Latest / The Art of Costume Podcast / George & Tammy with Costume Designer, Mitchell Travers

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George & Tammy with Costume Designer, Mitchell Travers · The Art of Costume Podcast

0:12
So he was ready. I mean he knew what to expect I
0:14
do think there was a moment. The first time we put
0:18
rhinestones on him that his eyes lit up a little bit.
0:21
I dude there's nothing like wearing a rhinestone suit,
0:26
right? It's hard to be upset by it and
0:28
write for lamps in the mirror, really?
0:31
We landed the look with Mike. Hello.
0:43
Welcome to the Arctic costume blogcast.
0:45
I am your host Spencer Williams, and thank you so much for
0:49
joining me for another special bonus episode.
0:53
Today's episode is all about the new series on Showtime, George
0:57
and Tammy, which I love the show so much, it's so good, Jessica
1:02
Chastain, and Michael Shannon, gives some incredible
1:05
performances. So I'm going to try not to go on
1:08
and on about how much I love them because Is today's episode
1:11
is all about the incredible costume design, designed by my
1:15
friend Mitchell Traverse. I'm going to talk to Mitchell in
1:18
a second. But first, let me give you a
1:20
little summary George and Tammy is a Chronicle of the infamous
1:25
country, music power, couple Tammy Wynette and George Jones.
1:29
Who's complicated? But enduring relationship
1:32
inspired. Some of the most iconic music of
1:35
all time. Diving behind a wardrobe.
1:37
We have director, John Hill coat, and costume is Langer
1:41
Mitchell Traverse, who you will know his work from in the
1:44
heights for which she was nominated for a costume
1:46
designers. Guild award Hustlers for which
1:48
he was also nominated for a costume designers, Guild award,
1:51
the eyes of Tammy, Faye. One of the greatest movies of
1:54
all time, Roslin late night and eighth grade.
2:00
I am so excited to finally introduce my friend costume
2:04
designer of George and Tammy. And the reason why Jessica
2:07
Chastain was on my Spotify 100 top songs It's the fear Mitchell
2:12
Traverse, aye Mitchell. Hey, I'm so excited to finally
2:16
talk to you. I'm thrilled to be here.
2:18
Thanks for having. Of course, I've been such a fan
2:20
of your work, Hustler's the eyes of Tammy, Faye.
2:24
I mean, I can't believe we haven't done this sooner
2:26
actually, here we are, it's time.
2:30
All right. Well, today's topic is about the
2:33
new show on Showtime George, and Tammy, and Mitchell.
2:37
I am obsessed with the show. I'll admit I Not know much about
2:41
the story. And when you text me few months
2:43
ago and said, talk to you about the next Tammy film, I was like,
2:46
there's no way there's a sequel to The Eyes of Tammy Faye and
2:50
you explain it to me. I think what most people, you
2:56
know, I was back with Jess on the Tammy.
2:58
They were like, didn't you guys do that?
3:00
And I had to always explain, like, it's a different Tammy.
3:02
It's very different time, me and he series, it's a completely
3:06
different era. But first, I want to talk about
3:12
you. So you just have such a variety
3:16
of work. When I was watching Georgia
3:17
Tammy, I started laughing to myself because I was like every
3:21
single project Mitchell's on is so uniquely different and
3:25
interesting. You just have such a range and
3:27
it's so exciting to see, you know, what, you're going to do
3:30
next and we have the eyes of Tammy Faye, which is very
3:33
serious, but also fun and quirky in the Heights Hustlers.
3:38
So fun and a new film. Roslin, you just have such a
3:42
variety Mitchell. I have.
3:43
Where'd you get all this inspiration from?
3:45
Honestly, this is what inspires me is like, going into Uncharted
3:49
Territory and figuring out, you know, new worlds or new periods.
3:54
Or I just really I don't like to revisit work like, I'm once I'm
3:59
once I've done something and I feel like, I really understand
4:01
it. I like to do the opposite.
4:03
So, you know, I feel really lucky in the fact that I've,
4:07
like, been able to get work, that's as Fair.
4:10
The as I have over time, but I'm also like selective.
4:14
Like I really like to push myself and read enough until I
4:18
feel like, okay, that's the one I'm going to do.
