Latest / The Art of Costume Podcast / Beetlejuice Beetlejuice with Costume Designer, Colleen Atwood

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Beetlejuice Beetlejuice with Costume Designer, Colleen Atwood · The Art of Costume Podcast

• 0:06
  Hello and welcome to the Art of Costume podcast.
• 0:07
  I'm Elizabeth Julie Glass. And I'm Spencer Williams.
• 0:12
  Hello, Elizabeth. Happy Election Day.
• 0:14
  Oh, happy Election Day, everybody.
• 0:17
  If you're in the United States, get out and vote.
• 0:21
  Today is a good day to have a good day and listen to this
• 0:24
  podcast on the way to your local voting station especially.
• 0:28
  Yes. You're someone like A Elizabeth
• 0:30
  who resides in the great Commonwealth of Pennsylvania.
• 0:34
  Yeah, we here in the great Commonwealth need to get out the
• 0:39
  vote. Yeah, we, we're not going to get
• 0:41
  too much into it, but you know, we just want to do our part and
• 0:44
  say, hey, make sure you get out and vote today.
• 0:46
  Not going to tell you what to do except to get out and do it.
• 0:50
  So Elizabeth, today is a big day for us as we are talking about
• 0:57
  Beetlejuice. Beetlejuice, yes.
• 1:00
  And woof, we we have a icon in studio with us today.
• 1:08
  We do, we do. Me and Spencer got to interview
• 1:12
  the Colleen Atwood. Oh man.
• 1:17
  I could not have been happier. I yeah, that's, let's just,
• 1:21
  let's just get into it because there's a lot to say.
• 1:24
  Today we were talking about Beetlejuice.
• 1:26
  Beetlejuice directed by the one and only director Tim Burton. 3
• 1:32
  generations of the Dietz family return home to Winter River
• 1:36
  after an unexpected family tragedy.
• 1:39
  Still haunted by Beetlejuice, Lydia's life soon gets turned
• 1:42
  upside down when her rebellious teenage daughter discovers a
• 1:45
  mysterious portal to the afterlife.
• 1:48
  When someone says Beetlejuice's name three times, the
• 1:50
  mischievous demon gleefully returns to unleashes very own
• 1:54
  brand of mayhem, and that is Beetlejuice.
• 1:58
  Beetlejuice. If it's still in a theater near
• 2:00
  you, go see it. I highly highly recommend.
• 2:05
  It's so fun. Yeah, see it in theater and
• 2:09
  let's meet our costume designer. As we said, it is the go Colleen
• 2:15
  Atwood. You'll know her just like from
• 2:18
  everything. Yeah, we we actually kind of
• 2:20
  gave up on writing the list at this point 'cause it's, it's
• 2:23
  just too long. Yeah, the original Handmaid's
• 2:27
  Tale movie. Edward Scissorhands, Silence of
• 2:31
  the Lambs, Little Women, Mars Attacks, Sleepy Hollow, Chicago,
• 2:34
  Big Fish, A series of unfortunate Avenge Memoirs of
• 2:37
  the Geisha. She did get an Academy Award
• 2:39
  that Sweeney Todd, Dark Shadows, Into the Woods, Alice in
• 2:42
  Wonderland, Fantastic Beasts and Where to Find Them, Wednesday,
• 2:45
  The Little Mermaid, and Masters of the Air.
• 2:49
  We should just record that and play on fast motion every time.
• 2:56
  Should I? I feel like I should just go
• 2:58
  down her IMDb like that. That'd be crazy.
• 3:01
  And it's funny because you know damn well we're gonna be talking
• 3:03
  about Colleen Atwood at some point in the next season, too.
• 3:06
  Yeah. If you want to know more about
• 3:08
  like her actual Academy Award-winning movies and stuff,
• 3:12
  you can check out, you know, some of our other episodes on
• 3:15
  like Edward Scissorhands, Sweeney Todd, Wednesday.
