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Once Upon a Time… in Hollywood · The Art of Costume Podcast

0:06
Hello and welcome to the Art of Costume podcast.
0:08
I'm Elizabeth Joy Glass. And I'm Elizabeth stunt double
0:11
Spencer Williams. Yeah, you are my stunt double.
0:16
And thank you so much for joining us, gossamers.
0:21
I, I feel like I look just like you.
0:23
I can pull it off just like throwing a little Bob wig and I
0:26
could be flying cars off of ramps and we'll.
0:29
Put some glasses on you, it'll be great.
0:32
Get hit by a car too, whatever you need.
0:34
Yeah, ohh, good. Good to know.
0:39
Ohh my gosh, we have such a good one for everyone.
0:42
In honor of the Academy Awards this month, we figured we would
0:47
take a little trip down, I guess memory lane and just kind of do
0:51
a month in honor of Los Angeles and Hollywood.
0:55
So what better film to watch than Once Upon a Time in
0:58
Hollywood? Yeah, yeah, I watched it for the
1:02
first time this week and I had fun.
1:06
This was a fun movie. It like weirdly relaxing up
1:10
until the very end. Right, yeah.
1:12
I mean it is a Tarantino film so he is gonna make sure he gives
1:15
you a a firework ending at them. Yeah, I saw like the R rating
1:20
and I'm going through this movie being like, where's the Quentin
1:25
Tarantino Ness? Where's the where's the
1:27
justification for an R rating? And then it I was like, oh,
1:31
that, that'll do it. Yeah, I oh gosh, this is one of
1:35
my favorite movies of all time. I've I can't believe that's been
1:38
six seasons and I've just kind of been sitting on this one.
1:42
I love this movie. It's just it's just brings all
1:46
the feels and it's just everything I love about LA and
1:49
Hollywood. So I'm just so excited to get
1:51
into it. And I just, you know, we could
1:53
talk about all of the Oscar movies this year, but I was just
1:56
like, you know, we try not to pick favorites.
1:58
So why not just go if a classic and just get into the nostalgia
2:02
and the feelings of it all and just go with go with a classic
2:05
and just get into the vibes as we get ready for the end of our
2:09
award season, which I think a lot of people might be ready for
2:12
anyways. Yeah.
2:15
I agree, Spencer, why don't you introduce us to our director and
2:19
give us a summary of Once Upon a Time in Hollywood?
2:23
I would love to. Well, let's get into this.
2:27
Once Upon a Time in Hollywood was directed and written by
2:31
Quentin Tarantino. You will know him for his work
2:33
on Reservoir Dogs, Pulp Fiction, Kill Bill, which I finally saw
2:38
the other day, which I know is blasphemy.
2:40
You. Haven't seen Kill Bill.
2:42
I know. Well, I was saving it for the
2:44
podcast, but and he released that incredible edition with
2:48
both films put together. So I was like, well, I have to
2:51
see it. And it was incredible.
2:53
It was so good. Kill Bill, Death Proof,
2:56
Inglorious Basterds, Django Unchained and Hateful 8.
3:01
Once Upon a Time in Hollywood is is, of course his ninth film,
3:04
and he's known to be itching to do 10 films and then calling it
3:09
so. Apparently.
3:11
Yeah, that's where we're at for our summary.
3:15
Once Upon a Time in Hollywood drops us into the sun soaked
3:18
dreamscape of Los Angeles in 1969, where fading TV cowboy
3:23
Rick Dalton is desperately trying to stay relevant in an
3:26
industry that's already moving on without him.
3:29
Along for the ride is Cliff Booth, his laid back stunt
3:32
double chauffeur, an emotional support human who navigates
3:36
Hollywood Hollywood with far more ease, with maybe fewer
3:40
margaritas. As Rick bounces between
3:43
westerns, guest bots, and existential meltdowns, the film
3:46
quietly orbits around Rick's glamorous neighbor Sharon Tate,
3:50
whose presence cast both warmth and an ominous shadow over the
3:54
story. Blendering, blending real
3:56
history with fairy tale revisionism, the film captures a
3:59
Hollywood caught between its golden past and an uncertain
4:02
future. And that is Once Upon a Time in
4:05
Hollywood. That is Once Upon a time in
4:07
Hollywood. It was great.
4:11
What was also amazing were the costumes.
4:17
I love the costumes so much in this film.
4:19
They are truly incredible. And let's meet our costume
4:24
designer, Arianne Phillips. You will know her work from The
4:28
Crow in 1994. The people verse Larry flynt
4:32
girl interrupted walk the line for she received first Oscar
4:37
nomination 310 to Yuma a single man for which she got a bafta
4:42
nomination. Kingsman, the Secret Service and
4:45
its sequel the golden circle. Don't worry darling, for which
4:52
we have a podcast episode. Oh.
4:55
I forgot about that. Yeah, and last but certainly not
5:02
least, a complete unknown, for which she received a Oscar
5:07
nomination and a BAFTA nomination.
5:11
She also has an extensive history of working with Madonna,
5:18
including, funnily enough, the Hollywood music video.
5:22
She is, of course, nominated for an Oscar for Once Upon a Time in
5:27
Hollywood as well. I did not know about her work
5:31
with Madonna and when I was like scrolling through her credits, I
5:34
was like, hold on a second. Yeah, Aryan's worked with
5:37
Madonna quite a bit. I honestly think that Aryan
5:41
Phillips is one of the coolest people I've ever met.
5:43
Just being around her. People always talk about like
5:46
the word aura. And Ariana Phillips just has
5:50
like, that aura. Just something being about Rick,
5:53
She's like, really like, just that rad in person, just style
5:58
and just the way she, like, carries herself in a room.
6:00
I don't know, just something about being around her.
6:02
You're like, yeah, of course. Like she hung around Madonna.
6:05
And of course she's friends with Jeremy Scott.
6:07
Like she's just. Yeah, she.
6:10
I remember when we went to that screening of a complete unknown,
6:13
and then she was interviewed. I was like, she just seems cool.
6:16
Yeah, just seems so cool. Yeah, and Elizabeth, I am going
6:20
to be totally honest, I have bittersweet feelings about this
6:24
film because of the Oscar nominations.
6:29
OK. Because we don't, we don't like
6:33
often like pick favourites. But I absolutely believe Ariana
6:38
Phillips was snubbed this year and it's still to this day.
6:45
And I'm not like shy about it because this year I really think
6:48
it was just really egregious. This was nominated that year.
6:57
I remember it just like yesterday.
