Latest / The Art of Costume Podcast / What We Do In The Shadows S4 with Costume Designer, Laura Montgomery

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What We Do In The Shadows S4 with Costume Designer, Laura Montgomery · The Art of Costume Podcast

• 0:11
  Do you think that broke the Internet?
• 0:13
  Matt Berry and Skinny jeans? That was his insistence too.
• 0:16
  He just wanted to go tighter and tighter.
• 0:17
  The way this look had this chokehold on Internet for the
• 0:21
  past six months, That's been ridiculous.
• 0:23
  I mean. Why can't you tell you how many
• 0:26
  times my dad has called me, calling me the most devious
• 0:29
  bastard in all of New York City? Hello and welcome to the Art of
• 0:44
  Costume Podcast. I am your host Spencer Williams,
• 0:48
  and thank you so much for joining me for another bonus
• 0:51
  episode. Dark Greetings hello everyone.
• 0:55
  I'm so excited for you all to hear today's episode as we were
• 1:00
  talking about one of my all time favorite shows, What we Do in
• 1:04
  the Shadows. You all know how I feel about
• 1:06
  the show, It's just a masterpiece.
• 1:08
  The costumes, the characters. And with the new season coming
• 1:13
  out on July 13th, 2023, I figured what better way than to
• 1:19
  take a look back at season 4. And discuss all the costumes
• 1:23
  before we get into Season 5. And of course, today we're going
• 1:27
  to be joined by the costume designer, What We Do in the
• 1:30
  Shadows my good friend Laura Montgomery, who I actually met
• 1:35
  here on the podcast when we did an interview way back now for
• 1:39
  Season 3 of What We Do In the Shadows.
• 1:42
  And ever since then, we've become great friends.
• 1:44
  We see each other every time she's in town for, you know,
• 1:47
  whether it's winning an Emmy or being nominated at this award
• 1:51
  show or speaking on this panel, we always make an effort to hang
• 1:55
  out and see each other. So a lot of love for Laura and
• 1:57
  her career and her team. With that, let's get into it.
• 2:02
  First, I'll start with the summary for Season 4 of What We
• 2:05
  Do in the Shadows. The vampires return from the
• 2:08
  world, travels to find their mansion on the verge of
• 2:12
  collapse, A freakish new creature in the house, and
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  dreams to open a hot new vampire nightclub in Staten Island
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  finally come true. What We Do in the Shadows was
• 2:23
  created by Jermaine Clement and costumes designed by Laura
• 2:28
  Montgomery. You know Laura from tons and
• 2:31
  tons of incredible films and shows.
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  She was a buyer on Carrie. Pixels, Poltergeist, Suicide
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  Squad, and Shazam. She was an Assistant Costume
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  Designer on American Gods and she was costume designer on the
• 2:46
  film Spiral and of course What We Do in the Shadows, seasons
• 2:50
  3/4 and the upcoming Season 5. For her work on What We Do on
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  the Shadows, she has been nominated for four Calf CAD
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  Awards. She was nominated for three
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  Costume Designer Guild Awards. And of course, she won an Emmy,
• 3:07
  so she is killing it. She also has an upcoming series
• 3:12
  coming out, Gen. V, which is an upcoming American
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  superhero television series developed by Craig Rosenberg,
• 3:19
  Evan Goldberg and Eric Kripke, serving as a spinoff of The Boys
• 3:25
  With that, I'm so excited for you all to hear from Laura.
• 3:29
  It's a great conversation and I hope you all enjoy after this
• 3:32
  break. And if you do enjoy this
• 3:34
  conversation, do not forget to go on Apple podcast or Spotify.
• 3:39
  Please, please, please leave us a 5 star review.
• 3:42
  Tell us what you love about the podcast.
• 3:44
  It really does help. We're doing a big push right now
• 3:47
  for reviews and ratings, so we can really take this podcast to
• 3:51
  the next level throughout this year.
• 3:54
  So please, if you haven't done so right, please do so and we'll
• 3:57
  even give you a shout out on the podcast.
• 4:00
  Thank you so much. I am so excited to introduce my
• 4:29
  friend, returning guest, Laura Montgomery.
• 4:32
  Hey, Laura. Hi.
• 4:33
  How are you? I'm good.
• 4:35
  It's so good to see you. I I feel like I love talking to
• 4:39
  you at least twice a year at this point.
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  So no, I've been lucky and I get to see you in person too.
• 4:46
  Right. I'm so excited.
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  Hopefully you're coming back soon.
• 4:48
  Hopefully, yeah, next month for the Cdg's.
• 4:51
  Okay. Good.
• 4:52
  Awesome. It's been a little while since
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  our first interview. Last time we talked about Season
• 4:58
  3 of What We Do in the Shadows, but you've been killing it.
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  I mean, now you're Emmy award-winning costume designer
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  Laura Montgomery. It's been quite a journey since
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  the first time we talked. It certainly has, I mean.
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  It all happened really quickly. Last year.
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  Going to the Cdj's was the first time I ever did anything like
• 5:19
  that. And so it was very it really was
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  kind of like a dream come true. I'm someone who always watched
• 5:28
  award shows on television, like, you know, that's my Super Bowl
• 5:32
  red carpet, I mean the Oscars, and then to be living it.
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  Was was just so unexpected and really gratifying for me, for my
• 5:45
  team, for the show, yeah. Yeah, I mean, it's been wild and
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  it was so exciting, I think for me to watch a lot of people to
• 5:53
  watch. I mean, I think everyone was
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  just so happy for you and rooting for you and your team.
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  It's amazing. I'm so excited for you and I
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  think we're just going to keep the ball rolling too.
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  So more award shows, Laura. I hope so.
• 6:09
  All right, let's check in on our favorite vampires.
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  This season was all about transition, I believe.
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  I think my favorite part about the season was watching Nadia
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  and her journey from the Vampira Council to being a club owner.
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  I loved her costumes. They had that nadja gothic look
• 6:28
  that we love, but also a little bit of like a club like edge to
• 6:32
  it this season, which I think is so fun to see.
• 6:35
  How she camps it up a little bit in each of her appearances.
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  What was that like? It was such a dream, like it was
• 6:41
  a real treat because we have these characters and they're not
• 6:45
  supposed to change that much. They're vampires.
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  Their look is established. There isn't a lot that you can
• 6:49
  really do to change them unless it's in the script.
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  So for this to get a whole season, that was like this
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  character is going on a different journey, which
• 6:59
  dictates that they have to have different clothes.
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  And it's also a really fun one. Like, it's not like she's
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  joining an Amish community, which might be fun for a minute,
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  but that. Would be a good episode
• 7:10
  actually. Actually, you know what?
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  I don't want to spoil anything. Just tell.
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  Me. He's in.
