Latest / The Art of Costume Podcast / Interview with Angelyne Costume Designer, Danny Glicker

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Interview with Angelyne Costume Designer, Danny Glicker · The Art of Costume Podcast

0:12
I love all those details and I loved putting in.
0:16
I mean, I love the asymmetrical lines.
0:18
What was really interesting about her outfit and Earth
0:21
girls. And then the one we recreated
0:22
is, it's a mixture of fabrics, and one's a stretch, and one's
0:26
not a stretch. And that's, that's hard to
0:30
build. Yeah.
0:43
Hello, welcome to our costume blogcast, I'm Elizabeth Joy
0:46
glass. And today, unfortunately,
0:48
Spencer is not with us, but we have a spectacular guest who you
0:56
will know from. We Are Marshall milk up in the
1:00
air on the road mother and Ghostbusters a afterlife.
1:05
We have Danny glicker. Thank you so much for joining
1:08
us. It's my pleasure.
1:09
I'm so excited to be here. I am so excited to have you most
1:13
exciting. You were recently nominated for
1:16
an Emmy for the miniseries Angeline.
1:18
Congratulations. Thank you.
1:21
It was such a fun sparkly hot pink, Intergalactic Cosmic world
1:28
to be a part of. So anything to sort of extend
1:30
the fun, I'm all about it looked Like, it was just a massive
1:36
amount of fun. I was, I kind of went into the
1:39
series not knowing was about because I'm not from l.a., I'm
1:42
from Pennsylvania. So, I went into this, and I was
1:44
like, who is Angeline? And then this entire just fun
1:50
Whimsical world really sweeps you up?
1:53
Yeah, I mean, that is the big question, and I think what was
1:57
so much fun for me as a designer is to sort of start with that
2:02
basic question, which is, who is Anjali.
2:05
And, and of course, that's the central question because really
2:09
at the heart of the show, and of course, at the heart of costume
2:11
design is that is like the most basic question of identity.
2:15
And this show is all about identity and creation of
2:19
identity. Absolutely, absolutely.
2:22
And getting to that creation of identity.
2:24
The first episode, she goes through like quite a few looks
2:28
before becoming, you know, the Angeline.
2:31
We see through the rest of the series.
2:33
What was kind of Process of building that for the character.
2:38
Well, I think, you know, I think that sort of it was like a
2:41
working backwards thing because Angelina is in reality and
2:47
iconic presence and she sort of has really created herself.
2:52
The real Angeline to be an iconic presence and so, in
2:56
episode 1 we really go into sort of her Inception point and I
3:02
loved playing with. Kind of the hints of Angeline
3:06
and, and building within that actual research.
3:09
So there's there's a lot of, there's a lot of references to
3:13
in her looks that were really based on the research of
3:17
Angeline from that time from, from her, punk rock days and the
3:21
late 70s and very early 80s. And so, I was putting lots of
3:26
nods there. There were certain looks that
3:30
are direct Recreation such as the.
3:33
There's a quick shot of her and Very freely at kind of almost
3:36
looks like a frilly torso revealing and Margaret Boudoir /
3:41
Beach set and she's holding a plush Bunny.
3:43
And that was a really really incredible re-creation of a real
3:48
photo of her and her band baby blue at the time.
3:53
But for me what it was about was really taking someone who was
3:57
larger than life and actually using it as an opportunity for
4:02
for both you know the Ian sand for a me to invest in something
4:08
that was human scale. And so I loved kind of, I love
4:11
being able to sort of like work on that.
4:14
And even though a lot of the stuff that happens in the 70s is
4:17
not yet, her iconic body, which is such like a beautiful extreme
4:23
sort of form. That's really fun to dress, pre
4:28
sort of Angeline's. As she refers to it in the show,
4:31
being fully realized, I was dressing Are on a body that was
4:35
a much more sort of like human form less Intergalactic Goddess
4:39
that Angeline becomes and that was really fun.
4:42
So for me it was really about accentuating, the body that she
4:47
has and working really closely with m.e. to move her through
4:50
the world and how her body moves and how she kind of is sort of
4:56
like hinting towards who she wants to become.
4:59
And I think one of my favorite things that I did in the in that
5:03
episode is I held back pink because I know that we're all
5:06
expecting pink. And, and I really felt like I
5:10
wanted the audience to kind of have this moment when they were
5:14
seeing someone, who they were kind of expecting to see, but
5:18
they also aren't seeing her as they had hoped to yet.
5:22
So, at her first look it was very intentionally red and white
5:29
and her first big look. And the idea is that like the
5:32
recipe for pink is there But pink is not yet.
5:35
They're so she's in this, you know, red miniskirt.
5:38
And this, this really fun white eyelet halter.