6:59
It was the 2020 Oscars. The nominees were Little Women
7:03
with Jacqueline Duran, The Irishman with Sandy Powell and
7:06
Christopher Peterson, JoJo Rabbit with Maya's Rubio, The
7:09
Joker with Mark Bridges, and Once Upon a Time in Hollywood
7:13
with Arian. And like all great films, all
7:17
great designers, I love all of them.
7:19
Of course like Sandy Powell, Maya's Rubio, who I love, all
7:25
great films, but to me, like it's not even close.
7:28
Like I think Once Upon a Time in Hollywood beats all these films
7:33
by a mile. Like it just doesn't even make
7:35
sense to me. I would pick this film 10 out of
7:37
time like 10 out of 10 times and Little Women won and I get it, I
7:43
love Jacqueline Duran. We've had 4 episodes this year
7:46
and two out of the four have been about Jacqueline Duran.
7:49
We love some JD, we love some Jacqueline Duran, but Ariana
7:54
Phillips, like this was her year.
7:56
It just pisses me off to no end to this day.
7:59
Like this film was just incredible.
8:01
She had to do films upon films and TV shows upon TV shows in
8:06
this film and the Manson family and Sharon Kate and stunt devils
8:11
and western films. I just think that her work in
8:14
this film was just incredible. She had so much to carry on her
8:19
shoulders in this film and I just don't.
8:22
I just feel like she was under recognized.
8:24
Yeah, she was nominated for an Oscar, which is cool, you know?
8:27
But I just felt like, oh, it pisses me off.
8:32
Anyways, sorry I haven't had my coffee yet today.
8:36
Wow, I did not expect you to be that heated about this.
8:47
I I feel like I shouldn't say anything else in this.
8:53
Anyways, Ariana, I love you. Just know that I've been
8:57
carrying, I've been carrying this load for a couple of years
9:00
now, since 2020. And obviously it was a pretty
9:03
crazy year, so that was not a good way to start off my year in
9:06
2020 already. So anyways, anyways, with that
9:13
off my chest, Elizabeth, Are you ready to dive into the summer of
9:17
1969? Absolutely.
9:20
I I didn't know how ready I was until I watched this movie.
9:25
I've been so excited for you to watch this.
9:26
I feel like I've just kind of been like, poking around waiting
9:29
for you to watch it. Like, have you watched it yet?
9:31
Have you watched it yet? You have.
9:33
So I watched it twice this week just because I've been, like, so
9:37
excited. Yeah, I love it.
9:40
So like I said, Once Upon a Time in Hollywood is generally one of
9:43
my favorite films, and a big part of that is how deeply it
9:46
just understands and loves Los Angeles.
9:49
It captures a version of this industry that's messy, romantic,
9:53
insecure and deeply human, where filmmaking isn't just about fame
9:57
or premieres, but about craft and collaboration and simply
10:01
trying to keep working. I mean, it's about the people
10:04
that we talk about all the time. The people, the grips, the
10:07
stuntmen, the costumers, the the assistants to PAS that are like,
10:13
suddenly getting yelled at by stars around like, where's
10:15
wardrobe? And you're like, I don't fucking
10:17
know, man, around the corner. You know?
10:19
Like, it's about all the people that make all of our, like,
10:22
dreams happen on screen. There's just something
10:25
incredibly personal about the way this film celebrates
10:27
Hollywood, not as a flawless dream factory, but as a place
10:31
built by people chasing stories, clinging to relevance and
10:34
finding meaning in work even when the spotlight starts to dim
10:39
even further. Hollywood really is like a fairy
10:41
tale. He can really be whoever you
10:42
want to be and do whatever it is you want to do, or at least
10:45
believe that you can. And I think Elizabeth and I, and
10:48
I'm sure many of you listening, understand that daunting
10:51
feeling, feeling that when you move to Los Angeles for the
10:55
first time and you're like, what the heck am I doing, You know?
10:59
But also at the same time having that unescapable feeling where
11:02
you could start all over and be whoever it is you want to be, or
11:06
go to all these places. Or that first time you walk down
11:09
Hollywood Blvd. and you're getting chased by a Spider Man
11:12
or or Jack Sparrow and going down the Sunset Strip and seeing
11:17
the neon lights, or walking by Musa and Freaks and Hollywood
11:20
Blvd. and Cinerama Dome. It's just, I just feel like this
11:25
film just perfectly captures all those feelings.
11:27
It feels larger than life. And in 1969, that magic was
11:31
still tangible. Hollywood Blvd. was buzzing with
11:34
possibility. Movie stars were walking among
11:37
civilians and going to movies. And the idea that your big break
11:40
might just be 1 perfect moment in a way.
11:43
So I think with all that being said, we should just get into
11:46
it. I think this film just captures
11:48
all those feelings. I absolutely agree.
11:52
I, I was actually kind of surprised how this movie not
11:58
just captures the film industry, but like the feeling of living
12:02
in Los Angeles from be very glamorous to the like gross
12:08
parts of it. And I think it achieves like a
12:14
love letter to to LA in the film industry in a way that a lot of
12:19
films really try to and don't. And Quentin Tarantino nailed it.
12:25
Yeah, I mean, this is a man who has grown up.
12:28
I mean, he's, he says many, many times that though he can't
12:33
remember a time where he hasn't loved making movies or loved
12:36
watching movies like movies is his life.
12:39
So this was always meant to be like his final movie, but things
12:43
ended up moving around. And this really is his love
12:46
letter to Hollywood, all the good, all the bad of it, which
12:50
we're about to get into. So before we get into, I
12:52
actually want to acknowledge one of our main sources for today's
12:55
episode. I have this incredible book you
12:59
probably can't see because of my green screen, but it is called
13:03
The Making of Quentin Tarantino's Once Upon a Time in
13:05
Hollywood. My beautiful girlfriend Kate got
13:07
for me for the holidays. It is written by Jay Glenny.
13:11
It just came out not too long ago.
13:13
It is huge. It is very heavy, but I hope all
13:16
of our listeners will go and get it.
13:18
We'll put up a picture is full of great information about the
13:21
making of this film, lots of great passages by Quentin
13:25
Tarantino himself and also from Arian Phillips and a lot of the
13:30
stars as well. So before we take our break, I
13:33
just wanted to read this little passage from Tarantino about
13:36
what inspired him to make this film, and then we'll take our
13:38
break and get into the costumes. But this is from Tarantino about
13:42
what inspired him to make this film.
13:44
I felt, in fact, this could be a really good last movie, he says.
13:48
I'm not in any hurry with this one, but I thought I had a neat
13:50
idea. Rick and Cliff are two guys he
13:52
wanted to hang out with, had gone from just writing and
13:55
spending time with them to what could be my final movie.