4:19
Like this is, you know, this is something I haven't really done
4:24
yet and so I get really excited when a script comes my way that
4:27
offers me something that's brand new for me to figure out.
4:30
Right? It's so exciting and I just
4:33
can't wait to see what's next. I mean, I feel like you've done
4:36
everything. I'm needs to be like something
4:37
futuristic or in space or something that Buzzer, I'm here
4:41
in Vancouver doing the future? Oh, no way.
4:46
I've been manifesting it for a little while so I was so excited
4:49
when it actually came to MMM. Okay, we'll talk after this off
4:53
mic. All right.
4:57
So you famously worked on eyes of Tammy, Faye such an
5:00
incredible movie and I was so sad.
5:03
I didn't get to talk to you before the Oscars and you know,
5:07
during the moment that eyes of Tammy Faye was happening, it
5:10
Stuck with me this film, tell me a little bit about your
5:13
collaboration with Jessica Chastain.
5:15
And how did this film? Prepare you for George and
5:18
Tammy? Because there's a lot of
5:19
similarities. I imagine even though it's two
5:22
completely different stories. I mean, of course, there's, you
5:26
know, it's the same actress. So you get a familiarity when
5:29
you work with people a few times she and I work really well
5:33
together, you know, I feel like I create in a similar way that
5:38
she does. So it's a really nice part.
5:40
Ownership because it's, you know, it'll be like, little
5:44
blips of information or will be having a fitting for a scene
5:47
that's coming up next week and then accidentally find, you
5:50
know, the finale dress or were, we're just really like live
5:54
creators and we love to bounce ideas back and forth, or I'm
5:59
always asking her like well how do you want to feel in this
6:01
scene and she'll give me, you know, a couple of words like
6:04
powerful vulnerable. You know, whatever the feeling
6:08
that she's going to bring to the scene or sometimes she'll
6:10
Incredibly specific. Like I just really think it's
6:13
important that I have a headband here and I'll like dissect, that
6:17
means and why. And but it's a partnership that
6:21
I really really have grown to love.
6:23
Yeah. You guys have really developed a
6:25
quite the power Duo. I would say, I would just want
6:29
to. I hope there's more films coming
6:31
up where you too can collaborate on because it's so fun to watch
6:34
another Tammy. Yeah, I literally left my I was
6:38
Googling. I was like, famous Tammy's.
6:40
He's there's some options. I think you've nailed my two
6:43
favorites though, laughter because we've actually just and
6:46
I've had this conversation, we're like there's some US
6:50
senators, Tammy Baldwin. Let's see.
6:56
That would be interesting. Okay, let's talk about George
6:59
and Tammy. I'm so excited.
7:01
But like I said, I'll admit, I was not super familiar with the
7:04
story beforehand. I knew Tammy, Wynette.
7:07
And you George Jones. I have div.
7:09
Oh, our CEO. Spotify for a long time.
7:13
But for those, through, for those that are listening in,
7:16
might not know who are George, and Tammy.
7:19
George Jones is considered the best country singer of all time
7:22
by, you know, a large portion of the country World.
7:29
Tammy Wynette is also considered, like one of the, the
7:32
best of all time in country music.
7:35
She was, you know, a contemporary of Dolly Reba.
7:40
All the big biggest names of country.
7:42
I mean Johnny Cash said that George Jones was his favorite
7:45
singer of all time. This incredible power Duo that
7:50
audiences really connected with through their relationship and
7:54
they were you know very famously together and then also very
7:58
famously not together which audiences loved just as much.
8:01
So it's really fascinating, you know, bit of Pop Culture, there
8:07
were some of the first to really let their public or let there.
8:10
Must play out in public and include the audience in them
8:15
which was sort of new at the time.
8:18
And you know, now we're up in everybody's business, it feels
8:21
like so it's not that the time like letting people into their
8:24
private lives like this was considered brand-new right?
8:29
So fascinating, I would love to start with George Jones played
8:33
by the Michael Shannon em. He was such a smooth guy, he had
8:37
a real classic country. Look, his it suits, our
8:41
fantastic gave me a lot of Life. Tell me about designing,
8:45
costumes, for George Jones. It was really surprising to me
8:48
that George isn't a more notable figure in the fashion world, you
8:52
know, I feel like right. Look, I've seen collections
8:55
inspired by Elvis and Johnny Cash has like a style reference
8:59
that you see people do on a red carpet.