5:41
Polkadot top that we built on the whole that everything on her
5:44
is built. And, you know, it's super
5:47
Barbie, it's super fun. It's super, kicky and effortless
5:51
and and it was really fun to watch.
5:55
Emmy get to use her body as Angeline in that, like, even so
6:00
much as exposing her shoulders the way that they are in the
6:03
halter top just Ting, letting any sort of like move her body
6:06
and that kind of like incredibly liberated and coltish way, which
6:11
was so exciting for me. And then as it goes, we see,
6:15
Angeline sort of becoming a little Savvy and starts pushing
6:19
herself a little into the Rockstar Vibe.
6:22
And there's a lot of series of her sort of like moving into the
6:26
punk world, but on her rules, which the episode makes it clear
6:30
that she's pretty confused, it's confusing to the people And the
6:34
punk world, because she telling us, she's showing up in
6:37
essentially like ice skating costumes, and Boudoir sets to
6:40
her. Punk rock's.
6:41
Yeah. And, and that was really fun for
6:44
me as well because, you know, that really was actually pretty
6:48
punk rock. Like, you know, punk rock is
6:51
about, is about breaking the rules and she broke the roles
6:54
within the rules. And I think that for Ang to walk
6:58
into that punk, rock Club wearing her baby dolls negligee
7:02
with her like ruffled panties. And he's that's punk.
7:06
I mean, I think we all agree. Now is pain.
7:08
Oh yeah, they're horrified. That was definitely giving me
7:11
some like more 90s. Punk rock.
7:14
Yes, what was so interesting, especially about the LA Punk
7:18
scene. As, you know, when we really
7:19
went into the research for the, for the very late 70s and early
7:23
80's Punk scene, it is such a kind of it's the most modern
7:29
experience. It's not like New York punk and
7:31
it is certainly nothing like London.
7:33
Punk. It Is much more.
7:35
What we would consider a grunge? It was much more.
7:37
Just dirty t-shirts and work pants.
7:40
And it's not at all about kind of like the trappings that we
7:44
think of. It's so that was kind of like a
7:47
fun kind of thing to play with. But yeah I mean for me the first
7:51
episode was really bringing Angie through her trajectory and
7:54
teasing the pieces. In fact, I think the only time
7:59
in the first episode that we really see her in anything,
8:02
that's pink in the beginning. Of her pink journey is when
8:07
she's given the Corvette but it's the wrong color because I
8:11
wanted there to be this tension between /, seeing the car that
8:17
we all know that she was sort of placed on Earth to have.
8:20
It's the it's the automotive embodiment of her soul.
8:23
And so, that's the first time I put her in a piece of clothing.
8:26
That is kind of like what we think of as Angie pain.
8:29
She's in she's in sort of a bubblegum pink halter top and
8:32
and of course, Print skirt obviously.
8:36
And and I wanted her, I wanted there to be that kind of
8:38
disappointment for her and the audience, her standing next to
8:42
the car in the exact right color.
8:44
When in fact the car is the wrong color.
8:46
I definitely loved and appreciated that transition into
8:51
the pink. I was loving the show because
8:54
I'm a big fan of pink, the color pink.
8:56
Yeah, so like half the time, I was like, yes.
8:59
This is what we need more of this in our lives, but Angeline
9:03
death. Only a fan of Pink and you
9:06
clearly took a just a ton of inspiration from her Angeline,
9:11
the person. But how did you kind of balance
9:13
like being historically accurate but also creating a unique look
9:18
for the show. Well, I think that a lot of the
9:21
historical accuracy. You know, we got it out of our
9:24
systems because so much of it was recreated so early on, for
9:29
the key, are that we were replicating and And so by the
9:36
time I kind of like did all those sort of 1121 re-creations
9:40
because they're such iconic looks that they really had to
9:43
kind of like read as the exact thing.
9:45
We were kind of liberated after that to just sort of move
9:48
forward. It was really you know it was
9:51
really about sort of not just building the literal trajectory
9:55
because it takes place over five decades so you know which is
9:59
really also liberating because it's not like it's not like
10:02
we're sort of stuck in one look. You know, we she her her whole
10:06
her shape changes and evolves her kind of aesthetic expression
10:10
of Olives throughout the show. And so I think that for me it
10:14
was really just about understanding.
10:16
Once we recreated everything, we were so fluent in the language
10:20
and, and I definitely put in a ton of a ton of Easter eggs for
10:26
people who love Angeline. There's a lot of, a lot of
10:29
actual authentic, Angeline Fabrics that I was able to
10:32
Resource Fabrics that He had source that I was able to re
10:35
recreate outfits, from Wow, in LA because, you know, I wanted
10:39
to make this a show that like had a la in its DNA, the
10:43
Hollywood in its DNA. And so, so there's tons of
10:47
accuracy, all throughout the show, but kind of with the
10:50
caveat that we had to create like a visual narrative language
10:54
and that to me was the most fun because it was also just about
10:58
not creating a formula. It was about creating a real
11:01
experience. And luckily, the Because we were
11:04
jumping from ear to ear. A tiara it was actually quite
11:07
organic to do, so I love that. I also love going back to
11:12
recreating when you recreated her look for Earth.