13:58
And then I think up the final scene.
14:00
Once Upon a Time in Hollywood is the only movie I have written
14:04
where I started with the end. I thought, what if Mr.
14:08
Indestructible Cliff Booth was over at Rick Don's house and he
14:11
lived next door to Sharon Tate on Cielo Drive and Tex and the
14:15
Manson girls went to Rick's house instead.
14:17
Quentin remembers. And then the lion came to me.
14:20
Those hippies sure picked the wrong fucking house that night.
14:24
So it's literally a case of asking myself, was it that I
14:27
want to do? Was the story worried I want to
14:29
tell? Well, I just want to hang with
14:30
these guys. I go, you know, I don't think
14:32
that I need a story. I think that these guys are good
14:35
enough. I think you could do a Day in
14:37
the Life. I really knew Rick and I really
14:40
knew Cliff. I felt that they were strong
14:42
enough characters and I don't need to come up with a
14:44
cockamamie melodrama. I might use a story on something
14:48
else, but I just made the decision that there wouldn't be
14:50
a story. We are just going to hang out
14:52
with these guys for a day. And that is a story of Once Upon
14:55
a Time in Hollywood. I think that's really true.
14:58
That's just we're just hanging out with these two guys.
15:01
Rick's having literally existential crisis like
15:05
throughout the entire day. Yeah.
15:09
Cliff ends up getting tied up with the Manson family
15:13
accidentally. Kind of, yeah.
15:16
And Sharon's just going to the movies, you know, And that's,
15:20
that's Once Upon a Time in Hollywood.
15:23
I love that. I can't wait to get into it.
15:26
So let's take a break and then dive into Once Upon a Time in
15:32
Hollywood. Let's do it.
15:39
Spencer, Are you ready to head to Hollywood in 1969?
15:44
I am. There's a lot to get into, but
15:47
first I want to tell this little story about Ariana that I got
15:52
from that book I was talking about because I think it adds a
15:56
certain amount of humanity to Ariana Phillips.
15:59
I just really love that I got from because like I said, she's
16:02
so cool and has like such an aura about her.
16:07
And we talked to all these costume designers on a podcast
16:09
and you know, you and I get nervous before we do these
16:12
podcasts sometimes. Like, you know, we just had I
16:15
had Jenny Bevin on the other day and I felt like I was can't wait
16:19
to talk to the Pope or something.
16:23
So, like, but like, you know, but then, like, these costume
16:29
designers have, like, such very human moments.
16:31
And I thought the story, like, really spoke to that.
16:34
So this is the story about how Ariana actually got this job.
16:37
And I thought it might actually be inspiring for a lot of the
16:39
cost, you know, our costume nerds and students who are maybe
16:44
trying to get into the industry themselves.
16:46
Ariana has said that when she was finally given a chance to
16:48
read Quentin Tarantino's script, she was only allowed one
16:51
sitting. No notes, no second pass.
16:54
And what struck her immediately was just how different the
16:56
script felt. She said it was remarkable and
16:58
that reading it completely changed how she understood
17:01
Tarantino, not just as not just as a director, but as a writer.
17:05
She described as an epiphany, saying that she had never had
17:08
the experience with the script before.
17:10
Originally, the call had gone out to Courtney Hoffman, who had
17:13
worked with Tarantino before. And if you Courtney worked on
17:18
The Hateful 8 and actually plays a costume designer and Once Upon
17:21
a Time in Hollywood next to that director in that scene when when
17:26
DiCaprio was getting dressed up for the Western, which is a
17:29
little funny behind the scenes moment there, but that.
17:32
But by that point, Courtney had shifted her focus to writing and
17:35
directing. And like us, she knew that there
17:39
was another cool costume designer that'd probably be
17:42
great for this job. So she decided to shift
17:45
attention to Ariana. And she recommended Ariana to
17:49
the job, saying she idolized her work and knew she would she
17:51
would definitely understand Quinn's world just as
17:53
importantly. So at the time, Ariana was
17:56
devastated because she was already booked on another
17:58
project that Patty Hearst's biopic.
17:59
But in true Hollywood timing, the film fell through.
18:02
Suddenly she was available. She made some calls, pulled
18:05
every string she could, and managed to get invited to the
18:07
production offices to read the script properly.
18:10
Even then, she wasn't allowed to read the ending, which only made
18:13
her want the job more, which I get.
18:16
I mean, if I were Tarantino, I wouldn't let anyone read that
18:19
ending. I.
18:21
Guess yeah. For sure, which no one needs to
18:25
read the ending anyways. But she said that moment her
18:29
mindset became very clear. Make an impression.
18:32
If she couldn't have the ending, she was going to show Tarantino
18:35
that she absolutely got the film.
18:37
So instead of just preparing sketches or research boards,
18:40
Ariana created an experience. She spent hours putting together
18:44
what became a kind of visual and emotional pitch, a box filled
18:49
with objects inspired by the world of the film.
18:51
She pulled from her own memories of visiting Los Angeles as a
18:55
kid, going to Grauman's Chinese Theatre with her grandparents
18:58
and feeling adjacent to Hollywood in the late 60s and
19:01
70s. She went to the Rose Bowl flea
19:04
market, found a wine shirt she imagined Tarantino might
19:06
actually wear for the presentation, aviator sunglasses
19:11
that felt right for Cliff Booth, even original bio cream box that
19:15
Rick Dolan himself might have used.
19:17
She included a playlist, radio recordings, mix of period Top 40
19:20
hits and attached a note that simply said listen to this while
19:23
you look through the contents of this box.
19:26
Quinn later said very simply. That box was just so cool and it
19:31
worked. She got the meeting.
19:33
This is just for the meeting to get to Tarantino, which is just
19:38
exhausting to me. That's crazy.
19:41
Oh my gosh, she wanted this bad. She did.
19:45
She wanted to know how this movie ended before everyone
19:48
else. Fair, fair.
19:51
By the time Ariana finally sat down with Tarantino, the nerves
19:54
were real, Which I get because I, you know, there's some people
19:58
that you just imagine are probably like, nerve wracking to
20:00
meet in person. Tarantino's one of those people,
20:03
I imagine probably has that worry about them, too.
20:06
The nerves are real, but the chemistry was immediate.
20:08
The meeting stretched on and on to the point where she lost
20:10
track of time completely. At one point, she even jokingly,
20:13
but kind of seriously confronted Tarantino about his reputation
20:16
for micromanaging fittings, which he laughed off.
