Latest / The Art of Costume Podcast / The Studio with Costume Designer, Kameron Lennox

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The Studio with Costume Designer, Kameron Lennox · The Art of Costume Podcast

0:05
Hello, welcome to the Art of Costume podcast.
0:08
I'm your host, Spencer Williams, and thank you so much for
0:11
joining me for another episode. Thanks for being here.
0:15
I'm very excited about today's episode.
0:17
It is just me today, but of course we'll be joined by a
0:20
special guest very shortly as today we're talking about the
0:24
new hit series on Apple TV, the studio which of course follows
0:29
the life of, well, basically anyone who works in film and
0:33
television. We're talking about the
0:35
Continental Studios, how the movies are made and all the fun
0:40
costuming that comes along with it.
0:42
And we're going to be joined by costume designer Cameron Linux
0:45
to help break us all down, all the onset antics from everything
0:49
from dressing the Golden Globes to designing the kool-aid Man,
0:54
and of course, dumping a bunch of chili on one of our favorite
0:58
characters. We're going to get into all of
0:59
it right after the break, so I hope you'll enjoy.
1:03
In the meantime, I also want to mention that our and OR episode
1:06
has been postponed At the moment.
1:08
We're still working out some scheduling with costume designer
1:12
Michael Wilkinson, so we hope to bring that to you soonish at
1:16
some point in the near future because I know you're all very
1:18
excited and or season 2 was fantastic.
1:21
And with the studio episode, it's going to lead us into a few
1:25
episodes where we really get into a lot of our favorite hit
1:28
TV series. I'm talking about some of our
1:30
favorites like The Righteous Gemstones perhaps, or maybe even
1:35
The Last of Us. I don't know.
1:37
There's lots of good stuff coming, so I hope you'll stay
1:39
tuned with us. Don't forget to like and
1:41
subscribe on YouTube so you could watch these conversations
1:45
between myself, Elizabeth, and costume designers, and I hope
1:49
you all enjoy. Now, without further ado, please
1:52
welcome costume designer Cameron Lennox.
1:59
Hi, I'm Dan who does all the magic behind the scenes.
2:03
I wanted to say thank you. And if you want to support the
2:05
show even farther, go to tpublic.com/user slash the Art
2:12
of Costume where you can buy a couple variations of our logo on
2:16
T-shirts, mugs and stickers. Also, be sure to leave a like
2:20
comment and subscribe. And if you're an audio listener,
2:24
leave us a five star review on Apple Podcast.
2:27
Now back to the show. I am so happy to welcome back my
2:36
friend, costume designer Cameron Linux.
2:38
Hey Cami, how are you? Hi, good.
2:41
Nice to see you, Spencer. It's, it's been a while.
2:43
It's so good to see you. Gosh, you're like one of my
2:46
first interviews way back when I started this, I swear.
2:51
Awesome, I'm glad to be back. Yeah, me too.
2:54
So I mean, that kind of leads into I was getting ready to
2:57
start with. So our first interview was a few
2:58
years ago now talking about Pam and Tommy, which is series that
3:03
I loved, also featured Seth Rogen, who was executive
3:08
producer as well as cast at that time.
3:10
Now today we're talking about the studio creator, writer,
3:13
producer, actor, all the things. So tell me about signing on to
3:17
this project and why this professional relationship
3:20
between you and Seth Rogen works so well.
3:23
Oh, that's a good question. Initially I got the call for the
3:27
studio, You know, I mean, I, I've been on platonic with Seth
3:32
and we did Pam and Tommy and then we also did dumb money.
3:35
And when I did the first time I met him was Pam, Pam and Tommy.
3:41
And it was just a very easy relationship.
3:43
You know, it's very he's very easy to work with.
3:46
He's very easy going. And then Craig, you know, I'm
3:51
done. Money was with Craig and then it
3:52
was like, hey, how's it going? And then we did platonic and you
3:56
know, it just became this thing. But so then I got the call that
4:00
both Seth and Evan wanted to meet with me about this new show
4:04
and they sent me the script and I read the script and I
4:07
immediately was like, yes, this is so 100% my like, I will drop
4:14
everything to do this. But I think in my mind, I
4:18
thought like I still had to audition for it even that, you
4:21
know, because we've worked together a few times, but it
4:23
wasn't really in the capacity that like that the studio is.
