Latest / The Art of Costume Podcast / The Great Gatsby with Costume Designer, Whitney Anne Adams

Transcript

The Great Gatsby with Costume Designer, Whitney Anne Adams · The Art of Costume Podcast

0:11
Having everything rooted in this historical accuracy, but then we
0:15
purposely are making those heels, higher more poppy, making
0:18
the skirt shorter. Like, all of those things to,
0:21
again, connect us to the 2013 of it all.
0:24
Oh, also, there are, they're very high.
0:27
I had to wear a pair when I was running around on set.
0:30
Set. And oh my God, I almost broke my
0:32
ankle. Hello, and welcome to the art
0:44
accosting. Block a simoes with joy glass
0:46
and I'm Spencer Williams. Hey, Elizabeth!
0:50
Hey Spencer, how's your week been?
0:52
Oh, oh, my voice is great now because my Disney, adult
0:57
lifestyle has caught up to me, and I screamed a little too much
1:01
on the Guardians ride last night.
1:02
So, excuse me, if my voice goes in it now, today, I'm jealous.
1:08
Hey, I'm stuck in Pennsylvania and not being able to be a
1:11
Disney adult. So Well, they just have to move
1:14
back out here. We bring this up every episode,
1:17
something has to give true. I know, I know it is my fault
1:22
speaking of Disneyland and having a good time today, we
1:25
have a very special guest, the wonderful, the legendary costume
1:31
designer with E and Adams. Hey Whitney!
1:34
Hi! I'm so happy to be here.
1:37
We're so excited to have you if you all do not know March is the
1:43
Ting of our Catherine, Martin month, and Whitney has tons of
1:47
connections to the world of baz luhrmann and CM.
1:51
So we're so excited to have you here.
1:53
Oh, I can't wait to talk all things costume.
1:58
How's it been going? You've been doing so much
2:00
lately. Been very busy.
2:03
I just finished a movie in North Carolina at the end of last
2:05
year, a period movie. So, I'm very excited.
2:08
And then I have a movie coming out later this month called we
2:11
have a ghost. So Starting pressed for that.
2:14
And I'm so excited for the world to finally, see it.
2:17
I am so excited, it's comes out on February 24th.
2:20
On Netflix. We have a ghost that has David
2:22
Harbor. Jennifer Coolidge, and a thief
2:25
Anthony Mackie. We Jennifer Coolidge is playing
2:28
a medium. I need to see this as soon as
2:30
possible. We have an absolute blast
2:33
figuring out her costumes. She had a couple in this one,
2:36
and it was so much fun. What can we expect?
2:40
A lots of ghostly, costumes, fun.
2:42
Styles, great colors. All of I Love A texture, I love
2:47
a pattern, I love bright colors and really wanted to find, you
2:51
know, a lot of depth with all these characters, especially in,
2:55
you know, action sequences and so much is going on in you
2:58
really want to make sure that, you know exactly who these
3:00
people are. So I loved working with my cast,
3:03
really, develop their back stories, and their point of
3:05
views like there. Who are they?
3:08
It's at orally, you know, like why do they wear what they wear?
3:11
And I think my favorite was definitely Working with Jackie
3:14
who plays Kevin and then also with David Harper who plays are
3:18
ghosts Earnest and developing that costume was super fun.
3:23
I can't wait, I know what we will probably be watching on
3:26
February 24th and this week we start off with the
3:31
oscar-winning, The Great Gatsby. Yes, I am.
3:36
So excited to talk about this film.
3:38
The best way. Can I call Catherine Martin?
3:40
March, that sounds pretty cool. Catherine.
3:43
Martin March Catherine. Martin March.
3:46
Yes, yes I am. So excited to jump into this
3:53
Spencer. Do you want to get us started
3:55
with a summary? Yeah, this week, we watch The
3:58
Great Gatsby and I haven't seen this film since it came out.
4:03
So this was like a real fun treat to go backwards.
4:06
I remember when this film came out because I was a senior in
4:10
high school and, you know, we all the Our one book to read and
4:14
everyone is fighting the read. The Great Gatsby.
4:17
At the time, it was all the hype and I'm really excited.
4:22
Let me go, let me give you all summary, Nick, Carraway a
4:25
would-be writer arrives, in 1922, New York in the search of
4:29
the American dream. Nick moves in next door to
4:32
millionaire Jay Gatsby and across the bay from his cousin
4:36
Daisy. The Snick becomes drawn into the
4:39
captivating world of the wealthy and as he Bears witness to their
4:42
it, Illusions and deceits pens. A tale of impossible, love
4:46
dreams and tragedy, and that is The Great Gatsby.
4:50
Does The Great Gatsby if you don't know what happens in The
4:53
Great Gatsby. Go watch it.
4:56
I don't know what to tell you. It looks like 100 years old.
4:59
Like, you should know that none of the information about the
5:02
story. We say, should be a surprise to
5:05
you. It's still when I watched it
5:08
this morning, I still didn't know that gets we dies in the
5:10
end. That's like, that's like the
5:17
whole point of the book, I don't know.
5:19
I've never read it. I mean, it's a long time since I
5:24
read it by, at least. Remember that Mom, I know.
5:27
It's funny and working on this movie.
5:28
I read the book over 40 times, so I pretty much haven't
5:31
memorized. This is now, my goodness, that
5:36
is a lot, that is a lot. I remember reading this on high
5:39
school and like being bored by it and then I love the movie
5:42
because I Like oh pictures. This is a lot more interesting.
5:46
So I cannot imagine having to read about 40 time.
5:50
I mean, no one asked me to do it.
5:51
I just decided that I needed to know the book backwards and
5:54
forwards. I gotta do what you gotta do for
5:57
your job. Well, clearly it works because
6:00
you are a part of the Academy Award winning team for the Great
6:03
Gatsby. So, I think read books everybody
6:06
because it helps absolutely. And let's go behind the word.
6:13
Of with a director baz luhrmann costume designer and on this
6:18
Film Production designer, which don't know how she managed both.
6:22
We have Catherine Martin who you all know from Moulin Rouge for
6:26
it. She wanted her first Oscar
6:29
Australia. And quite frankly that's one of
6:32
my favorite movies ever Australia.
6:34
Her second Oscar nomination that get down and Elvis for which she
6:39
is currently nominated. Yes, I've I've actually never
6:43
seen Australia, but Whitney's the one who told me about it.
6:46
I don't know how I never heard of it and I've still been trying
6:48
to see. It hasn't happened yet, but I
6:50
will, definitely, definitely watch it.
6:52
I know that Elizabeth really like that too, but I have a
6:55
special connection to it because that's how I met Byzantium was,
6:58
during the promotional tour for that movie, right?
7:01
I won a costume design contest and won a free trip to
7:07
Australia. And through, you know, I wrote a
7:09
letter to her website and then two years later, I Ended up
7:13
getting hired for three weeks, which then turn into many, many
7:15
years. So I feel very lucky to know
7:17
them, and thanks to Australia, great.