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  There might be a fun moment season 5, but club where like by
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  nature it's really over the top and colorful and bright and
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  attention getting and so. When we combined like her
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  character with club wear, there were just so many opportunities
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  and I think it was even a good fit.
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  Like Charity does wear a lot of shiny things, a lot of big
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  stuff, a lot of kind of over the top, attention grabbing pieces.
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  And I think both both Natasha and I during COVID and just in
• 7:52
  life in general, but especially during COVID, we've watched a
• 7:54
  lot of Drag Race so. That's interesting.
• 8:00
  That was kind of perfect, too. Yeah, perfect.
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  Perfect. Now that you said I'm like,
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  yeah, of course, yeah, I love the two hats that she wears when
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  we first see her at the beginning of beginning ish of
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  the season. I mean, that's just a flawless,
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  campy comedic touch. Just how much storytelling in
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  the two hats. What was I think most terrifying
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  was the one episode during the private school episode, we see
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  Nadja wearing a really cute pink outfit and it's actually quite
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  horrifying on her. And I just thought that was
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  genius storytelling. What was your thought behind
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  that look? That one was, it was scripted
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  as, um, I don't know if it was scripted as a pink suit, but it
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  was scripted as kind of like a. I honestly can't remember what
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  was in the script because now there's what's on the page and
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  there's what you bring to it. But in my mind, I read it as
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  like, you know, pink Chanel style boucle.
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  And so there were references of politician's wife, but also, you
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  know, a bit of Elle Woods. And then just going back to what
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  the real Chanel suit would have been.
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  So her kind of idea of like an 80s human woman who's very
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  polished and put together and so that when we built.
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  For her, and it was really fun. It's always fun to do something
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  different than what they would normally wear.
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  Right. It was so striking when he saw
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  you like, uh oh, like something's going on here in her
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  head and it's just so hilarious. And because you could tell she's
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  trying to blend in really well right now.
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  The worst part of it was we had these amazing shoes that I
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  inside. I was like, you have to wear the
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  shoes after It shows she wore the shoes.
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  Every second and you never saw them.
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  They were the Vivian Westwood. They were like the Jelly heels
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  with the big ball on the toes, like this little peep toe with a
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  heel pink. They were so cute.
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  Oh no, I. Never saw them.
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  And then Dolly had one too. I'm sure you notice.
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  I'm so sad now, needs like behind the scenes moments or
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  something. Yeah.
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  You've told me before that the guide is one of your favorite
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  characters to dress, so seeing her translate into the club
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  scene was actually quite hilarious.
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  I'm trying to like pinpoint what this aesthetic is.
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  It's kind of like, I guess a little bit 80s out there, but
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  it's just it's wild. I love it.
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  Yeah, I mean, I think we call it the Madonna.
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  That might be because of the wig.
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  It's very 80s, very like early 90s club kid, I remember.
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  I was really inspired by that aesthetic when I was young, I
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  when the club kids were going on all the talk shows, I just
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  thought, you know what they're like 6 inch even higher, 12 inch
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  rainbow platforms and foam. And that whole club kid era was
• 10:58
  so. I just got so creative and so
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  bright and so it just seemed very lively.
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  Like stuff was happening in New York and I was up in Toronto and
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  I didn't have access to any of it except on TV.
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  And so it's really, it was really looking back at 90s club
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  kid pictures and that's where I took a lot of inspiration for
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  her. She doesn't have a lot of rules,
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  which is fun. Her main role is her color
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  palette. I really stick to a
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  monochromatic color palette for her.
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  So black, white. There can be some silver, there
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  can be some pewter, but it's very grayscale.
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  I try not to do anything that is too naughty on her, so as soon
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  as the sleeve gets a bit too puffy, I'm like, Nope, we can't
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  go there. That's a naughty silhouette and
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  she tends to be a little bit more kind of edgy architectural
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  in her inspiration, but other than that.
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  There aren't a ton of rules, so we can really have fun.
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  She's so hilarious too. The fact that she, you know, she
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  spent the entire year just kind of sitting there and collecting
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  dust. So her, like, book of references
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  isn't very large. So I feel like sometimes it's a
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  little dated, which makes it more hilarious because, you
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  know, this is everyone's impression of what maybe fashion
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  is. So yeah, I think the guy just
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  nails it every time. Yeah, we're talking about like
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  that club kid aesthetic. I kept thinking back to like all
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  the Blade references of the blood sprinklers and whatnot.
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  The first like 5 minutes of the Blade movie.
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  I was noticing a lot of people in the background too and their
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  looks when we were at the club, which was a lot of fun to see.
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  All the kind of definitely costume to looks I noticed.
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  Fair looks were incredible. I'm so lucky.
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  Our background coordinator, Jill Lerner is amazing and her
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  specialty is like she can do anything but weird wacky fashion
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  styling. This season was an absolute
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  dream for her and we do prefix, but then also it's just a lot of
• 13:03
  like. Pulling people together on the
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  day and so the number of people that they process on the day and
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  just turn them from like a very average looking some of them
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  come in. Casting was really helpful too,
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  because sometimes, you know, they would the background
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  casting agent would cast people who already had a kind of a
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  look. But otherwise you would just get
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  like a run-of-the-mill person and you would have to turn them
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  into something sexy and creepy and weird.
• 13:34
  Yeah, I wish we. I wish we saw more of them.
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  But every time I think she just did such a good job.
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  Right. I think one of my favorite
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  scenes is when we were first introduced to the club and you
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  see Nadia talking to everyone in the line and you see everyone in
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  line waiting for the club. That's just like a great moment
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  where you get to see all the costumes kind of lining up.
• 13:56
  Yeah, it's perfect. Did you see the denim capes?
• 14:00
  Denim capes. I don't think I noticed.
• 14:02
  Denim capes. Oh.
• 14:03
  My gosh, we did a whole. So there's a line.
• 14:06
  I think it's in. Not sure which episode.
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  Might be the wedding episode, where Nadia says to two
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  background performers, she says You tune in the denim capes, go
• 14:17
  back to New Jersey. Yeah, no, I do remember the
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  line. And we did a whole head to toe.
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  It was Justin and Britney. They're intent to to denim.
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  He's in a denim. We covered a cowboy hat and
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  Patrick Denim. Stuff I need to go.
• 14:32
  You'll have the case. Tapes are amazing.
• 14:34
  And I know I've seen that part, because I remember the line now
• 14:37
  vividly. But I need to go back and look
• 14:39
  at what they were wearing. Get just never.
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  Everything it down to the shoes, even the shoes for denim.
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  A little Easter egg for everyone watching.
• 14:48
  Go back and watch that scene. Someone else who's gone through
• 14:53
  quite a journey this season was Nandor the Relentless, My
• 14:58
  favorite Nandor finds love and we have this incredible wedding
• 15:03
  episodes. Well, love and quotation marks
• 15:08
  love that maybe he might consider love.
