Latest / The Art of Costume Podcast / Wuthering Heights

Transcript

Wuthering Heights · The Art of Costume Podcast

0:06
Hello and welcome to the Art Costume Podcast.
0:08
I'm Liz with Joy Glass. And I also live in a barn in
0:12
Weathering Heights. Spencer Williams.
0:15
No, you don't. You live in the apartment next
0:18
to me. But yeah, I guess it's not much
0:23
like a barn. No, no.
0:27
Hello everyone, welcome to a highly anticipated, probably
0:31
going to be a little spicy episode of the Art of Costume
0:35
podcast. Elizabeth, I have been so
0:38
excited for this one. I'm, I have to say, a little
0:41
nervous. Same, I am also a little
0:45
nervous. Everybody This week during Toxic
0:50
Romance Month, we watched possibly the top most toxic of
0:57
all romances in a film by Emerald Fennell.
1:04
Quote Withering Heights UN quote.
1:08
Yeah, we, we watched it and yeah, it, it was pretty toxic.
1:13
I I have to say yeah, so toxic. I have to announce that I am of
1:18
course sick. I got our annual Spencer is sick
1:21
episode out of the way right off the top here at the beginning of
1:24
the year. Usually I wait till about mid
1:26
year or end of the year for our Spencer is sick episode.
1:30
I just got it got it right off the top here that the beginning
1:34
of season 6. So I am coming to everyone live
1:38
from my bed here. I honestly I think it had to do
1:42
with Kathy and Heathcliff just being in the rain for about two
1:48
hours in this movie. Just non-stop rain rain scenes.
1:52
Like I'm surprised they didn't get sick more often.
1:55
Just all those rain scenes. I was starting to get a chill.
1:58
Now here I am. Just gain a chill you.
2:02
Know it affected you and I mean I I mean theory, but the release
2:09
of this film also brought way too much rain to California.
2:14
Honestly, yeah, it's been raining non-stop since I watched
2:16
this film, so. Basically, yeah.
2:21
But obviously this week we watched Withering Heights.
2:25
In the last episode I No I said Withering Heights was not my
2:32
most favorite Bronte sister book and so in preparation to see
2:37
this movie and do this episode, I reread Withering Heights.
2:42
Wow, That's that's that's commitment.
2:45
I took it upon myself, 'cause I was like, Elizabeth, it's been a
2:50
really long time since you read this book.
2:53
Maybe just, you know, refresh your, your mind and your memory.
2:59
So that's exactly what I did so I could come into this
3:04
remembering everything fairly well.
3:07
And upon real reading Withering Heights, I realized I have the
3:15
same problem with this book that I have with Romeo and fucking
3:19
Juliet. Oh no.
3:24
It's it's not a love story. It's not a love story.
3:28
It's a story about how classism and racism effects people, how
3:35
our actions affect the lives of others, and how that also
3:39
creates generational trauma. There's a whole second-half of
3:44
the story that does not get told in this movie.
3:52
And, you know, it has that good dash of gothic romance that
3:56
gives it its unique style, but it's not a romance.
4:02
It's not. It's about societal problems.
4:06
And I was like, like, why are so many people thinking this is a
4:11
romance? So I, like, did my little, like,
4:14
research ease. And turns out it started with
4:18
the 1939 adaptation with Laurence Olivier because they
4:25
were like, we got to keep this. We got to keep this movie tight
4:30
and create a more straightforward love story.
4:33
So they cut the second-half. That movie was a huge success
4:39
and now we're stuck with people thinking Withering Heights is a
4:42
romance. Yeah, there you go.
4:47
The cycle of abuse continues. Well, yeah, here we have this
4:50
film and obviously it is it's something, it's an adaptation,
4:56
which is why it's in quotes, is very much Admiral Fennell's fun
5:00
take on it. And she's been very open about
5:03
it, is her own take on it. And she said, like, you can't
5:06
really do withering, withering heights word for word from the
5:12
book as you. She feels like you can imagine
5:15
it. So like there's so many
5:17
different versions to it. So this is her crazy take on it,
5:21
which I think is so much fun. So we're about to get into it.
5:26
Elizabeth and I have different takes on this film.
5:29
When she texted me and was like, you're really in for it.
5:35
That's not exactly what the text said.
5:37
And I was a couple days behind her and I really enjoyed it.
5:42
So I'm excited to get into this. So let's do it.
5:46
Let's do it. Spencer, do you want to
5:49
introduce us to our director and give us a summary?
5:53
I do. Wuthering Heights was directed
5:57
by Emerald Fennell, You would know for her notable work such
6:01
as Promising Young Women and Saltburn, which captivated the
6:06
nation not too long ago. Yes, The Weathering Heights
6:12
plunges us into a love story that is feral, obsessive, and
6:17
ruinous to everyone it touches. Set against unforgiving
6:21
Yorkshire Moors, the film centers on Heathcliff and
6:24
Catherine Urnshaw, 2 souls bound by desire, resentment, and a
6:29
need to possess rather than love.
6:31
Their connection is volatile and deeply toxic, fueled by class,
6:35
pride, and emotional cruelty, where love becomes a weapon and
6:39
devotion turns destructive. As Kathy chooses security over
6:43
passion, Heathcliff's heartbreak curdles into vengeance, dragging
6:47
generations into his storm. This is not a romance, and it's
6:51
it's an emotional battlefield where longing, rage, and
6:55
obsession collide, leaving nothing unscathed in their wake.
6:59
And that is Wuthering Heights kind of a.
7:02
That's withering heights, although the way she changed it,
7:05
generations can't even be drug dragged into turmoil.
7:11
Yeah, right. We kind of put an end to it
7:14
that. Cause literally of the three
7:18
children that are in the second-half of the book, this
7:25
film only leaves room for one of them, which is crazy to me.
7:35
However, I could say so many things, but I won't.
7:45
Instead, let's meet our costume designer, the wonderful
7:50
Jacqueline Duran. You will know her work from the
7:54
Oscar nominated Atonement. Nanny McPhee returns the Oscar
8:00
winning Anna Karenina, which we talked about last time on the
8:04
Art of Costume podcast. Mr. Turner, Beauty and the
8:08
Beast, Darkest Hour, 1917, Little Women, her second Oscar
8:14
win Spencer, The Batman and Barbie.
8:20
Our girl's back once again. Apparently she has the market
8:24
cornered on costuming toxic romance.
8:29
Yeah, that's, that's a good way to put it.
8:32
Yeah. I mean, Jacqueline Duran is at
8:34
the scene of the crime. She is one of the best of the
8:37
best. And she has a strong
8:40
relationship with Emerald Fennell.
8:43
And she knows her period costuming well and she knows how
8:47
to do her research well. And we're gonna definitely be
8:50
getting into Jacqueline Duran quite a bit and a little bit
8:54
here. So yes, we love her.
8:56
So we we've been talking about her quite a bit recently, so.
9:00
We are going to take a quick break and then jump into
9:04
Withering Heights. We we have a lot to say.