7:21
I love, but I need to watch it. Let's get into it.
7:26
Let's get into it. So today we have Whitney with us
7:30
because she was a costume design assistant on The Great Gatsby.
7:35
And you just told us a little bit how you got to know that's
7:38
Lerman and Catherine. What was it?
7:40
Like your Audience working on The Great Gatsby.
7:45
What was such a whirlwind. I mean Catherine and bizarre,
7:49
the reason I think I'm a costume designer.
7:51
Now my favorite movie to this day is malan Rouge.
7:53
I've seen it over 300 times. I was really sick in high school
7:57
and when I was in the hospital in and out of the hospital, I
8:00
watched that movie every day to keep me distracted from, you
8:04
know, possibly dying and being really sick and so that movie
8:06
saved my life in more ways than one and really introduced me to
8:10
this world of design. So getting to meet both Down was
8:13
just you know complete shock to my system in general and then
8:17
getting to work for them and learn from them and just be a
8:20
part of this magical world was kind of like a dream come true.
8:23
I said, I still can't believe it all happen.
8:26
Okay, sure it's so beautiful. We've never had a costume design
8:31
assistant. So to say on the podcast, what
8:34
did that role? Look like it's a little bit more
8:36
different than what we're used to on the podcast.
8:38
Yes. It's very interesting title.
8:41
I think because I was sort of Just a jack-of-all-trades.
8:44
I mean, it was originally looking through my emails and I
8:47
was originally hired as the costume / art Department
8:50
assistant in New York, and I was only spoke we were prepping in
8:53
New York for five months. So, I was just originally
8:55
supposed to be on the prep in New York side and then I kept
8:59
getting more and more tasks than, you know, turn into 12 15
9:03
hour days and, you know, so I did task from, you know,
9:07
shopping and swatching to doing coordinating type of jobs to
9:12
doing. Assistant type work.
9:14
So I sort of did a little bit of everything, which is why the
9:17
title sort of encompasses all of those different things.
9:22
And then I got to be honest, raelia, for a few months for the
9:24
end of prep in the beginning of filming.
9:26
And then once we had lots of things designed and also, I was
9:29
like, one of the only, there's only two Americans and
9:32
Australian, or like you're very expensive.
9:34
We love you. Please go home.
9:37
Here's your shipping container. Thank you for everything, and,
9:42
and I was exhausted. Austin, you know been a year at
9:44
that point that I've been on the movie, so I needed to go home
9:47
and, and rest, it was pretty, pretty much a huge role in, but
9:51
I'm so grateful for every moment and second, I got to be a part
9:54
of it. You like what you're sending me
9:56
home was not supposed to. So I'm really thankful that I
10:06
had those few months there to get to seed filming and be on
10:09
set and Gatsby was my first movie.
10:11
I was learning so much You know, and just getting to be a part of
10:15
it in the capacity that I was, was a huge gift.
10:17
So I'm very grateful for that. It's a valuable experience.
10:21
I can't even imagine and getting into what I guess, prep was like
10:30
deciding what their version of The Great Gatsby was going to be
10:34
Catherine, told Forbes about the kind of New York.
10:39
They were looking for she said, I don't want an assault.
10:42
Logic New York. I don't want sepia-toned New
10:45
York. I want a New York that feels as
10:48
vibrant and sexy and this role and modern as it would have to
10:53
Zelda and Fitzgerald or any of the characters in the book,
10:57
which is very true. This while you obviously know
11:01
you're in the 1920s, it reads. Very modern, what we think of as
11:06
modern. Yeah, it's fresh its colorful it
11:09
makes you feel. Most nostalgic.
11:11
You want to be in that? World, we do maybe on paper, you
11:15
might not but you know, at the same times it's very alluring.
11:18
That's what I love about any baz luhrmann or cath, Merc Cather,
11:21
Mars, all the stories could be very sometimes, you know,
11:25
emotional powerful dark even but the colors are just so alluring
11:29
about it, it makes you want to be a part of that world that was
11:33
the first thing. Bad sort of said to us when we
11:35
got started you know this is we're not making a faithful
11:39
adaptation. We need to do all of our
11:41
research when we spent months. And months cultivating every
11:44
single type of research from that time but that was our
11:47
foundation to then. Okay how do we alter these
11:50
existing period shapes and colors to make it more modern
11:54
and make it play to today's audience.
11:55
So that was definitely the first insight into what we were going
11:59
to do on the movie as a whole. I love that also.
12:03
In an interview she did with four of she talked about well it
12:07
was that in the summer of 1922 you know the books foreshadowing
12:11
a lot. So Bass was like, you know, use
12:14
the Whole Decade to pull from. So you were really able because
12:18
it's such a diverse decade for fashion.
12:21
You were able to pull from a lot of different styles just within
12:25
the 1920s complete my me, the first sort of time.
12:29
The course it goes away. Bodies are Freer and so much
12:32
happens in the 20s and we're able to do a lot of character
12:36
storytelling. You know, Daisy stuff is very
12:38
much early 20s. Where is Jordan?
12:40
The more Modern Woman, it's very much late twenties.
12:42
So getting going to place every character and their own place in
12:45
the decade was super important. Yeah, I mean, it's like a Real
12:49
Fashion history moment just being able to see all the bias
12:52
Cuts or, you know, the very rectangular shape or the short
12:56
hairs, or the big jewelry. It's just so exciting.
13:01
I felt like a fashion student again, watching this film this
13:03
morning, actually. Yeah, that was actually one of
13:08
the best things about doing the research for this is I felt like
13:10
a fashion student again because I'm like, oh, Get like, I feel
13:13
like it's cool. You get like, an overview of the
13:15
1920s, but like, when you really get into it, you're like, oh my
13:18
goodness, there's so much. Yeah, I think from a policy
13:22
point of view with fashion 1920s, people are so quick to be
13:25
like oh that's the flappers dress Flappers dress on.
13:28
That was a, you know, just lots of friends.
13:30
It's just that's so surface level.
13:33
We really wanted to avoid that and especially there's so many
13:36
shapes from the twenties. It's not just, this drop waist
13:39
dress, it's the robe to steal. Its there's so many different.
13:42
Aunt things you can pull from. I mean, all of what love Wang
13:46
was doing and endless resources. So we had so much room to do her
13:51
own interpretation for every single.
13:54
You know, thing that you see on camera, I love.
13:57
I also love this quote from a Forbes interview she did.
14:01
She said, one of the things that really interested me was in the
14:04
1920s, there was a lot of photographic record of the
14:08
clothes. And for the first time in
14:09
history, there are sketches and then there are Photos of the
14:13
actual dress. What I became really interested
14:16
in was the idealization of this silhouette in the drawing and
14:21
how they always tend to be leaner and meaner in the drawing
14:25
than they were in reality, which I had never really thought of
14:29
that. But I was like, yeah.