• 15:11
  I've had a privilege of seeing Nandor's wedding look in person,
• 15:15
  as you know, and I think it's quite breathtaking.
• 15:17
  What was the story behind putting together Nandor's look
• 15:20
  in particular? Good.
• 15:22
  Question it all. All of that came together really
• 15:27
  quickly. So season four was shot in the
• 15:32
  same calendar year. We did three and four in the
• 15:34
  same calendar year. I think you know scheduling with
• 15:37
  COVID, some things were delayed. So season three ended up
• 15:39
  happening a little later than we normally would.
• 15:41
  So. So it all happened really
• 15:43
  quickly at the point when we got the script for the wedding we
• 15:48
  were. Shooting that we were either
• 15:51
  prepping or shooting the Night Market.
• 15:53
  So already I just felt like absolutely up to my eyeballs.
• 15:58
  In night market, it's like we're at our Max.
• 16:00
  There's nothing else we can do. We have goblins, warlocks, which
• 16:04
  is like all this stuff is going on.
• 16:07
  Valkyries like we are stretched to the limit and then you're.
• 16:10
  Like weddings are not in the calendar this year, Mr.
• 16:13
  Relentless. No.
• 16:15
  And so we had the concept meeting.
• 16:18
  On the schedule for the next episode, and I kind of like I we
• 16:21
  get the rough, you know, outline.
• 16:23
  So I knew there was a wedding coming up.
• 16:24
  So I kind of like had a, I knew that that might be happening
• 16:27
  this season. But we get the script, not even
• 16:31
  that much time to read it because the concept meeting
• 16:32
  starts and maybe, you know, 10 minutes after we get the script
• 16:35
  and I'm just kind of flipping through and I get to maybe the
• 16:38
  fifth page. And I see the makeover montage.
• 16:43
  Yes, I forgot about the makeover montage that I mean that is Emmy
• 16:48
  Award worthy. Just in that 2 minutes.
• 16:50
  That's so funny. And I just remember in the
• 16:54
  meeting like I was trying to keep my cool.
• 16:56
  And at one point the showrunner, as he's going through the beats,
• 16:58
  he was like, and I'm just looking at Laura's face to see
• 17:00
  what her reaction is right now. I was just, I was like, I'm not
• 17:04
  going to show anything. I'm not going to show anything.
• 17:05
  And the meeting finished and I just immediately went up to our
• 17:09
  producer and I was like, okay. So this group is amazing.
• 17:12
  I'm really excited to do it. If this is gonna happen at all,
• 17:16
  I'm going to need a second ACD and she starts immediately.
• 17:20
  I'm going to need another buyer. I'm going to need this and this
• 17:23
  and this. And to his credit, he was like,
• 17:26
  yes to all of it, yes. He knew he was coming, just
• 17:29
  like. I think I might have even
• 17:32
  messaged him in the chat on the Zoom.
• 17:34
  I was like, I will be seeing you after this.
• 17:38
  Because like all of our resources were already tied up
• 17:41
  with what we were shooting And then we had, I think I want, I
• 17:44
  don't even know if we had 10 days to prep this.
• 17:46
  So I was like, OK, I need to devour an entire new set of
• 17:49
  resources and my, you know, massive $30,000 budget, which is
• 18:00
  still like that to me, is is. The most, I think, encouraging
• 18:06
  and gratifying and just unbelievable that this show, and
• 18:10
  I'm not. I mean, maybe I'm speaking too
• 18:12
  much at a turn. I should divulge the secrets,
• 18:14
  but I have a dollar budget per episode, so to have this episode
• 18:19
  nominated? I.
• 18:21
  Know to have it. These are the secrets this is
• 18:23
  behind the scenes against, like Lord of the Rings.
• 18:27
  That's. Great.
• 18:27
  Like that's so it just you know. The workmanship that was put in,
• 18:33
  you know, you can see like when I look at this I can see the I
• 18:38
  don't want to call them cheap, the less expensive trims that we
• 18:40
  had to. Would I have hand embroidered
• 18:41
  everything if I could have yes. But the it's not in this picture
• 18:46
  but the the kind of mantle over the shoulder of his velvet Cape
• 18:50
  that you saw in person. That was all we used a fabric
• 18:53
  that had some embroidery on it already.
• 18:55
  But my textile artist, who's an amazing beater and embroider,
• 18:59
  she spent, I don't even know how many hours like days, hours and
• 19:03
  hours hand beating that. And those are the things that I
• 19:06
  think helped to really elevate it.
• 19:07
  I was like, hey, we're going to put our resources, we can do
• 19:09
  this, we can do this, We'll cut corners in some places.
• 19:13
  And then for him it was, I think I just had to really quickly
• 19:17
  look through images of, you know.
• 19:19
  There's always a danger of taking him too Indian.
• 19:21
  So I looked at a bit of Indian wedding stuff, but then I was
• 19:23
  like, no, we can't be too Indian.
• 19:25
  So again, just going back to the source material of like, you
• 19:28
  know, formal paintings and I think I took, I don't know where
• 19:33
  I stole the shape of that outer jacket from.
• 19:35
  And then he always wear, because vampires always wear Cape.
• 19:37
  So we did the Cape and the velvet.
• 19:40
  And then that Sam Brown harness was a bit of it felt like it
• 19:43
  needed something more because he always has his military
• 19:46
  background, so the harness, but we made it in kind of a dressier
• 19:50
  leather and put a nice buckle on it.
• 19:52
  So yeah, but it was all came together really quickly.
• 19:56
  I mean, I just have such a bigger appreciation for the
• 20:00
  show, just listening to you speak about it.
• 20:01
  I mean the fact that your team is able to pull this off with
• 20:04
  such little time with. It sounds like basically $0.00
• 20:08
  budget. I mean in like the.
• 20:10
  Grand scheme of. Things compared to like House of
• 20:13
  the Dragon, Rings of Power that are like the most expensive
• 20:17
  shows ever. It's.
• 20:19
  No, we just got like, you know, I had my cutter, Carla
• 20:23
  Mangiardi, who was absolutely incredible.
• 20:26
  She did, I think, almost all of the montage costumes.
• 20:31
  She was just like, pumping them out.
• 20:33
  I hired on two more. Cutters Amazing guy named Wing
• 20:38
  Lee. He did that little like that
• 20:40
  gold bolero from Marwah Sam Winton.
• 20:43
  She slapped all the lace on the dress.
• 20:45
  I don't want to say slap. She spent, you know, many hours
• 20:47
  carefully applying it and then we just had to kind of triage
• 20:52
  like okay, we're going to do the the candy stripe.