11:17
Girls Are Easy. That must have been an
11:20
experience. It was really fun that outfit
11:24
was actually sold that upon them so auction, which is referenced
11:29
in the show. And so in addition to Earth
11:32
Girls, we had a lot of Me really good references, but the
11:36
original outfit was built on a bra and so it was really fun.
11:42
So I built her outfit on a bra because you can still see the
11:45
little plastic Loops that's sort of the time of the Bravo points.
11:49
And so that for me was I love all those details and I loved
11:53
putting in. I mean, I love the asymmetrical
11:56
lines. What was really interesting
11:58
about her outfit and Earth girls, and then the one we
12:00
recreated, as it's a mixture of fabrics, And one's a stretch and
12:05
one's not a stretch. And that's, that's hard to
12:09
build. Yeah.
12:10
And and luckily I was, you know, surrounded by, you know, my
12:15
amazing cutter fitter. Joanna, Bradley is unbelievable.
12:20
She did, you know Madmen, she's fantastic.
12:22
And so she was, she was, you know truly like such a such a
12:27
nageire collaborator and so we would really kind of go in and
12:30
play with everything. And then what I I'm always
12:33
obsessed with in. Affection.
12:35
And so and this outfit is you know, it is an Ode to
12:39
imperfection. There are there are darts where
12:42
there shouldn't be, there's wrinkles that are right like
12:44
sewn into the seams and so we did it all.
12:47
We just put it all in there and and it's beautiful.
12:51
Like, I love it and it's done affectionately, you know?
12:54
Because I think that I think that when we see in perfection
12:58
in the alphabets, in addition to seeing in Perfection, we're
13:01
seeing kind of the intention we're seeing Seeing that this
13:04
thing was put together by by intentional hands.
13:08
It was not put together. It wasn't something she went
13:10
into a store and picked up. I think everything that Angeline
13:14
has ever put on her body has passed through this sort of kind
13:19
of experience of it becoming unique to Anjali.
13:23
So those are the moments. Those are the Tells.
13:25
Those are the things in the outfit that I think, breathe
13:28
life into it. And so, I'm always looking for
13:30
those things in the outfit that are kind of that sort of show
13:33
it. Journey from a piece of fabric
13:36
to the thing that they're wearing and I can assure you
13:39
that Angie has never worn anything off the rack as it was
13:42
intended. That is amazing.
13:45
So did Angela actually like make her own clothes are such a
13:50
mystery. It's I know that I know that
13:54
there's people who have made her clothes and one of the
13:56
interesting things that happens in the show, is her mother's a
14:02
seamstress? Yeah.
14:04
And her stepmothers a seamstress.
14:06
And and I think if nothing else, she certainly around people who
14:10
understand the intimate Act of kind of clothing creation and
14:15
how possible that was. So I can't speak to who exactly
14:20
makes her clothes because I do want to sort of maintain the air
14:23
of mystery. Yeah.
14:25
But I can say that. I can say that the important
14:28
thing to know is and it's sort of the whole point of the whole
14:32
show is it's sort of like, The my new details are not nearly as
14:36
important as the fact that this incredible woman chose to create
14:40
herself, as she knows herself to be to reveal her ultimate truth.
14:46
And that was the thing that I was most excited to reflect in
14:49
each and every costume. That's incredible.
14:52
And she definitely does create herself exactly how she knows
14:57
she is. And that seemed to be very
15:00
important, especially when I came to her chest This
15:04
fascinates me because I didn't even think about like oh and
15:07
we're awesome. She this is not her size.
15:11
Was it hard to have to work around the fake breasts?
15:15
Or did it end up like kind of working seamlessly?
15:19
You know, Kate this go and Vincent Van Dyke were are
15:23
incredible. Prosthetic and special effects
15:26
makeup artist, both emmy-nominated and Amy's body
15:31
throughout the entirety of the show was such Joy to work with
15:35
it was it was a joy to work with m.e. when her body was in its
15:39
most sort of pure form because of Amy's physicality.
15:42
And it was really a joy to work with the body that was created
15:46
by Vincent and Kate. And and that's because it was
15:50
such a beautiful, it was a beautifully realized body and I
15:53
think that everyone went into the show with such sort of like
15:56
an enormous sense of respect, understanding that this is a
16:01
show about hyper. Ization and so.
16:05
And so the body really just became her body.
16:09
And I mean, there were sort of there was a lot of kind of like
16:13
technical considerations, like, in the fittings I would create I
16:17
created using the prosthetic mold that Vincent had provided
16:21
with me of some of the body forms.
