestly. There's like some 70s in there,
47:30
but then the one kind of guy with the lawn care who has like
47:34
the metallic grey blazer jacket, he's like very 80s a little bit.
47:39
I mean, he's almost like Ferris Bueller's Day Off a little bit.
47:42
He's also a much younger than some of the other guys.
47:46
But then the other guy almost looks like he's like a brown and
47:50
like a orange rust kind of feels like 70s a little bit.
47:56
So there's all sorts of different, all sorts of
47:58
different people going on, Yeah. Yep.
48:04
And then I had to bring up my favorite party girl who dances
48:06
on top of the car. Yeah, yeah, yeah.
48:09
I just she's a lot. Of talk about an 80s look.
48:13
Talk about an 80s look. 80s but also like 50s hair though too.
48:18
Yeah, I mean the 80s kind of like big blow outy style.
48:23
I feel like it's kind of a mix of that.
48:27
There's a lot happening in this town.
48:29
There's a lot happening with these people.
48:31
It has like a welcome to dairy like kind of curse on this town.
48:35
Yeah, A. Little bit like, how are people
48:38
not aware of the crazy things that are happening in this town?
48:41
Maybe that's what Lynch is trying to say.
48:42
It's like, how are you all not opening your eyes?
48:45
So what's going on around you? You know, because this is
48:48
clearly all happening. Yeah.
48:50
And I think because it's revealed that, like, there are
48:54
people within the Police Department covering a lot of
48:56
this up. And it's like, that's very real
48:59
life. Like, you know, they say truth
49:02
is stranger than fiction. And this fictitious story is not
49:08
so far off of what a lot of people have experienced in their
49:12
lives. Yeah, exactly.
49:15
And also we have to point out that one of Frank's other Paul
49:22
is played by Jack Dance, who is also in so many of David Lynch's
49:28
other films, including Eraserhead.
49:31
While that heart, he was in Dune last episode and he is in Twin
49:36
Peaks. So we will be talking about him
49:39
a little bit in the next episode as well.
49:41
So he was another frequent collaborator of David Lynch as
49:46
well. And Elizabeth, with that, that
49:48
takes us to the end of Blue Velvet.
49:51
That I'm so glad. Honestly, when you gave us a
49:55
green light on Blue Velvet, I was shocked and I was stoked.
49:59
So I I'm excited. I David Lynch is great his all
50:07
his work is visually interesting.
50:08
So I was like, it's going to be good.
50:11
And I'm glad I watched it after starting to rewatch Twin Peaks.
50:16
Because you want to know what my, like, personal head cannon
50:21
is about Blue Velvet. What?
50:26
That it is the origin story of Special Agent Dale Cooper.
50:31
I mean, honestly, it's not far off.
50:34
I mean, there's no way that this didn't prepare Kyle McLachlan at
50:40
all or that didn't act as some sort of like brain trigger at
50:44
all. Like there's you're, I, I think
50:46
it is Canon in ways. I mean for somebody, somewhere,
50:50
you know. Yeah, for me.
50:52
Yeah, it is for me. Yeah, I, I mean, I that's why
50:55
one of the reasons why we picked Blue Velvet.
50:57
Yeah. So I I think that makes sense.
51:02
I think Blue Velvet was a town that exists in the same
51:05
universe. Yeah, I, I I'm forgetting the
51:08
name of the town in Blue Velvet. I'm sorry.
51:10
It's like lumber town or something.
51:13
It actually might be lumber town.
51:14
Which is also like another connection to Twin Peaks because
51:17
they're both obsessed with lumber.
51:18
Yeah, I, I looked that up because I was like, did David
51:23
Lynch grow up in a lumber town? No, he just grew up in, like,
51:28
the Northwest. And his dad, I think his dad, he
51:33
worked for, like, the Park Service or something, and he,
51:36
like, researched trees. Like, that makes sense.
51:39
Like that. Yeah.