4:27
And so when we were talking, it was like all the producers we're
4:31
in a Zoom and, and Seth and Evan just immediately started talking
4:35
about the look of the show and, and, you know, the palette and
4:40
these very fine-tuned details. And, you know, I kind of like,
4:45
like, all of a sudden it hit me that this wasn't an audition,
4:49
that we were actually talking, you know, like it was happening.
4:52
And so I had, yeah, I was. And I was like, wait a minute,
4:56
wait a minute. I was like, are you guys meeting
4:58
with other designers? And they're like, no.
5:01
And so then it was like, oh, OK, Which was funny, but yeah, what
5:07
a relief. I mean, nobody wants to have to
5:09
audition. But yeah, I mean, I, I was very
5:12
grateful that that they thought of me.
5:15
Of course it isn't. You know, those guys are so nice
5:19
and so great to work with. And this is their baby.
5:21
And, and immediately it was something that I related to just
5:26
as far as design growing up in LA and my mom was born in LA,
5:31
you know, like, there's just so much history there.
5:33
I've always loved the the history of the golden era.
5:39
When they start talking about the fictitious studio,
5:41
immediately in my mind I was like, this is a great chance to
5:45
kind of filter in a lot of fashions from that time.
5:49
And, you know, I mean, we've all watched all the Criterion
5:52
Collection, you know, all these old films.
5:56
And it was like, wow, I might have a chance to incorporate
5:59
this. And then when Seth was talking
6:01
about his character and the suits and, you know, he has
6:05
these cars and the architecture, I mean, we were, you know, we're
6:08
talking about Julie's production design of what the ideas that
6:11
she was coming up with. And it just it, you know, it
6:14
was, it was very easy to kind of see what this world was starting
6:19
to shape up to be. And yeah, I was like 100%, let's
6:24
go, let's do. This, I'm sure so many people,
6:27
why I love this show and so many people, others.
6:30
It's just a realism of it in terms of being on set and us
6:33
being LA people, you know, it feels well, of course they go
6:36
through some wild adventures in some of these episodes.
6:39
It's still in ways feels like home.
6:41
So how has your own experience on set as a costume designer
6:46
helped influence the look of the show in terms of the costumes
6:50
and the storytelling? I mean, there's a lot, there's a
6:54
lot of personals. I mean, I think as a costume
6:57
designer in any costume designer can attest to this, that we've
6:59
all tried out different looks throughout the years, you know,
7:03
'cause we're very interested in this, like, you know, character,
7:07
like how people carry themselves.
7:08
And, and I think when you try so many different things out,
7:11
you're able to kind of incorporate it into your
7:14
stories. And so there's a lot of personal
7:18
choices that I've made in in my life as a just working in the
7:24
industry, like going to work in suits and ties.
7:27
There's a whole phase of my life that I did that and it made me
7:32
feel very confident. And, you know, so it was fun
7:38
actually. I brought in a lot of my own
7:39
personal ties for Chases character for Quinn.
7:45
Yeah, yeah, it's Quinn. It's Quinn.
7:47
Yeah. When when my, when my kids saw
7:50
the show, they were like, Oh yeah, there's mom right there.
7:53
Because they've seen me go through some.
7:55
Yeah, they've seen me go through so many different phases.
7:58
But I mean, the jokes land, you know, they really land with, you
8:04
know, just working in this business, you know, the, the
8:08
idea, I think too, it's like the, the glamour, the glamorous
8:12
side of Hollywood really was decades ago.
8:16
You know, it was eras ago. And, and to kind of recreate
8:21
that and bring it in. I think we all get into this
8:24
business because we think it's glamorous and it's really not.
8:29
And so it was, it was for me fulfilling that, that dream of,
8:35
you know, living that glamorous Hollywood lifestyle and, you
8:39
know, and also just celebrating Hollywood for what it was.
8:46
You know, Seth said something he was like, well, comedy doesn't
8:49
have to look bad. Like we can make comedy look
8:52
good. And, you know, and and I just
8:55
really kept thinking about that, like, as we were developing
8:59
these characters, like how we we wanted to really portray their
9:03
own uniqueness, but like, how can we make them look really
9:05
good? Sure.
9:07
Yeah. Which I mean.
9:08
That leads us to our main character, Matt, who's the newly
9:11
appointed head of the film production company Continental
9:15
Studios, which is a cool name by the way.