14:30
And these 1920s illustrations, it's much more of our idea of a
14:35
fitted garment and then the translation is, you know, kind
14:39
of bit more baggy. Definitely like, you can tell
14:45
that we've slimmed a lot of the Silhouettes in the film truly.
14:50
Well, I am so excited to get into this film.
14:53
Let's take a little break and when we get back we have a party
14:55
to get to. I can't wait.
15:24
All right, are you guys ready to party at with the Great Gatsby?
15:28
Yeah. That to get into it.
15:31
And one thing I was really excited to learn about was just,
15:34
you know, how much of the book really played a role into this
15:37
film. I mean, obviously, it's such a
15:39
famous well-known book, everyone's right?
15:42
Except me essentially, so you're going through a research and
15:46
talking to Whitney before he got into this, I was interested to
15:49
learn about, you know, all the visual references.
15:51
You guys kind of pulled from the book and preparation before we
15:55
get into the actual main characters.
15:58
We got images and references from everywhere.
16:02
I mean, we pulled from the costume Institute from the Met
16:04
from different art galleries photography.
16:08
We, you know, of course, all the online searching all of the
16:12
books that exist. And then a lot of magazines,
16:15
contemporary magazines, from the era, and literally getting every
16:20
single visual piece of reference.
16:22
Because then we could focus in from there.
16:23
We wanted to get everything that existed and then hone in on
16:28
Exactly whatever and should be wearing.
16:29
But, you know, we needed a lot of costumes.
16:32
I think we ended up with somewhere between 1,200 and 1700
16:35
costumes and we made, you know, almost all of them.
16:41
A lot of work. I was listening to an interview
16:45
actually, right before he jumped on where Katherine was talking
16:48
about the scene where Daisy and Jordan where we first see them
16:52
and, you know, the winds blowing through the curtains, and she
16:56
mentioned that actually that scene.
16:58
You know, again have it read a book but a version of that scene
17:00
happens in the book but she was inspired by like the words from
17:03
the book to actually work into the production set.
17:06
But also the costumes. Does that sound familiar
17:09
completely? I mean, what's so great about
17:11
having, you know, CM do both production and costume design is
17:15
that her world is so specific because she's creating both
17:19
sides of it. And so, you know, we were able
17:22
to really incorporate everything together.
17:24
That's why her visuals gels. So beautifully, is that it all
17:27
comes From her brain. What a beautiful brain getting
17:38
into it. We have right off the bat just
17:42
Gatsby's, huge parties which are I think one of the best parts of
17:47
this movie in Italy, what every high schooler I remember was
17:53
trying to have their prom. I just remember the first day
17:57
that We filmed the dancing sequence and the first party,
18:01
you know, we filmed in 3D so we're all sitting at the monitor
18:04
with our 3D glasses on you. You don't it in 3D.
18:08
Well yeah in the movie came out in 2013 in 3D.
18:11
So that was like a huge thing is the time.
18:14
Yeah. It was all about the pretty and
18:17
so we're at like have our 3D glasses on and the funniest
18:22
thing is that we didn't have the music yet, you know, way to Temp
18:25
track for the right and it was the LMFAO's Party Rock Anthem
18:30
and it's about part 8 to 10 playing over and over again and
18:34
you see them all dancing and Being just all of our hard work
18:38
for like, you know, the past year I have been working on it
18:41
and seeing everyone dance for that first time together.
18:43
I was just sobbing just crying because I couldn't believe that
18:46
it was all really happening. And also it was my first movie
18:49
Set. I'd never been in anything like
18:52
that before. So it was a completely
18:54
overwhelming experience in such a beautiful way.
18:56
So every time you hear a Party Rock Anthem, I get a little
18:59
missy. That's so funny.
19:02
That's your priority. It's probably only a handful of
19:04
people that would ever say that about that song.
19:07
I cry. But for different reasons
19:09
because I was like the high school dance song, that's so
19:15
funny. Yeah.
19:16
Before we get further into it, the soundtrack on this film full
19:19
of bangers. I mean, Lana Del Rey.
19:22
Fergie, it's just all Bankers. Yeah.
19:27
This movie like, it came out the perfect time because I was a
19:31
senior when this came out and like, I tried so hard for this
19:35
to be our prom theme. Everyone that everyone did this
19:39
needs to be our prominent. I was like, always, like we
19:43
could have had a Gatsby prom could have done it and I got on
19:48
one of my last days on the movie.
19:49
I got to be an extra in the first party scene.
19:51
So getting to wear dress, that I helped design and jewelry that.
19:54
I helped design and getting the whole hair and makeup and
19:58
running around with as telling us what to do.
20:00
I mean, that was pretty special. I'm so jealous right now.
20:07
Also jealous, because of the very special product
20:11
collaboration that happened on this film.
20:15
Catherine told Forbes will vas has a friend miuccia Prada for
20:21
suppose, nearly 20 years since Romeo + Juliet.
20:24
She has made a suit for Leo, his wedding suit, and so they had a
20:28
great friendship and really challenging active, artistic and
20:33
philosophical dialogue. And just Having that phrase of
20:38
bad, as I don't want New York to be boring sepia in my head.
20:42
Well, that boring part is my position on that, but I kept
20:48
thinking of how both of them in completely different ways, use
20:51
the passes inspiration but then transmute into something
20:55
unexpected and something totally modern and that's definitely
21:00
what their collaboration created.
21:04
Well, I mean how much of it was Prado Whitney, so they created
21:08
40 looks for us. I mean, with in conjunction with
21:12
us, we collaborated on 24, the first party scene and 24, the
21:16
second party scene, and then Katherine found this amazing
21:21
beaded dress for Daisy that I'm sure we'll talk about later.
21:24
But she found something from one of muches previous lines that
21:30
then they remade and reworked into Daisy's outfit.
21:35
So it was really exciting. Citing to, you know, work with
21:38
the Artistry of Prada and they're gorgeous.
21:41
Sort of more is more attitude with all of the beads and
21:45
sequins and luxurious fabrics. And when everything arrived it
21:49
was definitely an overwhelming day getting to see all the
21:54
beautiful clothes and person and just how beautifully made they
21:58
are and you know as a beautiful collaboration as you know Prada
22:03
and and bazin CM have all known each other for To long time.
22:07
So it was another great way that they got to work together and
22:11
also bring the modern sense into it because we wanted the modern
22:15
2013 audience to feel like it was your there in those party
22:20
scenes. I remember, going back and
22:22
watching the 70s gas sewage. I love to, but it felt so
22:27
distant because it is so 70s and influence, because that's when
22:31
it was made. So, we wanted our version very
22:33
much feel like it the Here, and Now, Now, so smart, I love that.
