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Dune: Prophecy with Costume Designer, Bojana Nikitović · The Art of Costume Podcast

0:06
Hello and welcome to the Art of Costume podcast.
0:08
I am your host Spencer Williams and thank you so much for
0:12
joining me for another bonus episode.
0:15
Hey costumer, it's so good to see you all.
0:17
I'm excited to be here today to talk about another 1 of this
0:20
year's exciting Emmy nominees in costume design.
0:24
And of course, we're here today to talk about Dune Prophecy, a
0:28
show that you should all have rightfully assumed that I, of
0:31
course, am in love with because I love everything Dune.
0:35
So I was so excited to talk to costume designer Boyana
0:38
Nokiavich about the costumes. You know, Boyana from a lot of
0:43
incredible work such as Ghost Rider, Spirit of Vengeance, The
0:46
Forest Underworld, Blood Wars, Voyagers, The November Man, and
0:51
she even worked as an assistant costume designer on The Life
0:54
Aquatic with Steve Zizu and Marie Antoinette.
0:58
I mean, these are some incredible films.
1:00
And of course, Boyana is a 2025 Emmy nominee in Outstanding
1:05
Fantasy sci-fi Costumes for her work on Dune Prophecy.
1:08
And of course, earlier this year, Boyana also won the CDG
1:12
Award for Excellence in sci-fi Fantasy Television.
1:16
I'm such a big fan of Boyana. After this interview, we
1:19
actually got to hang out a little bit more.
1:21
I ended up interviewing her at the Incredible Sketch, the
1:24
Screen panel with HBO Max, and the HBO originals, which was so
1:29
much fun. And I know you're all gonna love
1:31
her. So please join us after this
1:34
break as I talk to costume designer Boyana Nokiavich about
1:38
the costumes of Dune Prophecy. I am so happy to welcome Dune
1:48
Prophecy costume designer Boyana Nikitovich.
1:52
Hello, how are you? It's so good to see you.
1:54
Oh good, good to see you too. I'm good.
1:57
Just arrived 2 days ago to LA and ready to leave tomorrow but
2:01
good. Oh, you're leaving us so soon?
2:03
Well, you did get a little bit of LA sunshine for a little bit.
2:06
But exactly. You're on the road again.
2:09
Well, it's so good to meet you finally in person.
2:12
I was so thrilled to be at the Costume Designer Guild Awards
2:15
this year, and we were so thrilled to see you walk away
2:19
with the award for Excellence in sci-fi Fantasy Television.
2:22
I just want to know what was going through your mind when
2:25
you're on that stage in front of all of your peers with that
2:27
award. I mean, it was one of the most
2:30
exciting moments of my I, I really didn't expect it and I
2:34
didn't even prepare anything. I didn't put, I asked my son who
2:40
he speaks English much better than me because he lived in the
2:42
states, he graduated, he went to high school in States and
2:45
everything. And I was like, let's prepare.
2:46
When I, when I was nominated, I said, let's prepare something.
2:50
And he said he said, no, Why would you prepare?
2:52
You just say, if you, if it happens, you just say thank you
2:56
to the crew and etcetera, etcetera.
2:58
And then, you know, I find myself on that stage and I'm so
3:01
overwhelmed with the emotions and everything and I'm not
3:04
prepared. But I mean, it was really good.
3:09
I I'm so glad not for only only for myself, but for the whole
3:12
crew, because I know how much they, all of them worked hard
3:19
and we are really a team. And then the, and one nice.
3:25
There is a nice thing that I noticed.
3:27
Each person, each costume designer or designer who got the
3:33
award that night said thank you. So to the team, that means that
3:38
we all really appreciate the work of our collaborators and
3:44
whoever is the part of a of a costume team, it is a teamwork,
3:48
always. Right.
3:50
I mean, a lot of people just think that there's just one
3:52
person at the top who's designing all, you know, 2000 of
3:55
these costumes. When you're designing in
3:58
multiple worlds in a series such as Doom Prophecy, I mean, it, it
4:01
takes a literal army to design an army.
4:04
So you of all people know that better, right?
4:07
Than anyone. Yeah.
4:08
You kind of like a small, not even small, but like a factory
4:12
that was producing nonstop hundreds of costumes.
4:18
I must say myself, I'm very control freak.
4:21
I like to be involved in everything, maybe even too much.
4:26
I'm very difficult in letting things go.