9:01
And I just I was really surprised as I got into this
9:04
that George wasn't on the mood boards he has ever had to be
9:09
George love clothes. He loves spending money on
9:11
clothes. He loved getting dressed.
9:13
He loved coordination. I think he really understood the
9:16
power of appearance as a musician, so he was not shy.
9:20
I mean, you know, he was one of the men popularizing the nudie
9:24
suit in the late 60s, early 70s, you know, it was absolutely
9:30
comfortable and rhinestones jewelry, pinky rings.
9:34
Leisure plaid pants. Like, he really, he really had a
9:39
fantastic. Static closet.
9:41
So you know obviously Michael Shannon is six foot four George
9:45
Jones wasn't so there's a calculation involved in order to
9:50
find a middle ground between the two George.
9:54
George was a pretty small man, we love a short King, you love a
9:58
short King, and George Michael and Michael.
10:01
So there was a bit of a balancing act there to get the
10:04
proportions right and try to shorten him a bit but you know,
10:08
six-foot-four is it wonderful? That's our clothes.
10:11
So we write and for that and Michael was like really full in,
10:16
he was excited about all the clothes.
10:18
You know, I I mean, Michael came to the project with a tremendous
10:22
amount of research. He knew a lot about George.
10:25
I felt like I knew George really well.
10:27
I mean, I was up in family photos and deep cut YouTube
10:31
interviews and things like that, but right into the project with
10:35
like a whole other level of untapped, right?
10:39
So he was ready. I mean he knew what to expect, I
10:42
do think there was a moment. The first time we put
10:46
rhinestones on him that his eyes lit up a little bit.
10:49
I do. There's nothing like wearing a
10:52
rhinestone suit, right? It's hard to be upset by it
10:55
right for Glimpse in the mirror, really?
10:59
We landed the luck with Mike, I love that.
11:02
I love that like baby blue suit that he's wearing toward a
11:05
beginning of the show such going actually reminded me.
11:09
This is maybe I'll cut this. By reminding me of what you wore
11:11
to the CDG. A is the see here, actually,
11:14
that colored so good. Honestly, Mike's came first mine
11:18
came after so maybe I started something there I think you're
11:22
channeling something that there's a great story behind
11:25
that suit because it was made by a man who used to be an intern
11:30
in nudies tailor shop in. Oh wow.
11:33
So he had that muscle memory of being you know, a young kid,
11:39
working annuities and He remembered George coming in for
11:42
his suit. So the suits were actually made
11:45
by a man who was an intern at nudies, for Rodeo Taylor in
11:48
Nashville and hot to had one in Hollywood.
11:51
And so he remembered George coming in for his suits and told
11:54
me great stories about what it was like.
11:56
And, you know, there's a very famous story where he came in
11:59
and looked through the fabric books and ordered 30 of the same
12:02
suit. Well, it really helped me
12:07
understand like who this man was and you know, He loved clothes
12:11
and so it was really important that the audience, get the idea
12:14
that like, this is a man who has fun when he gets dressed, right?
12:17
I was actually going to talk about this.
12:19
There is a quick scene where Tammy and George go to duties
12:23
and I just as a costume nerd, this was really such like a fun
12:27
moment, it's real short, but just it was everything to me.
12:31
What was it? Like, recreating this?
12:34
Honestly, it's theirs to collect that much clothing from nudies.
12:40
I mean, we got our hands on everything that we could that's
12:43
not behind glass in the museum someplace, but right, lot of it
12:47
is and a lot of it is in private collection.
12:49
So it was, it was kind of a challenge to assemble that much
12:53
clothing. That would be correct for that
12:55
space, But we were really lucky and like once the word got out,
13:00
there's a lot of love for nudie. There's a lot of love for George
13:02
Jones. So once the word got out that we
13:04
were trying to put this together, there were private
13:06
collectors who have never, let their pieces out, that would
13:09
loan it to us for the Sequins and well, it was pretty cool to
13:13
be surrounded by that much and you know, I'm a, I'm like a
13:16
costume nerd. So I was beyond, I was beyond
13:20
excited and I'm like, you know, telling the grips.