9:07
I know you all been waiting for it.
9:10
So let's take a break. We get it when we're done, we're
9:12
going to we're going to get into all of it.
9:14
So take a let's take a break and let's we need to have a meeting
9:18
everyone when we will reconvene. All right, Elizabeth, Are you
9:25
ready to get into all this? Because I have some things to
9:28
say. Go for it, Spencer.
9:31
All right, everyone come close. It's time for us to have a
9:34
meeting to talk about weathering heights and historical costuming
9:41
because there's been a lot of conversation around this film
9:44
and I think it's time we have a a little heart to heart as the
9:49
Art of Costume podcast and historical costuming and costume
9:53
design. I think Elizabeth, for too long
9:58
now, I think we've been, not us in particular, but I think
10:02
people have been confusing period, period films and period
10:07
television with this idea that because it's period, everything
10:11
has to be this idea that period has to be so accurate all the
10:17
time. You know, period means 100% all
10:21
the time has to be accurate. And you know, there's been all
10:24
these articles coming out recently with Wuthering Heights
10:27
and when I saw the other day, whichever I love from days
10:30
called and the headline says costume design doesn't owe you
10:34
historical accuracy. It doesn't.
10:37
And I really love it because it is 100% true.
10:41
Costume design does not owe anyone historical accuracy.
10:45
And I just, I think we're really at a shift and I think Wuthering
10:50
Heights is really, really at the point of like, it's at the top
10:54
of this momentum. We're talking about Jacqueline
10:57
Duran here. And I know people could have
10:59
opinions about Wuthering Heights.
11:01
You could not like this film. That's totally fine.
11:04
You could not like it because of the way it adapts the book and
11:07
you could not like it before. A myriad of different reasons
11:10
about this film. You know, that's totally fine.
11:14
And you could not like the costumes.
11:16
That's fine, but to not like it because it's not like
11:20
historically accurate to me is like that's not what it's
11:23
supposed to be. And even Jacqueline Duran and
11:27
everyone on this film says like that was never the intention or
11:31
to like even suggest that Jacqueline Duran doesn't know
11:35
her research is just crazy to me.
11:37
I mean, if you look back before this film was even released, the
11:42
paparazzi photos were coming of Margot Robbie's wedding dress in
11:45
this film. And all the historical concert
11:48
nerds are picking apart the wedding dress saying like, oh,
11:52
crashing out over her wedding dress being like, well, that
11:54
wedding dress is like, she doesn't know what she's doing
11:57
because that wedding dress syllabus wasn't popular until
12:00
Queen Victoria made it popular later on until like, the 1840s
12:05
when she married Prince Albert. And it's like, guys, like, what?
12:09
What are you talking about? And like that, that's just like,
12:12
no one cares about that. Costume design is about
12:15
storytelling, making a story, right?
12:18
It's about what the director between them and the director
12:22
making the story right, and what they see in those pages.
12:25
It's between what Jacqueline and Emerald Fernell saw on those
12:29
pages and the conversation they had.
12:31
You know, they're making a story that's being laid to the track
12:34
of Charlie XX, you know, and this like conversation where
12:40
they were seeing this blood red or like this like liquid Lemay,
12:45
poor things, which was another big that's a period film or even
12:50
like films like Frankenstein and Kate Holley.
12:54
It's period. But like, that's a film where we
12:56
get to, like, let some pieces off the hook because it's like,
13:01
but that's still another film that's in Guillermo del Toro's
13:05
vision of like, this is his vision of what period look like,
13:09
even though we all know that, you know, maybe we weren't
13:12
exactly using X-rays of hip bones to make prints on dresses
13:18
or Hamlet with Malgozia Terzanska.
13:21
She's straight up said like, yeah, I know the research, but I
13:25
also knew what I wanted to do in terms of the research when it
13:30
came to the Elizabethan period. But I also knew the story that I
13:33
wanted to tell going all the way back to Marie Antoinette and
13:38
Shakespeare in Love. All these designers know the
13:41
research, and you have to know your research to also break and
13:45
bend the rules too. So all these, all that being
13:48
said, like these designers know the rules.
13:51
And because they know the rules, know the research, they're
13:54
entitled to break them to serve their own stories that they have
13:58
been given to them through the scripts and storytelling.
14:01
Because at the end of the day, they're storytellers and they're
14:05
not beholden to historical costume professionals or
14:11
historical costume Reddit threads or whatnot.
14:15
And I'm just kind of done with being told by the this like, for
14:20
example, the new film that's also being bashed right now is
14:24
the Odyssey that El Mirosnik is doing armor for.
14:27
And people are like, I'm not going to watch this film.
14:30
Like, the armor's all right. This is not what like, you know,
14:34
Odysseus would have. Worn multiple reels.
14:37
And it's like, right, the same movie with the cyclops in it,
14:41
right? I'm so sorry.
14:43
Like this is not the armor they would have worn this.
14:46
It's just like, please be so for real, right?
14:48
No, I, I know. And it's like, I appreciate that
14:52
people are passionate about historical costume because we
14:56
need people like that so that we have the research and the memory
15:00
of it so people can draw from it.
15:04
And I just personally find it kind of disappointing that when
15:07
people see that these films are coming out and not being 100%
15:11
accurate a that, like you said, they're not understanding the
15:15
purpose of storytelling and how all of these elements converge
15:20
to tell a specific story and convey a specific vision.
15:26
Like, no one's trying to be 100% accurate.
15:29
No one has ever claimed that for the most part.
15:32
But it's like. Rare cases.
15:34
Rare cases, but I'm mostly disappointed that these people,
15:40
they go online and they crash out.
15:42
And I'm like, take this opportunity when something is
15:45
popular, when people are paying attention to it, to educate
15:49
people. Like don't just yell that you're
15:53
upset that it's wrong. Be like, hey, you know, this new
15:57
film is coming out. And I would love to take this
16:00
opportunity to, you know, teach you about you, you know, proper
16:07
1860s clothing, like whatever they're upset about.
16:12
Like teach people like most, you're the minority.
16:16
Most people aren't going to understand why you're upset.
16:22
But also it doesn't really matter if you're upset.
16:26
So like, take that energy, do something constructive and teach
16:30
people. If you're this passionate about
16:32
it, teach people. Totally.
16:35
Yeah, take take what you enjoy about this film and like, say
16:38
what you enjoyed. But this is what I enjoyed in
16:41
the movie Nosferatu, the costumes we saw.
16:44
And these were costumes that were conveyed that you don't
16:48
usually see from this time period because it's such like a
16:51
far gone period. That makes sense to me.
16:54
Like, you know, but like bashing films because it be, you know,
17:00
it's just yeah, I totally agree with you.
17:02
Just just trust our costume desires and IA 100% will always
17:07
trust Jacqueline Duran. That is just, I said that last
17:10
episode before we even saw Wuthering Heights, I was like, I
17:13
know one thing to be clear, like to be true, I will always be
17:17
down with whatever Jacqueline Duran's got it going to do so.