22:39
I also love how they did that with this shoes, which I hadn't
22:44
thought of till I saw her interview with screen daily,
22:47
where Catherine says, shoes from the 20s tend to have a quite
22:51
heavy heel. And we're Stumpy and there are
22:54
and that to a modern eye looks matronly and we wanted to give
22:58
the audience a sense of excitement about the period, in
23:01
a sense of sexiness. I did not realize how fun this
23:06
These were in this movie till I saw that quote.
23:09
And I was like, oh now, I need to go look at what the shoes
23:12
were like, and they are extremely modern and just fun.
23:16
So, so designer. So fashionable.
23:20
So edgy, especially for 2013. Like, it's lots of fun and it
23:24
was a long process to get those all designed.
23:27
I mean, Savannah, the main assistant designer and CM were
23:30
going back and forth with colors and designs for weeks and weeks
23:34
just to get them perfectly correct.
23:36
T', and make sure that everything fit together so
23:40
beautifully. And that was the biggest thing
23:42
is making sure that the having everything rooted in this
23:45
historical accuracy, but then we purposely are making those
23:49
heels, higher more poppy, making the skirt shorter.
23:52
Like, all of those things to, again, connect us to the 2013 of
23:56
it all. Oh, also there, they're very
23:59
high. I had to wear a pair when I was
24:01
running around on set and oh my God, I almost broke my ankle.
24:06
I was surprised because they like, it looks like they're like
24:09
almost stilettos. Like they're like, just barely.
24:12
Not I think the two of our additional actors dislocated, a
24:17
toe or two on that. If I remember, really, they were
24:21
pretty pretty hot, but that was from, you know, 12 hours of wear
24:24
on set. You know, you can't wear
24:26
something that high for 12 hours without something happening,
24:29
right? I mean, and honestly, look how
24:31
fun the party scenes are there. So many people.
24:33
I mean it's bound to happen. It's so colorful.
24:36
Elfin, they all agreed. It was worth it.
24:38
And I agree to, you know, just getting to where those
24:40
beautiful, beautiful shoes. Absolutely worth it, right?
24:46
So you did have a lot of background actors on this movie
24:51
and I read in one of the interviews that they each had a
24:54
little bio and character named they really did.
24:57
And I put together the entire binder for every single
25:01
background character in the entire movie and we found the
25:05
name behind the It's one of my last job.
25:09
Australia was putting together every single backstory on a
25:14
single sheets. Okay, if there are mentioned in
25:17
the book, here's their name. Here's the information from the
25:19
book. Are they real character from
25:21
real life? If yes, then here's their bio,
25:24
if not, then we made something up and then so that was all of
25:28
the book people and then we took this amazing spread from Vanity
25:31
Fair. I believe it's 1922.
25:34
It's a caricature of 91 who's who Have New York called a
25:37
typical first night audience in New York, the scene which
25:40
invariably confronts the actor. So you see all these amazing
25:44
faces, so that was sort of our huge roadmap to for a lot more
25:48
of the party attendees. And then you have the people
25:51
from West Egg and two people from East egg.
25:54
You know, West Egg is new, money East egg is old money, you know,
25:57
where Tom Buchanan lives. And so creating all these
26:00
different groups of people and then you have like the school
26:04
guys and everyone in there. Yeah.
26:06
Blazers. And so every single group was
26:09
accounted for in every single actor, had a name and that was
26:13
super important because baz doesn't believe in background
26:15
actors who believes in just smaller part doctors.
26:18
And I really love that mentality that everyone was given a job to
26:21
do and everyone had a lot more creative freedom with these
26:24
characters. And so you can really feel that
26:27
they're not just miming or doing it in going through the motions.
26:30
They have an actual part to play and that was super important.
26:33
I love that approach. I mean it's almost like how
26:35
you'd imagine In some would approach doing like eight Harry
26:38
Potter films, like developing, like an entire world, and baz,
26:42
and you and Catherine did all that for like Just One Singular
26:45
film. Really like there's so much
26:47
World building and you could feel like all these characters
26:50
are connected and have a part to play even if they have not a
26:53
single word of dialogue which I think is.
26:55
It's so impressive. I just love how he treats every
26:59
single actor that is on camera. They're all important, they're
27:02
all equally important. Whether they're very small in
27:05
the background or in the foreground And they're all
27:07
equally important. And that's that's was a huge
27:10
thing for me, too as an early costume designer, just treating
27:13
everyone, everyone is equal and everyone deserves respect and
27:17
care. And that's been, you know,
27:19
something I've taken with me my whole career.
27:21
So you mentioned that, you were an extra in the film running
27:25
around in the party, which you've also did in freaky.
27:28
I believe also. So this is starting to become a
27:30
thing, like Stanley or something.
27:36
So I'm very happy about this. We're gonna have to do a podcast
27:43
just about Whitney and sightings.
27:47
So what was it like, wearing a close?
27:49
And then also what were some like, fun pieces of yours of we
27:53
might have seen throughout the film.
27:55
So just getting to, you know, pick out my own dress, that I
27:59
was going to wear, you know, with I think the fabric of this
28:02
silver dress that I wore came from.
28:04
I believe the in J in New York. And it's so fun to.
28:08
I remember watching this Fabric and then purchasing the fabric
28:11
and then shipping the fabric to Australia and then seeing the
28:14
dress in the workroom and then I got to wear it.
28:17
How cool is that? Take this one?
28:20
Thank you. I've never worn big eyelashes
28:23
before. That was the first time.
28:24
I wore fake eyelashes that. I had a whole wig and a flower
28:27
in my wig and it was just out of control amazing.
28:32
And then the literally, the last thing I'd finished with a movie
28:35
and I had I stayed in Australia for about a month just to hang
28:39
out and rest and sightsee because I was already.
28:41
So they kick you out. It was my birthday and like they
28:47
had me come back and we had like cake and it was really fun day
28:50
and then cm is like, hey, could you, could you fix the butterfly
28:55
wing? So I spent the next like weeks
28:58
or so, making these butterfly wings because she knew, you
29:01
know, she knows my history with beating and I was a tailor first
29:04
and so in addition To all of my design duties.
29:07
I often was bazin, Sam's personal tailor for a lot of
29:11
like their home Wares and personal stuff.
29:13
So she knew what I could do. So she brought me in just to she
29:17
like we need we need more help. There was too much to do this,
29:20
okay? Can you make these butterfly
29:22
wings? I was like sure no problem and I
29:24
was just so excited to be useful, you know, to get to do
29:27
another beautiful creation. And yeah, you can really see the
29:31
butterfly wings in the movie and then I got to go to the New York
29:35
Premiere, which It was so exciting and I made my own dress
29:38
from fabric from the movie. When I left Australia, they gave
29:42
me my favorite lace from Solstice which we got.