9:17
Matt is a Bill Big film fan and he wants to create these really
9:22
fun artistic films. But of course, he realizes
9:24
that's not really business he's in and he goes, he takes on this
9:30
job very suddenly. You know, he did like it
9:32
overnight almost. So if that his evolution almost
9:35
feels like he kind of jumps into this role overnight.
9:39
So I was wondering how you kind of approached this character and
9:42
this evolution we see in his suiting where he kind of has to
9:45
become the head figure in a couple hours, it seems like.
9:49
Yeah, yeah. I mean, the way that I think I
9:52
saw it was, you know, the outside doesn't really match the
9:56
inside. Like he, you know, I, I felt
9:58
like this character, like you said, was really into film.
10:01
Maybe he watched like, you know, a ton of French New Wave films
10:06
and you know, he really like identified with Alan Delan and
10:10
his like sports cars in his suits and his like coolness.
10:13
And, you know, he he now works in the industry and so that's
10:17
how he portrays himself. We also, you know, our world of
10:22
Continental is a very a particular pallet and that was
10:27
on purpose because we wanted it to feel like it's own world and
10:32
anybody that was from the outside were in different
10:35
pallets or different types of dress.
10:37
And so we already knew the pallet that we are going to go
10:41
for. Yeah, I mean, the suits, when we
10:43
first meet him, it's like he's got the, you know, he he
10:46
portrays himself with something, but then there's just this
10:49
nervous wreck inside of him. And but we did, we did try to do
10:54
some, you know, add some little Easter eggs where like as the
10:58
series goes on, his lapels start to grow.
11:02
There's like some of them that are peak lapel.
11:05
And we we would joke like if you could stand behind him and see
11:08
it picking up and like he's on, he's on, you know, like he's on
11:11
the top of his game. His ego is like he thinks he's
11:14
all that, you know, So we would like play around with that.
11:17
And that actually happens more when you get to the end of our
11:21
season in Las Vegas and all that.
11:23
But yeah, I mean, he takes everything very seriously.
11:28
And it's probably why he's still single.
11:30
You know, he's very particular. He likes things his way.
11:37
Yeah. I mean, if he devotes more time
11:39
into himself, then he probably, you know, would give to somebody
11:45
else. I don't know.
11:46
There's a lot to it. There's a lot to impact there.
11:48
Yeah, yeah. It's been really fun every
11:51
episode to kind of see a little bit of how he reacts to help
11:54
yeah, build this profile throughout the season.
11:57
I haven't seen the finale, but I've seen everything up to the
11:59
finale. So I'm excited to see how he
12:01
handles this, which I'm going to guess is not good, but we'll
12:05
see. I'm in love with the one take
12:09
filming of the studio. Of course, they'll all admit it
12:12
really keeps my blood pressure out like an all time high with
12:15
some of these stressful situations.
12:17
But with that approach, I feel like every detail really matters
12:22
as you're walking through these sets because you see a lot of
12:25
characters in the background, extras, other characters having
12:28
conversations. So the details really matters.
12:31
So I really want to take this moment to really hear about how
12:33
you and your team, your crew were able to pull off these
12:36
large scale scenes. And I also want to do a big
12:38
shout out to your assistant costume designer Tyler Kinney,
12:41
who have gone to know over the past couple years.
12:43
I'm just so excited to see him on this with you.
12:46
So tell me about the crew. Yeah, I mean, it takes a village
12:51
for sure. As we know, there's some of
12:53
these episodes that we were so background heavy and and yeah, I
13:00
just take it took very well organized orchestrated systems
13:09
and I have an incredible crew to do that.
13:11
I have an incredible supervisor, my background key, all the
13:15
fitters, all the people that came in.
13:17
We were based at Warner Brothers in one of the bungalows and then
13:22
in down in the cages. We just had a whole shop set up
13:26
and it was just racks and racks and it depended.
13:29
It was like, I think we we did the Golden Globes and we shot
13:35
the, the pediatric oncologist those episodes kind of around
13:43
the same time. So we had a couple weeks.
13:45
So it was just a full machine of people coming in and going
13:49
through the the system of fittings and then everyone
13:52
bagging them, tagging them, altering them.
13:54
You know, it was just this, it was kind of amazing.
13:58
And and I just I'm so grateful for my crew.