16:23
I would create like a zip on chestplate and so whenever we
16:27
went into the fitting she would sort of put her body on like a
16:30
vest. Okay.
16:32
Back. And then we would have her in
16:33
her career. Back body and all the fittings
16:35
and then as the fittings went on, we would usually start from
16:39
sort of early to present day. So the body would kind of like
16:43
gain. It's sort of like Evolution that
16:46
was correct to time so it because it would be more layers.
16:50
You know, she would start with fewer layers and end up with
16:52
more layers. But I love dressing.
16:57
I love dressing her body. I love dressing her body, when
17:00
she was, you know, young in the show.
17:04
Show and I love dressing her body, as she becomes as Angeline
17:07
calls. It more fully realized and I
17:10
love it as she becomes, as experienced, as she is in
17:12
present day. But the body itself was such a
17:16
joy and because it was Prosthetics and not, it wasn't
17:20
just something you can take on and off.
17:22
It was really real. Wow.
17:24
So, I mean it right to the point where like I, you know, there
17:28
were certain outfits where I gave her a bra, you know, even
17:30
though the bus that she was wearing, didn't always require
17:33
it, but You know, it made any more comfortable.
17:36
Like there would be things like that, where like we would do
17:38
things. And, and it really was a human
17:40
body and I woulda just the clothes on her and it was
17:44
incredibly lifelike, it wasn't it, you know, it had sort of the
17:49
sense of real skin and even when I me wore it all day long, it
17:52
felt to me, like it was becoming room temperature.
17:54
It would like, you know, human body temperature, like she
17:56
really did. It was such a transformative
17:58
experience. I remember early on in the
18:00
process, whenever I would go up and adjust anything and And
18:04
you'd have to be very careful, adjusting the clothes, around
18:06
the bus line because of course, it is a very beautifully applied
18:09
prosthetic. I'd always tell Emmy beforehand,
18:12
as I would with any actor and then I would, and I would say
18:15
I'm going to adjust this and it's around your bus slide in.
18:17
And she would say, you know, Danny, it's not my real boss, I
18:19
can't actually feel it. Yeah, that's incredible because
18:23
I didn't think twice about it till I saw these pictures on
18:26
your Instagram and I was like that's incredible.
18:28
Because I didn't question it for a second while watching the
18:31
show. And you know, It's really
18:34
interesting is, you know, to that to that note and she brings
18:38
this up a lot. There's never a moment when
18:41
she'd actually doesn't have Prosthetics on her face,
18:43
including all the way back to when we see Rachel.
18:47
Okay, that makes a lot more sense now, I was there was
18:50
something. I was like, she looks a little
18:52
different but I'm not sure what. But oh, wow.
18:55
Yeah, because because a Mia because Angeline throughout the
18:59
show is getting a lot of work done.
19:01
And and we don't really hard. Up on that because I think that
19:05
it's sort of something that just sort of in the DNA of the show,
19:08
but her look, is evolving, I guess is really the better way
19:11
to say it and so and so there's always like, so even even going
19:16
all the way back to the sort of day one when Emmy is playing the
19:20
young teen Renee, or Rachel rather, we're seeing her with,
19:26
you know, we're seeing her in her pure form which is very
19:28
different than we see her in the 70s when which when the show
19:31
begins we think is her pure form.
19:33
But it's I kind of already an augmented for yes.
19:37
Speaking of her becoming fully realized as she gets older.
19:41
Her fashion kind of becomes even a little more extreme and I love
19:47
that because it's you don't often see older women putting
19:51
themselves out there like that. What was kind of your thought
19:54
behind dressing her? As she gets older.
19:57
Well, I think that present-day Ang is, is very much that That
20:04
the kind of icon that that angelenos now no, you know, like
20:08
like the people who are here. Now we when we think of and we
20:12
think Angeline, we think of the Billboards and we think of the
20:17
incredibly mysterious sort of like hot pink goddess, who
20:20
drives around in her Corvette now.
20:23
And so for me nailing her present day look was so
20:27
important and and I think that you bring up a really great
20:31
point and it was one that most excited me.
20:34
I mean honestly like I love every look in the show and I
20:37
love every era but I have an incredible soft spot for the
20:40
present-day looks because that's when she gets most adventurous.
20:45
She's sort of steps out of her color story and goes into sort
20:49
of a different Zone and it's almost like it's almost like
20:53
this Fantasia of her entire life living on her body right now and
20:57
her clothes. And so, I really wanted to kind
21:00
of create this understanding and part of that, That part of the
21:04
joy of that was being able to use the actual Fabrics that
21:07
we've seen real icon in G wearing.