17:21
And you really can't deny that she made something beautiful
17:25
here. Yeah, for sure.
17:28
Right out of the gate, we are kind of going to, we're going to
17:32
skip over the young Heathcliff and Kathy just because they
17:41
don't have too much going on. It's.
17:44
Just a lot of rags unfortunately.
17:45
They're just like very dirty and running around.
17:49
So we're going to hop straight into adult Kathy.
17:54
And for Margot Robbie's Katherine Earnshaw, Jacqueline
17:58
Duran created between 45 and 50 costume.
18:01
Jeez. She wasn't even sure at the end.
18:05
She did an interview with Vogue a couple weeks before it came
18:08
out and she was like, yeah, somewhere in there, which I'm
18:13
like, that's a pretty big gap. I think she said something like
18:16
she had like a different change like every like 30 seconds or
18:20
something. Something which I believe and
18:26
Jacqueline told Vogue of Kathy's first outfit, which is this like
18:33
milkmaid outfit. It's incredible.
18:37
But Jacqueline told Vogue as the film opens.
18:40
We're trying to lay out our intentions.
18:44
This is a stylized version of Withering Heights, and it's
18:48
difficult to nail this look because it has a nod to the
18:53
period, a nod to contemporary fashion, and also a nod to old
18:57
Hollywood. It has all the themes that we
19:01
want to bring to visually to this movie.
19:05
So it was about meshing it all together.
19:10
It's a costume, and you know, it's a costume, and it's not
19:14
necessarily realistic or unrealistic.
19:19
So this is where we're starting. Yeah, yeah.
19:22
It is. I did think it was a little
19:23
interesting. I was like, it was a little milk
19:25
maid. That kind of like Oktoberfest.
19:27
I was a little interested in this one at first.
19:31
Not one of my favorites, but you know it's cute.
19:35
It's cute. It very much gives like I like
19:44
they're like poor aristocracy and I feel like it very much
19:48
gives that. I have one thing I would just
19:50
love to understand and it's you know, there's Jacqueline Duran's
19:54
very selective on the interview she does is to use she only
19:58
wears like black, white and red throughout this entire film
20:03
except like 1 like random instance of blue.
20:08
I don't understand her use of red.
20:11
I'd like in the sense that like, I don't understand what she's
20:15
trying to say. Usually I feel like I know what
20:17
she's trying to say. It's usually like something
20:22
serious like adultery or, you know, like the other woman, but
20:27
she's using red, like, straight out the gate here, you know,
20:31
like, from this Very. Yeah.
20:36
I mean, I guess that's a good way to put it.
20:38
It's like she's hot and ready to go, like for the very first
20:41
moment we see her. So maybe you got it, Elizabeth.
20:44
Maybe that that is it. I think that's it.
20:50
And Jacob E Lardy was so wonderfully filthy in this first
20:56
part of the film. Yeah.
21:00
I was like, I was like, oh, And I was like, oh.
21:04
Hey, did you see this with your mom?
21:07
Maybe yes, she's visiting. Yeah, OK.
21:15
Just wondering. I was like, do you, I have to go
21:17
see this? Do you wanna see this?
21:19
She said Sure. We were both confused walking
21:25
out of the theater anyway. Now I've lost my train of
21:31
thought. Sorry, Heathcliff.
21:33
It's Heathcliff. Disgusting, filthy.
21:37
It's wonderful. I also like talk about costume
21:45
low key being a plot point when she's wearing that leather
21:49
corset with the front lacing and he pulls her up.
21:55
Oh, when he like picks her up and I was like, Dang, like
21:59
that's some strong corset. I thought the same thing too.
22:03
I was like, damn, that thing's strong.
22:05
I know. I was like, did they like, is
22:09
Jacob E Wardy? I'm sure he's that strong.
22:12
I'm sure he's that strong. Are the laces that strong or do
22:18
they have Margot Robbie like hooked up to something?
22:21
I don't know, I I really thought that that's a great question.
22:27
I I wouldn't be surprised if it's yes to all of the above.
22:32
No, I bet you like the corsets that strong, honestly.
22:35
Probably. If it's leather, probably.
22:37
Yeah, I bet you that was practical.
22:40
Honestly, now that I just yelled at the historical costume nerds,
22:45
I'm like, actually, I have a question.
22:51
Yeah, wait, come back. I do have a question.
22:54
But we don't hate you, we just want you to play nice.
22:57
Yeah, we just play nice, OK? We could all play the same
23:01
sandbox. We just there's enough.
23:03
Division in this country, we don't need it in our costume.
23:06
I just don't like it when you yell at our costume designers.
23:09
OK, no, come back. I have a question, did Jacob
23:13
Lority? But no, you're so right, that is
23:18
a costume plot point. And I wondered the same thing
23:22
because I've tied some corsets in my day.
23:25
I've made corsets too and I am not an expert corset maker and I
23:30
know the ones I've made would definitely fall apart, but I'm
23:33
not a professional so yeah. So I don't know so and like.
23:40
I think it's such a like subtle use of cause like in a lot of
23:48
cost scenes in movies, like the lacing and unlacing of a corset
23:54
is made to be like very erotic. And it's like he doesn't even
23:58
have to undo the laces. Like it's literally this film
24:03
just being like this is what it's about.
24:05
And like by him grabbing her corset laces and lifting her up.
24:12
Is this before or after the scene where Nelly is lacing her
24:16
up for like ever? I don't even remember.
24:19
OK. Before, because that's when
24:21
she's about to get married, I believe.
24:23
Oh. OK, I like that scene too.
24:25
That was a good one. That's a good costume.
24:27
Like dressing up scenes. Right.
24:30
Yeah, just the way she was, like, tighter, tighter.
24:33
I was like, oh. Girl I.
24:34
Know you're really hoping to pass out in the middle of this.
24:36
Aren't you? Yes.
24:37
She's like, you're not gonna be able to breathe.
24:39
And she's like, whatever. In a turn for Catherine
24:43
Earnshaw, when she when she gets sick or twist her ankle or
24:50
something and has to stay with their new neighbors, she comes
24:55
back in just I was like, oh, she's an American Girl doll type
25:01
outfit. I was like, this is this is
25:06
Felicity's like scandalous step sister.
25:09
OK, I like it. I it reminded me of.
25:13
So this is the outfit she wears when she comes back from being
25:16
at the numerous for something like, what, six weeks or
25:19
something? Yeah, yeah, the Lintons, yeah.
25:22
It reminds me of like Strawberry Shortcake, honestly.
25:25
Like the little Strawberry Shortcake dolls.
25:28
It's very sweet, very girly, very feminine.
25:34
Also, like very red, white, pink.
25:39
Yeah, it's a great costume and she looks very happy.
25:42
Glowing. Heathcliff hates it.
25:45
He hates. It of course, but.
25:48
He chops wood about it. Oh man, he chops wood like
25:51
crazy. Which, of course, just makes
25:53
everyone else, especially Kathy, very uncomfortable in a very,
25:59
very understanding way. Yeah.