• 20:56
  Blazer the sail even like the sailor suit for the Baron,
• 21:00
  getting the proportions right on all of that because he has no
• 21:03
  legs. They were all that's the thing
• 21:06
  reading it. I was like these are all bills.
• 21:08
  Like I can't just go to the store and buy and all of those
• 21:12
  beats were scripted. So the he's opening his trench
• 21:15
  coat and already I'm like Doug is 6 foot, I don't know four.
• 21:20
  There's no trench coat that exists that is, that I can buy
• 21:23
  in the next couple days, that is.
• 21:25
  Floor length to 6 foot four. So how do we do that?
• 21:27
  How do we do the child sailor suit?
• 21:29
  How do we do the unmatching on the bicycle like that kind of
• 21:33
  Mary Poppins. I was like, these are all bills,
• 21:37
  but I think that's where we save money too, because it's labor.
• 21:40
  So we buy the fabric and then we make it, we age it, we distress
• 21:44
  it, we paint it. So it's the people like my team
• 21:48
  is incredible. Well, shout out to the entire
• 21:51
  team of what We Do In the Shadows season 4, three, all of
• 21:55
  them, because, I mean, it's just, it's really incredible
• 21:58
  because you would not be able to tell watching this episode.
• 22:00
  It's just it to me, I would have thought you had a long time to
• 22:04
  prep for this. So it doesn't come off that way.
• 22:07
  It's quite incredible. Thank you.
• 22:11
  One of my favorite, you know, I'm a Baron super fan and we
• 22:14
  were just talking about Doug Jones.
• 22:18
  I think I even said to you in our first interview, I said
• 22:21
  please, if you could tell them anything, it's to bring the
• 22:24
  Baron back every season. And I got my wish because this
• 22:28
  was everything I was hoping for. What was it like creating this
• 22:31
  look for the Baron in his new rejuvenated body, I should say,
• 22:37
  which everyone seems to be really excited about, including
• 22:39
  Nadia and Leslo. It was a lot of fun, and it was.
• 22:47
  I didn't want to stray too far from what had already been
• 22:50
  established for him. I think what Amanda did in the
• 22:54
  first season, and it was really funny where he wore the two
• 22:57
  Roughs when he was going out for the night on the town.
• 23:00
  So we kind of established that he's a rough guy, I.
• 23:04
  Mean it makes sense. And with the rough and the
• 23:08
  jabot, so we did we made the rough and we put we just, I just
• 23:12
  tried to kind of. Fancy everything up a bit?
• 23:15
  So we made that rough when we edged it with pearls, the coat
• 23:21
  trying to find a fabric. I remember that was such a thing
• 23:24
  because fabric sourcing in Toronto is pretty difficult and
• 23:28
  that coat needed a lot of fabric because he's so tall and it had
• 23:32
  the train and the flare. So I found something, but there
• 23:35
  wasn't quite enough and so that is why.
• 23:39
  I'm just selling it as a choice in a design detail, but it was
• 23:43
  not originally meant to have the sleeves of the different fabric
• 23:46
  than the body, which I think works ultimately.
• 23:51
  But it was just because we got the fabric from New York and
• 23:56
  there just wasn't enough of the the one that we really liked.
• 23:58
  So I was like, let's use two different ones.
• 24:01
  Why are you so tall? Yeah, I love the actually the
• 24:05
  contrasting sleeves. I think that's a really great
• 24:07
  touch. I think sometimes these things
• 24:09
  happen and then it ends up like, oh, it's better for it, like,
• 24:14
  you know, so. That was a journey.
• 24:16
  Had to go on. It looks more expensive to me,
• 24:18
  actually looks more regal. And you know, I mean, he's the
• 24:20
  Baron, so he's covered in gold colors.
• 24:24
  It's a bit more interesting, yeah.
• 24:26
  And he had these great flu vog heeled boots that Doug himself
• 24:31
  just loved. And so at the end.
• 24:35
  They they found their way into his suitcase and he is.
• 24:38
  So he sent me a message that he wore them to a ceremony where he
• 24:42
  was being given a lifetime achievement award and he just
• 24:45
  was like rocking those boots in his personal life.
• 24:50
  I love that. I mean, he's kind of like a
• 24:52
  costume design dream, I imagine. I just said this Saturday to
• 24:56
  Salvador Perez, who just did Hocus Pocus.
• 24:58
  I like. I just imagine working with Doug
• 25:00
  Jones is exciting. I mean, he's so tall, but I
• 25:03
  mean, he's a costume character. He is.
• 25:06
  And he for me, it's his hands. That's the signature.
• 25:11
  Like the way he moves, his whole body is very recognizable.
• 25:16
  And for me it's the hands that's the through line for all of his
• 25:19
  characters. He has this really lyrical way
• 25:21
  of moving his hands. So even in the like the del Toro
• 25:24
  movies, when you see him doing these kind of like very
• 25:27
  expressive hand gestures with those long fingers.
• 25:31
  And he's a lovely person to work with.
• 25:33
  He's so professional. He is so kind.
• 25:36
  He is so patient. Like if you need him to come for
• 25:40
  a fitting, where when do you need me?
• 25:43
  He knows everyone's name. He just like.
• 25:47
  He has a lovely, lovely personality.
• 25:49
  Oh, I love that. He's very real happy that he's
• 25:52
  not 1/2 burned up corpse this season too, which is probably
• 25:55
  really exciting for him too. Yes, that was something that
• 26:00
  the, the direct, the producers and the showrunners also wanted
• 26:03
  to do for him too, is that, you know, he's always in these heavy
• 26:06
  prosthetics, so they wanted to let him just be himself.
• 26:10
  Right, Yeah. Which is really exciting and
• 26:12
  refreshing. I love the way you do your
• 26:16
  research for this show, and in particular I thought it was
• 26:20
  interesting at this season with Nandor and his 37 returning
• 26:26
  wives, including Mara, aka Mrs. Relentless.
• 26:32
  So what sort of research did you do in preparation for creating
• 26:36
  these costumes? That was, again, a lot of source
• 26:39
  material from paintings. And mostly I may have mentioned
• 26:43
  this because I think it's kind of, you know, there isn't.
• 26:47
  From what I have found, there isn't a ton from the 1400s.
• 26:53
  But there's this one epic poem called the Shauna Mae, and there
• 26:57
  have been illustrated versions of that that have been done
• 27:01
  throughout the years. And you can kind of tell, like
• 27:03
  if there's an illustrated version from the 1800s, it bears
• 27:07
  a little bit of the stamp of that period, But it's still, I
• 27:10
  hope, kind of gives a bit of a feeling of at least the shapes,
• 27:13
  the colors. So for me, I was looking at
• 27:16
  that. Poem and the illustrated
• 27:19
  versions of that poem. So a lot of painting, a lot of
• 27:21
  illustrations and just trying to, you know, take the shapes
• 27:26
  from that and do what we could. A lot of we had to build a lot
• 27:30
  because I found these things just didn't exist, not where it
• 27:35
  was accessible for me in Toronto, for example.