20:19
When Bill Clark eventually poked his head in and mentioned
20:22
they've been talking for two hours, it became clear this was
20:25
no ordinary interview. Aryan has said she walked into
20:28
that mean, telling herself not to assume anything.
20:30
But when she left, it felt like the job had simply simply flowed
20:33
out of the conversation. And in Quinton's words, she was
20:37
just a perfect person and they lived happily ever after.
20:40
And she of course got the job after.
20:43
That is actually amazing. Yeah, it was so sweet.
20:49
So fuck, gosh, so much work. But that just shows like when
20:52
you want something, you just gotta, you gotta go for it.
20:56
Yeah, you gotta go for it. Yeah.
20:59
She. Was like this.
21:00
She was like, I got one shot and I'm gonna take.
21:03
Yeah, especially when she was kind of like, she didn't fumble
21:05
it, but, you know, she had enough.
21:07
She was already committed to something else.
21:09
So when it came up again, she was like, we're not, we're not
21:12
losing this. Again, no.
21:14
No, she, she was here to get that role and she killed it.
21:20
Yeah, yeah, sometimes they're just meant to be.
21:23
So for for a majority of the rest of this episode, I'm
21:27
excited to share that we actually have some clips from
21:29
Ariana and the cast actually talking about the costumes from
21:32
the DVD featurettes. So first is a here is a quick
21:37
clip from Ariana and producer David Hyman talking about the
21:41
film. Aria costume designer.
21:47
Gosh, she's so incredible. She kind of contextualizes the
21:50
time period and people really will be transported into what a
21:53
fashion was like in LA in the 60s.
21:59
The best way to describe my job, a costume designer job, is being
22:02
a character detective. Costumes are clothes.
22:05
They're identity. They're the visual clues and the
22:09
nuances that help move the character along, which tell the
22:12
story. When you look at Rick's
22:14
bathrobe, or just the simplicity of Cliff's Hawaiian shirt or
22:19
Sharon Tate's clothes from the period, those images perfectly
22:25
capture the essence of the characters.
22:28
Who's wearing them. Gosh, yeah, I love that.
22:30
I love the way that she talks about character.
22:32
I do too. A detective like.
22:34
That's so true, especially because it's like she can't just
22:38
decide what they're going to be. She has to go talk to the actor
22:42
and the director and like, you know, get everybody's, you know,
22:46
different side of the story and then go from there.
22:49
I love that. Yeah, character detective.
22:53
And someone who probably played the detective at some point
22:56
would be Rick Dalton, played by Leonardo DiCaprio.
22:59
Rick Dalton. He he definitely did what on
23:04
Shutter Island? This character is so silly and I
23:10
love that it is played by Leonardo DiCaprio.
23:15
Yeah. I mean, gosh, he's so funny.
23:16
He plays so many different roles in this film.
23:20
Yeah. I mean, Rick Dalton really is.
23:23
I mean, of course, he's in a lot of Westerns.
23:27
That's really like his bread and butter, Rick Dalton.
23:29
But he also like has some World War 2 films.
23:34
But then I think my favorite Rick Dahlen looks has to be not
23:37
just like his like Hollywood Blvd. looks when he's in like
23:40
the leather Jack in the turtlenecks.
23:42
But I just have like a soft spot for like his Margarita pool
23:46
looks. So those.
23:48
Yeah, those, those. Are so good.
23:50
Yeah, those are under appreciated.
23:54
They are because I love it. It's like these moments where
23:56
he's just like, fuck it, I want to be comfy and lay in my pool
24:02
and float for a little bit. Yeah, it's such a vibe.
24:06
I mean, the whole fact of the film is that the Manson Family
24:10
ends up going to his house because he runs out there in his
24:12
bathrobe when his Margarita is blended full of margaritas and
24:16
yells at them. He changed the course of
24:19
history. He's just like literally that
24:23
like crazy kids get off my property.
24:26
Like old man in that moment. He changed the sacred timeline.
24:35
It's just so funny to read he. Does.
24:39
Yeah, but I really do love his costumes.
24:41
And again, like, I think it just really speaks to Ariana and her
24:44
crew. Just amount of costume standard
24:47
do for Leonardo's character 'cause I mean, it's just so much
24:51
to consider like the evolving periods that his character had
24:56
to go through from Westerns to World War 2.
25:01
It's a lot. And also you see like the quick
25:05
transition of two from his character being from Los
25:07
Angeles. And he's really like trying to
25:10
avoid the, you know, 1969 really is a period of transition and
25:16
he's really trying to resist going to Italy, you know, or to
25:20
Europe. And he does not want to get
25:22
stuck in this spaghetti western type style.
25:26
And then he comes back from Italy like 6 months later and
25:30
you could just see his style like so changed so rapidly.
25:34
Yeah, but his hair is so long. I was like, I was a little
25:39
shocked. I was like, oh, OK.
25:44
I'm like, you really just let loose in Italy.
25:47
Good for you, Rick Dalton. Well, here's Ariana Leonardo
25:51
DiCaprio talking about Rick Dalton.
25:54
I was just blown away buying the costumes in this movie.
25:57
I got to put on a lot of goofy outfits and Rick looks very
26:01
desperate to try to be relevant. The character Lena DiCaprio
26:06
plays an actor, so we have Rick Dalton's costumes when he's
26:10
playing certain parts in his various TV shows and television
26:15
appearances, as well as some of the movies.
26:18
Anybody order fries? Sauerkraut.
26:23
And then we have Rick Dalton, the man, how he dresses himself,
26:27
and there's a bit of a character arc.
26:29
So we had a lot of opportunities to create this visual vocabulary
26:34
about Rick Dalton. In the end, I think he had over
26:37
22 changes where we see Leonardo DiCaprio in a way we've never
26:41
seen him before. I love that.
26:46
I love that. I also just, I love Leonardo
26:50
DiCaprio, like playing him because I feel like this would
26:56
have been Leonardo DiCaprio in the 60s had like if he had been
27:03
an actor during this time period.
27:05
But I mean, he's probably still one of the most relevant actors
27:09
on the planet. He's nowhere near a Rick Dalton,
27:13
but it's like he's playing the alternate reality version of
27:17
himself. That's funny.
27:18
There's like a part and one of my favorite parts in this film
27:21
is when he is like having that heart to heart with the young
27:24
actress who's like so professional rating her.
27:27
Book. Cute.
27:29
And he's reading that story about the the guy and the horse
27:32
or whatever. And he's like telling this very
27:34
basic, almost like kind of kindergarten story.
27:37
And she's like reading like this, like very like big book.