13:22
I'm like, there's never been this much nudity together and
13:24
what they're looking at. Are you all right, sir?
13:29
Keep it going poppies as well. So it's you have to really get
13:37
involved in know what Linings to look for and look to see if If
13:40
the stones are faceted or heatset, you know, you really
13:42
need to know what you're looking at, because there's a lot of
13:45
copies out there and it's a look, that's certainly been
13:48
recreated, right? We had to really get in there
13:51
and make sure that it was correct such a costume tree.
13:54
I mean, that was, that was my gift, that's here.
13:58
Now, let's talk about Jessica Chastain as Tammy.
14:02
Incredible, such a fashion icon. So interesting to have, so she
14:07
was incredible. She always looks so put
14:09
together. I can just imagine you had so
14:12
much fun designing clothes for Tammy because she's such a,
14:16
she's she's very bright and fun and cheerful, even though she Is
14:20
tragically pretty sad and sick of most of the time, but on the
14:24
outside, she's just always a shining Superstar.
14:28
I was the fun part to get was the balance between celebrity
14:32
and, you know, mother. So this bounce back and forth
14:36
between her real life and the Persona of Tammy Wynette, That
14:40
was created over time was fascinating.
14:43
I mean, there's, there's a ton of conflicting stories about
14:46
Tammy Wynette. You know, her relationship to
14:49
the truth was always a bit suspect based on who you talk to
14:52
about each story. She was she was very, very
14:56
clever in the way that she presented herself to the world.
14:59
A lot of people didn't know how sick she was towards the end of
15:02
her life because she didn't, she didn't display that.
15:05
She she was able to hide her pain often in the public eye.
15:10
So for me, it was really fun to figure out the balance between,
15:14
what's she like on camera and what's she like off camera right
15:18
now, I don't think that the woman changed that much behind
15:21
the scenes over time when you look at her public appearances,
15:24
of course, it's always Curran. Is fashionable, there are times
15:28
where she takes risks. There are times that she's more
15:30
conservative, but then when you go back and you look at what she
15:33
looks like with her kids and at home, like, it's pretty
15:36
consistent, and it's kind of like the same the same woman.
15:41
So that for me, that was always really cool to find the balance
15:44
of, right. I was really fascinated by the
15:47
color palettes, he chose for her and because like like we're
15:50
talking about she is inherently troubled but on the outside to
15:54
her clothing to me was always bright and fun when she's in the
15:57
public eye. As you said, like she was very
16:00
deliberate and what she was wearing, what was your process
16:02
behind? Choosing the colors and textiles
16:05
one of our earliest conversations that Justin, I had
16:08
about Tammy Wynette. We both locked into This idea of
16:11
blond and yellow and sort of that that door opening that led
16:16
me to a lot of the discovery for the this character, you know?
16:19
I just feel like there's like a certain electricity between that
16:22
blond and that yellow that really suits.
16:24
Tammy, the optimism, the cheerfulness the like sunshine
16:28
to me. It's totally Sunshine.
16:30
But there's also something really country about that right
16:33
for us. So you know we played with
16:36
metallics and the early part of her career than we.
16:38
Once she's a little more established And trying to get
16:41
her audience back, we tapped back into the metallics, to try
16:44
to get into that early fandom again.
16:48
And then, of course, we get into like that soft drape.
16:50
He's, you know, Grecian goddess, 70s, Tammy.
16:54
It's there's so much credit that I need to give to the country
16:59
aesthetic of the late 60s, early, 70s, mid-70s, even, it's
17:03
so stylish, you know, I think there's like a country gets a
17:07
bad rap sometimes and the more you dig into it, your This is
17:11
gorgeous. Like it has this whole Lane that
17:14
you get to play with and, you know, hats and boots and belts,
17:17
and jewelry, and Fringe, and Suede and, and rhinestones.
17:21
And it's just this, like, lovely, lovely space to get to
17:24
creating, I loved it, right? It's so fun to me because I am
17:29
one of those people who's always had like a jaded view of what
17:31
country fashion looks like and this was so fun.