• 27:38
  So kind of piercing together, finding things online and buying
• 27:42
  them from vintage stores, renting items and then.
• 27:46
  There are 37 wives. Some of them are cast, some of
• 27:48
  them are background. So, you know, focusing our
• 27:51
  efforts on the ones that you're gonna see more of make.
• 27:58
  We've made all the head pieces. You can't see them.
• 28:00
  There's a set of twins that I really liked.
• 28:03
  Yeah, there's not a lot of photos out there.
• 28:05
  Struggling to find photos on them.
• 28:06
  It's a shame we need more photos FX.
• 28:11
  But there were, and I think, one of the great things about the
• 28:13
  show and even I at one point. Was on the bandwagon.
• 28:17
  You know, I'm all I'm usually like, you know, great thing
• 28:19
  about shadows is that we put our like, there's a lot of effort
• 28:22
  and thought that goes into it and it's not just a throw away.
• 28:26
  And so at one point there were many people who were saying it's
• 28:29
  a very small set. You will never see 37 wives.
• 28:32
  We don't need 37 wives. You could just do it with 15 and
• 28:36
  like jiggle the camera and it looks like 37.
• 28:39
  And even at one point when I was having some difficulty, I was
• 28:43
  like, why do we need 37? Like.
• 28:46
  Really, it does. Well that.
• 28:50
  But to her credit, the director, Jana Griska, I was like, no,
• 28:53
  like it says 37 lives, I need 37 bodies in costume life that even
• 28:57
  if I don't care if I don't see all of them, like we need 37.
• 29:00
  And I think it does help. So they were all over and we may
• 29:04
  not have seen all of them, but they were everywhere and we did
• 29:06
  have 37 of them. And I think it's that kind of
• 29:09
  attention to detail. It does help sell it, like you
• 29:12
  just feel like there are 37 bodies in that space, 37 voices,
• 29:16
  37 people breathing. Right.
• 29:18
  And I think that's also exciting part to Shadows too, is every
• 29:21
  time you watch it, you might be able to see something new.
• 29:23
  I mean, you've mentioned things to me today that I'm like, I've
• 29:25
  seen the season like three Times Now and I'm like, what denim
• 29:28
  capes I need to go back and like, you know, like you always
• 29:31
  notice something different every time you watch the show, which
• 29:33
  is exciting. So I mean next time everyone
• 29:35
  watches. Check out all of Nandor's 37
• 29:39
  wives. Maybe you might see something.
• 29:42
  That's not my See if you can spot my identical twins.
• 29:45
  OK. Yeah.
• 29:46
  Yeah. Matching costumes.
• 29:47
  I'll give you a clue when it they're.
• 29:49
  They're fraternal, I guess, because it's a man and a woman.
• 29:51
  But we did them in identical costumes.
• 29:54
  Oh, interesting. I was like, he needs a set of
• 29:55
  twins. Of course he'd want a set of
• 29:56
  twins, right? That's very Mr. Relentless,
• 30:02
  right? I think the freakiest detail to
• 30:05
  the season, and we knew this was coming, but it wasn't easy
• 30:09
  seeing it the first time, Colin Robinson being essentially a
• 30:15
  child, a toddler, going into his teenage. 60 years.
• 30:20
  This was a journey, Laura. I mean, this is wild.
• 30:24
  So I, you and I talked a little bit behind the scenes, But just
• 30:28
  so everyone knows, you were designing costumes so that
• 30:31
  you're designing the kids costumes, toddler costumes, the
• 30:35
  teenager looks. This is still all you.
• 30:36
  It's not visual effects. No, it's not visual effects.
• 30:41
  There was a lot of like R&D. I would say at the beginning.
• 30:45
  We always knew it would be a body.
• 30:49
  A child's body. I think they always knew that it
• 30:51
  would be a child's body, but there was a lot of like, how are
• 30:55
  they going to do the head? So which had nothing to do with
• 30:57
  us really, except for the fact that, like, you know, would it
• 30:59
  be helpful if I provided a hat or a hood?
• 31:01
  Would it not be helpful? Is it going to be?
• 31:04
  There was a mask built at one point which was deemed just like
• 31:07
  too creepy. Uncanny valley.
• 31:10
  It was like a mask, no? Thank you.
• 31:15
  And eventually, it was. So there are two ages.
• 31:21
  So when you see the one in the little sleeper, that's what we
• 31:24
  would call baby Colin. So there were I think 2 actors
• 31:27
  who were the body of baby Colin, adorable little like 3 year
• 31:31
  olds. And then there were.
• 31:34
  Three, there were actually 4 actors who played child Colin,
• 31:38
  who's the like the kid body that you see.
• 31:40
  So there was a stunt one who's an adult stunt performer, but
• 31:44
  he's a little person. And then there were three kids
• 31:47
  who actually. In the episode where Nadia is
• 31:53
  auditioning children for the nightclub, the three kids who
• 31:58
  perform. So there's one who does a
• 32:00
  spelling bee, there's one who sings, and there's one who tap
• 32:03
  dances. Those are our three child
• 32:06
  calling bodies. I did not know that.
• 32:09
  I can't wait to go back to rewatch.
• 32:11
  It gave me so much. Homework.
• 32:14
  And so we shot everything. They had the waist, so they
• 32:18
  would wear the wig and they had the.
• 32:20
  Little tracky ducks on their faces.
• 32:23
  But it meant that, you know, for every costume of his, I had to
• 32:26
  have at least four of them. And so for his clothes, not so
• 32:32
  much when you got into the baby, but in the kid, there were a
• 32:36
  couple of times when you wear some pieces from Lazlo's closet.
• 32:40
  And then I really just tried to think about what a kid would
• 32:43
  wear. If he was left to his own
• 32:45
  devices like he's living in this mansion, he has access to their
• 32:48
  closets. Probably victims closets.
• 32:51
  Guillermo's probably bringing him stuff from Target because
• 32:55
  Guillermo's got a hand in raising him now, but otherwise
• 32:57
  he's probably pretty much unsupervised and he's making a
• 33:00
  lot of his own decisions with what to wear.
• 33:02
  So. My inspiration and my my
• 33:05
  research board for him that I presented was all just pictures
• 33:08
  of my own children. I was going to say I was like, I
• 33:11
  mean, I don't want to stay on podcast, but I believe you have
• 33:13
  two boys, right? So that must have played into it
• 33:16
  a little bit. So much of it.
• 33:19
  So the big thing with the kids was that they just, they put
• 33:23
  things together that you wouldn't think to do.
• 33:25
  So my kids. Wear a lot of almost every day.