21:11
And I was able to find them and I was able to recreate certain
21:15
outfits and then part of that was just sort of even kind of,
21:18
like, taking the language and pushing forward in her
21:22
interview, she's wearing this black velvet tank dress, which
21:26
is classic trademart Ang, and it's covered in pink.
21:31
Hot pink sequence Stars. And I thought for me, you know,
21:35
and that was really an important outfit because that outfit
21:37
appears for the entire show. And for me, I was like, this is
21:42
a story about a woman, who's becoming the ultimate icon.
21:47
Who, who warships literally in the first episode at an altar of
21:51
Maryland. And there is nothing more iconic
21:54
than the stars on the Hollywood Walk of Fame and that must be
21:59
what she is wearing on her outfit because she embodies that
22:03
level of Iconography and that's why she's wearing those Stars,
22:06
not just because she is a star. But because she is the icon that
22:09
the stars represent and then sort of going to her outfit that
22:13
she wears with Jeff, that's a fascinating outfit because it
22:17
was sort of designed to be part of an evolution because in the
22:22
episode Jeff's interviewing her and I think the end she is you
22:27
know, really angling to get a new billboard.
22:30
So I actually intentionally held back, I put her on I put her in
22:35
a softer pink a fluffy soft, pink sparkly jacket that sort of
22:40
doesn't have the vibrancy that we associate with her and I put
22:44
her in a crushed velvet. And I thought, what is crushed
22:47
velvet? But velvet that's literally been
22:50
manipulated and sort of broken down a bit by life.
22:54
And I think we're seeing her in this thing and just saying that,
22:56
like she still has the Angie magic, but she maybe looks like
23:01
she doesn't quite have The the level of power that she used to
23:07
but but through that Journey with Jeff she goes from this
23:10
outfit takes him to a party walks in the door and then
23:14
that's when the first Switcheroo happens because yes, the dress
23:19
that she's wearing is made out of the exact same fabric.
23:22
However, it's cut much more, flattering late, and then this
23:26
time it's completely studded and Swarovski rhinestones.
23:31
So this like this sort of like sad He has become beautiful
23:35
because this is the power of Angie showing the world how she
23:39
needs to be seen, and giving people the joy.
23:42
And in fact, all the backup dancers in that scene are done
23:47
in a very specific, a montage to her real music video because in
23:53
the 80s and Angeline had this incredible passion for
23:57
checkerboard. And I and I wanted it to be
24:00
imbued and then with real Ang and then Only when we see her at
24:05
the end of that number of emerging, you know, from the
24:08
heavens, like a goddess from above on the moon, she's in this
24:12
body suit that I kind of refer to his nude even though it's
24:15
kind of all done in these metallic sequins.
24:19
And of course, she's wearing a giant rhinestone Tiara.
24:22
But the only pink on her is a very soft pink ostrich bumper,
24:26
which is like much more luxurious than were used to
24:29
seeing her in the idea. Is she sort of has even like
24:33
her. Form has surpassed the need for
24:36
these kind of like these sort of tricks that you refers to them
24:39
in the episode. You know she says I use all my
24:42
tricks to be loved. She kind of is coming down in
24:45
what I refer to as her pure naked form.
24:47
She is a gift from the heavens for all on Earth to enjoy.
24:52
And so the idea is so when we go back to the first time, Jeff
24:55
sees her in that kind of crushed velvet sparkly faux fur, shrug
25:01
jacket. It's really kind of A part of
25:04
me, setting the stage for her to grow and finally emerge as this
25:08
kind of Intergalactic, Beauty Goddess that we know her to be.
25:12
I love that. I when I saw this scene, I was
25:15
blown away because it's so unexpected and then it's just
25:19
the checkers and all the sparkle on the pink.
25:21
You're just kind of like taking it back.
25:22
And it's like, oh yeah, this this is what Angie does.
25:25
This is who she is. And it's funny because I what I
25:29
love about the backup dancers and there and you know, they're
25:32
all in custom-made, Angeline visor glasses, and from her
25:37
everything, they're wearing is custom their headdresses.
25:40
Our custom, their fans are custom.
25:43
Their shoes were custom painted 22.
25:47
But the idea is that they're wearing checkerboard, which is
25:50
so Ang and then there are other acts on color is essentially a
25:53
mirror because that's basically what she is.
25:56
She she is a mirror, she refers to herself as a mirror and also
26:01
she wants to be around mirrors and it was a real An interesting
26:04
question for me, is what does the person who needs to be the
26:08
center of attention? Allow the people who are behind
26:11
her we're rides and yeah. And so you know, of course they
26:15
glasses were perfect because immediately it's sort of like
26:20
it's something that's iconic, Lee Ang?
26:22
But it also sort of like pushes their identity further into the
26:26
background and then interestingly, the dancers are
26:30
all genders. There's not one.
26:32
They because the People who love her, our everybody.