4:28
Anything but I, I, when I'm sure that something is good, then I
4:32
then I let it go. So, yeah, I really, I'm glad
4:36
that now after the last five years, six years, I have a team
4:42
of like 20-30 people that I almost always, when we have a
4:46
big project, we always working together.
4:49
And I really trust them. You know, there are textile
4:52
artists, there are metal artists, leather, leather
4:56
masters and, and of course, my, my closest collaborate, my
5:01
assistants. And those are the, those are
5:04
people that I really, really trust.
5:06
And it's so good when you can rely on someone else's talent as
5:12
well. You know you when you give the
5:13
idea, but then you know that there will be someone who will
5:18
make it, you know, real, and who will add something else,
5:23
something good, something new to make it even better.
5:26
Yeah, yeah. Well, it, it definitely comes
5:28
through in your work and it's it's just so incredible.
5:31
So I think we should just jump into it.
5:33
I'm, I'll just admit, I'm a big Dune fan.
5:35
I love Dune, I love the books, I love the movies, I love the
5:39
show, I love the characters, lore.
5:41
I mean, I could go on and on about it.
5:42
So I'm very excited to talk to you.
5:44
Doom Prophecy is a a series that takes place 10,000 years before
5:49
the Paul Trady story that a lot of people are probably familiar
5:51
with going into with this series.
5:55
So it's but still very much set in the future.
5:58
So it's almost like you're doing a futuristic period piece, which
6:02
is kind of a hard thing to wrap your mind around.
6:06
I can't think of many other, you know, productions that have kind
6:09
of done that. So how did you wrap your mind
6:11
around that aspect? What sort of research are you
6:14
doing to make this Dune universe feel a little bit more period,
6:18
but still something far in the future from what we know?
6:22
It's a far future for us, but it's still period for what we
6:26
said we saw in the movies and the movies made such a success,
6:32
you know, and visually they were they are fantastic.
6:35
So it was, it was quite tricky and difficult to create our our
6:41
own world, but it was I think there I relied a lot.
6:47
First of all, reading books, getting into the world.
6:51
I read I read some of the books when I was young and but I
6:55
needed to read the especially I wrote The sister could mend
6:59
thoughts and navigators again because they are related to our
7:04
our story and it was a great help.
7:09
I mean from Allison Shabke, who in Jordan, they really helped a
7:13
lot. A lot of zoom meetings, a lot of
7:15
drawings. If I only a few months ago, I
7:19
was cleaning like my photos and things and they were when I saw
7:23
all the drawings for different if if you would only see what we
7:27
started from and where we got, you know, it takes time and it
7:31
takes a lot of work and a lot of new ideas to get to the point
7:36
that we say, ah, OK, this, this, this thing we like, let's go
7:40
for. Yeah, yeah.
7:42
I mean, it's a lot to wrap your mind around.
7:44
But then so let's talk about the Sisterhood, which will later
7:47
become the Benin Jezaret. It's an order of deep lasting
7:51
universe, deep lasting influence in the Dune universe.
7:55
So I'm curious what sort of influences a research guided
7:59
your vision for this, this ancient yet forward-looking
8:02
group? Like, what were you looking at
8:04
to like, really prepare yourself and design A costume
8:08
specifically for, you know, the veiled, you know, sisters that
8:12
we we know. Yeah, if I would go through the
8:15
references that I pull out, it would be everything from
8:20
medieval paintings to fashion shows to all the different kind
8:26
of headpieces that were that could be the inspiration for for
8:32
their look. But first of all, we were like,
8:35
I must say first I was thinking about the sisterhood and the
8:39
uniform, let's say for the for the sisterhood making acolyte
8:43
novices acolyte Reverend mothers and then through theirs look.
8:47
And it was then you not only that you have to make a look
8:53
that will and a silhouette that will remain very recognizable
8:59
for the for the audio audience. But at the same time, you have
9:03
to make something that the the shape, the silhouette that will
9:06
look good on a different bodies types.
9:09
You have to choose the fabric that will look good on a camera,
9:14
that will move, move good in front of the camera and also the
9:18
fabric that will be good for the kind of embossing that we were
9:22
planning to make and that we that, that we made.
9:25
So all these things. And then to get the quantity,
9:27
quantity that was the big issue. Because, you know, you think,
9:32
OK, now we have the now, now we know what it is.
9:36
We have the shape we have, but now you have to get like
9:39
thousands of meters of the same fabric.
9:42
So it was, it was a real issue. You know, I mean, to that we
9:47
have one factory working nonstop for us.