17:34
I really opened my eyes and made me realize how stylish country
17:38
really can be. And I don't know, kind of a fan
17:42
now actually I'm about country is in right now.
17:49
So my favorite looks though was also Tammy when she was like in
17:53
Disguise going to the studio and watching George which a big
17:56
sunglasses like coat didn't want to be seen.
17:59
Those are awesome. So really strong moments to
18:01
Mitchell. We love a coat.
18:04
We love moment together. All right so as we go further,
18:10
Into the show George and Tammy get the head to Vegas.
18:13
And I love a Vegas scene because especially this time period in
18:16
Vegas. It's So Glamorous but also kind
18:19
of like dark and mysterious. It's fun.
18:22
You know, Elvis is Big right now.
18:24
This time just talk about the scene a little bit special with
18:28
Tammy in that red dress. It was so good.
18:31
So they, you know, the, the show at the Landmark is a major
18:35
events and they both of their careers there for country for a
18:38
country duo to be had Headlining in Las Vegas at the time.
18:42
I mean, these were these were the biggest stars of the day.
18:44
So as you mention, they are there.
18:47
When Elvis is and so for me, it was really important from a
18:51
storytelling perspective to get the feeling that they are
18:54
Outsiders. There's a little bit of an
18:56
impostor syndrome for both of them.
18:58
Hmm, they're not playing the hometown crowd there now.
19:00
Playing the mainstream, you know, they're on the strip.
19:04
And so it's a different audience.
19:06
It's a different venue. It's a, it's a whole different
19:09
energy and I, it's a Orton that you get the sense that they are
19:12
trying to deliver what they think audiences want of Georgian
19:16
Tammy, in this new super glamorous space, you know, the
19:20
these were people who had no problem performing, you know, in
19:23
a, in a small venue with no, Mike's.
19:25
Like that's they were real musicians that way.
19:28
And so, all of a sudden they're being asked to deliver, you
19:31
know, a spectacle. And so you want, you want that
19:34
pressure. You want that feeling of trying
19:36
to deliver trying to gauge what the audience expects?
19:40
How you need to be, you know, and obviously in the context of
19:43
the show, this is the biggest struggle for George because, you
19:47
know, all of a sudden, he's being dressed in a way that
19:50
doesn't quite feel like George Jones should to him to the point
19:53
that he goes out and changes his costume.
19:55
And, you know, Tammy's trying to get it right and find that
19:59
balance between who she's been and who she's about to be.
20:03
So there's a lot, a lot that hinges on these two costumes,
20:07
right? The red dress with the red dress
20:09
started as a jumpsuit We first we're getting into it sort of
20:11
that Elvis, 70s, disco rock and roll thing that, you know, you
20:17
love the. Yeah.
20:19
And I was just like I had this moment of not being super
20:21
satisfied with it so I said to Jess I was like let me keep
20:24
working on this. I this we need to land this look
20:27
and in such an extreme way and then I found this beaded dress
20:31
which I was like as soon as one of those garments like as soon
20:34
as you hold it you're like oh I got it.
20:37
Hmm. Yeah.
20:38
I mean audience can't see with that.
20:40
Photo of Jess and the bottom right with the light on her just
20:44
the yeah that's a good one and we knew that the lighting was
20:47
going to be sort of like a yellow glow on top too and I
20:51
want to give our a director, a lot of credit for the his
20:54
encouragement of these unusual color combinations he loved as
20:59
we were going through the research, like, you know, a
21:01
primary red, a primary yellow, a primary blue, which I think
21:05
often as designers, we always are afraid of those colors and
21:09
encouraging about. Finding clashes and finding
21:12
like, Rhythm and clock color Clash.
21:15
So it was, it was really freeing and, you know, it felt slightly
21:18
dangerous at times because I was doing stuff that that the one
21:22
side of my costume designer brain is like, no, you can't do
21:25
that. And then work and it was like,
21:29
it was really exciting. I learned a lot of lessons there
21:32
just about color because I had that that encouragement.
21:36
And of course, I worked really closely with our production
21:38
designer joining our quit. It's who I think is a genius and
21:43
it was really just like a balancing act all the time.
21:46
Like when is the dress, the big deal?