• 33:27
  There you have something on that's backwards.
• 33:31
  Yeah, like oh, boy. And then a lot of using costumes
• 33:38
  or things that are not clothing as part of their clothing
• 33:41
  because they want to like put on a look.
• 33:45
  Child Colin wears a bathroom. A bathroom, A bathrobe.
• 33:49
  For a few of his costumes include a bathrobe and that was
• 33:53
  stolen directly. My younger son is has worn A
• 33:55
  bathrobe to school every day this week, just like over his
• 33:59
  clothes, because it's like, you know, a piece.
• 34:01
  So right today he has on a bathrobe, A hooded bathrobe and
• 34:04
  a fedora. Well, I really love his style.
• 34:06
  That sounds sounds comfortable. You know, it's like, you know,
• 34:11
  that's his, that's his thing. And then the swim goggles too, I
• 34:14
  think, you know, there's a point when my kids were having like
• 34:16
  these big nerf gun battles and so they would put on like
• 34:18
  goggles and things. And so I tried to, I just tried
• 34:22
  to think of what, you know, what an 8 year old kid would pick and
• 34:26
  would gravitate towards. And so I tried to make it as
• 34:29
  naturalistic as possible. Well, I mean, there's a lot of
• 34:32
  like background that goes into that too.
• 34:34
  Because you're also like you said, you're thinking about
• 34:36
  like, well, how would? Laszlo, I mean Laszlo, we're
• 34:39
  talking about dress A8 year old child and you know.
• 34:44
  She wouldn't care. She would just let the kid do
• 34:46
  his own thing. That's it's so true.
• 34:50
  It's so hilarious. I loved it.
• 34:52
  I could just throughout the season, I was like, oh man, I
• 34:55
  can't wait to talk to Laura about baby Colin because you
• 34:58
  just, you know, it was quite a journey.
• 35:02
  Guillermo comes into a little bit of money this season.
• 35:04
  He's starting to show a little bit of style and all flashy
• 35:09
  throughout the museum. I imagine working with Harvey on
• 35:12
  this was probably quite exciting.
• 35:14
  It was. I mean, he's such a dream.
• 35:17
  I wish we could push it. As far as, you know, his
• 35:21
  personal taste would want it to go.
• 35:23
  But he also he understands character so well.
• 35:25
  He would never want it to be out of character.
• 35:28
  But it was fun to do a little bit more.
• 35:31
  You know, fashion. But then to think of what
• 35:33
  Guillermo would want to spend his money on and what he thinks
• 35:36
  is stylish and fashionable. The Versace shirt was actually
• 35:40
  in the script that he's wearing a Versace shirt.
• 35:43
  So. So.
• 35:46
  Stupid, I love. It, But for the rest of it, it
• 35:49
  was like just very flashy. You know, there was something
• 35:53
  about at one point it was jeans like, you know, he had to have
• 35:57
  really like trendy like. Expensive looking jeans I think
• 36:01
  was the script note. And so for that one, like what
• 36:04
  would that be? True religion, obviously, right.
• 36:10
  And then he has these great Lubuta sneakers because he's
• 36:13
  embezzling money from the club. So he has, you know, all this
• 36:15
  extra sounds. Like everyone's embezzling money
• 36:17
  from the club, yeah. He we found these Louboutin
• 36:21
  sneakers that were so perfect because he of course he's just
• 36:24
  desperate to be a vampire. So they are patent red and black
• 36:29
  and they have spikes on the toes.
• 36:31
  Oh, that's awesome. So those got made their way into
• 36:35
  his closet this season. Yes.
• 36:37
  I mean, just even in his fashion choices, he's always thinking
• 36:40
  about being a vampire. Hopefully he gets his wish.
• 36:43
  I'm rooting for you, Guillermo. Yeah, I think one of my favorite
• 36:51
  episodes was go flip yourself where Laszlo gets to live out
• 36:56
  his dream with brothers Toby and Bran as they come to renovate
• 37:00
  the residents. In this masterpiece of an
• 37:04
  episode, we get to see Laszlo go like full dad mode with the
• 37:10
  flannel shirt the. Great kind of jeans on him, but
• 37:15
  also still very Lazlo with his neck piece.
• 37:17
  It's it's hilarious. You have to get into this look.
• 37:21
  Do you think that broke the Internet?
• 37:22
  Matt Berry and Skinny jeans? That was his insistence too.
• 37:25
  He just wanted to go tighter and tighter.
• 37:27
  The way this look had this chokehold on Internet for the
• 37:30
  past six months, That's been ridiculous.
• 37:33
  I mean. I can't even tell you how many
• 37:35
  times my dad has called me, calling me the most devious
• 37:38
  bastard in all of New York City. Yeah, it's it's broke the
• 37:46
  Internet. It's it's a look, Laura.
• 37:48
  It's such a good look. Did you notice that throughout
• 37:51
  the entire season they were putting in commercials for Go
• 37:54
  flip yourself. I did notice that, yeah, as I go
• 37:57
  flip yourself, super fan. Now I did notice.
• 38:02
  Honestly, I scream like I love those home renovation shows.
• 38:05
  So that I was like, I know how to do this for the host, but.
• 38:09
  I screamed when I read the episode because already I was
• 38:11
  reading it, reading it, reading it.
• 38:13
  And already I was like, this is amazing.
• 38:16
  They're gonna do it in the format of a home renovation
• 38:20
  show. Like, so brilliant.
• 38:22
  This episode can't get any better.
• 38:24
  And then I get to the final pages and it's Simon and it's
• 38:28
  all about the hat. Like, I screamed out loud.
• 38:31
  I remember going out of my office and I was like, you guys
• 38:33
  have to read this episode. It's, I'm like, I'm not gonna
• 38:35
  tell you what happens. Like, just sit down, read it
• 38:37
  right now. It's Judius.
• 38:42
  I think one thing that might have escaped noticed because
• 38:44
  unfortunately Toby was wearing a jacket when he was killed.
• 38:50
  But those are Toby's clothes. I think some people were like,
• 38:53
  oh, I didn't realize that, but those are the clothes from
• 38:55
  Toby's dead body. I didn't notice that.
• 39:00
  That's hilarious. So then, as you said, you know,
• 39:04
  I'm a big Nick Kroll fan. I love Simon.
• 39:06
  And devious, he shows up. He's looking incredible.
• 39:09
  He brings his crew big. Vlad and Pusa the Freak Sisters.
• 39:13
  Lil VAD Freak. That's Tony.
• 39:16
  The list goes on and on. Count Rapula Big.
• 39:20
  Lad is our special effects as our special effects coordinator.
• 39:24
  No, he's not. Is he really?
• 39:26
  He is because in the first season when.
• 39:31
  He had his like, he had to do something with fire.