26:03
But it was very like Strawberry Shortcake, which is very somehow
26:08
like, Isabella and Strawberry Shortcake make sense.
26:11
And she's like very like dolls and like, kind of like stunted
26:15
youth a little bit. Yeah, I also especially love
26:19
like all the flowers on it, and it's like, 'cause clearly they
26:24
treated her like a Princess, like.
26:27
For a little too long. For a little too long, they like
26:30
bought her new clothes and earlier in the film, I don't
26:34
know if you caught it, but her dad calls her an old maid.
26:38
But this is like a very for the film, a very light, airy
26:42
costume. The sleeves are slightly see
26:44
through. It's full of these like blooming
26:46
flowers of her being like, no, I'm not an old maid.
26:49
Like there's someone who still wants me, right?
26:54
But it isn't isn't Heathcliff 'cause after so much turmoil
27:02
between the two of them, she makes the smart decision to
27:06
marry Edgar. That's a that's a crazy way to
27:13
wrap up that. A lot of crazy things that
27:15
happen between this and that, but OK.
27:18
Well, that's what it is for now. And she wears the infinite
27:26
infamous wedding gown heard around the Internet in 2025.
27:31
Sheesh. And Jacqueline says to Vogue
27:35
about her wedding gown. The wedding dress was an
27:39
amalgamation of Victorian and 1950s fashion from Franz Xavier
27:47
Winterhall to Charles James. So they're just throwing
27:51
everything at this movie, Yeah. I actually love the wedding
27:57
dress, not gonna lie, because one, it looks cool, but you
28:02
hardly even see it. But the way it's the way it's
28:06
shot, it's very veiled and it flows very perfectly in the wind
28:10
and it's very cloudy and dark. Like it just works very well
28:14
with like the production design where she kind of looks like a
28:17
ghost and she's just like so kind of like distraught and kind
28:22
of like dead like that. She just feels very like
28:25
spectral ghost, like weird. She just feels kind of like
28:28
dead. Like she's just like she doesn't
28:30
even want to be here. She doesn't want to be married
28:34
to Edgar Linton. She doesn't want to be here.
28:36
She wants to be married to Heathcliff.
28:39
So again, like, I'm This is why I was kind of upset that the
28:43
Internet like bashed the movie so hard over this dress because
28:46
like it was taken out of context so hard that like I just liked
28:52
just this dress so much because it just said so much about her
28:55
character in this moment, about how just like how the press and
28:58
how it was almost like a funeral outfit more than anything.
29:02
Like then it was supposed to be like a happy like wedding dress
29:06
than anything. So I loved it for that moment.
29:10
Absolutely and I agree with the whole cause.
29:14
Like literally she is just like resigning herself to a very
29:19
lavish lifestyle. But still she knows she doesn't
29:25
love Edgar the way she loves Heathcliff.
29:28
And she's just like, well, Heathcliff has up and
29:32
disappeared. Heathcliff has left the chat, so
29:35
she is making the best of her. She waited a whole year and
29:40
Heathcliff was like, forget you. Totally point of point of a
29:47
conversation, Nellie. I I don't want to defend Nellie.
29:53
But like, please do. Nellie needs defending in this
29:55
movie. But clearly like 1 like if we
30:00
didn't see Heathcliff standing outside the door.
30:03
But like Kathy did say what she said, though what she said was
30:08
not very nice. So like.
30:14
Like. It was not very nice, dear.
30:18
No, Oh my gosh. In the book, he's actually in
30:21
the room when she says that. Kathy just doesn't know.
30:25
Well, so there you go. So.
30:27
And like he, that's when he like gets up and leaves and Nelly's
30:31
Nelly sees him and is like, oh shit.
30:33
But I'm not going to tell Catherine because that will just
30:35
make things worse. Yeah.
30:37
So I don't know, I feel like, I feel like Nelly's kind of like a
30:41
scapegoat for most of the time. Nelly has done dirty in this
30:46
movie. I'm just going to put that out
30:48
there right now. I did not like how Nellie was.
30:55
Treated. She's kind of done dirty at the
30:58
end too, when she was like, my bad, I don't know, she's
31:01
dramatic as hell, how was I supposed to know?
31:06
Spencer I can't get into it. I can't get into it.
31:09
I was so mad. And I will tell, like, I went
31:14
into this film with a very open mind 'cause I knew it was not a
31:24
page for page adaptation. I knew that I'll get into it
31:29
more later. But there were some things that
31:31
I was like, hey, hold on a second.
31:35
Nelly was one of them. But after this spectral wedding
31:40
gown, Kathy has a quite the wedding night ensemble that
31:48
Duran explains to Vogue, saying One image Emerald showed me was
31:55
this amazing 1950s picture of a woman wrapped up in cellophane
32:01
like a gift with a bow around the middle.
32:05
That was the starting point for this look and we thought, how
32:09
can we recreate this? It's about Kathy being a gift on
32:14
her wedding night, making herself a gift, which has all
32:20
sorts of problematic things in there, but it created quite the
32:27
look. This was like the one costume in
32:32
the film that I actually didn't like.
32:35
Yeah, same. Same, but I like OK, I actually
32:39
like the idea of it, the cellophane.
32:41
Like I like, I, I mean like obviously it's dark, but I like
32:44
the idea of like her being like this gift to Edgar.
32:47
Like it's like dark and spooky. Like I like the idea of like
32:51
behind Emerald Jacqueline's thinking, but like in the you
32:55
only see it for like another again, like another hot 2nd.
32:58
But like just in that moment when I was singing in the
33:01
theater and I saw the cellophane, I was like, what was
33:04
that? Like it was just like an
33:05
egregious moment of me in that theater being like spitting out
33:09
like my coke zero and popcorn. And I was like, what was that?
33:13
You know, I was just like, whoa, it's.
33:17
One of those things where I'm like love the concept execution
33:23
question. Mark, it's just yeah, I don't
33:25
know if it's just read, it's just read or weird on screen.
33:28
But like I appreciate the like crazy thinking about.
33:32
So I'm all about it. I'm not.
33:34
It doesn't make me want to. I'm all about the thinking.
33:38
So I'm not going to take docketing points.
33:40
I like the intuitive thinking. Yeah, especially when you see
33:45
that cause the Vogue article had a lot of the images Jacqueline
33:50
used on her inspiration boards and they had the image of the
33:54
woman wrapped in cellophane. And I'm like, I see how we got
33:57
from A to BI. See that?
33:59
The references are cool. I kind of like the references a
34:02
little bit better. So I don't know, I think it's
34:05
just like the lighting mixed with the actual execution.
34:11
I don't know what it is, something I don't know.
34:14
I think it's the top of this. Yeah.
34:20
Bottom down, like middle down. Amazing.
34:23
It's the top that gets me. I feel like it's the bow to me.
34:27
I feel like the bow makes it look like wrapping paper a
34:30
little bit. I don't know.