27:40
And he like starts crying over the story cuz he's clearly like
27:44
reflecting on his own life. Yeah.
27:46
And I just felt like that was like, kind of like, I don't
27:49
know, it was a little DiCaprio too, that I don't know, you
27:53
just, I don't know. He he put a lot of himself into
27:56
that character, too. So I agree.
27:58
He did such a good job. I I really such a DiCaprio is
28:01
great in this film. Someone else who I just think is
28:04
so. I mean, I love Brad Pitt.
28:07
I've always loved Brad Pitt and I think he's great in this film
28:10
as well too. I just can't.
28:13
I was telling someone the other day I was like, I can't believe
28:16
that this is the same person. That's an Interview with the
28:18
Vampire. Right.
28:20
Oh my gosh. Right.
28:24
We're talking about Brad Pitt, who plays Cliff Booth.
28:28
I just love him. He is.
28:30
He's a guy's guy. Yeah, he, I love how laid back
28:33
he was. He like, unlike Dalton, he can
28:37
really accept his place in this world.
28:40
He, yeah, he knows like the bulk of his career isn't in the past
28:46
and he's just taken what he can get and is OK with that.
28:52
And it like really pulls off the late 60s laid back cool guy
29:01
look. Mm hmm yeah, he's just a simple
29:04
guy. He's like he's he's just a
29:06
simple guy. He loves his friend, he loves
29:08
his dog. He has like 1 go to outfit.
29:13
He just, and I like that part where he's just like reflecting
29:16
on like he's like, I can't believe this happened to me.
29:18
And it reflects on when he lost his job, when he threw Bruce Lee
29:20
into that car. And it's like, no, actually,
29:22
like I had that coming, I guess, you know, like, whatever.
29:28
It's just such a funny moment. Actually, let's have Ariana.
29:33
It's because it's only one simple or two costumes, Max.
29:39
We have a short clip from Ariana and Brad Pitt talking about this
29:42
character. It's as short as there are
29:44
costumes. Hey, you're a fucking dog.
29:50
Don't you forget it. I pretty much wear the same
29:52
thing in the Champion T-shirt and you know things of that era.
29:56
Brad Pitt's really fine collaborator, love working with
30:00
him and he's super invested in terms of his look.
30:04
That's it. That was perfect, that.
30:08
Was perfect because he. Really.
30:10
He really does just wear the same the same thing over and
30:15
over again. But also, this is not a guy
30:18
who's worried about what he's wearing all the time.
30:22
Like, I think he's very much like, is this relatively clean?
30:26
Great, let's go. He totally picks up his clothes
30:29
like off that trailer floor, gives it like a sniff, and it's
30:33
like, yeah, you know. But all that being said though,
30:38
Cliff's wine shirt really became quite popular though when this
30:41
film came out, it actually it was on display at the Academy
30:44
Museum for a little while when it opened.
30:46
I remember that quite well too. So I actually pulled some
30:50
interviews from Screen Rant. Arian said in an interview and
30:54
Quinn's script, it was scripted that Cliff Booth wears a
30:57
Hawaiian shirt. Wine shirts are kind of part of
30:59
the Tarantino vernacular. We've seen them before in other
31:03
iterations of his films. So I knew that this need to be
31:05
unique to Once Upon a Time in Hollywood.
31:08
So I looked at every magical vintage Hawaiian shirt you can
31:11
imagine. And in the end, I was aspired to
31:13
make the shirt, which is based on a similar vintage shirt that
31:16
I had seen. But we changed the pattern to be
31:19
not a Hawaiian motif, but an Asian motif with the Hawaiian
31:22
shirt cut, just to keep it in its own world.
31:25
Use a lot of yellow in this film.
31:26
For me, yellow really represents California as color that was
31:30
very commonly used in the 60s, and it looked particularly good
31:34
on Brad Pitt. Did it?
31:38
Really did? No, you can't.
31:42
Yeah. Do you think he killed his wife?
31:45
Rick so kind of heard this before, but I was reminded that
31:50
apparently that this might be based off of the mysterious
31:53
death of Natalie Wood. Apparently Robert Wagner might
31:57
have mysteriously killed his wife and Christopher Walken
32:00
might have like, might have been in the scene or whatnot.
32:04
Kate reminded me of this, so I kind of, I don't know, Kris Wife
32:08
was a little annoying. I I thought like that might be
32:13
the pair 'cause there's parallels for like everything in
32:16
this film from real life to this fantasy Hollywood.
32:21
So I thought that was like maybe like what he was drawing from.
32:26
But I honestly I think she just got drunk and fell off the.
32:29
Yeah, I don't. Like after seeing that scene I
32:33
was like girl just got to tipsy and tipped over.
32:37
I would venture to say that Cliff did not kill his wife.
32:41
I do think deep down he is a good guy.
32:45
I don't think he would go out of his way to, like, hurt someone
32:48
that he, I don't want to say loved, but he's not going to go
32:50
out of his way to, like, break the law.
32:53
I mean, like, like you, we'll see you later with like,
32:56
Margaret Quali's character, the Manson girl.
32:58
Like he was like, where's your ID?
33:00
You know, like he is like a morally good character.
33:04
Yeah. Doesn't mean he doesn't like to
33:05
have a good time, but like somehow I think he killed his
33:08
wife. I don't think he if she fell off
33:11
the boat and like hit her head or something.
33:14
I'm not saying he jumped in and didn't save her, you know.
33:17
Yeah, well, because he. Was clearly getting ready to go
33:20
like diving and do something so I think he went diving and
33:24
didn't notice that she. Yeah, I'm not saying he didn't
33:29
try to save her for sure. But no, I don't think he shot
33:34
her. Me neither, me neither.
33:38
Anyways, I think the main attraction here is talking about
33:41
Margot Robbie and her costumes as Sharon Tate.
33:45
Yes, Oh my gosh, she was my favorite part of this movie, I'm
33:47
not going to lie. So good.
33:49
I mean, she is just beautiful, just radiating, just like the
33:54
sun. And this movie, just it just
33:56
this movie just kind of ebbs and flows around her.
33:59
She's not even like the movie's not even about Sharon Tate.
34:02
She's just, you know, like the movie's just evolving around
34:05
her. You know, yeah, she and like the
34:07
fact that they cast Margot Robbie.
34:10
Did she even say like 5 whole sentences in this film?
34:15
Not many like she. Barely speaks.
34:19
If anything, I almost it's kind of intentional.