29:46
I can talk later about Celsius, but I got my favorite Fabric and
29:49
I was so I was wearing a dress that I made out of my favorite
29:51
Fabric and I walk into the room Premier and there are my
29:54
butterfly wing on a Model who you know there's all these
29:58
people wearing 20th costumes and then a couple things from the
30:00
movie and there are my wings right there.
30:03
So I got to talk to the model whose my my wings and she was so
30:06
excited. Did the chicken like you made
30:07
these? And I was like, I did I made
30:13
those. It's so wonderful.
30:18
I mean, such a great experience. I mean, you know, only a few
30:21
people really know what's like the bend on that set.
30:24
So I want to be inside your head.
30:28
I am a lucky. Lucky lucky one, Speaking of
30:33
just beautiful things. Another collaboration.
30:36
Mission that made this an outstanding film, was the
30:41
collaboration with Tiffany and Catherine said, in an interview
30:46
with fashionista. How about everyone is so excited
30:51
and Carrie, who plays Daisy, she said, Kerry, who's usually
30:57
rather sparing and very tasteful in her.
30:59
Jewelry was like, oh, I just want everything she loved all
31:03
the jewelry and I can't blame her.
31:06
This movie set off. So many jewelry trends of the
31:12
time, like I can't count them band.
31:15
That's the statement necklaces. It was crazy.
31:19
It was definitely a time just seeing it all unfold in real
31:23
time as the movie came out. It was so insane and cool to
31:27
see. And yeah, just getting to stare
31:29
at all that jewelry on set and behind the scenes and you know,
31:33
it needed its own. Bodyguard we had I think two To
31:36
Tiffany's bodyguards with the jewelry, at all times.
31:38
So it was, you know, pretty intense.
31:41
I've never seen anything like it before.
31:43
Yeah. Yeah.
31:44
We weren't messing around. Yeah, not one who usually
31:47
notices jewelry and just like my brains, just not wired that way
31:51
costume wise, but this movie I was like, obsessed of all the
31:54
pearls, all the jewelry. I mean, I was obsessive to
31:58
jewelry and I have no desire to Love jewelry and I thought it
32:02
was so good, especially these pieces for Daisy's a party look,
32:08
like, especially the matching bracelets with like the
32:12
attachment to the Rings. The islands.
32:15
Just like it's over the top, but it's beautiful and like, you
32:18
don't want anything else out of this movie.
32:21
No, so good. I'm obsessed with it.
32:25
And speaking of her party, look again, this was a product design
32:33
and Whitney, can you tell us a little bit more about this?
32:36
Look, completely. I mean, it was one, I can tell
32:40
you, it is extremely heavy because I was carrying books,
32:44
and I was carrying Logan's good model for a lot of her looks,
32:47
because we were basically the same size of the time.
32:50
And so, I remember when that dress arrived and we needed to
32:53
make the under slipped to go underneath it.
32:56
And so, you know, the drapes them fabric on me and then and
33:00
put that dress on and, oh boy, I got indentations in my arm.
33:04
I'm in my shoulders like immediately, and Like okay, we
33:06
learn something about how heavy it is, then what we have to do
33:11
it once it stays days. That's crazy.
33:15
So they just sent you the like, like the chandelier like apart
33:21
and we have several underdress options, but the way that Sam
33:26
works is that she loves to have a lot of different ABCDE choices
33:31
because, you know, it all depends on, you know, looking at
33:34
things on camera. So you really want to if If bad
33:37
like, oh, I want something different, we could turn on a
33:39
dime and do something else. And so, you know, we had the
33:42
dresses that it came with and then we made several other under
33:45
layers, just to have different options.
33:47
So that was what was so fun is that, you know, it was, it was
33:51
playing dress up and I got to be the one to two, where a couple
33:55
of the things I got. Also got to be a mermaid and a
33:58
bunch of other. I got to try on a bunch of
34:00
different other clothes, but this one was definitely the most
34:04
exciting thing that I got to Put on my body.
34:08
It's so what is it? Made out of exact?
34:11
If it was so heavy that you're like indentations, what is it
34:14
made out of? Because I thought it was like, a
34:15
crillon also Stone, but it's still extremely heavy, it is
34:21
still is extremely heavy like this.
34:24
The indentations are still dealing with these.
34:26
She is 12 years later, beautiful.
34:34
Chandelier dress is a top. Tear Museum where the costume.
34:38
It's one of the best we've seen on this podcast.
34:41
I feel like my one costume rule them all is changing anyway.
34:44
It's about Daisy, because Daisy, just has so many Fantastic
34:54
looks, especially the opening. One that you talked a little bit
35:00
about earlier, and Catherine talked about so fashionista.
35:05
She said, four days Close. I got a vast majority, from a
35:09
fantastic lace company called Solstice, they're French and
35:13
they've been around since the late 19th century.
35:17
They have an enormous archive. They do work for all the big
35:20
fashion houses and I think that was fantastic about having that
35:25
resource is that I could really get the kinetic.
35:28
Whether it was with the floral tassels on the purple dress or
35:32
the fluttery skirt made of organza Petals on the lace
35:36
dress. Dress that you first see Daisy
35:38
in. And that First dress man, what
35:42
about an entrance for a character that entire, like, 2
35:47
minutes, when you see her and Elizabeth de Becky's character,
35:50
it's so beautiful. I mean it took my breath away.
35:55
So Dad and I just love the juxtaposition of, you know,
35:57
Jordans in these pajamas. You know, and daisies in a ball
36:03
gown. You know I just love that.
36:04
They that the type of character to just rock up Down in the
36:07
middle of the afternoon and getting to go into slow seas and
36:10
pick through all of their laces was you know one of my favorite
36:14
moments ever on a movie there. Their work was amazing.
36:18
I mean, I got to be the one doing all the ordering for
36:20
social studies, for this movie. And just getting to talk about
36:24
all the different places and, you know, help choose different
36:27
colorways. And, you know, the lace came as
36:30
is so we pulled a lot of the petals off and it would put them
36:33
back on once. We had the shape that we wanted
36:36
and that's what happened with the purple T dress.
36:39
All of those tassels were all over the lace in a different
36:42
sort of organic pattern. So we pulled everything off and
36:45
then put it. So it would go exactly the way
36:47
that we want it to go. And, but the lace is the most
36:51
beautiful pieces I've ever seen in my whole life.
36:54
I mean, it's incredible. There, they've been around for a
36:57
long time for a reason, right? Yeah, absolutely.
37:03
And I love it, especially for daisies.
37:06
Because she's such a fragile person, you really, you touch
37:09
her and like she breaks. And I thought that was just such
37:13
a beautiful visual for her character, were those laces.
37:17
Yeah. It's all very light and also
37:19
very vulnerable, I would say like through her fabrics and her
37:22
color palettes, it's just so much.
37:25
Storytelling through her costumes about her character.
37:29
I also, particularly like the one that I kind of feel like it
37:32
is, the most different is her swimsuit visiting gas.