34:33
I don't. Know, I don't know.
34:35
We'll have to think about this. I'm sure Jacqueline Duran's
34:38
listening to this and she's just like, gosh, I was going to go on
34:41
this podcast and now I'm not. We've literally never been able
34:47
to get her. I've literally sent 1000 emails
34:51
of subject line Jacqueline Duran.
34:53
Anyways, next costume please before I ruin my chances one
34:58
more time. Spencer, I don't know about you
35:04
you, but I love the amount of jewelry collabs in film that we
35:09
have been learning about. And in Withering Heights,
35:13
Jacqueline once again reached out to Chanel.
35:17
Oh my gosh. Yes, for the films jewelry
35:21
needs, as she explained to Vogue saying Chanel are amazing.
35:26
We need a jewelry for Kathy that was exquisite and bold.
35:31
It was great for us if you could see the historical origin in the
35:36
design, which were at the same time so exciting and modern.
35:42
I contacted Elsa Heisman, Chanel's global director of
35:48
cinematic relations, and she went through their archives with
35:53
a fine tooth comb, uncovering the most wonderful vintage
35:58
pieces. When the packages arrived, we
36:02
were beyond thrilled. I love it.
36:06
I love how all of her costumes need excessive security.
36:09
I love it. Wait did did Jacqueline also
36:12
work with Chanel on Anacritina in the last episode?
36:15
I I imagine like at this point Chanel has like a red phone
36:19
dedicated to like Jacqueline Duran that just rings every
36:22
couple years. They're like, Oh, no, the JD
36:25
phone's ringing. That's so cool.
36:28
Yeah, you're right. Like these costume designers are
36:31
really leaning on like, these designers for like, vintage
36:34
jewelry pieces now. And I love it.
36:37
That's cool. So I, I mean, and I thought the
36:40
same thing. Like Kathy's pieces were really
36:42
shining. Every single piece, too, was
36:44
really like doing the job, too. And there's some serious
36:48
montages too. Oh yeah.
36:51
Especially because it wasn't just she wouldn't have like a
36:54
statement piece on head to toe rings, bracelets, brooches,
37:01
necklaces like she had everything all the time.
37:05
Especially in the the unhappy Kathy montages.
37:13
She is just dressed to the nines and like she really is living
37:22
the life with Edgar and Isabella and not appreciating it.
37:28
That's another point I won't get into.
37:33
She's overcompensating it feels like.
37:35
Yeah, she's absolutely overcompensating.
37:39
But Spencer, let's take this little montage moment to talk
37:42
about some of our other characters, like Edgar.
37:46
Yeah, he's, he's like a pretty like in terms of like what Kathy
37:51
could have got stuck with. He seems like a pretty chill
37:54
normal guy, right. He's.
37:55
So nice, he's so chill. He like wants to give her
37:58
everything possible. Yeah, and he's not ugly also,
38:03
right? No, he's quite cute.
38:07
And Jacqueline really wanted to show that he in this, in the
38:13
film, he's supposed to be new money.
38:16
So she really went into that concept, like, really giving
38:21
him, I don't want to say garish, but definitely, like, his
38:28
costumes are as over the top as Kathy's are.
38:33
Yeah. Like they match each other quite
38:36
well. Yeah, he he like kind of toes
38:39
the line. He's close but not exactly
38:41
there. 100% for sure. Yeah, yeah.
38:45
We also have Nelly, who's just kind of still Kathy's companion.
38:51
Right, which is such a confusing character to me.
38:55
So in in the book she's just a servant who is slightly older.
39:04
You know how, like, growing up, people are always like, Oh yeah,
39:08
I'm like, your mom paid me, they'd be your friend or
39:10
whatnot. Like that joke, That's how I
39:13
always read it. Like Nelly was like, paid to be
39:15
her friend. It felt like no.
39:18
She's a she's straight up a servant.
39:20
Like there's so many times where Nelly's like Kathy, I have a
39:24
work to do. What is your problem?
39:26
Yeah, but then I also was like, I think your servant wants to
39:30
murder you, honestly. Like like Nelly does not seem to
39:34
like Kathy one bit. No, not in not in this.
39:39
And like she's like, she's like a ladies maid or a paid
39:44
companion in this, which was not unheard of for the time, but
39:49
she's also like the bastard daughter of like it seems like a
39:53
Lord or something. Yeah.
39:56
And I was like, Emerald Fennell. Why?
40:01
What was the point of that? But I like just how simple Nelly
40:09
is. But how she however well Kathy
40:13
is doing is how much better Nelly is also looking.
40:18
It's like the 2GO hand in hand. Yeah, that is true for sure.
40:22
One person who might be more over the top than Kathy, and
40:31
probably the the most different of all the characters from the
40:37
book, at least in my view, was Isabelle or Isabella, as
40:48
Jacqueline had some pretty fun inspiration for Isabella from
40:55
the 1860s, saying to Vogue, I particularly love the skirt
41:01
shape from the 1860s. And we looked in fashion manuals
41:06
of the period for all the ways in which people would trim
41:10
things and add bows and lace and how complicated their dresses
41:14
would be and how fussy Isabella as a character is, someone who'd
41:20
spend all day making ribbons and bows and trimmings.
41:24
So we really just went to town with that idea, and even Hoover
41:30
did it, potentially. It's all quite childlike and
41:33
naive, and it's our own exaggeration of that historical
41:37
period. Yeah, she was honestly a little
41:41
creepy because like, it's, it's like so hyper feminine, so many
41:46
bows, so many ribbons. That's.
41:49
It's not just feminine, it's girlish.
41:52
Yeah, it it is. Like you can't even place how
41:55
old she is honestly. No, you can't.
41:58
Which was that was like the most like, like disturbing part to me
42:04
was like, 'cause they end up saying she's like 20 something,
42:08
right? I was like, is she 13?
42:10
Is she 16? Is she 8 like?
42:12
Is she 12? Is she 18?
42:14
And then she has that scene with, like, Heathcliff and
42:16
you're like, oh, is she older than 12?
42:20
Is she like, I don't like, I don't know how old she is.
42:24
Like, I don't get it. And now she's chained up in the
42:28
house barking like a dog. And you're like, OK.
42:32
You know what else I didn't get, Spencer?
42:37
The connection between Withering Heights and Romeo and Juliet
42:43
that Emerald Fennell try to make in the scene where Isabella is
42:50
wearing the yellow dress. With the scene where we are
42:52
introduced to Isabella and she's telling Edgar all about Romeo
42:58
and Juliet, which she just read and straight up says some people
43:03
think the Juliet's like Nurse. Yeah, Nurse is the bad guy.
43:11
And I'm like, why are you just straight up telling us it's
43:15
Nelly in your view? It's so funny.
43:19
I caught that, too. I was like, Oh no, not this for
43:21
six, playing Romeo and Juliet. Elizabeth's gonna hate this.
43:24
I was. Crashing out in the theater,
43:26
Spencer. Yeah, but Isabella was
43:29
definitely a fun character. So over the top, so many, so
43:33
many different colours, just like unsettling, honestly.