26:36
And the people who kind of are able to be liberated by her
26:39
sense of beauty, and her sons of Glamour is everybody.
26:43
I love that, I love that. I love this seen one episode the
26:48
final episode. You kind of get thrown back into
26:51
a lot of historical. Not not the Angie from the
26:54
dance. Number a very different.
26:57
We get back to Rachel who will create Angeline and I was kind
27:02
of shocked because it goes from I'm very Whimsical and fun took
27:06
pretty historically accurate. What was it like doing this
27:10
episode in particular? I loved it.
27:13
I loved, by the way, the kids are great.
27:16
You know we have we had you know, so many we had you know
27:19
two sets of Angie as a child and then and then of course a me
27:24
playing. Angie is a teenager and as
27:27
Rachel and I loved it. You know I loved doing the
27:31
cruise ship I Loved You Know It. It was really interesting
27:34
because the crew to the cruise ship was the SS Israel which was
27:38
a real cruise ship. And it was, it was you know, we
27:41
filled it with these really elegant people who were
27:44
traveling to, many of whom are survivors of the Holocaust and
27:50
their offspring, who are travelling to have a new life in
27:54
the United States. And I thought it was a really
27:57
interesting opportunity to kind of show the story of the
28:01
beginning of a civilization. Because I do think that that the
28:04
story of Angeline has so much of that question in it because you
28:09
have, you know, these people who are these incredible survivors,
28:13
you know, coming to the United States and we knowing that that
28:18
Angelina eventually recreates her identity as this sort of
28:22
like the embodiment of the perfect Hollywood icon, the
28:26
perfect Hollywood blond. And so, I love sort of that
28:30
starting point. I love creating the sort of
28:32
suburban world and I And I really like playing with color
28:36
because I wanted sort of there to be a real sense of Yearning.
28:40
And I wanted to give young Rachel these sort of this iconic
28:45
palette that was very much sort of rooted in her hair color
28:48
which was a sort of Auburn. So I really pushed her into the
28:51
kind of yellows and these warm Autumn nail colors and they're
28:56
not at all these sort of like fun dazzling Pink's.
29:00
Yeah, you know it's there it's a pretty serious thing and then
29:03
And we got to see her sort of with her mother who's a
29:06
beautiful woman, and then we get to sort of watch a very
29:10
difficult childhood wishes, a very fraught relationship with
29:13
her family, all the way up to a marriage where she's trying to
29:17
sort of escape. And I thought that the, you
29:19
know, the wedding dress, which was another build was really
29:22
interesting. Because I think that the wedding
29:26
is very much about her her last effort to, please everyone.
29:31
So she can make a clean escape from Our family.
29:35
So, in many ways, the question was, what's the wedding dress?
29:40
That Rachel doesn't care about? What is the wedding dress?
29:44
She doesn't want. So we made it long, we covered
29:46
the arms. Although I do love the daisy
29:49
Motif, I got a really great 60s lace and then, and then our and
29:54
then I called the proper person said we, she has to have
29:56
daisies. Yeah.
29:57
Food is just like she has to have to end.
30:00
And he, and when I saw that, I, when I saw her bouquet, I was so
30:03
excited. Excited.
30:05
And then and then when we see Rachel in bed with her husband,
30:09
Danny sort of contemplating the suffocating life that she thinks
30:15
that she's about to have, which is all the more kind of
30:18
upsetting because the man that she married is actually so
30:22
lovely and such a compassionate person.
30:25
And and, you know, we work really hard to make this a
30:28
visual world that I think that Danny would have gone with her
30:31
on this journey. I think he would have been For
30:34
her. I think that like real Danny was
30:36
super into her and loved her and if she said I'm a different
30:40
person than the one, you see? He think that was pretty cool.
30:43
Actually, because he was a really cool guy, he is a cool
30:45
guy and we see that later on in the show in the 80s but the eye.
30:49
So I put her in this like incredible.
30:52
This out there was like this very specific teal kind of blue
30:56
that I wanted his sort of seafoam teal with like a touch
31:01
of like aquamarine and it And then I was able to accomplish it
31:06
by actually, layering two different silks to get this.
31:09
Like one was sort of like a crushed like what was this?
31:11
Like beautiful textured sulk over a charmeuse but the idea
31:15
was because she has to walk into in this kind of foamy chili,
31:20
teal nightgown and I use the least romantic lace I can find
31:23
for all the trim. It says box lace.
31:25
It's it's literally a grid. It's like it's like looking at
31:28
Suburbia from above. Yeah and she and she climbs into
31:33
Hot pink, Intergalactic fantasy, land surrounded by Pink.
31:38
So I know I needed an outfit that would sort of like really
31:42
contrast because it's in that outfit that she meets the
31:46
future, Intergalactic space Goddess.