• 39:34
  I don't know think he like, gets an air on him and he gets set on
• 39:37
  fire. So because he's our special
• 39:39
  effects guy, they used him and they're like, well, we'll just
• 39:41
  put him in this show. But now ever said like now he
• 39:44
  has to continue being big black. It's too late now, Black.
• 39:50
  I think he secretly loves it, but.
• 39:53
  Yeah, I mean, every time this crew shows up, and I mean, it
• 39:56
  takes the it's. One of the best episodes of the
• 39:59
  season. Every time it comes up, what was
• 40:02
  it like designing this crew and working with Nick Kroll?
• 40:06
  You even got to get your hand on Elvis, which is, you know, quite
• 40:09
  a popular costume these days, so.
• 40:12
  And that guy's amazing. So Sean Kush or Kush?
• 40:16
  Who? He is a real life Elvis.
• 40:19
  I don't even think I'm using the right word impersonator.
• 40:23
  He has another word for it because he does all the live
• 40:25
  singing and so that is his livelihood.
• 40:29
  He goes around, he tours, apparently he's close with the
• 40:31
  family. He even has he gets his clothes.
• 40:35
  So those are what he's wearing, are actually his own clothes
• 40:39
  because he gets them made, some of them by the people who made
• 40:42
  Elvis's real clothing. He has a pair of glasses that he
• 40:46
  let me try on that belongs to Elvis.
• 40:49
  So they've been on Elvis's face, I know.
• 40:53
  Mr. Elvis, I mean more, more credit to him.
• 40:58
  I know. So he's the real deal.
• 40:59
  So for his staff, like we, you know, we would do the coveralls.
• 41:03
  But otherwise it's just like, you know, can you bring this,
• 41:05
  can you bring some options? Because he has it all.
• 41:07
  He travels with it. Those are his performance
• 41:09
  clothes and that even that shirt is a copy of one that Elvis
• 41:14
  really wore. So I was like, well I'm not
• 41:16
  gonna do better than this. Why remove the wheel?
• 41:19
  All right. I guess we're done with this
• 41:21
  character, yeah. It's done.
• 41:25
  But designing now the costumes for the crew, I mean what is
• 41:27
  that like? Cuz they all have unique
• 41:29
  personalities but they still kind of work together though.
• 41:33
  They do what, you know, I have to credit again Jill Lerner, our
• 41:36
  background coordinator. Some of them were new.
• 41:42
  And we just, you know, his crew. Initially when we first met his
• 41:45
  crew, they were called the Leather Bears.
• 41:47
  So there's a lot of leather in there for the recognizability
• 41:51
  factor. They are actually the same
• 41:53
  people that we met at the nightclub.
• 41:55
  So for a lot of it we tried to either replicate or re rent.
• 42:00
  We did a lot of screen grabbing. Even for the casting, they're
• 42:03
  like who was this person who was Desdemona the Shrieker?
• 42:06
  They all have names. I mean, I it took me forever
• 42:08
  just to find a list last night. There's so many of them.
• 42:12
  There are a lot of them, so we tried to do what they had worn
• 42:17
  in the club or something similar.
• 42:19
  Some of the new ones, Idina Menzel, we just gave her a
• 42:22
  tshirt that said it was actually supposed to just have the number
• 42:26
  525,600. And the Tshirt printer wrote
• 42:30
  minutes on the bottom and I was like, it's a bit, well, whatever
• 42:34
  when you shoot it today, okay. But otherwise, because she
• 42:42
  didn't look, I was like, where's the joke?
• 42:44
  Like, I don't think she looks a lot like Idina Menzel, but OK,
• 42:47
  so I was like, let's just give her that T-shirt.
• 42:49
  But that is pretty funny though. You made the joke.
• 42:53
  I did. It was for me.
• 42:54
  Sometimes we just do it for ourselves.
• 42:58
  And then the coveralls too. We had to workshop.
• 43:01
  I just rewatched the episode actually, and you can't really
• 43:06
  tell as much with. Nick, when he pulls off the
• 43:10
  clothes, it happens really quickly, but we really tested it
• 43:15
  and the whole everything he's wearing as Bran.
• 43:20
  As well as all of their coveralls, we figured that it
• 43:22
  was it magnets down the back so he could pull it off.
• 43:26
  So it's jeans, a hoodie, a shirt.
• 43:29
  It was all that one was all sewn together so that he can grab it
• 43:34
  at the waistband. He pulls it forward and the
• 43:37
  whole thing just comes off his body and then he throws it down.
• 43:41
  So he was, it was practical. He was actually wearing this
• 43:44
  costume underneath the brand costume and for all the guys who
• 43:49
  you see pulling off. Their coveralls.
• 43:50
  We had like some real coveralls for when you need to see their
• 43:53
  backs because they were in it the whole episode, like working
• 43:56
  around the house. And then for the reveal we had
• 43:59
  all the ones that were magneted up the back so everyone could
• 44:02
  just like, throw them off because we have to think about,
• 44:05
  like, we have to do quick resets.
• 44:07
  We have a lot of these crew members.
• 44:09
  So yeah, how do we like, get everything back on them so we're
• 44:11
  not holding up camera. It was very fun.
• 44:15
  It's a masterpiece. I'm.
• 44:18
  I feel like I'm going to not do anything today, but just watch
• 44:20
  what we do in the shadows after we're done talking.
• 44:25
  Before we wrap up, there are some serious fun celebrity
• 44:28
  cameos like Fred Armisen, Frankie Quinones, Jim Jarmusch,
• 44:33
  Thomas Mars of Phoenix and Sophia Coppola, Laura.
• 44:39
  I mean, you kind of gave me a sneak peek about this and I had
• 44:41
  to just pretend like I didn't hear it for like an entire year.
• 44:46
  This was wild. This was wild.
• 44:48
  I can't even imagine. I mean, you were.
• 44:51
  The similarities between this and Bram Stoker's Dracula is a
• 44:54
  very fine line at this moment. Yeah, that's a good point.
• 44:59
  I know. I it was very Those are the
• 45:01
  moments when you just have to be like, Yep.
• 45:04
  Cool with this. I'm a normal person.
• 45:05
  I'm not freaking out. When Sophia came in for her
• 45:08
  fitting, we started talking about pickleball because she's
• 45:11
  good friends with our showrunner.
• 45:13
  He's really into pickleball. Pickleball's a big thing.
• 45:16
  I just started playing pickleball, like what we do in
• 45:18
  the shadows. The people behind the scenes are
• 45:20
  obsessed with pickleball. And.
• 45:24
  I know. And she was just chatting.
• 45:25
  And she was like, Oh yeah, my dad just broke.
• 45:28
  Like, he has a pickleball court at his house.
• 45:29
  And I was like, oh, cool, cool. And then afterwards, when we
• 45:31
  were all just kind of decompressing, we were like, OK,
• 45:35
  her dad, just, she's like, so casual.