9:50
And I know that there was a like a summer break at the certain
9:53
time for them and we were like, we have to get this last 100
9:59
meters, you know? So yeah, it's, it's really, it's
10:04
really tricky. And then for the, for the true
10:06
Sayers Look, I, I the collaboration with Anna Foster,
10:11
our director was really important because she wanted
10:14
that whale that will have some kind of pattern, but still the
10:20
camera would be able to see through and see the eyes of the,
10:24
of the, of the actresses. And then we, we've got got that
10:29
idea to make this laser cut and to apply this laser cut on the
10:34
other on the silk or ganza. And we got that.
10:38
But it's not it's like it's a process to to get to that point
10:43
and to get to make this, that design that will be our design
10:48
for, for, for, for that pattern. So it was it was all step by
10:54
step. But when we we got to that, we,
10:56
we really liked it. And then we created the, the,
10:59
the long hats, high hats and continued with all kind of
11:08
pleathing that we made by hands. And it was a long process,
11:12
really. Yeah.
11:14
So then like you mentioned that we have the acolytes and the
11:17
truth, truth Sayers, but then you have Mother Superior Valia
11:22
and Reverend Mother Tula Harkinen, who they're a little
11:26
bit more put together, I'd say, compared to everyone else.
11:29
So how are you able to make their looks feel a little bit
11:32
more distinctive, but still vary within the same realm of the
11:36
rest of the sisterhood? I mean, it's a lot of the same
11:38
colors, but you could just tell that there's a little bit a
11:41
little bit more of a Polish to Mother Superior, so to say,
11:44
because she's Mother Superior. So how did you make that happen?
11:48
Yeah, especially for for for Walia, it was so important that
11:52
she, when she comes to Salusa Secundus and when when we see
11:56
her entering for the first time, she has to make that, you know,
11:59
we have to say who is that? You know, look at this.
12:03
So her Cape is one of my favorite pieces because it has
12:11
this printing, it has this fabric that I really like the
12:18
way that it moves and the whale and the headpiece that we put to
12:23
make the the whole look and the the big hood.
12:26
So I think that that helped a lot.
12:30
Also, her costume is a little bit more reliable, especially
12:33
that costume when she travels. We wanted to to show that, you
12:37
know, now she is on a, on a mission, you know, and now
12:40
she's, it's not like a northern another ordinary day in the
12:44
sisterhood. Now she's travelling to
12:46
accomplish something. So it again, it was a great help
12:53
from directors from, from Alison and Jordan to always help us and
12:59
push us to, to go even further. And I remember first time we saw
13:05
it was without the Cape or the Cape was small or something.
13:08
And I, and I talked to it, I said, I don't think this will
13:11
work. This is, this is the right
13:13
thing. And then we do it.
13:15
And it was really worth it because we just need, we need,
13:20
you know, when you're working a big job doing, working on a big
13:24
job like this, you know, you don't have enough time ever.
13:27
You know, you always missing another day or two.
13:30
And this kind of costumes are something that you cannot make
13:33
in a day. They need, it's a process and
13:36
all this hand printing and hand thinking that you need time to
13:41
dry time to, you know, it all takes time.
13:45
So sometimes you are just anxious to get things ready.
13:48
But it's finally we we managed to do that, right.
13:53
And with the Olivia with too Late, she has almost the same
13:58
absolutely same costume like the others.
13:59
But I think the way she's wearing things and the way she's
14:03
really amazing. Yeah, right.
14:06
It is a really is about the way you wear it.
14:08
And you know, same for Mother Superior.
14:10
She walks into a room with the costume and you just know, like,
14:13
oh, she's the one that's in charge.
14:15
That's that's the commanding presence of the sisterhood.
14:18
I remember, sorry to interrupt you.
14:20
I remember when Valley, when she she when she put the costume for
14:26
the first time and she was like, I know how to the way she's
14:29
going to walk and everything. It was like amazing.
14:32
Yeah, I'm. Sure, I need one of those.
14:36
So one thing once random kind of picked up from, you know,
14:39
talking with you, but also just watching the show is I feel like
14:42
textiles played a big role in your work on this show.
14:46
It's almost like the fabrics kind of told their own story.
14:48
Textures, lots of textures. Would you would you say that's a
14:52
fair assessment that textiles really played a big role in Dune
14:55
prophecy and I'm so. Happy that, that everybody's
14:58
saying that because that was my main thing.