34:21
She's like, she speaks a lot at the end after the like Manson
34:26
families kind of like killed off in the house when she's like
34:28
talking on the intercom. But if you all don't know,
34:32
Sharon Tate was of course a Golden Globe nominated American
34:34
actress, a model who appeared in films, commercials and
34:37
television in 1960s. Sadly, in August 9th, 1969 And
34:42
if if you know if you thought Once Upon a time in Hollywood
34:46
was like the non fiction. Tate and four others were
34:51
murdered by members of the Manson family in the home she
34:54
shared with Roman Polanski while he was away.
34:57
She was 8 1/2 months pregnant with that history.
35:00
Portraying Tate was, of course, a very delicate matter in his
35:04
film, and it's clear to me through my my research and
35:06
living through the press run when this film was released that
35:09
everyone approached this characterization with utmost
35:12
respect and did their best to honor Sharon.
35:15
So here is Ariana Margot Robbie talking about that character
35:18
before we talk about all of the incredible costumes, because
35:21
there's a lot to talk of about. Oh yeah.
35:25
I'm Sharon Tate. I'm in the movie.
35:28
You're in this. That's me.
35:30
I always say a costume is a costume until a brilliant actor
35:34
puts it on and brings it to life.
35:36
It was a dream for me working with Margo and we really wanted
35:39
to be respectful to creating this portrait of a real person.
35:43
Sharon's still a fashion icon. She she had such an incredible
35:48
style. We've had a couple of moments in
35:49
the film where we've got to replicate something that Sharon
35:52
wore, For example, the snakeskin trench coat.
35:55
It was something that Quentin told me about from the very
35:57
beginning. He's like, I've got it in my
35:58
head, This trench coat she wore at the premiere of Rosemary's
36:01
Baby. So trying to replicate that
36:02
looks being fun. This is for you too.
36:06
Recreating some of these iconic Sharon moments has been so
36:10
inspiring and I'm happy that we get to tell her story.
36:14
That was sweet, I like that. Yeah, it's yeah.
36:19
It's so beautiful. They just, I like that.
36:21
They just like, you know, they didn't want to make this a true
36:24
crime murder porn story. It's just like a great tribute
36:28
to an actress who they just wanted to just really celebrate
36:31
her and just do her justice and just show her like the positive
36:35
light that she was. I I love that.
36:38
It's really because one of the reasons I didn't it took me so
36:41
long to watch this is like, I know her story and I was like, I
36:46
don't want to watch of this film.
36:49
And then like, just be depressed at the end 'cause this horrific
36:52
thing happens. Yeah.
36:54
But it really is a fairy tale that just celebrates her and
37:00
gives her a happy ending that she didn't she didn't get in
37:03
life, which I love. It's a satisfying ending.
37:06
I mean, the flame thrower apart, that's that's some good stuff.
37:10
I. Since I was so shocked.
37:19
It's the best call back ever. Of course, he kept in the shed
37:25
the whole time. Man.
37:28
But Sharon Tate's costumes, I mean, I love the snakeskin coat
37:32
and she only wears it for a hot second, but the fact that they
37:36
that call back to the Rosemary's Baby snakeskin coat that Ariana
37:40
did so good. It it really is.
37:45
I love all of her looks. They really like capture that
37:49
like mod 1960s style that was so unique to the time period and to
37:58
Hollywood during those years. Yeah, the other one I like is
38:03
that two piece she wears to the Playboy management party that.
38:05
Was so cute. Yeah.
38:08
I was like, can we bring this back?
38:11
And again, like, she's like wearing yellow.
38:12
And I just kind of like how the party just kind of like
38:15
revolving around her and she's just dancing in the middle, too.
38:18
It was fun. One thing that I remembered from
38:22
the press run and another testament to Ariana's respect
38:26
and humanity as a costume designer was her collaboration
38:29
with Sharon Tate's sister, Deborah Tate.
38:31
In an interview with Screen Rant, Arion said.
38:34
We had the great good fortune of having Deborah Tate as a
38:37
consultant on our film, and Deborah was generous enough to
38:41
show me Sharon's clothes, some of her jewelry, her sunglasses,
38:44
and just be able to touch and feel.
38:46
Those really helped. There's an osmosis.
38:48
I think there's a reverence and a responsibility that I felt as
38:51
a costume designer and recreating who Sharon Tate was.
38:55
To be able to have those antidotes and stories from her
38:57
sister about who she was is really important for me.
39:00
Deborah showed me some of her costume jewelry, and I asked if
39:03
there was any way that we could possibly borrow a couple of
39:06
pieces to use in a film. It was unremarkable.
39:08
It wasn't particularly amazing jewelry.
39:11
It was just a few bits and bobs that have been leftover from
39:14
years of holding on to sharing stuff.
39:16
And Deborah was generous enough to loan it to us the whole film.
39:19
She's wearing a ring or an earring that belonged to the
39:22
real Sharon Tate. Details like that, which might
39:25
really inform the actor and act as a kind of beam me up, help
39:28
access that character, are my responsibility as a costume
39:31
designer. And just as important as all the
39:33
visual clues that the costume serves for the audience at
39:37
large. So yeah, Margot Robbie's wearing
39:40
some of Sharon Tate's real jewelry in this film.
39:43
That's incredible. Yeah.
39:45
Can you imagine? I can't even imagine like the
39:48
weight of that. So even if it's just like she's
39:51
even, like it's not even good jewelry.
39:54
It's Sharon Tate's jewelry, though.
39:55
I'd be like. That's what makes it great
39:58
jewelry. It was hers.
39:59
It was her actual style. It was what she wanted to wear.
40:05
That's that's incredible. I'd be so nervous about losing.
40:10
Yeah. Oh, right.
40:12
Oh, I'm sure it made it back to where I had to go every single
40:15
time. Yeah.
40:17
Oh yeah, that's. Crazy.
40:21
Oh, man. Well, yeah, I can't imagine.
40:24
Another thing that's crazy about this film though is that Ariana
40:28
had to design costumes for a Western TV series within this
40:31
film, which I think is just another underrated aspect of
40:35
this film because I mean, Westerns are just already
40:38
challenging as it is. Yeah, I always think it's
40:42
interesting when costume designers have to do that
40:45
because it's like they not only have to think about how this,
40:51
you know, the character in the script would feel about the
40:54
clothes, but then they also have, she also has to become a
40:57
detective for this character in this fictional TV series, in
41:02
their movie, like so many liars. She has to understand Dalton's
41:09
perception of this character that he's portraying, which he
41:12
barely understands. He doesn't know how to pronounce
41:14
the character's name 'cause he was up all night drinking
41:18
margaritas, which the moment where he has like a breakdown in
41:21
his trailer is so funny to me. But like, he's just, he's so
41:25
last minute with this. So Aryan has to like really put
41:28
herself in that mindset. I'm not going to pretend like
41:32
I'm an expert on old Western films.