21:48
When is the set the big deal, it was really kind of fun to play
21:53
together and create together, such a great scene.
21:56
I'm so excited for everyone to see it.
21:58
I was also kind of mad at George to because I thought his suit
22:01
looks so good. I get what he was saying, but I
22:03
was like, come on man, that looks great.
22:05
You look great. You had a little, a little
22:08
costumes, which, but it's fun that we get to see the Extremes
22:11
of his emotion in that moment. Like you see where the world is
22:15
pulling him and you see where he's trying to pull back and
22:18
it's this really cool conflicts that you get to express through
22:21
clothes. I mean it's a costume designers
22:23
dream, you know, that. So as the show progresses, we
22:27
really get to watch Tammy and George kind of move through the
22:30
decades, it's very subtle at the show, doesn't make a big deal
22:33
about it, but suddenly were in a 60s, the 70s, go to the 80s.
22:37
We even hit the 90s may watch both of these incredible a
22:40
Actors and actress. I want to use the word age but I
22:43
guess age and their costumes, kind of translate along with
22:48
them. What was that?
22:49
Like I love I've gotten to do this a few times now and I love
22:53
working with the same actor through various ages because
22:57
it's so fun to figure out how the body changes, how their
23:02
style changes you know at what point does, Tammy give up
23:07
cleavage at what point does she cover her arms?
23:10
My point is she covering her legs, right?
23:12
Like there's there's all these little dial turns that you get
23:15
to figure out as you evolve through a person's life.
23:19
You know what little Hallmarks do?
23:20
You establish when she's 30 that you keep until she's 50 and 60
23:25
you know, like it's it's a fun journey to get to create a
23:29
person over that span of time and the same thing with George,
23:33
you know like at a certain point George starts to get a little
23:35
bit of a tummy and you know like a his His clothes in a weird
23:41
way, got louder as he aged, I was gonna say that.
23:45
It's almost like he was holding on a little bit kind of and then
23:48
I mean his he gets really comfortable and that sort of
23:52
lazy boy recliner way in his mouth.
23:54
But in his when he was doing public appearances, like, he was
23:58
given those folks a show at the end, you know, he was in these
24:02
hand-painted leather, bomber jackets and and fully
24:06
embroidered suits with a belt buckle, the size of a dinner
24:09
plate. You know, I mean giving people a
24:13
show right until the end. So I was grateful for that.
24:17
All right, so, fascinating first, I'll say, you're just so
24:19
good at that transition thing. I thought what you did and Tammy
24:23
Faye was so good. So the see this happen again, I
24:26
thought it was masterful and yeah, I thought it was so funny.
24:31
Watching George almost becoming like the loud Fashion Icon
24:34
toward the end because I noticed that too was, like, these
24:36
prints. Like he's really, really having
24:39
a good time. Right now while Tammy got a
24:41
little bit more, I won't say quieter but just, you know, bit
24:44
more sophisticated and just trying to be a little bit more
24:47
proper in her eyes. It had such different audiences
24:51
at the ends of their careers, right?
24:53
It's really important to feel in the beginning they were playing
24:56
to the same crowd and even in the middle of their career their
24:59
they pulled from different aisles kind of but then at the
25:03
end of their career you know like Tammy even has the klf
25:07
performance where she's really playing to a Audience and George
25:11
would ever dream of. So it was really cool to sort of
25:15
set expectations for the two of them based on who's paying for
25:19
tickets. So funny, you mention klf
25:21
because that was my next question.
25:25
This scene is so iconic Mitchell, I loved it.
25:29
It's short. I need like a full cut
25:31
performance. What was it like recreating this
25:34
look it's so fun. I was thrilled because I feel
25:39
like this Is the quintessential Tammy, when that reference, you
25:42
know, like there's so many references, but if you really
25:45
know, tell me when it, you know, the klf song, You Know, the
25:48
music video. It's one of the most bizarre
25:53
music videos of all time. I think it's so good.
25:56
I mean we have these like dancers with the horns and these
25:59
red capes and these like Angel Pixies on the side of her and
26:05
then she's in this like incredible beaded course on top
26:09
of this. Blue satin dress with a huge
26:13
Cape. I mean it's under.