51:41
I was like, oh, OK. Yeah, well, if you all haven't
51:45
seen a Blue Velvet, it is on the in the Criterion Collection, by
51:49
the way. And it has some great.
51:52
It has like a like a 75 or 45 minute interview with the entire
51:58
cast and people who worked on the movie.
52:00
So definitely check it out. Interviews of David Lynch,
52:03
Isabella Rossellini, Cam McLachlan, Laura Dern, like just
52:07
walking through the entire creation of the film.
52:09
So definitely recommend checking it out.
52:12
I love that. I'll let you borrow Elizabeth so
52:15
we can watch it together. Elizabeth, what was your stitch
52:18
rating on Blue Velvet? Oh, this is this was very easy.
52:21
Five out of 50. Hey, well that's cool.
52:24
I mean mine was a 5 but you knew that.
52:27
Yeah, I knew that. It's I he tells a cohesive
52:31
story. I understood what was going on.
52:34
Like I, I don't think people's confusion about David Lynch so
52:42
much comes from like his stories.
52:46
I think it's more that people don't want to acknowledge like
52:51
the like scummy side of life, like the scary, like sad parts
52:57
which he very much puts in your face.
53:01
But it, it was cohesive. It looked fantastic.
53:05
Patricia Norris as costume design and production did a
53:09
fantastic job. Everyone's performances were
53:12
like right on target. Incredible.
53:17
Not my favorite movie of all time, but an incredible film.
53:22
Yeah, it's it's so much fun. I could watch it over and over
53:26
and over. Actually I have.
53:28
Yeah. It's so good and I and you're
53:31
right, I think it's I think Blue Velvet in terms of the David
53:34
Lynch films. I mean, This is why we one of
53:36
the reasons why we picked it too.
53:37
I think it is one of the like easier ones to like follow.
53:41
Yeah. We didn't want to go to like
53:43
expert mode for the podcast because I mean, if you've, if
53:48
any of you ever seen like to me, like Inland Empire, that is like
53:51
that film is, I still don't understand that one.
53:54
So we were like Blue Velvet Dune.
53:56
Those are some like pretty simple ones 'cause as you all
53:59
know, our next episode is gonna be full of some challenges.
54:03
But but what we can't handle for now is 1 costume rule them all.
54:09
So let's hit it. The one costume to rule them
54:14
all. Spencer, what was your one
54:19
costume to rule them all? I think while I do like Franks
54:27
costume a lot and I won't be surprised if I end up doing that
54:31
as a Halloween costume soon, I think I'm going to have to go
54:35
with Dorothy's lounge costume just because every time I see
54:39
that costume with like the purple and blue lighting behind
54:42
it, I get chills every time I see it.
54:44
So in a way like the lighting hits like her her dress and it's
54:50
just just so much fun. It's just such a beautiful look.
54:53
Even though it's pretty simple, I just feel like the way it
54:56
interacts with the production design, the colors, everything
55:01
about it to me just sparkles. And it's just like such, yeah,
55:04
incredible cinematic moment. It it is, it is incredible,
55:09
definitely that. And that's one of those moments
55:11
you can you can see the production and the costume
55:14
design that Patricia did really come together.
55:18
Yeah. What about you?
55:20
MY1 costume to you to rule them all is Dorothy's robe with her
55:25
blue crushed velvet robe. Oh my gosh, I want one.
55:31
It's just like such a perfect kind of symbol of like what the
55:38
whole the movie is about, what's happening to Dorothy.
55:43
Like she is being crushed under the weight of all of the
55:48
insanity going on around her while still having to keep up
55:52
this like idea that she is just this, like, sexy lounge singer.
55:57
Actually, we didn't really talk about it, but I love her
56:00
costume, her very last costume when she's with her son and it's
56:06
very, very, it's like a a brown heavy overcoat.
56:11
Just she's very much in mom mode, but she looks so much more
56:14
like that's where she wants to be.
56:16
That's who she is. And that robe is just such a
56:22
symbol of what she is going through and what is happening in
56:27
the movie. I chef's kiss.