41:35
And I don't think our audience even cares to hear me rattle off
41:39
like facts about old Westerns. But but I can't just say that
41:46
though. Like this is such a Herculean
41:47
effort with the amount of costumes obviously on the set.
41:50
But then also you have to think about like, and there's this
41:53
moment where you see all these characters now leave the set
41:56
once the Westers fit. Like you see Timothy Olyphant
41:59
like leave set and now he's getting on his motorcycle and he
42:02
leaves. Like that's just so many
42:04
costumes when you think about it.
42:06
So here's Ariana and Timothy and Nicholas Hammond, who plays the
42:10
director. Just talk about these Western
42:12
scenes and then I'll explain it there than I can.
42:16
Getting to work with Quentin on a Western was thrilling for me.
42:21
We had all these wonderful characters which were really
42:24
inspired from some visual reference that Quentin shared
42:28
with me, and that was really fun bringing those costumes to life.
42:35
I went in for a fitting at the same time Brad Pitt went in for
42:38
one of his fittings. I came over to his dressing room
42:42
in this and I said, I don't know what they got on your rack, but
42:45
can't be this cool. Ariana's a wonderful designer.
42:49
Everything being a movie within a movie.
42:51
First you've got the costumes within the Western and then
42:54
you've got the street clothes for what people are wearing in
42:57
life in LA in 1969. So it's like designing for two
43:02
movies and. I I love it's a lot.
43:08
I also I loved the scene where Dalton is is getting fitted for
43:15
for his western costume in this and the director is going on
43:19
about how he's he still wants him to look like after they're
43:24
done shooting. They he could go to the club
43:28
because he he he wants his audience to connect on, you
43:33
know, of more cultural relevance level than just like, oh, I'm
43:41
watching a western. And I love that because you
43:45
know, when we see these films that aren't period accurate and
43:49
people get like all up in arms about it.
43:51
And it's like, there's a reason someone told the costume
43:55
designer like the direction to take.
43:59
And I think that's such a great representation of how directors
44:03
and costume design, you know, work with each other.
44:07
And it's so funny, like with the added context of that costume
44:10
designer being Tarantino's former costume designer being
44:13
like, yeah, that sounds so groovy.
44:15
Far out. Like, yeah, just sure, that
44:17
makes sense. Like whatever you want, You know
44:20
I. Love that he cast a costume
44:21
designer to play a costume. Designer just totally like
44:25
listening to whatever bullshit the director's just throwing out
44:29
there, like, yeah, whatever you want, you know?
44:32
You're the boss. Yeah.
44:36
Also another another crazy part of this that I loved was her
44:42
having to costume the hippies of the Manson Family because
44:47
hippies had their whole own sense of style outside of like
44:52
what was popular in the 1960s. I can't even imagine, honestly.
44:57
This is this would have been its own research project.
45:00
Oh yeah. Oh yeah, just I, they actually
45:04
recently listened to a podcast. They did a couple episodes on
45:08
the Manson Family and like, they were just so weird.
45:12
And I think they really capture that weirdness.
45:15
Yeah, so odd. Such so many different
45:18
characters. This cast was stacked though
45:21
that I only think people realize how stacked it was.
45:23
I mean I. Didn't know Austin Butler was
45:25
even in this movie. I honestly forgot to Austin
45:28
Butler. We have Mikey Madison, who of
45:31
course went on to play Enora. Cindy Sweeney's in this Lena.
45:35
Yeah, that's a Cindy Sweeney is. She's not in any of these
45:40
pictures. She was the one at the door
45:41
telling Squeaky like he was coming to the door.
45:46
Yeah, Dakota Fanning's on the couch.
45:50
Dakota fan Dakota. That's Dakota Fanning.
45:53
Dakota Fanning was on the couch. Yeah.
45:56
I clearly I wasn't paying enough attention during this.
45:59
Margaret Quali was Pussycat, who went on to be in.
46:04
Oh my gosh. What's it called?
46:08
It's a new film with Demi Moore, which I suddenly forgot what
46:10
it's called. The one that I'm obsessed with.
46:12
The substance. The substance.
46:14
There you go. Literally everyone's obsessed
46:17
with this movie. Yeah.
46:19
I mean, this cast is stacked so. But yeah, there's a lot of.
46:25
There's a lot there. I really gave each of these
46:27
girls their own, like, individual characterizations.
46:30
You could tell like each of these girls came from like
46:33
different, different situations, different families, their own
46:38
styles, all very free spirited. Lots of denim, which Ariana
46:44
Ariana talks about. Like that's really part of their
46:46
youth rebellion. Lots of crochet, very bohemian.
46:50
You know, it's very hippie culture, of course.
46:55
So with that, here's our final clip in which Ariana explains
46:58
her approach to bringing that uncanny feeling to the Manson
47:01
Family, but also just bringing to life all those real life
47:04
people that make it throughout the film.
47:07
With all the different Manson family members did a great job
47:10
in giving them all their own look.
47:12
They pulled vintage pieces that would have been worn back then,
47:15
Somewhere in jeans, somewhere in shorts.
47:18
Being able to costume Spawn Ranch and then walking on the
47:22
set, it was uncanny. It was just like being in the
47:25
photos, just incredible. Works from a place of a sort of
47:30
combination of the character and also a very strong iconic image.
47:37
You know, we did a lot of research and looked at what the
47:39
real people wore and kind of created our own looks from Steve
47:44
McQueen to George Spawn to famous hair stylist Jay Sebring
47:49
and Mama Cass. I mean, we just have these
47:51
opportunities. So these are cultural icons
47:53
almost in terms of like our pop culture language.
48:02
It is a heavy load that Ariana had to carry with this, yeah.
48:08
Oh yeah. And with that, I mean, I know
48:11
it's a long film that that kind of brings us to the end of Once
48:15
Upon a Time in Hollywood, Elizabeth.
48:19
I've loved it. I'm glad you made me watch this
48:21
because I don't think I would have.
48:24
I know, I just trust me the endings different than how you
48:27
might imagine. I know because I'm like I
48:29
there's enough in this world. I don't need to be depressed
48:32
about this too. Right, well, let's take a little
48:37
break. When I come back, we'll play
48:39
some of our favorite games. Yeah, Are you ready to give Once
48:47
Upon a Time in Hollywood a stitch rating?