26:16
Yes I as someone who talks about costume design every single day,
26:20
I have a hard time understanding the references and the original.
26:25
Imagine what was discussed in meetings.
26:28
I guys they let up, it's so perfect but oh so perfect.
26:34
It's one of these things that you just can't touch like no one
26:37
wants a version of this. We want it to be exact.
26:40
T'. So that's exactly what I did.
26:42
There is a really amazing behind-the-scenes like sort of
26:46
like making of the music video that was shot.
26:48
So you actually have footage of Tammy's fitting for this costume
26:52
like you look at it you see them put on the corset.
26:56
So the references were 360 every detail we could figure out.
27:02
And so honestly, when I looked at this I was like the way that
27:06
we get this right is. I mean to work with Who designs
27:10
for drag because that's really what this is Mmmm.
27:13
Yeah for sure I I reached out to House of Caney.
27:17
Who does a lot of work for Violet chachki.
27:19
I love them. Yeah.
27:21
That's how brilliant incredible designer.
27:23
Yeah. Animal designer.
27:25
And the best news was that I showed I told him what we were
27:29
doing and he was like, oh, I know exactly.
27:31
This look, yeah. I mean of course they all these
27:34
little Pilots were all hand-sewn the jewelry was completely
27:38
custom. The crown was Lee Custom.
27:41
I mean the attention to detail on this costume was absolutely
27:45
insane and it was so much fun to get.
27:47
That was the first time on set. We had done the, you know, the
27:51
older makeup, and wig on Jess for that Tammy.
27:55
So like, what an arrival on setback 15-yard silk, the right,
28:02
you gotta tell me next time this happens.
28:03
I could just like watch from the corner because I can't imagine
28:06
so good and just so everyone knows if the one watch the
28:10
Video. It's a bike a laughs.
28:12
It's called Justified in ancient.
28:14
It's a real treat. It's really worth a visit and
28:19
she is really good in a song I will say that.
28:22
All right. Final question Mitchell.
28:24
We are at the end here at George and Tammy was such a powerful
28:28
emotional story, but also had lots of moments of joy
28:32
happiness. It's a great story about love
28:34
and family. What did this project mean to
28:37
you? What did you get out of all
28:39
this? I will say that this is the
28:43
longest time spent with characters because often I'm
28:45
doing film. And some are you have a sort of
28:48
like a capsule amount of time with that character for this?
28:52
We had these six episodes so it's six hours of content versus
28:56
to. So you're really able to flesh
28:58
out characters in a way when you have this expanse of time that I
29:02
loved, you know, I really enjoyed my time designing there.
29:06
And what I enjoyed most was the team of people that worked with
29:09
me. You know, everybody always
29:11
describes their team as like, oh, we're family and everything.
29:13
But honestly on this, like the group chat is still alive.
29:18
Everyone who works with me. You know, Susan Charles Wolf
29:22
Laurel. Jill alien-like all Dustin.
29:26
All of these people that I got to work.
29:27
So closely with every day, they brought so much to the project
29:31
and they really reframes design for me from a singular activity
29:36
to a group activity. And I There's so much power in
29:41
this group of people that we assembled for this job that I
29:45
will. It's the bar that has been set
29:47
for me. And so that's really what I'll
29:50
take from. It is like what working with
29:52
people operating at that caliber?
29:54
Feels like every day. It's a real blessing.
29:58
Well, I'm a big fan of everyone, who worked on this film, from
30:00
the crew, your costume crew, the actors actresses producers
30:05
directors and of course you which all this has been such a
30:08
treat. Thank you.
30:09
So much for joining me. Thank you so much and watch
30:13
George and Tammy, if you haven't seen it yet, everyone is so
30:16
good. It's so worth it.
30:17
I all save when I first saw it, I was like, I don't know.
30:20
Fell in love with it. I'm going to be listening to
30:22
Tammy and George Jones, probably for rest of the year, raps, next
30:26
year, right? Thank you Mitchell.
30:30
Hi Spencer. You're out of costume.
30:36
Blogcast is hosted and produced by Elizabeth Joy, glass, and
30:40
Spencer Williams. Our audio engineering and
30:44
editing is done by Dan White. Follow us on Instagram, at the
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