14:03
I have a great cutter fitter. I have, you know, a lot of the
14:06
suits were made right there at Warner Brothers and in their in,
14:13
you know, their work room there. It also felt like going back to
14:18
that book ending and like they talking about on the show is
14:24
that it felt like the way that we used to make films.
14:28
Like we had the in house workhouse.
14:30
We you know, the workroom we had, we had everything there on
14:34
the lot and, and working at Warner Brothers really felt like
14:38
that. Like we had our little golf
14:40
carts that we drove around to set and, you know, and then we'd
14:43
go pick up the clothes and, and it was it, it, it, it kind of
14:49
was this meta feeling of making a show about the making of
14:55
films, you know, on the lot. Yeah, I mean, how classic
14:58
Hollywood can he get them being on the actual the studio back
15:01
lot, seeing all these like characters and random costumes
15:04
in the. Background, yeah.
15:06
I love that. Yeah, and Seth and Evan, you
15:10
know, they had a lot of really good notes.
15:12
You know, when we were shooting scenes when they're driving
15:15
around on the back lot, we had, you know, a lot of, I mean, you
15:21
know, like some cigarette girls or some cowboy film, you know,
15:27
you know, a lot of the background.
15:28
We try to make it feel like what it would be like in the olden
15:31
days when you drive around on the lot and see these characters
15:34
just hanging out to make some cigarettes or whatever.
15:36
Yeah, it. Remind me of like that Pee Wee's
15:38
big adventure scene. We're just driving through to
15:41
lots and all sorts of crazy stuff happening.
15:43
I love that. Yeah, yeah.
15:46
Another person who's just been on fire lately and is in the
15:49
studio, Katherine Hahn, who plays Maria, who is.
15:52
I mean, there's a lot happening there with this character.
15:55
She's very cool, very trendy, but then almost over the top
15:59
where it feels like she has everything going on at the same
16:01
time. And I love her for that.
16:03
And. Too much going on, yeah.
16:06
This must have been a fun character for you to work with
16:09
where you really got to push the the design here.
16:13
Yeah, yeah. When this character was first
16:17
written, it was kind of a Gray area where it was going to go.
16:21
And I think we're waiting to see who they were going to cast in
16:25
that role. And once it landed on Catherine,
16:29
it just felt like everyone there was like a light bulb that went
16:33
off in everyone's head. And both Seth and Evan were
16:36
like, have fun with this. There's these women in the
16:39
industry they were talking about like certain women that they
16:42
knew. And then I was like, oh, I know
16:45
those women too. And it's not a bad thing.
16:47
It's just that it's, you know, it's, it matches their energy
16:51
and intensity, right? The amount of like jewelry that
16:56
they'll wear or just like too many labels, like pick one and
17:00
just have one, you know, like where you're like, OK, I see you
17:03
have money and, you know, maybe you're trying to relive your
17:08
youth or there's something that stuck with you.
17:11
I mean, there's definitely something that stuck with me
17:14
that makes me make choices, You know, all of us for how we dress
17:18
and how we present ourselves to the world.
17:21
And, you know, I mean, I the, the note that I got from Evan
17:27
was that she's a, you know, in her 40s or 50s.
17:30
She considers herself very in touch with the youth and uses,
17:34
you know, certain terminology. She dresses too young for her
17:39
age. And yeah, I mean, they were
17:42
like, just have fun with it. And that that, I have to say, is
17:45
so nice working with them as they're always like, just have
17:47
fun with it. Just, you know, do your thing.
17:51
Yeah. Yeah.
17:53
There's a lot of trust there. And which is nice, but so when
17:57
Catherine came in, I mean, we just went to town.
18:00
We were like, let's go, let's go, let's, let's see what we can
18:04
pull together. And, and she's so great because
18:08
she comes in and she's just like so full of excitement and loves
18:13
to play and loves to dress up. And I think it was the first
18:19
time I saw my my Taylor, who was who works with us in there.
18:24
Like she couldn't like she was crying, laughing, like she
18:27
couldn't contain herself. And this was just with Catherine
18:30
trying things on, you know, and and work in the room.
18:35
Like be careful, there's dangerous equipment here.
18:38
Yeah, yeah, I mean, but you know, I do.