15:00
I mean, we have to get the textures because you can't
15:06
choose on a project like this. You can't choose textiles that
15:12
already have some kind of texture that are recognizable
15:14
for the audience. You know, at least I, that's my
15:17
feeling because immediately it ruins the, the, the, the image
15:22
that I was. So we were, we were literally
15:24
working on making our textiles with the textures.
15:28
And when we started, I was, I was making drawings with
15:34
Illustrator and I really didn't know how we are going to get
15:37
there and how we are going to make this.
15:39
For example, on Emperor Carino, we have that was textures on, on
15:44
his coat. And I really didn't know how we
15:46
are going to make it. But I knew what I what I would
15:49
like to, to get. And then when I talked with my
15:53
assistant, who is really brilliant in every, in every, he
15:57
knows many, how to make many things.
15:58
And then the leather master and they showed me for them, it was
16:03
a new thing also. But then they say, Oh, I, I, we
16:06
think that we can do it this way and this way.
16:08
And then we cut the leather. Then we press the fabric on the
16:12
top of the leather and leave. And when it came out, I was
16:15
like, that's it. I really that's of course it
16:19
took us weeks because you are gluing something on a very
16:25
delicate fabrics. There's a whole silk.
16:27
So glue usually comes out. But so, you know, there were
16:31
many, many mistakes before we we got the the right result.
16:37
Yeah. I mean, and I think especially
16:39
too, like with the Sisterhood where they're very much wearing
16:41
dark colors too. I mean, I'm someone who wears
16:44
only black, all black. I can just see on camera, I'm
16:47
just looking like a black BLOB. So I feel like especially with
16:50
the Sisterhood, it's a very dark environment too with the black
16:53
fabric. So that's when texture and
16:55
textiles is really going to play a big role to help them stand
16:58
out in their environment too, yeah.
17:01
That was so important, I mean and also this embossing that we
17:05
put here because most of the time camera is on this.
17:08
So it was important to get some movement to have some movement
17:13
here. So this is this was another
17:16
thing that we were searching and searching and how we are go we
17:18
want to do it. And there we did this printings.
17:21
But then by chance, we just I I saw the back of the printing.
17:26
I said the back looks better than the than the front side.
17:29
So we actually use the back of that printing for all the things
17:35
that we have on a sisterhood and it's all you know, I like that.
17:40
The fact that we did it every in our workshop, all done by hand
17:46
from our textile artist or there.
17:49
So it it it's, I think it's shows at the end, yeah.
17:53
Well, let's switch gears a little bit to the political
17:55
sphere. You were just mentioning Emperor
17:58
Carino, played by the great Mark Strong.
18:01
He governs an imperium in his house and bodies both ceremonial
18:05
regality I would say, but also still has a distinctly military
18:09
presence at the same time too. So was your approach to
18:12
designing for him, but just also the Carino lineage around him,
18:17
that legacy, Yeah. I think that was important also
18:20
to show where we are, you know, to show that it's a system that
18:27
the emperor represents the whole thing, that the whole
18:32
environment there and that you can see.
18:34
I think it's also in the production design, the way that
18:39
has been made, you know, the the grand hole and the rest of the
18:45
palace, It's shows that there is a hand behind, you know, strong
18:50
hand behind. Even though Emperor maybe is not
18:54
the strong hand himself, but he is coming from, you know, from
18:58
the family from that, and it's in his look.
19:02
It was important to show that as well.
19:05
At least he wants to show as if he's really strong and knows
19:10
what he's doing and he's the emperor of the of the of the, of
19:14
the universe. But I mean on also his imperial
19:20
guards around him, everything around him, you know, it has
19:23
that military look. Even his wife is, you know,
19:27
strong and very, you know, in her look.
19:33
I think we wanted to show that that similar that they are, they
19:37
are they, they are that look similar that has the same
19:42
mission. And she's another strong woman
19:45
next to him. Sometimes I think she was making
19:47
decisions in his name, but that's between so.
19:52
That's a whole different podcast, yeah.
19:54
Yeah, yeah, yeah. Well, one costume.
19:57
I knew I was going to meet you at some point after I watched
20:00
that first episode. When we saw that engagement
20:03
dress worn by Princess You News, I was like, oh, I got talked to
20:06
her as she meets her young husband in this arranged
20:09
meeting. That stunning red gown.
20:13
I mean, just how was that constructed?
20:14
It is gorgeous. Beautiful.