37:36
Gatsby Ensemble, that when I'm like, I want this for my
37:40
wardrobe, but it's pretty comfortable.
37:45
I got to wear that out. It's really it's super fun.
37:49
I love me. I'm trying to remember where
37:52
exactly are we made that robe after the out of the - being
37:56
shawl vintage? I'm so excited time.
37:59
Bubble tea on the best way to gather with other Mountain Arts.
38:06
It has been Troubled Water stops, trying to trying to Rack
38:10
my brain a little bit. I can't remember.
38:13
You remember as much as you do amazing.
38:16
Yeah you sound like you just did it like a year ago so we're
38:20
good. Formative time in my life to be
38:23
sure. I mean I think we all remember
38:24
our first, you know, big movie and it's one of those huge
38:29
moments in my life, right? So beautiful and shout out to
38:33
Carey Mulligan. I mean she killed this role.
38:36
When I was shooting a thing love, love her so much.
38:39
She was so fabulous and like the palpable connection between like
38:44
her and Leo, the Hickory chemistry, and she's so talented
38:47
and just a wonderful person to boot.
38:52
Someone not so wonderful Tom's you Cannon who just, you know it
39:01
because it's Joel Edgington just a beautiful man and all of his
39:06
Close the fit on those the fit, which I'm assuming was very
39:12
intentional. Yeah, when I saw this guy,
39:15
already knew I was like, okay, well I'm not going to trust him
39:20
be this movie, but I'm like, even the back of my head, I was
39:22
like this guy's sign off. Red flags for me right now, a
39:27
horse with a polo thing. What I think, of course, he's
39:31
very intense from the first minute you meet him and like
39:35
what? But I I love about all of his
39:37
like his color palette is all of these blues and tans very, you
39:40
know, pre-collegiate old bunny, his almost everything I believe
39:45
is double-breasted and all of his suits and, you know, just
39:48
the strength and the power like the power shoulder.
39:51
It's, you know, not one of these new suit designs.
39:55
He's very much in this old world and that's where he comes from.
40:00
And I loved all of those little design touches and we picked
40:04
skull and crossbones line. For all of his suits which sort
40:07
of hearken to his, you know, Collegiate group, that him and
40:11
nicker and and also just sort of the power and scariness of him.
40:16
So that was really fun little detail.
40:18
And you do see it in the movie, in the apartment in New York.
40:22
You see him in just his vast and you can see the skull and
40:25
crossbones there. Mmm, to go back because I read
40:29
that in one of the articles that, like, he just loved that
40:32
for his character and I was like, I was looking for it when
40:35
I watched the movie and I'll have to go back because I didn't
40:37
see it there. There in the apartment Thing.
40:42
One More Time everybody. So the couch.
40:47
Yeah. No, it was great costume for his
40:49
character. I mean, again a lot of
40:51
Storytelling you didn't want to trust him.
40:53
His colors are very set in his ways and yeah, interesting guy.
40:59
I don't know who my favorite character is at this point.
41:01
I don't think I have one trust. Nobody.
41:07
Someone you definitely can't trust was Gatsby himself.
41:13
Oh Gatsby Catherine told screen, daily.
41:17
Evening clothes were so important for Gatsby the parties
41:21
defined the world. He inhabits we had perfectly
41:24
tailored suits. Understatement a prio never
41:30
looks disheveled for a second enough.
41:33
He's incredible in this movie and he looks incredible.
41:36
Well and basically every single scene, I mean even his last
41:39
scene. I was like he looks pretty good
41:40
right now. Yeah.
41:42
Getting to make all those amazing suits for him and
41:46
actually one of my jobs was hand carrying all of his suits on the
41:49
airplane to Australia. When I got, when I came to
41:53
Australia I had just four giant suitcases of suits for Leah.
41:58
Did you bring anything for yourself?
42:00
It's a good time. But everything was By Brooks
42:06
Brothers. And then all of our principles
42:08
suits was made by Martin green fields in New York via Brooks
42:12
Brothers. And so Bruce Walters was a
42:15
contemporary of Fitzgerald and, you know, he mentions them in a
42:19
lot of his writing and he was one of their biggest customers.
42:21
So getting to work with the company that Fitzgerald's
42:25
himself worked with and used was pretty exciting and we got to
42:29
dive into their archives and look through every single piece
42:32
of history that they had and then they made all her suits for
42:35
us. So it was Such an amazing
42:37
collaboration and getting to talk with them and listen to
42:40
their history and see all those things that most people don't
42:43
get to see. It was really fun.
42:46
That's so awesome. I specifically like this one
42:49
suit he wears his pink suit. I believe it's in a more daytime
42:52
scene. Maybe it's like a just nice
42:54
dinner but that pink looks so good on him.
42:57
And just the fabric, I really want to touch the fabric.
43:01
The really beautiful linen and, you know, we did a workshop of
43:04
the movie. 2010 with just Leo and Toby And we made three
43:09
different pink suits, I believe two or three pink suits for
43:11
that, just to start the process of what color is, right?
43:16
What type of fabric is, right? And need both of those were the
43:19
wrong pink and then we went and we did a another Workshop.
43:22
I believe it was in April, May 2011.
43:26
So like six months before we started shooting, we're just
43:29
trying to get the right colors on him and and actually make
43:32
full suits and think we meant ended up making 45.
43:36
Different pink suits before we'd landed on in our, you know, one
43:39
of our fittings and Australia that this was the exact one but
43:43
it was a whole long process to because the Pink Suit is
43:46
mentioned in the book. And so it's a very important
43:48
plot point to especially Tom mentions that in the script.
43:52
Like he wears a pink suit for Christ's sake.
43:54
So, it has to be this sort of pompous new money, such a
43:58
different, you know, he's the opposite of who Thomas and so
44:01
the Pink Suit was extremely important to get, right?
44:03
So it was a lot of tinkering over a To figure out what it
44:07
actually was going to end up being.
44:08
I love that, I love that one of my favorite characters.
44:14
Oh man, in this whole movie and Spencer, I think she was one of
44:18
your favorite characters to absolutely my favorite character
44:22
was for sure Jordan played by Elizabeth to Becky.
44:25
I did not know she was in this. She looks amazing.
44:29
Every single scene even at what when he called her pajamas.
44:32
I was like, wow, those are spectacular.
44:36
I cannot believe that we were supposed to be projected.
44:38
I did not know that either. She just looks to me at a 12 at
44:42
all times and this film, I just can't get over her.
44:45
Looks, I mean, what was it like working with her on her
44:48
character? She's so wonderful.
44:50
I like I loved her and I think Jordans my favorite character to
44:53
like I'm a golfer like, my whole previous life in growing up was
44:57
I was Captain my golf team. Golf is my whole life.
45:00
And so I feel this Affinity to Jordan the golfer, and so it was
45:03
really fun to talk to Elizabeth Out golfing and she had a golf
45:07
coach and, you know, working on her swing and then this sort of
45:11
modern woman in the 20s. You know, all of her stuff is
45:14
very much more heavily in the later part of the Decades.