43:38
And I could imagine just like Jacqueline just having so much
43:41
fun with this character. In terms of the costume.
43:44
I know it's like almost like this is where like she like she
43:47
said, like they picked like a period that they like had a
43:51
reference, but they just kind of like got to go over the top with
43:54
it in terms of the research. So.
43:56
I especially loved that like rainbow Organza dress she has.
44:01
I was like, oh, look at you, 'cause like that was like a
44:05
growing up moment for her. And I was like, look at you go
44:09
girl, look at you go. That's a good one.
44:13
Unfortunately it it doesn't particularly end well for her,
44:17
but we've got more Kathy to deal with.
44:21
Yeah, I was starting with this like Red Riding, like Red Riding
44:27
Hood look that she has going on. Her Christmas Day.
44:31
Oh yeah, it was. Christmas wasn't.
44:33
It Yeah, this this was her Christmas Day ensemble and she
44:36
is like, all of a sudden I need to go see my dad.
44:40
Yeah, didn't work out. So well, at the time of her
44:43
interview with Vogue, Jacqueline hadn't seen the film yet.
44:48
But there was one costume she was extremely excited to see in
44:53
the final cut, and it was this, she said to Vogue.
44:58
I loved watching Kathy walking through a snowy landscape in a
45:03
bright red Cape. Red capes like that are actually
45:07
historically accurate for the era, though our Cape isn't
45:11
particularly historically accurate.
45:14
It's very much like a costume referencing the past but also
45:19
1950s melodramas. But with that look, I was even
45:25
more pleased to see what happened to the dress under the
45:29
amazing lighting designed by Linus for the scene.
45:34
It has a kind of fractured overprint that's icy, which
45:39
looked incredible in that snowscape.
45:43
It did. Yeah, it really did.
45:46
If if she just looked incredible walking through like that, like
45:50
tattered old home, she looked great.
45:53
Yeah. I mean, like even that was like
45:55
maybe a scene like we probably didn't even need, but like we
45:59
she looked great though, like, you know, like Jackie said, like
46:02
she looked awesome. So I agree that's funny.
46:05
And like, it's kind of funny that she kind of mentioned like
46:08
the blurred line between historical accuracy and like,
46:12
combining like these contemporary like references at
46:15
the same time too. Yeah, absolutely.
46:19
Another place that really happens is when Heathcliff
46:25
returns. Yeah.
46:27
And she's throwing him, showing him through the house.
46:30
Things are spiraling. Yeah, and this was like one of
46:35
the costumes that people were also like, hey, what's going on
46:38
here? Yeah, because people are like,
46:42
why are you putting latex in this film?
46:44
Well, Spencer, guess what, It's not latex, Jacqueline told
46:50
Vogue. It's just an ultra shiny,
46:55
synthetic plasticized contemporary fabric.
47:00
Red is a key color for Kathy throughout the film and she
47:04
wears a few high shine pieces. That idea of a shiny surface is
47:13
key to Kathy's character and costumes.
47:16
We use this look in this scene because it was about combining
47:21
the dress and the set in a really artificial, highly
47:27
stylized way because it has this rubberized, high shine red
47:32
floor. They seem to blend into each
47:36
other and then the walls of the library are white like her
47:39
blouse. I love that look.
47:42
I I never thought it was latex to me like it always look like
47:45
almost like a Lemay, but I I love it.
47:49
It looks cool. I like like the shiny surface
47:52
aspect of it. It does look like synthetic
47:55
though, like it looks yeah, I I love like that shiny exterior
47:59
aspect of it though too. It just looks like almost like
48:03
Heathcliff should be a little like on guard when he sees her.
48:07
Like something is not right here for sure.
48:10
And she's just trying to, like, melt into the background.
48:14
Totally. Yeah.
48:15
And she's just, like, gliding on the surface.
48:17
The floor is totally creepy. Like this place is creepy.
48:22
Yeah, I hadn't. Yeah, I didn't like the house.
48:25
I I this is beautiful. But unsettling.
48:29
It's like, it's, it's like if Crimson Peak was like decorated
48:32
by like people who like use like pinks and whites, you know, and
48:37
like actually like remodeled. Like when Edgar set her up in
48:41
the flesh coloured like bedroom. I was like, OK, OK, kinky, a
48:46
little spooky there. Edgar.
48:49
He was like, I like your freckle or whatever.
48:51
I was like, OK, right, Spencer? The way I almost walked out of
49:00
the theater because I thought that was so creepy and like, so
49:04
you put her skin on the walls? What?
49:07
Yeah, I was like, gay. Don't love that, but all right.
49:12
You know who would never do that?
49:13
Spencer. I think you're going to say
49:17
Heathcliff, but I don't know if I agree with you, but proceed.
49:20
He wouldn't let Kathy know she has that much of a hold over
49:25
him, even though she absolutely knows it.
49:27
But yes, Keith Cliff, he has re entered the chat.
49:31
So let's take a minute and talk about his just impeccable
49:37
Georgian costuming, Jacqueline said of these looks for him.
49:44
We went into a kind of turn of the century 1800 style.
49:51
He wears dark colors. He's obviously very brooding.
49:54
He has these classic romantic hero white shirts and a long
50:00
black coat. It's a heroic, ironic look
50:05
that's been established over time in cinema and theater.
50:09
I loved that. Yeah, I mean, and I kind of had
50:12
a feeling, I obviously haven't read the book, but when I knew
50:15
he was gone for this long and I was like, oh, I know he's going
50:18
to show his ass back up looking real good at the end of this.
50:21
I just, I was like, I just know where this is going at this
50:24
point. And sure enough, he showed up
50:26
and I was like, yeah, he's looking real, real dapper, real
50:30
fine. And it was just was like that
50:32
typical like Georgian era, like real cleaned up, high collar,
50:38
real put together big lapel. He looked good.
50:41
And he's just like he had that silhouette write down everything
50:45
looked perfect. Like, you know, he had been like
50:48
studying like sure, he is rich, but you could just tell he was
50:51
like studying everything that made like a rich, perfect
50:55
tailored man in this era. So like it was a foul proof,
50:58
foul proof plan so that Kathy couldn't say anything, you know,
51:04
so she was like she had nothing to say now that now, now she had
51:08
to love him because yeah, there was nothing else that that would
51:12
keep them apart now at this point, so.
51:15
Exactly. Except to maybe that gold tooth.
51:18
I did not like that. Well, whatever that was, I was
51:23
like, was that necessary? Go fill it with something so.
51:28
You know, yeah, no, I loved him. It was perfect.
51:32
It made me annoyed. Yeah, he looked so good, which I
51:36
think was the point. And Kathy just keeps pulling out
51:42
spectacular looks, including this one, which is the one of
51:49
the most historically accurate looks of the period.
51:53
Though it is inspired by Swiss peasant costume of the time, not
52:01
English aristocracy. Duran took inspiration from
52:06
winter Hall paintings. And she said, I love the
52:11
combination of white and velvet and the chains.