48:51
Oh yeah, that's easy. This is a 5 out of five for me.
48:54
It always has been. I I think I agree with you.
49:02
I. Think I it really is like, and
49:06
Quentin Tarantino just knows how to make a really tight movie.
49:11
Like everything comes together, the sets, the costumes, the
49:15
acting, the story, nothing's nothing's missing.
49:19
Like I I was thinking about it and I was like, is there
49:22
anything like I didn't understand?
49:24
Like, did I feel like I was? No, nothing.
49:28
And just like the layers in this film about the industry and
49:33
filmmaking were just chef's kiss.
49:37
Perfect. Yeah, it's, it's just so much
49:40
fun. It just, it's so nostalgic and
49:42
it's just, it's a little inspiring too.
49:44
It just makes you want to be creative and makes you feel a
49:47
little bit like prideful, like where you're from and, you know,
49:51
just the things that we do. So I just really enjoy it.
49:55
It's always been one of my favourites.
49:56
So I I really enjoy this film. So yeah, this has honestly been
50:01
like a 5 out five, one of my favorite films, so I was excited
50:04
to talk about it. But Are you ready to play a more
50:07
challenging game? One costume to rule them all.
50:10
Oh absolutely, hit it. The one costume to rule them
50:17
all. All right, so Elizabeth, what is
50:23
your one costume to rule them all?
50:25
MY1 costume to rule them all is Cliff Booth jeans and yellow
50:32
Hawaiian shirt. Just.
50:36
Laid back like so like honestly, so Hollywood like the amount of
50:44
just guys chilling behind a set in jeans and AT shirt yeah like
50:51
that's that's what behind the scenes is, is a bunch of people
50:54
chilling in jeans and AT shirt and and you know, an extra layer
50:59
just in case it gets a little chilly like so perfect.
51:03
I love that it was custom made and the the sunshine yellow that
51:09
fits in through this whole movie, I love it.
51:12
Yeah, it's it really is such a fun one.
51:14
It just it gets has like such a positive energy to it.
51:17
And you're right. Like that's such a typical like
51:20
onset Hawaiian shirt look like those guys, those people.
51:25
Are wearing yeah. Well, my one costume ruled them
51:31
all has to be Sharon Tate's snakeskin coat.
51:35
I just remember seeing that for the first time, and I was like,
51:38
yeah, that's cool. And then when you actually look
51:40
at, like, the photos of the real thing on Sharon Tate at the
51:44
Rosemary's Baby premiere, you're like, yeah, like, it's cool.
51:47
Ariana nailed it. And then when I got to go to
51:49
Vogue World last year, that was one of the costumes the like,
51:54
actual snakeskin walked down the runway, too.
51:58
That's awesome. So I was like, Oh my God, like
52:01
that's the coat, you know, it's, it's here.
52:03
So I was super excited to see it in real life too.
52:06
I was so excited. So oh.
52:08
My gosh, that's amazing. I love that coat.
52:12
It's underrated. Well, it is.
52:14
I don't know that is underrated. I think it's just it's iconic,
52:18
so. It is.
52:19
It is. It's a good one.
52:21
And that brings us to end of Once Upon a Time in Hollywood.
52:24
Thank you, Elizabeth for indulging me on this incredible
52:28
film. It was worth.
52:30
It. I hope everyone enjoyed, but
52:33
we're keeping the LA vibes going with our Hollywood Month this
52:38
month as as we'll call it, because we have another LA Ask
52:42
film coming up next month 'cause we are diving into another one.
52:46
Do you want to tell everyone what we're watching next?
52:49
And next, we are watching another Quentin Tarantino
52:53
classic. We're just rolling it back a
52:56
little bit. Yeah, yeah.
52:58
Just a little, a little further back, a little earlier in his
53:01
career. Everybody, we are watching Pulp
53:04
Fiction. Yeah, which I have not seen in a
53:08
hot minute, but I'm excited. Yeah, I don't think I've seen
53:12
this. I don't think I've watched this
53:14
since high school. Yeah, actually, probably.
53:18
Like honestly. Yeah, it's been a, it's been a
53:21
minute. I feel like I'm going to turn it
53:23
on though. It's just going to come rushing
53:24
right back though, honestly. Yeah, so.
53:28
But, I mean, we had Maya Hawk in in Once Upon a Time in
53:33
Hollywood, so now we're going to go see her mom in Pulp Fiction.
53:36
So, yeah. So that'll be fun.
53:39
Until then, e-mail us at theartofcostume@gmail.com.
53:43
Tell us what some of your favorite costumes were from Once
53:46
Upon a Time in Hollywood. Or tell us what some of your
53:49
favorite costumes are from Pulp Fiction, even though I probably
53:51
have a good guess at what they are.
53:55
Follow us on Instagram at the Art of Costume Pod, TikTok at
54:00
the Art of Costume. We have a merch store at
54:02
theartofcostume.com/pod store. We have a YouTube channel which
54:07
is popping off. So don't forget to go and
54:09
subscribe to us. Hit the subscribe button.
54:11
It really does help. And as always, leave us a five
54:15
star text review on Apple Podcast and go listen to the
54:18
Costume House, our sister podcast.
54:21
We have a lot of great interviews coming up.
54:23
We recently had one with Jenny Bevan, the myth, the legend,
54:29
Jenny Bevan, who's done such films like Mad Max, Fury Road
54:33
and Furiosa and Cruella. Cruella, Our first ever podcast
54:38
episode, which was a huge circled back moment.
54:41
I asked her about Cruella. I was like, Oh my God, girl, our
54:45
first podcast episode was about Cruella.
54:47
Can we talk about Cruella? She was like, oh, I guess so.
54:50
That was fun. That's funny.
54:54
Oh, by the way, Elizabeth, I asked Jenny Bevan, I basically
54:57
like talked about Rum of the View.
54:59
And I kind of was like, oh, we're going to talk about Rum of
55:01
the View on a podcast, which wasn't like 100% true.
55:05
And she was like, oh, well, make sure you have me on so we could
55:07
talk about Rum of the view. So now we have to do with The
55:11
View on the podcast. And I was like, OK, oh.
55:13
My gosh, that's so exciting. OK, so Spencer and I now have to
55:18
go look at our podcast schedule and figure.
55:20
That out? Yeah, but she was down, so I was
55:23
like hell, hell yeah. So anyways, listen to the
55:25
costume. Until then, enjoy the Academy
55:30
Awards. It's coming up.
55:32
We're very excited and have a great week, costume nerds.
55:36
So lots of exciting things coming up this year.
55:40
Everyone have a fantastic week. Yeah.