45:17
So there's these amazing pajamas which we got a lot of vintage
45:21
20s pajamas to model these off off of.
45:24
And I have a set of my own. I just think 20s and 30s pajamas
45:29
are like the coolest thing ever but they really came into
45:32
prevalence in the late 20s early 30s.
45:35
And so, That's her sort of modern eye to everything and I
45:40
love love her party dress this whole beaded collar that was
45:45
from Solstice and they had an existing colorway.
45:48
And we had them bead this specifically for us with our
45:53
color way to make this piece happen.
45:55
So it was pretty cool. Wow, is fantastic.
45:59
I just, I sat up in bed. I was like, oh, what are we
46:02
watching? This is really, really good.
46:06
I mean, she is just so amazing and she's killing it right now.
46:09
She's going to be in Guardians coming up again.
46:13
She's in the crown right now, killing it.
46:14
I mean, she's just killing it right now.
46:16
So, I'm just a super fan at the moment and, you know, she was
46:20
awesome working with then. And, you know, I am so excited
46:24
to see her do so. Well, I think this was one of
46:26
her first role as if not her first role.
46:28
And yeah, she's pretty. No wonderful and amazing then.
46:31
So it's just been fun to see her rise and, and success, another
46:35
thing. Thing.
46:36
I thought that was really interesting.
46:37
You know, this film was so vibrant and colorful but then
46:40
when we drive through to Valley of Ashes, everything's very dark
46:44
and gray, you know, the pressing.
46:48
So I was wondering winning and what was it like working on that
46:50
part of film because it's all super high contrast vibrancy.
46:55
They get to The Valley Of Ashes. I almost felt like it could be a
46:57
different movie, which I also think it's genius when he see
47:00
their cars drive through. And it's almost like you see the
47:03
majority of the movie will drive through the Only at that moment
47:07
and except for the mistress as well to where she were a lots of
47:12
color. What was it like working on that
47:14
part of film? I think the thing that's so
47:16
interesting is that hijacks position between the wealthy,
47:19
all the wealthy people you see throughout the movie.
47:21
And then you know it's such a small portion of who actually
47:25
lived in New York at the time. So that's I think one of the
47:29
biggest critiques of this, you know what Fitzgerald is doing is
47:32
ketika NG like these, you know, fluffy rich people.
47:35
What are they? A complaining about, you know,
47:37
right? And so you get to really see the
47:40
real world at the. It is around them and sort of
47:43
the, the greatness and the groundedness of that world.
47:47
And, you know, Myrtle's characters very aspirational.
47:49
And she's the one who's probably differs the most from the book
47:51
and the book, I remember her first dress is supposed to be
47:53
brown and, you know, I would know because I pulled every
47:58
visual reference out of the book in a spreadsheet.
48:02
And so this was a big departure from one of the few.
48:06
No color choices mention the book because, you know, even her
48:09
makeup is very much modeled after the silent stars of the
48:13
era and you know, she's trying to dress above her station and a
48:18
lot of that has to do with her. You know, affair with Tom and
48:22
then you see the rest of the people in the Valley of the
48:24
ashes. And that's you know workers who
48:27
are you know shoveling coal and the sort of tree life, New York
48:33
City. And so it was fun to get Get to
48:36
create that world because it feels so separate from the party
48:39
scenes and you know I love 1920s day where so getting to I got to
48:44
do a bunch of like initial designing of, you know, pulling
48:48
Fabrics that we had and figuring out and you know, sending them
48:51
to CM and then she would you know, change style lines and do
48:54
this and and then you know, I'd go back and revise and then we'd
48:57
send it to the workroom and it was just a really cool process.
49:01
Great. It's such an interesting process
49:04
and you know, I really do appreciate Part of the film that
49:07
really gets back to the deeper meaning of the story, the novel,
49:11
and what this film is trying to say, you know, you work with a
49:14
lot of gray actors and actresses on this film.
49:17
I know you probably can't say too much but you know what was
49:20
it like collaborating with? I don't know, Leonardo DiCaprio
49:24
Tobey Maguire. I mean it's a really cool people
49:27
here. I know it couldn't believe it
49:29
and they were all so wonderful. I mean I have nothing nothing
49:33
but amazing things to say about all of them.
49:35
I mean everyone was So fun to watch work.
49:37
I mean, Leo is one of the most a grazing, incredible actors ever.
49:42
And getting to see him work on stage in real, life was so
49:46
exciting. And he's so good at what he
49:48
does. And I can nail it.
49:50
Take on the first take and they were all just so fun to get to
49:54
know. And like, oh, you're real people
49:56
in real life and remember my, you know, I had to like pin
49:59
something. I took all their measurements so
50:01
that was, you know, being a Taylor.
50:03
I was the person who took everyone's measurements as well,
50:05
and Sent to all of the measurements down to the
50:07
workroom in Australia because we were really tiny team in New
50:10
York. For the first few, know the New
50:12
York team costume wise. I think there was four of us
50:15
total. It was really, you know, Titan
50:20
we were doing everything. All of us were doing everything.
50:22
And so it was fun. The actors came in for these
50:25
workshops. So we got to meet them.
50:27
Well, before we even started filming.
50:29
So it was great to start at this dialog, beginning in September
50:33
2010 and then We didn't start filming until September 2011, so
50:39
the whole year that being we've been working together, so that
50:42
was really fun. Whitney, Spencer, are you ready
50:46
to play our favorite game? You know it, I've actually super
50:50
ready, the one costume to rule them all.
51:03
I will go first, I actually have been switching back and forth
51:07
all morning. Originally, I went with Jordans
51:11
black party look, but then I switched to the pajama look.
51:15
But then when Whitney talked about it, I went back to her
51:17
party look with the beaded necklace collar.
51:21
It's just so beautiful, so gorgeous, she just looks
51:25
incredible and I'm obsessed with that fabric.
51:29
You were talking about, just everything about it is a 12 to
51:32
me. It Top tier.
51:34
I love that dress. And plus, I know you two prior
51:37
going to pick some daisy. Look, so I had to give one for
51:39
my girl. Jordan, Spencer, you were
51:45
absolutely right. I chose Daisy's first look that
51:49
pedal e dress just because like, that scene is so beautiful.
51:55
It's like the perfect balance between Catherine's, you know,
51:59
set design and the costume design is just all like,
52:03
Buttery, and it tells you like everything you need to know
52:05
about Daisy, right away. It's like she is this young
52:10
woman raised with the Victorian morals.
52:13
So she's not exactly, you know, a strong independent woman of
52:19
the time. But she is trying to enjoy all
52:23
the new freedoms that she is gaining.
52:27
And she's just this fragile person who really just wants to
52:30
sit around in a beautiful dress. Do beautiful thing and I just
52:35
think it is so perfect for her. That's a good choice.