20:17
You know, I just, I need prints of it, illustrations, all the
20:20
things. Oh, it's gorgeous.
20:21
Oh yeah. I was thinking today, knowing
20:25
that we will talk, I said probably we will talk about the
20:27
dress. I mean, they were like, I think
20:30
hundreds of drawings for that dress and many, many versions
20:36
and, and we couldn't find the fabric, you know, that it was so
20:41
important. And I'm, I'm kind of this, I
20:44
think that fabric is 70% of a good when you, you have to have
20:49
a good design and a good drawing and idea.
20:52
But when you make a mistake with the fabric, it's so difficult to
20:56
make it look good. So it was so important to get
20:59
the right fabric and to to make it real when we finally had the
21:04
design that we were all very happy with and and we were going
21:08
on and going and I knew that that we wanted that some kind of
21:12
laser cut applied on the other fabric, et cetera, et cetera.
21:16
But I wasn't happy and then happy.
21:19
And I mean, we had the silhouette, we have everything,
21:22
we had the petticoat made and everything, but not the and then
21:25
finally we got that one layer applying laser cut applied on
21:30
the other layer of a silk. And finally where we got that
21:35
and we were playing with the shadows and applying that silk
21:38
in a different direction. So it will move differently in
21:42
the camera so that you will see that pattern.
21:47
It's difficult to explain, but when we will, you will see, you
21:50
would see in, in real. It's that's how we got that,
21:55
that texture on that fabric. And and then we were supposed to
22:00
do the upper part, which again, I mean, I wanted to to make that
22:06
net or that like a like a spider or like a prison there.
22:09
She's in that. So we started adding this this
22:14
pieces. It was all very delicate.
22:16
It was thank God. I had an assistant that had
22:19
almost identical measurements like the actress.
22:22
So we could, you know, we were sewing the pieces directly on
22:26
her and yeah, then it was veil, you know, and then the whale
22:33
which colour the originally it was a a skin colour whale with
22:38
the red pieces. But then we thought understood
22:40
that this skins colour, even though it was a very thin silk
22:44
tool, it was covering our dress wasn't red anymore.
22:47
So we OK, it has to be a red whale with the red so little by
22:53
little. And then we had that headpiece,
22:56
which took like a time to to make it.
22:59
Yeah, to look good and to be very easy to take it.
23:03
She was supposed to take it out in the scene and to throw it,
23:06
you know, and take it and so and also to be comfortable for the
23:11
actress to wear it. So yeah.
23:13
But on the end, we were all happy with the result.
23:18
And I'm that the audience like that?
23:20
Yeah, I mean. There's just like a lot of
23:22
subtle storytelling, too. I mean, she's being put through
23:24
this arranged marriage, but she's also hoping to be part of
23:29
sisterhood. There's just like a lot of
23:31
expectations kind of being forced on her.
23:33
So in ways, it's almost like she feels a little bit like she's
23:36
trapped a little bit. I mean, would you feel like
23:38
that's kind of like what the story you're telling with the
23:40
costume? Good.
23:41
Good. I'm glad that you have noticed
23:44
that you feel like that because that was the idea for me.
23:47
It's not always about the beauty of the costume.
23:50
I really like when costume works for the for the part and for the
23:55
scene and that's the main thing. So if we manage to do that, then
24:01
it's mission. Accomplished I mean, because
24:06
it's true. I mean like sure, of course it's
24:07
gorgeous, but you have to also think about the characters
24:10
feelings they're underneath all of that dress.
24:12
So sure, it might look great too, but you know, it's a really
24:15
hard, difficult day. And you know, spoiler alert,
24:18
Taiwan is listing but also doesn't go very well either, you
24:22
know? Yeah, that's and also I must say
24:24
it's photographed so well, you know, when she comes and that's
24:28
shot from the back and everything.
24:30
It it really helped. And she was, I mean she was so
24:35
she was wearing like AI think 20 centimeters heels, you know,
24:39
with with a big palm. And she managed to stay in it
24:43
like for, I don't know, four days how long we were shooting.
24:47
And we were like very grateful for that.
24:49
But it was important, especially to.
24:53
Comparing. To the boy you know to to make
24:56
to make that. Well, we just got two more
24:59
questions for you. We're almost near the end.
25:02
Desmond Hart enters the story as a bit of a rogue.
25:05
A character feels like a rebellious outsider, but he also
25:07
has kind of like a rock star feeling to him too.