31:49
That is sort of Angeline at her most magical prior to her
31:54
getting into her spaceship. Yes.
31:56
And arriving on Earth and so it's so what I love about my
32:01
favorite outfits are the ones that work.
32:03
Best when they're in conversation with one another.
32:06
So what I love most about the nightgown is that it truly comes
32:11
alive. When it's in conversation with
32:14
Angie and her beaded jeweled, Crystal troske knee-high boot,
32:21
Barbarella meets Barbie space outfit.
32:24
And so it's only when those two outfits are looking at each
32:27
other and having that very strange interaction, do they
32:30
both really become Chi I loved that nightgown because I didn't
32:35
realize it was blue until she walks on to the planet.
32:39
And I'm like, yes, well, that is kind of for and nothing like who
32:44
you are. And speaking of her being the
32:49
perfect, Intergalactic Queen, I lost my mind when I saw this.
32:55
It was so much fun to see her in it.
32:59
Especially when she gets into her little spaceship.
33:02
This looked like, It was just like a joy to work on and build
33:07
for this final scene. I mean, it really was, it was,
33:11
you know, it's it's obviously when you're dealing with be that
33:14
stuff, it's always going to be a little intense and there was,
33:18
you know, beads everywhere crystals everywhere, glitter
33:22
everywhere. But it's a great outfit.
33:24
And I think one of the, one of the things about it that again
33:28
context is everything. And once we get into her control
33:32
room and once we see the spaceship, You can kind of
33:34
understand. It's it's done to be as Lo-Fi as
33:38
humanly possible. You know?
33:40
I was really looking at end up like Barbarella, you know, the
33:45
queen of outer space. I was looking, you know, at all
33:47
the, you know, I was looking at B-movie sci-fi, I was looking,
33:51
you know, it was, it was all those references and then, and
33:53
then definitely, when I was looking at her collars, of
33:56
course, I was looking at Flash Gordon, which has some of the
33:59
most fabulous costumes ever placed on film.
34:03
So, you know, we did the stand-up collar.
34:06
We, you know, and, and but the idea was that like, it was, it
34:09
was sort of, it was sort of a challenge to like, keep it as
34:12
low fire as possible because they think our eyes right now or
34:15
so are so trained to see really slick space outfits and Slick
34:23
superhero stuff. So it was really fun to be like
34:26
this is something that has to be made and can exist in the 40s.
34:33
50s and the 60s. This is not something that is
34:37
made for a Marvel movie obviously.
34:39
And so, and so that was really fun.
34:42
And, and, and her Tiara was super fun to make as well, you
34:46
know, just sourcing it. I think one of the, My Favorite
34:49
Things is in the center of her chest.
34:51
She has this enormous Aurora Borealis, Crystal.
34:54
That is literally like Barbie plastic.
34:56
It's, it's like the sort of thing.
34:58
If a young girl got like a Barbie beauty set, that's the
35:02
crystal that would be glued. In the middle of the mirror.
35:04
Yeah. Like on the handle and and it
35:06
was like and I had to keep reminding myself that it was
35:09
okay, that the crystals are, you know, Aurora Borealis back
35:13
plastic. Some of them, you know, like
35:14
because that because the idea is that she is the most innocent
35:18
embodiment of a sense of beauty and glamour, that is not based
35:23
on kind of anything other than visual joy.
35:28
And so it's not about the most expensive anything.
35:31
Although I mean obviously took it A amount of resources to
35:35
create these looks, but it was more about.
35:37
Is this a look? That would create a sense of
35:40
like hyper-feminine joy in that very specific Anjali.
35:45
I think you nailed it cuz thank you.
35:48
This made me very happy. And I was like, what am I doing
35:52
for Halloween now. Oh my God.
35:55
If you do, if you do a space and Joe that I will be so excited.
35:58
I see pictures of my kid. All right, I will definitely let
36:02
you know because this because I watch a lot of Star Trek.
36:06
So I'm like you said I'm very used to the streamlined like
36:10
sci-fi and then I saw this and it's so classic Sci-fi but so
36:15
like vibrant and Barbie I was such a Barbie Girls, a kid
36:20
Barbie that it just it brought a smile to my face when she showed
36:24
up and you must love the little flanges on her legs because that
36:27
is like yeah, it'll sci-fi right hate.
36:30
Absolutely now every detail was perfect.
36:33
Even Her little arm band. I was like oh yeah, just that
36:36
little extra bit there. Always needs to be an extra bit.
36:40
It was really funny. A lot of the armbands on real
36:44
Angelina in the research. This is one of those things that
36:46
I constantly am struggling with so often she Angie really, Angie
36:51
will take an elastic bracelet and turned it into an armband.
36:54
So of course there's going to be sort of a gap of elastic.
36:58
Mmm. Yeah.
36:59
And the perfectionist in me is like that.