56:30
Yeah, that's a good point. Patty, you did good.
56:36
I love it. That's such a good point that
56:38
when you finally see her at the end, she's finally where she
56:41
wants to be, which is totally in mom mode.
56:43
She's like, I don't that lounge act.
56:45
She's like, yeah, maybe I like to sing, but that's not me.
56:48
I want to be in this, like, uncomfortable, like crushed
56:51
velvet all the time. Like what?
56:53
No, like I just want to be a mom, you know?
56:56
So I love it. I knew you were going to pick
56:58
that one. You know, I was thinking you
57:00
kind of do look a little bit like you look like Isabella
57:04
Rossellini, but like, maybe and like death becomes her a little
57:07
bit with like the haircut. And we'll have to get you like
57:10
that robe. We'll make it happen.
57:13
OK, if anyone wants to get me a crushed blue velvet robe, I
57:17
will. I will gratefully accept that.
57:20
Well, e-mail us at theartofcostume@gmail.com and
57:24
we'll we'll make it happen. And also e-mail us if you want
57:29
to tell us what your one costume rule them all was.
57:32
Let us know what you thought about Blue Velvet.
57:35
And of course, we have to say that we will be wrapping up our
57:39
David Lynch series in our next episode as Elizabeth and I are
57:43
preparing for the grand finale as we will be talking about Twin
57:49
Peaks. And we are not talking about 1
57:52
episode. We are not talking about two
57:54
episodes. We were talking about two
57:57
seasons and then a movie and then another season and then I
58:04
think that's it, right? That's it.
58:06
That's it, Yeah. That's it, Yeah.
58:08
Is there like? Three seasons.
58:10
Is there a video and a movie and like a comic book or like, I
58:16
think we're good, right? I think we're good.
58:18
I would not put a comic book past David Lynch that we are
58:23
unaware of, but you know what? Let us know.
58:26
Costumers, I'm telling you that that is what we're doing.
58:28
We're doing three seasons and a movie, so if there's more than
58:32
that, you have a couple days to let me know.
58:35
But that's probably about all we could get done in time.
58:38
We're very, very excited. Elizabeth and I have been
58:40
texting it. I've been loving it so far.
58:42
We've been watching. It's my first time watching it.
58:45
It's been so much fun. I've been watching watch it for
58:47
years, but now's the time. When Elizabeth said we should
58:52
watch Twin Peaks, I was shocked 'cause I originally was like,
58:58
we're going to do Dune and Blue Velvet and move on.
59:03
So. Well, I I had already seen the
59:06
first season and I was like, oh, Twin Peaks rules.
59:09
So I'm stoked. So it's been fun.
59:12
We might have like, yeah, I'm excited.
59:15
So if you haven't seen it, start watching it and yeah, be ready.
59:21
It's going to be a fun episode. I'm so excited.
59:24
Follow us on Instagram at the art of costume pod TikTok at the
59:27
art of costume merch store at artofcostume.com/pod store.
59:32
As always, leave us a five star text of view on Apple podcast or
59:36
leave us a review or rating on Spotify.
59:41
Go listen to the costume House of Spencer Williams.
59:44
We just had a great episode with costume designer Clint Ramos.
59:48
He had a Yeah opera at the Met Opera House in New York City.
59:54
We talked about his production of Tristan Una Solda at the Met
59:58
Opera House, which to me was like so out of my comfort zone,
1:00:02
but was so much fun. I mean, I felt like Bertha
1:00:06
Russell and the Gilded Age talking about an opera.
1:00:10
So that was fun. We have more episodes coming up
1:00:13
and of course, you know, Emmy season's coming up, so you know,
1:00:16
we're going to have a bunch of TV show interviews coming up
1:00:19
soon, so be ready for that. And I'm so excited to be in Twin
1:00:23
Peaks because, you know, we have, we have a lot of fun stuff
1:00:27
to talk about so. We do.
1:00:29
We do. Until then, we'll talk to you
1:00:31
soon, costume nerds. Have a great week.