18:42
I do know women that I have friends that wear all their
18:46
golden diamonds all at once, all their Cartier bracelets, all of
18:50
them, not just one or two, but every single one, you know, and
18:53
just kind of load up. And, you know, I think that
18:57
they've gotten to a point where they're proving something to
18:59
themselves into the world and that they feel, you know,
19:02
comfortable doing it. And that, you know, I've, I've
19:06
gotten a lot of notes from people in the industry that have
19:09
said to me like, Oh yeah, I know that woman.
19:11
Yeah. Or yeah, she's like an agent or
19:16
manager or publicist or something, you know, that that
19:20
comes around and and she had, you know, she's not afraid.
19:24
I also liked this like notion too, that because she's of the
19:29
age that she is like she's still holding on to something.
19:31
Like when MTV music videos, you know, it was like big
19:34
production, you know, Beyoncé or Jlo or even when Jlo was a
19:40
family girl in living color, you know, like there's something
19:43
that's stuck. And so it's like the hair
19:45
choices or just, you know, we we would joke around there was 11
19:50
outfit that which came out where we're like, Oh yeah, welcome to
19:53
the Thunderdome. You know, like because her hair
19:55
was like big. We were like, what?
19:57
What is she today? Yeah, I've even.
20:00
I was like, wow. Like her hair is very metallic.
20:02
There's like a lot going on. Yeah, that like she's whipping
20:06
it in the camera. And I was like, oh wow, that's
20:08
so cool. Oh, yeah, She used everything as
20:11
a prop. She's great.
20:13
She's she's amazing, Yeah. For this role, let's let's talk
20:18
about one other silly costume before we get into the Golden
20:20
Globes, which I'm sure is serious business.
20:24
There's an episode where Sal Saperstein is at war with Quinn,
20:27
who we talked about. Long story short, he ends up
20:30
with chili thrown all over his suit and he has to wear that
20:33
chili suit for a while. And I just thought, I mean, I'm
20:36
not going to not ask you about the chili suit.
20:38
That's a lot of fun. I mean continuity.
20:41
There's a lot of discussion, yeah, there's a lot of
20:43
discussion around what color chili, what color suit.
20:47
We did some color tests. We did the chili test.
20:53
Yeah, that was, that was interesting.
20:56
Of course we had to, you know, pick a lighter color because we
20:59
want to make sure that we got. But Chili had its full glory.
21:02
So when he's like walking up the the steps and Parker fan is
21:06
there and they have that conversation.
21:09
He just needed to look disgusting.
21:11
And he did. And and Ike is, you know, Ike is
21:16
one of those people that is just plugged in.
21:19
Like he's just like he comes in with that energy.
21:22
And so him with the chili and hitting his nose and all, all
21:27
the things that happened to him, it's like this worst day ever.
21:32
But yeah, we had multiples. We had a ton of multiples.
21:35
Just a rack. Of chili suits.
21:37
Yeah, yeah. And matching the chili.
21:40
Yeah. Disgusting.
21:42
And then it was bagged up in our trailer with the chili on it for
21:47
a long time and we're just like, oh.
21:49
Yeah, are you still a chili fan after this or?
21:51
No, no. Well when I heard there was a
21:57
Golden Globes episode, I was just buzzing.
22:00
I could not wait to see this episode.
22:03
So I binged all the way to I got to.
22:05
I was like, I got to see this. That sounds like something
22:09
incredibly difficult to pull off to me.
22:11
But for me, this episode is all about one of the greatest
22:14
actresses of all time, Catherine O'Hara as Patty and my ultimate
22:19
celebrity crush, Zoe Kravitz. You kind of I saw you tease a
22:23
little bit about their looks on Instagram, so I'd love for you
22:25
to have walk through what we're seeing on each of these two
22:28
leading ladies as they. Yeah, I was really excited for
22:32
that episode to come out, especially those dresses.
22:36
I mean, when you find those, you know, when you see something and
22:42
that's all you can think about for that role and for that
22:45
scene. And then you have the fitting
22:48
and then it fits and it works and then they shoot it and then
22:51
you get to see it play out. It's just, it's very exciting.
22:55
There's such a, you know, in our in our job, it's not just like
23:00
you find something and oh, this will work.
23:02
It goes through so many, you know, people and, you know,
23:07
processes before you get to that point.
23:09
But yeah, I, I, I. So the dress that Catherine
23:15
wears is Jenny Packham, who is a designer out of London.