• 45:37
  Just my dad, whatever. No, we do.
• 45:38
  We're like Francis Ford Coppola. That is the person she's talking
• 45:42
  about. Oh, you mean the director of
• 45:45
  Bram Stoke Is Dracula that guy? Just like, act normal.
• 45:51
  Act normal. Act normal.
• 45:52
  Yeah. Everyone has a dad.
• 45:52
  No big deal. I have a dad.
• 45:55
  You have a dad. Sure.
• 45:59
  But her character gets covered in a lot of blood too.
• 46:01
  I mean, was there a conversation with her about that before it
• 46:05
  happened? There.
• 46:07
  Yes, there was. So it was one of those kind of
• 46:11
  surreal things, and I've had to do it a couple times in the
• 46:13
  past, like on Pixels. I remember shopping for clothes
• 46:18
  from Martha Stewart to play herself and also for Serena
• 46:21
  Williams to play herself. And like, it was tennis clothing
• 46:25
  that, you know. You know, she'd already worn, I
• 46:28
  don't know, six months before that was just coming out in
• 46:30
  stores. And I'm like, how do you top the
• 46:31
  real person? So for this, like Sophia and
• 46:35
  Toma, they had to be themselves. So we had to provide versions of
• 46:39
  their own clothing that we could get in multiples that looked
• 46:44
  like them. So is there was a lot of
• 46:47
  conversation about like, you know, what would you, what do
• 46:49
  you want to wear to be yourself? What kinds of things do you
• 46:52
  wear? And so for tomorrow, we actually
• 46:56
  made the shirt. Sophia sent us one of his shirts
• 46:59
  because he gets a lot of, like just these, you know, these
• 47:03
  particular shirts. We found a nice fabric and we
• 47:05
  ended up making the shirt because we had to make a bunch
• 47:07
  of them. So because, you know, it's very
• 47:09
  fast, they're in for a day and then they're out, we have to
• 47:11
  know that it's going to fit perfectly.
• 47:13
  We don't want to take any chances.
• 47:16
  And then it has to be a light color to show the blood.
• 47:20
  But Sophia actually made it very easy.
• 47:22
  She was like, what about this? What about this?
• 47:24
  These are the kinds of things. So we had a fitting with her.
• 47:27
  We tried on a few options, and then we ended up in.
• 47:31
  That's actually a men's tuxedo shirt from Suit Supply in a
• 47:35
  really small size. But it's, I mean, it's kind of
• 47:38
  perfectly her chic. Nonchalant.
• 47:41
  I love it, and it's such a quick moment too.
• 47:43
  But the shows like the amount of work that goes to even like the
• 47:45
  smallest little beats that you know have such a great payoff.
• 47:49
  Though I loved it, I was very excited for this moment.
• 47:52
  I know. I kind of feel like, I don't
• 47:54
  know if it hasn't been noticed as much or to me that this like
• 47:57
  the big thing of the whole season, like Sophia Coppola was
• 48:00
  in our show. And that's something I find
• 48:02
  people are not talking about as much or asking about.
• 48:05
  I don't know if they just. And I was like, does the
• 48:07
  audience not know who she is? No.
• 48:09
  That's crazy. I wonder if the audience just
• 48:12
  doesn't really have, like, a face to the name.
• 48:14
  Like I when you see Sophia Coppola.
• 48:16
  Like the name, Oh yeah, Sophia Coppola.
• 48:18
  But maybe, I don't know that that's what I imagine.
• 48:21
  I can't speak for all you basic nerds who don't understand who
• 48:24
  Sophia Coppola is, but that's why I imagine you're going
• 48:27
  through right now. No, she was huge.
• 48:30
  Like growing up in the 90s, she was, you know, a fashion icon.
• 48:35
  Right. Yeah, another celebrity cameo.
• 48:40
  I loved Richie Suck. His costumes are ridiculous.
• 48:45
  I mean, you know, there's not a lot of rapper vampires, but just
• 48:49
  such a great character you created.
• 48:51
  I mean, he really packed the punches with his few little
• 48:54
  scenes. What was that costume process
• 48:56
  like? We had a lot of fun with him
• 48:59
  because there was also so he had his his home look.
• 49:05
  At his silo, which was his house.
• 49:09
  It was a smokestack. Yeah, where he's being bossed
• 49:12
  around by Fred Armisen. Which, that, and it's not like
• 49:17
  what did that season was such a dream for amazing collaborators
• 49:22
  and people like they say never meet your heroes, but they were
• 49:26
  all wonderful, better than I could have imagined.
• 49:29
  So he hit his casual look and then for his performance look.
• 49:34
  I mean, Full disclosure, I just stole from Tupac the overalls
• 49:39
  instead of because Tupac were the ones that had thug life
• 49:43
  embroidered on the waistband. So his has blood life
• 49:46
  embroidered on the waistband. That's.
• 49:48
  So funny, but that's what Richie Suck would do.
• 49:50
  So yeah, it makes sense. And then he has his cravat,
• 49:55
  because vampires always have a cravat, so he has his little
• 49:57
  cravat at the neck. But yeah, and then there was,
• 50:00
  there's a photo shoot too, of old.
• 50:02
  There was going to be like a montage of his album covers.
• 50:05
  So we got to have a lot of fun for the photo shoot.
• 50:08
  And Atheon brought a lot of ideas.
• 50:10
  Like he would put things on and we'd be like, oh, you know,
• 50:12
  we're kind of like, what kind of 90s rapper are you?
• 50:15
  We kind of said along Joe to see actually, he was like, he's kind
• 50:18
  of, yeah. Interesting.
• 50:21
  We had some fun looks for him. Laura, you know I could talk to
• 50:25
  you forever. I'm a big fan of yours and your
• 50:27
  work, and I just think you and. Your team especially are so
• 50:30
  fantastic. Do you have anything coming up
• 50:32
  that we should know about? Well, we shot season five of
• 50:37
  Shadows, so that's gonna be coming out next year.
• 50:39
  And then last year I also worked on a show that's part of the bot
• 50:45
  cinematic universe. Okay.
• 50:48
  It is called Gen. V and it's part of the world of
• 50:52
  the boys. It's about superheroes.
• 50:55
  There's some crossovers with some of the characters, but for
• 50:58
  the most part it's a new world of college aged superheroes.
• 51:02
  Oh, wow. I can't wait to watch that.
• 51:04
  That's gonna be a good one. Laura, thank you so much.
• 51:08
  This has been so fun. I love talking about what we do
• 51:11
  in the shadows with you. And I can't wait to see you
• 51:13
  soon. Aw, thank you Same.
• 51:21
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• 51:25
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• 51:29
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• 51:39
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• 51:57
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