52:15
I felt like it earned its place in the story.
52:19
We are talking about her black and white.
52:22
Just like when things are going good with Heathcliff, she's got,
52:28
you know, everything is situated with her side piece.
52:32
She's got her nice plushy life at home.
52:36
I really liked this look. Yeah, it was a cool one.
52:40
It has like the kind of like cut out in the middle.
52:42
It's it's a good one. I like it.
52:44
It's a good one. It was perfect.
52:47
It was not more perfect than Kathy's rainy night ensemble.
52:53
Spencer. I almost fell over when I saw
52:58
this on the screen. I was like, yes, Jacqueline,
53:04
thank you. What?
53:08
And she talked about it to Vogue, saying of the midnight
53:12
blue dress. It's something that takes you
53:16
out of the period. But it was exciting to mix the
53:21
shape of a Victorian dress with a fabric that was completely
53:25
modern. This black dress was partially
53:29
designed to be worn in moonlight when cinematographer Linus
53:36
Sandran lit the scene. The way it bounces the light
53:42
back, it feels almost like she's exuding that moonlight too.
53:50
Oh, so it's not you in blue, it's like black?
53:52
No, I said it was blue earlier, but it's black.
53:55
I also said it was blue because the way it shines it looks blue.
54:01
It looks like the midnight sky. It looks like the rain that is
54:05
falling that Heathcliff is waiting for her in when she
54:10
walks outside. This dress took my breath away.
54:15
Yeah, that's a good one. That's that's when she needs to
54:19
go outside and basically kind of start to break things off.
54:24
Yeah, yes, that's this is when things start to spiral off
54:28
control. When Heathcliff was like, I
54:30
could kill him for you. I was like.
54:32
Yeah. I was like, hold up, say what
54:37
now? I'm pregnant with his kid and he
54:40
was like OK whatever, that's fine.
54:42
Yeah, that's what things start to get a little dark.
54:44
I was like. So yeah, I.
54:47
Was like I'm on comfy. Yeah, that's a great costume
54:51
though. Spencer that brings us to the
54:55
end of our journey through quote Withering Heights UN quote.
55:00
Oof. Yeah, that's and it was also the
55:02
end of Kathy's journey, if you know what I'm saying.
55:05
Yeah, yeah, she bit the dust. She kicked the bucket.
55:09
She did not survive her affair with Heathcliff and Edgar.
55:15
Unfortunately, Nelly did not, so let's just say that Kathy cried
55:24
wolf a couple times too many. Yeah, yeah, that's exactly what
55:30
happened. Sadly, unfortunately.
55:34
Yeah, very unfortunate, but we're going to take a little
55:38
breaky break and then come right back.
55:41
Cool. Sounds good.
55:46
All right, so Elizabeth, Are you ready to get out of the rain
55:50
here and play some of our favorite games and hang up the
55:54
dog collars and whips and all sorts of things that we
55:58
encountered in this episode? Yeah.
56:02
And bows and so on and so forth. Yes, Spencer, Are you ready to
56:09
give this a stitch rating? Oof, I'm nervous for this.
56:12
I, I mean, I am too. I'm nervous for you.
56:16
But I on letterbox I gave this a four out of five.
56:22
OK. Because I I had a good time.
56:25
It was fun. It was artistic.
56:27
I mean, I, I haven't read the books.
56:29
I went into this with no expectations.
56:32
I thought it was beautiful. I felt like it didn't drag well,
56:37
do what I think maybe a little bit toward the end, I was like,
56:39
all right, this is starting to feel like we're wrapping up
56:42
here, but it's just thought everyone did such a great job.
56:46
Margot Robbie, Jacob Allordy. I like the direction.
56:48
I like the music by Charlie XCX. I thought the costumes were
56:52
great. Production was good.
56:56
So I don't know, like I I just like I really liked it.
57:00
I maybe like a 3.5. It was fun.
57:05
It was good. I liked it.
57:07
I don't know, I thought it was beautiful.
57:09
So yeah, I think I'll, I'll stick stick with that all.
57:15
Right, all right, I'm. Scared.
57:18
I am definitely sitting at a 2 1/2 stitches.
57:24
I OK because I have read the book.
57:29
I read it recently to prepare, especially because I didn't want
57:34
to make criticism of something I had read maybe 10 years ago.
57:43
And this is a visually stunning film.
57:47
Like if you just want to watch something that is beautiful from
57:53
lighting, cinematography, costume, set design, art
57:58
direction, watch this film. The acting's great.
58:05
I think Emerald did the story. She wanted to tell a disservice
58:13
by keeping it, by keeping the trappings of withering heights.
58:22
I think she would have had a better story overall if she had
58:30
just done, if she had said, oh, this is something inspired by
58:34
Withering Heights, not an adaptation of Withering Heights.
58:38
Because I understand her inspiration.
58:43
We can't like inspiration comes from all different places.
58:47
That's how creativity works. That's how art works.
58:52
I totally understand how she was inspired by Withering Heights,
58:57
but she's obviously trying to tell the story of like repressed
59:03
sexuality and feelings at during a time where it was hard to
59:08
express those things. And, you know, comfort was a a
59:16
real consideration when you were deciding who to love and like
59:21
who to marry. And I understand, like, that's
59:27
kind of where she was going with this.
59:29
But I don't think keeping their names, keeping the trappings of
59:37
Withering Heights, served that story.
59:42
He said keep Kathy Heap this name out your mouth is what
59:45
you're saying. Well, that's.
59:47
Like she pulls out these certain elements that make withering
59:52
heights withering heights, and I don't think keeping them in
59:57
served the story she wanted to tell.
1:00:00
Well, yeah, I mean, like we set up again.
1:00:03
She's clearly said she want to make the changes, that she feels
1:00:07
like she want to make the changes, so.
1:00:10
I that's I don't have a problem with that.
1:00:11
You want to change a story a little bit, that's fine, but
1:00:16
when you end up telling a story that's not really in the book, I
1:00:23
would argue I don't see the point in holding yourself back.
1:00:31
I felt like she was held back by the fact that this was an
1:00:35
adaptation of Withering Heights, if that makes sense.
1:00:39
Well, what we do know is that we do know costumes, and there were
1:00:43
some costumes that we definitely got right in this film.
1:00:47
Sorry, ready to play our favorite game?
1:00:50
One costume ruled them all. All right, hit it.
1:00:54
One costume to rule them all. OK, Elizabeth, I actually I'm
1:01:05
kind of torn between two costumes, but they're kind of
1:01:07
similar, honestly. So I picked the wedding dress
1:01:16
that everyone so like love to bash in the media.
1:01:21
And honestly, that's probably why I picked it because I loved
1:01:25
everyone lining it up for no reason because of the silhouette
1:01:29
and whatnot. But then also there's a, a look
1:01:32
in the film that we didn't talk about the funeral look when her
1:01:36
dad dies, just like that little veiled look.