37:01
Can't happen. But then, Like this sort of like
37:04
strict Storyteller me is like, but it is what happened.
37:07
And so I would, especially with Angie, always force myself to do
37:11
that to have the gap of elastic. That's sort of the Angie touch
37:14
and that tells us the story that she picked up a bracelet and
37:18
then realized her upper arm needed some sparkle.
37:20
Yeah. And so I would always leave the
37:22
Gap and then part of me was like, did I just should I have
37:25
just filled in the Gap because like it was a perfectionist in
37:28
the Storyteller and mean the Storyteller will always win but
37:30
like it rough. Yeah, I bet.
37:33
Actually sounds. Now that you say that I'm like
37:36
oh I would have had to move them around, cover that Gat.
37:40
Yeah, we move them around. So the Gap is 0 it because we're
37:43
used to be, but still, I mean, I I just I loved working on
37:48
Angeline because it's so rare to get to work on a project that is
37:54
so physically. Joyful, my office was one of the
37:59
most delightful magical places. There was Every single surface
38:05
was covered with something, sparkly, or leopard or zebra or
38:09
fluffy and and yet to work with those textures.
38:15
And those colors to tell a story that I find to be incredibly
38:20
relevant to the world in which we currently live about
38:23
influencers, about about receiving approval and affection
38:29
through interaction on social media and Her case the social
38:34
media was Billboards and merge in her trunk.
38:37
But and so, the idea that I got to work on something that was so
38:41
physically joyful. But tell a story that was so
38:44
emotionally resonant with, with a creative with an entire group
38:49
of creative collaborators, you know, with a me and Matt, you
38:53
know, our director and Lucy, our wonderful director Lucy that
38:57
were just so incredibly committed to telling an
39:01
emotionally Rich story. So, you know, for me it was like
39:05
the ultimate dream job that I get to have a lot of fun.
39:08
Visually to tell a story. That is emotionally.
39:11
Incredibly deep. I love that.
39:14
I love Angeline and Angeline the series.
39:18
I'm so happy you all created this because I had no idea she
39:22
existed. And now I'm like, this is just a
39:25
person filled with so much Julie and I'm so happy more people get
39:28
to know that now. Well, you know that if you see
39:32
Angie because your Start seeing her everywhere.
39:35
If you see Angelina and her car, you have to make a wish.
39:37
You know that, right? No.
39:39
I have to make a wish if I see Angeline.
39:42
Yes. Because it's good luck to see
39:44
Anjali. I will have to keep an eye out
39:47
now. Yes, definitely.
39:49
That is all. That's so sweet.
39:51
That's so much fun. Yes thank you so much for coming
39:56
and talking to me. Do you have anything you're
39:59
working on now that you can talk about?
40:03
Well, I I'm not allowed to talk about the project that I'm
40:06
currently working on, but it's very cool.
40:08
But I can tell you one that I'm very excited about which.
40:11
Incidentally also had me dressing, a body that was the
40:15
work of very brilliant, special effects creation.
40:19
I did a really beautiful movie with Darren Aronofsky called the
40:24
whale and Brendan salmon plays, a man who is living with obesity
40:32
and So the movie is gorgeous, gorgeous chamber piece based on
40:38
a really beautiful play with this.
40:40
Incredible cast, its Brendan and Sadie sink and hongqiao and
40:47
Samantha Morton. I mean it's an incredible cast
40:49
in this really intimate story that is just, you know, just
40:53
such a lovely film. And, and I thought it was very
40:55
interesting that I that I got to go from sort of dressing one,
41:01
you know, one very sort of like extreme Body to dressing,
41:04
another extreme body because the goal was the same for both of
41:08
them. The goal for both of those
41:10
movies was to move past any of the first preconceptions that
41:16
one must have about a body and to move right into how these
41:23
people's bodies are. The ultimate embodiment of where
41:26
they are in their lives, and in their emotional lives and in
41:29
their kind of metaphorical lives.
41:33
And so, So, even though, even though the projects are very
41:36
different, I was able to sort of utilize some of the same skills
41:39
which was kind of like the mix of dressing actual bodies and
41:44
bodies that were created specifically for the characters.
41:48
I love that that is so exciting. Cannot wait to see whale and
41:54
just again, congratulations on your Emmy nomination.
41:57
We are rooting for you. Thank you.
41:59
And thank you so much for coming and talking to us, okay?
42:03
Please give my best to Spencer. I will he wanted to be here.
42:06
He wanted to be I know I'm such a fan but I'm so happy that we
42:10
got the chat, it's such a pleasure and you know, Angie is
42:14
a project that I just I really hold in my heart so dearly.
42:18
So I'm always excited to talk about.
42:21
Thank you for coming and talking to us.
42:23
Thank you. You're out of costume.
42:27
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42:32
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42:36
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