23:22
She does a lot of these beautiful beaded dresses and
23:26
sequin dresses. And, and I, I, I was looking for
23:30
something for her that upped the ante because she is basically
23:35
that woman that's been in the business for so long and she
23:39
would wear something, It couldn't just be off the rack,
23:42
you know, somewhere It needed to be a very special piece.
23:45
And especially for Catherine, who's a queen, you know, like, I
23:48
don't want to disappoint her. I was like, here's your gown,
23:53
Madame. But like, it was like when I saw
23:56
that it was that dress specifically, and I had to go up
24:00
the chain of, you know, producers to get it approved
24:03
because I was like, there is nothing out there in the world
24:06
that is better than this for her.
24:08
And luckily, you know, they all granted my wish, and I was able
24:11
to get it for her. And she loved it.
24:14
But it was just like it was in our palette.
24:17
It was, you know, it had these like structured shoulders and
24:21
the beading, you know, there was just this beautiful encrusted
24:26
area. And, you know, right here on the
24:28
dress that I'm always thinking about frame.
24:31
Like how are they going to frame her if she's speaking like, you
24:34
know, if that's all we see, because you never know how much
24:37
you're going to see before you shoot.
24:39
So that luckily that thing just slipped on her and we didn't
24:43
need to do any alterations or anything.
24:45
And she was so happy when we fit her in that and she looked
24:49
amazing. I mean, she, you know what,
24:53
before we started this project, I, I was a little, I wouldn't
24:58
say nervous. It was more excited, but I, I
25:02
didn't want to do anything that she's done before because she's
25:06
done so many characters and she, you know, she's been around for
25:10
quite a while. And so I was trying to make this
25:13
character very unique, something new that we hadn't seen her as.
25:17
And then for Zoe, when they when they cast her to be in it, she
25:24
is sponsored by YSL. And so there's a lot of talk
25:28
that she was going to wear something from them.
25:30
But then Zoe herself had said like, well, I'm, I'm, it's me,
25:36
but I'm not, this isn't a real event, so why don't I play
25:40
character? And then that kind of opened the
25:43
door for me to kind of pull some things together.
25:46
And we talked about the color pink because it would be
25:48
something that she would never wear in real life.
25:50
She's like, I want to be, I want to be this bratty, you know,
25:53
pink is kind of bratty and you know, and Princess or whatever.
25:57
And and so I fortunately found that John Galliano for a
26:04
Christian Dior dress that just had this like beautiful detail
26:07
on it. It was in her size.
26:10
That was another one where I had to go up the chain of command.
26:12
Just say, like I found the other perfect dress.
26:17
Believe me and trust me, this is going to look great, you know,
26:21
yadda yadda, yadda. Sent it to Zoe, she liked it.
26:24
And so yeah, the rest is is history.
26:27
It's there. But I was just so relieved that
26:31
they both, you know, I was able to because it's very important
26:36
that it feels like the real Golden Globes.
26:39
Seth wears A Brunello Cuccinelli tuxedo in in this one.
26:44
So that was a perfect fit. We had a custom make the other
26:51
one for the pediatric oncology episode.
26:57
But this one it was luckily we could just get into that suit
27:01
for that. And then there was the millions
27:03
and millions of background and then all of our cameos that came
27:08
in, that was just, it was another machine and it took my
27:13
amazing crew to pull that off. I mean, it just, I mean, I, I'm
27:19
still surprised that we did it, but we it it, it happened, yeah.
27:24
Yeah, I mean, that was one of the questions I was like a
27:26
little nervous to ask him. Like, did they just film this at
27:28
the Golden Globes? But like no, you all actually.
27:32
Looked in every single, every single person there was dressed
27:36
head to toe and that was like that was weeks of pre fitting
27:40
everybody and putting up, you know, boards to look at them all
27:45
together and yeah. That's insane.
27:49
Yeah, I, I had, I was like, kind of wondering.
27:52
I'm like, I don't know, that just seems like such a crazy
27:54
thing to do, but you all did it so it really worked out.
27:58
Yeah, I mean, we shot it in the same hotel too, that the Golden
28:03
Globes, and we just camped out there for a few days.
28:06
Yeah. Sure, yeah.
28:07
Yeah, they're long days. Yeah, you mentioned cameos.
28:12
The studio works very cleverly in a ton of cameos.
28:17
Really, I'm sure, really keeps you and your team on your feet.
28:20
And I'm sure every case is different.
28:22
My favorites were definitely Ice Cube and Sarah Polly.