25:11
He's he's a bad guy, but like in a cool way too, you know?
25:17
So how did you approach his costume and make him feel
25:19
completely like an outworlder compared to everyone here at In
25:24
the Court of the Carino's OK. That was what you are saying is
25:28
exactly what I would like to hear because if he wanted him to
25:31
be totally now from someone who has doesn't have anything to do
25:36
with anyone. You know, you just see who is
25:38
this guy now and again the way that they shot that scene from
25:43
when he's coming with the coat open and it's flying on the
25:47
winners and who is this guy now and again to make this coat.
25:52
We have several versions and several fabrics that we tried
25:57
and then finally we found this fabric that I really like, but
26:01
it takes time because it's a fabric that it's waxed and then
26:04
you have to take wax out of it to make it move well.
26:08
So it took time for our when you breakdown artist to to do that.
26:13
But then when you do this, that fabric really looks age age as
26:17
well. When you can, you can distress
26:20
it well when it's and and make the good impression.
26:23
So that was the and also we wanted it to look good open, but
26:29
also when he closed it up there to good to give the good
26:33
silhouette. And and when we finally was
26:38
happy with that, we made our Insignia for his because he was
26:43
a part of the all the guards of the army.
26:46
And so we then we like the silhouette so much to all of us.
26:50
So we decided when he becomes Bashar to make that black
26:54
version of it that looked even better on tracks.
26:58
So, so, so it's, I, I think it's always about what I'm thinking
27:07
it, those are the characters that you have to remember as a
27:11
silhouette that, oh, when you think of a, of Desmond, you
27:15
think about that silhouette, about that long coat and
27:18
somehow, you know, it's, it's recognizable.
27:22
And I think what we were talking about before, it's so important
27:28
that costume works for the character.
27:30
Not only that, it looks good, right?
27:33
Yeah, it's like you, you want to not like this guy, but he looks
27:37
good at the same time, too. So you just can't help but like,
27:39
just really being fascinated with his story the whole time.
27:43
And one of my favorite parts of the series.
27:45
I'm really fascinated by the breakdown of costumes and making
27:48
things look aged and died. And we have these great
27:52
flashbacks to seeing the Harkinen family when, you know,
27:55
Valia's younger and you really see these Harkins are really
27:59
down on their luck and just kind of getting by.
28:01
How did you make them feel different?
28:03
Different, like they were the Harkins that we know, but also
28:06
still feeling really down on their luck?
28:08
Yeah. It was that was the hardest part
28:10
because we have from one episode to another to create completely
28:14
different worlds. And Harkins were one of my
28:19
favorites because it's was we could do something completely,
28:24
completely different from the rest of the of the series.
28:28
But The thing is that in this, for this job, we almost didn't
28:32
rent any costumes. All the costumes were made.
28:35
So it was like, I mean, and to make, when you make them, you
28:39
make them new, even though it then, then you need time.
28:43
So I'm glad that you said that you like the, the, the, the
28:46
breakdown because I, I've been working with the same team for I
28:50
think more than 10 years and I really trust them and the way
28:54
they treat costume. First there's, there's, there's
28:58
not one piece of fabric that we used without first dyeing or
29:02
doing something, you know, with it.
29:04
And then we start aging it. So the the way they worked on
29:09
making this whale for or whatever, you know, creating
29:14
this new textures again, it was amazing.
29:18
And the quantity of costume that they were supposed to, to make
29:22
breakdown on, it was like we were just fitting the extras and
29:26
giving you, if you would see those were new costumes, you
29:30
know, completely new costumes. Then they and then when they,
29:34
when it comes from their room, it's another, it's totally
29:38
another world, another story. It's amazing what they can.
29:43
Yeah. I can't even imagine.
29:45
Costumes Designer Boyana Nikki Tovik.
29:48
This has been such a pleasure. I'm so glad I got to chat with
29:51
you. I love Doom Prophecy and I just
29:54
can't wait to follow along with you and see what you're doing
29:57
next. And I really hope you'll join us
29:58
and I hope everyone listening well, if you haven't seen Doom
30:01
Prophecy yet, go back and check it out.
30:03
It's such a great show, so dark and alluring.
30:06
And I'm actually on my third rewatch right now, so I'm going
30:09
to be watching it again with a whole new lens after talking to
30:12
you. Thank you so much for joining
30:14
us. This has been such a pleasure.
30:16
Thank you. So much, it was a real pleasure.
30:17
Thank you.