1:01:39
Awesome. So both of the veiled looks
1:01:41
honestly. If we had talked about it, I
1:01:45
there was just so much in this film, like unfortunately it was
1:01:48
one of the things where I was like, we got to keep going.
1:01:51
But in the film, watching the scene of her father's funeral, I
1:01:55
was like, this is more her wedding gown than her wedding
1:01:58
gown. Than her wedding gown.
1:01:59
Oh my gosh. But she was making me crazy
1:02:01
holding hands of Heathcliff at the funeral.
1:02:04
I'm like stop it. Your husband is standing there
1:02:08
like eulogizing your father maybe.
1:02:10
Like maybe? Like tone it down for a second,
1:02:13
kid. I know I can't, but yeah, I love
1:02:17
all the veiled looks I thought was really cool.
1:02:21
Yeah, those are two great costumes, so.
1:02:23
But there's so many costumes to pick from.
1:02:25
I'm calling it now. I honestly think Wuthering
1:02:28
Heights is going to be an Oscars conversation in the next next
1:02:34
cycle. So.
1:02:36
I. Costume wise.
1:02:39
I don't know all, I mean, it's, it's killing at the box office,
1:02:45
it's doing so well, but. Jacqueline Duran Never count
1:02:50
out. Jacqueline Duran.
1:02:52
That's true, That's true. She gets nominated like every
1:02:55
single time. Yeah, so anyways, when was your
1:02:58
one costume to rule them all? MY1 costume to rule them all is
1:03:02
her not blue rainy night dress. I just like it.
1:03:10
Not like I was floored in the theater.
1:03:13
I saw it and I was like, damn, look at that.
1:03:17
The way it interacts with the rain, the lighting.
1:03:21
It's Kathy's like basically her last like big look, 'cause she
1:03:26
does. She gets sick after this.
1:03:30
She takes one last moonlight walk in the rain and then they
1:03:33
start going down. They go downhill real fast, real
1:03:38
fast. I love, like I will say I did
1:03:42
love at the end when Heathcliff, when she's dead and Heathcliff
1:03:46
comes to her and you just hear like the whispers of her saying
1:03:50
his name. Oh, I didn't hear that.
1:03:56
Yeah. I mean, it was a beautiful
1:03:58
moment. I was.
1:03:59
I was. Sad, See.
1:04:00
Didn't you feel it? I was all sad and emotional.
1:04:03
I'm it was not a bad film, but like I said, I don't think she
1:04:10
served her own story by keeping it.
1:04:12
So tight to. Withering Heights, Spencer.
1:04:16
I was like in the lobby of my AMC all crying in my popcorn.
1:04:19
I went, I did a double feature. I went and saw Zootopia and I
1:04:24
saw Withering Heights and I was all distraught afterwards.
1:04:27
You saw Zootopia first. That's just the way the schedule
1:04:31
lined up. I wish I could have did Zootopia
1:04:34
last to cheer me up honestly. But going to say yeah.
1:04:37
But just for the record, Zootopia actually was not very
1:04:40
cheerful either. I mean, those are some deep
1:04:42
themes. Also Zootopia too true.
1:04:45
There's, I mean, we were having a conversation about ethnic
1:04:47
cleansing in Zootopia too, but that's a whole other podcasts
1:04:51
that I'm not going to get it. No.
1:04:53
Anyways, great when Kasu ruled them all.
1:04:56
That brings us to the end of Watering Heights.
1:05:00
Elizabeth, I'm so glad we got to do this.
1:05:03
I know it was a doozy of an episode, but Toxic Relationship
1:05:08
Month really paid off 'cause we really got into some toxic
1:05:12
stuff. e-mail us at The Art of Costume at gmail.ta@gmail.com.
1:05:17
Tell us what you loved from Weathering Heights if you want
1:05:22
to tell us what you will also got on your nerves as well some
1:05:26
of your favorite costumes. We want to hear it all tells
1:05:29
your comments, questions, concerns.
1:05:32
Of course, you could always follow us at the Art of Costume
1:05:34
pod on Instagram, Tiktok at the Art of Costume, where we'll be
1:05:39
posting clips. You'll be able to see me, my
1:05:41
beautiful face sitting in my bed or Elizabeth, clearly reading
1:05:48
some of these facts and concern about me being in my bed.
1:05:52
Merch store at theartofcostume.com/pod store.
1:05:56
Elizabeth, I am so excited about next month's series because we
1:06:02
are moving into Oscar season. And while we're not going to
1:06:06
just talk about this year's Oscar movies because we've
1:06:09
basically done that already on the podcast.
1:06:12
So instead we're going to kind of kick it back to really just
1:06:16
talk about Los Angeles and the city that we live in.
1:06:20
And what better way to do that than to talk about a film that
1:06:24
just really celebrates Los Angeles.
1:06:26
So next week or not next week, next episode, Elizabeth, we will
1:06:29
be watching. What are we watching, Elizabeth?
1:06:32
Once Upon a time in Hollywood. Yeah, I'm so excited.
1:06:38
This is one of my all time favorite films.
1:06:40
I'm so hyped. Never seen it before, I can't
1:06:43
wait. You've been.
1:06:45
Talking about it forever. So I'm really excited to dive
1:06:49
into Once Upon a Time in Hollywood.
1:06:53
Everyone, if you could leave us a little five star text review
1:06:56
on Apple podcast, but we would really appreciate that.
1:07:01
And while you're waiting for our episode on Once Upon a Time in
1:07:05
Hollywood, go listen to The Costume House with Spencer
1:07:08
Williams. Hey, yeah, go do that.
1:07:11
We have recently we had an episode with Jenny Bevin and we
1:07:14
talked about the Coral and also we talked about Mad Max, Fury
1:07:18
Road and Furiosa and we have more episodes coming up.
1:07:23
I'm getting ready to record one this week and I have another one
1:07:28
coming up and more stuff coming up that they're just kind of
1:07:31
dropping sporadically. Another big one I'm excited
1:07:35
about. But of course I just don't want
1:07:37
to announce them until they happen.
1:07:38
So you don't get your hopes up until they happen.
1:07:41
So they're like surprises so and I won't be sick during those.
1:07:45
That was, this is a one time thing.
1:07:47
So until then, don't keep people up in your barns.
1:07:56
Be nice to your stable boys. Yep.
1:07:59
And don't talk about them behind their backs, especially if you
1:08:04
love them. And do what?
1:08:07
Tell your stable boys that you love them and mean it, you know,
1:08:11
or don't. If you don't love them that
1:08:14
that's say that too, you know? Maybe just treat them with
1:08:19
kindness and humanity. Yeah, do that too.
1:08:23
Just mean what you say and say what you mean.
1:08:26
And also when you have a really, just really, really nice, rich,
1:08:30
attractive husband, maybe just appreciate that.
1:08:34
Just appreciate what you've got. Appreciate what you got
1:08:37
everybody. Yeah, until next time,
1:08:41
costumers, have a good week.