28:25
I thought that she was just so genius.
28:27
And then, of course, there's Martin Scorsese.
28:29
So how do cameos work with your department?
28:32
Because I'm sure you know, you're probably not working with
28:35
everyone, but maybe every once in a while.
28:37
I don't know how does that. Work.
28:38
We. We worked with most everyone.
28:41
Yeah, I mean it. We were, you know, we were an
28:45
all service department, You know, we wanted people to come
28:49
in, especially directors that never get that kind of
28:51
treatment, you know, like come to the fitting, we'll talk about
28:54
your you know, and we, we had racks of clothes.
28:57
We I mean, obviously they're racks of clothes if they're
29:01
playing themselves, because not everybody played themselves.
29:03
But if they're playing themselves, we made sure that we
29:06
did all of our research, recent research to see what how they
29:11
were dressing. And Sarah, Sarah, Polly kind of
29:16
nailed it on the head. I was like, I was looking at
29:19
photos of her. I was like, oh, it's this brand,
29:20
This brand, you know, I started naming them, brought them in.
29:23
And then she came and she was like, oh, you just rated my
29:25
closet. She was funny.
29:29
Yeah, she was funny. She was great.
29:31
But. Yeah, like, feel like Sarah
29:33
Polly and Ron Howard, they're not quite used to gain the whole
29:37
costume. Oh, no, yeah, yeah, both of
29:39
them. Yeah.
29:40
We just had racks of things that they were.
29:44
Yeah. Ron Howard was great.
29:45
He was so great. Oh my gosh, so much fun.
29:48
And did you get to work with Ice Cube?
29:51
So Ice Cube had his own entourage, his own people that
29:56
came in to do him. Yeah, we did.
29:58
Everyone else but Ice Cube. Yeah, gotcha.
30:01
Yeah, Well, that kind of brings us to the end.
30:05
Looking back on this first season, I love it and I can't
30:10
wait to see what happens next, especially in the finale.
30:12
But what has this series meant to you so far as the world's
30:16
trying to see? And what do you hope people take
30:17
away from their experience watching the studio and seeing
30:21
all these costumes? Well, of course, I hope that
30:26
they enjoy it and that they, you know, find some inspiration from
30:31
it. You know, I think there's a fine
30:34
line when you are dressing people in, you know, you're it's
30:39
modern contemporary, but you're adding a lot of vintage to make
30:42
sure it doesn't feel too period. And I hope that the subtle
30:46
little things that we did, there's a lot of Easter eggs all
30:49
through it, especially for a film.
30:51
Like there's so many things that we were like this is like in
30:54
that film or you know, like that we're trying to incorporate into
30:57
the show. And I just hope that people are
30:59
able to watch it a second time and kind of pick up on some of
31:02
that stuff. Yeah.
31:06
I mean, I, I'm really grateful I I was able to do it.
31:11
I'm very happy with how it turned out.
31:13
And I had a lot of fun doing it. I mean, I don't, yeah.
31:17
It's so much fun. This has been amazing.
31:20
I can't wait to see the finale. I hope one day to see at least
31:23
1/2 hour kool-aid movie. We'll see.
31:26
I need some sort of. We made we, we custom made a
31:29
Kool-aid. You'll see, you'll see.
31:32
One that came down the ceiling. So there was a that guy was
31:36
gonna be featured much more. So we, we from scratch, we, we
31:40
custom made that thing. And that thing was the biggest
31:43
thorn in my side. I will say that whole season of
31:46
getting all the things done for it.
31:49
But there's a custom suit he's wearing.
31:51
It's, it's got Swarovski crystals on it.
31:55
It's hand painted. That jug was handmade.
31:59
It was like molded and then painted.
32:01
And I mean, it was an ordeal. And so I hope in that quick
32:08
amount of time we do see it, that you do get to see some of
32:10
the detail that we did on that. But yeah.
32:12
It was very cool when I saw. I was like, thank goodness when
32:15
I saw it come down from the ceiling.
32:17
I'm like, there has to be some sort of kool-aid, something that
32:20
Cameron got to do. So worth worth the wait.
32:23
Yeah, yeah. Costume designer Cameron Linux,
32:25
thank you so much for talking with me.
32:27
I can't wait for the finale and I hope come back for whatever
32:31
you're doing next because it's always so fun talking to you.
32:33
Thank you so much.