52:40
Whitney is your turn. What is your one costume to rule
52:44
them all? All this was extremely hard
52:46
since, you know, I helped work on pretty much every costume
52:49
that you see in this movie. But I think just for the sheer
52:54
Joy of getting, to put this dress on and just how insane it
52:59
Felton and looks as Daisy's party dress.
53:04
It's a collaboration between the m and Prada and I love
53:07
everything that we designed and created, but this was so much
53:11
fun to wear just extravagant and wild is wild and like, just
53:17
seeing it on a film. Like, you know, it looks
53:19
beautiful. It's one of the best costumes
53:21
you see throughout the film, but like talking to you again a
53:24
baxter behind it, knowing how heavy it is.
53:27
I mean, this is just an incredible piece i-it's amazing
53:32
with that. That was amazing.
53:35
Whitney of what so looking back. Now it's been a while since you
53:39
even seen the film you're telling me, I mean, how does it
53:41
feel to travel back in time and see all your work?
53:45
I'm so just algebraic. I think it's definitely wild to
53:48
see it's been years and years since I've last saw the movie
53:51
and you just remembering that year in my life and how this
53:55
movie changed my life in such a huge way.
53:58
The fact that bazin Sam took a chance on me with zero film
54:02
experience And and, you know, hired me for three weeks, but
54:05
turn into many years. And so I'm so grateful for them
54:09
and I always, you know, will be and I adore them so much.
54:12
And and so, it's just fun to go back and, and, you know, relive,
54:17
all of those experiences and moments.
54:18
So, that was really fun for me. And, you know, I'm so excited
54:22
first damn to be nominated this year for Elvis, which I thought
54:24
it was just so incredible and she, you know, knocked it
54:27
knocked it out of the park and thinking back to our Oscar night
54:30
for Gatsby and I It with altered her dress, the her Prada dress,
54:36
that she wore to the Oscars. And I remember, staying up all
54:39
night and I think I've finished it 10 minutes before she had to
54:41
walk out onto the red carpet is insane.
54:44
Hey, and so I was completely Delirious when, you know, we won
54:49
and you know, the celebration afterward it, you know, one of
54:52
the best nights but I remember I think I slept till 6 p.m. that
54:57
later we're tired. Yeah, I don't do well sewing.
55:03
Under Pressure. I can't imagine that kind of
55:06
pressure especially when there was a good chance he was going
55:08
to walk away if it can't be more than a couple hours like I just
55:13
have to finish it. There is no ifs, ands or buts
55:16
said, just has to get done and, you know, anything 4cm anything
55:21
for for them? I adore them.
55:24
So I'm really happy to talk about this chapter of our lives
55:29
and we were so happy to have you as a special guest host this
55:33
Week. It was so fun.
55:34
We love talking to you. Thank you for joining us for
55:37
kicking off, our Catherine Martin month.
55:39
It's we love you, Whitney, thank you.
55:41
Love you guys. Thank you so much for having me.
55:44
I will come back any time. I love talking every costume
55:48
with you guys. Be careful what you ask for
55:50
because. Yeah.
55:55
Well Elizabeth, let's get into next week.
55:58
Well, a couple weeks from now. Yes, two weeks.
56:03
From now, right? Yeah, we to keep up with the
56:07
Catherine Martin theme. We are watching Elvis but we are
56:11
also being joined by another special guest for this episode I
56:15
just got chills. Does actually saying that out
56:18
loud Elizabeth? Do you want someone who will be
56:20
here? So excited.
56:23
Catherine, Martin will be joining us to talk about her
56:28
new, newest, film Elvis and her Oscar nomination I am So so
56:34
excited. I'm a little scared.
56:37
Yeah, she is the best. That's why we're scared.
56:46
Let's go be fun. I mean I mean I have enough
56:49
questions to keep her here for two weeks but we will make it a
56:53
great episode. I'm sure.
56:55
Very excited. If you all enjoyed this week's
56:58
episode though, want to tell us what your one costume rule them
57:01
all. Was we have a voice mail L6.
57:03
265. 15 1826. Tell us what your favorite
57:07
costume was. It probably was a chandelier
57:09
dress. That's cool.
57:10
We still want to hear your thoughts.
57:11
Leave us a voicemail. We don't answer the phone.
57:14
So remember that. And you could also email us at
57:17
the Arctic costume, blogcast at gmail.com send in your messages
57:21
and we'll read them on the podcast.
57:23
Yes. And if you're missing our
57:26
content in between episodes, you can follow us at the art, a
57:31
costume pod on in A gram at the art of costume on Tick-Tock.
57:37
If you want a little like cozy sweatshirt for these winter
57:41
days, you can get a the art of costume blogcast sweatshirt, or
57:45
sure, or whatever you like at the art across to.com slash pod
57:49
store and if you love us, please leave us a little five-star text
57:54
review on Apple podcast. That is always greatly
57:58
appreciated and don't forget to follow Whitney on Instagram.
58:03
I'm Whitney, why is your Instagram handle?
58:05
I am wa a costume design on Instagram and I'm about to be
58:09
sharing all the behind-the-scenes for.
58:11
We have a ghost leading up to our Premier.
58:13
So yes, join in the fun. See we have a ghost.
58:17
I'll be on Netflix on February 24th.
58:19
My correct. Yep.
58:21
That's that's it. I cannot wait.
58:23
This was such a joy to make with my favorite person, director
58:28
writer Christopher, Landon our fourth collaboration together so
58:32
I can't wait forever. And to see it like that, it
58:34
sounds like Whitney might even have a quick second and a film
58:36
to. So, look out for that to look
58:39
out for me. I won't know until I see the
58:42
movie, but I'm pretty sure I'm still in there.
58:47
Thank you with me. And thank you everyone for
58:49
listening. We'll see you soon.
58:55
You're out of costume. Blogcast is hosted and produced
58:58
by Elizabeth Joy, glass, and Spencer Williams.
59:02
Our audio engineering and editing is done by Dan White.
59:06
Follow us on Instagram, at the art of costume pod or visit the
59:11
art of costume blogcast.com. For all blogcast updates, if you
59:15
want to support the show, go to the art of costume.com /.
59:20
Pause store. For more costume reviews deep,
59:23
Dives and interviews, head over to the art of costume.com a Blog
59:29
dedicated to highlighting the best and costume design.
59:51
And this episode is fully about the party lifestyle, in many
59:55
ways. Oh yeah.
59:57
We have a very special what we have a very special.
1:00:03
I don't do no right here. Now, Hello, you're back.
1:00:11
I think so. Okay.
1:00:13
Dang. I just like, fully introduced
1:00:15
Whitney. Okay.
1:00:09
Hello, you're back. I think so.
1:00:12
Okay. Dang.
1:00:13
I just like, fully introduced Whitney.
1:00:21
Okay.