• 3:21
  Sleepy Hollow is a good one. Yeah, Sleepy Hollow.
• 3:23
  That's not even. Yeah, it is on this list.
• 3:25
  Never mind. I'm not even shy about saying
• 3:27
  that. We've been talking about doing
• 3:28
  Memoirs of a Geisha for a hot minute.
• 3:31
  Yeah, I still would like to do Chicago at some point, so maybe
• 3:34
  in the upcoming seasons we'll get to it.
• 3:36
  I always forget she does Silence of the Lambs.
• 3:38
  That's like an underrated one for her.
• 3:41
  Actually. Yes, I also forget she does the
• 3:44
  original Handmaid's Tale. Yeah, which I've never seen, but
• 3:47
  I'll, I'll get into that. Well, without further ado,
• 3:52
  Colleen Atwood joined us in the studio.
• 3:54
  Let's talk to Colleen Atwood. Hi, I'm Dan who does all the
• 4:02
  magic behind the scenes. I wanted to say thank you.
• 4:05
  And if you want to support the show even farther, go to
• 4:08
  tpublic.com/user slash the Art of Costume where you can buy a
• 4:14
  couple variations of our logo on T-shirts, mugs and stickers.
• 4:20
  Also, be sure to leave a like comment and subscribe.
• 4:23
  And if you're an audio listener, leave us a five star review on
• 4:26
  Apple Podcast. Now back to the show.
• 4:35
  OK, everyone, this is not a drill.
• 4:37
  We are here with costume designer Colleen Atwood.
• 4:41
  Hello, Colleen. How are you?
• 4:42
  I'm good. How are you doing?
• 4:44
  We're so good. We're so excited to talk with
• 4:46
  you. I feel like we talked about you
• 4:48
  on a podcast like every other week, so this is a big honor for
• 4:54
  us. But.
• 4:55
  It's the other week. Right.
• 4:58
  Truly, let's talk about Beetlejuice.
• 5:00
  Beetlejuice. It's such a great film.
• 5:02
  I've now seen it 2-3 times. You've worked with Tim Burton
• 5:06
  obviously on a numerous iconic films, but this is your first
• 5:10
  time stepping into the Beetlejuice universe.
• 5:13
  So how did you approach the film's legacy while also
• 5:17
  bringing something fresh and new for today's audience?
• 5:19
  Well, I think the initial approach was like, obviously
• 5:23
  Beetlejuice is Beetlejuice is 35 years later.
• 5:26
  He's a little bit of an older guy.
• 5:27
  He's got a little bit more of a tummy.
• 5:29
  You know, his clothes are a little bit dirtier because he's
• 5:32
  been down there for a couple, you know, hanging out
• 5:35
  underground for a while and, you know, waiting for his big moment
• 5:40
  and sort of he's got a lot of stuff going on.
• 5:42
  He's got like his more media thing going on with all those
• 5:45
  shrinkers and he's got like the underworld's a bigger world than
• 5:49
  it was in the first one. So we kind of had that to play
• 5:53
  with. And then just talking about how
• 5:56
  each character kind of what had happened to them in 35 years,
• 6:01
  like Lydia like had become ATV personality with this kind of
• 6:06
  cheesy quasi 70s core kind of goth thing.
• 6:11
  So she had, you know, she had a very tight like the, you know,
• 6:16
  sort of cheating de clotte sort of dress that she wore for the
• 6:20
  show. And then she had who Lydia
• 6:22
  really was, which is, you know, harkening back to very covered
• 6:26
  up, kind of timid on the inside, shy kind of bohemian character.
• 6:33
  And then we had Delia with her larger than life sort of art and
• 6:38
  always trying to be, even though time had passed.
• 6:42
  She was a look at me kind of character.
• 6:45
  She, you know, she was as big as her work and she was part, you
• 6:49
  know, she wouldn't let, she wasn't letting that go, no
• 6:52
  matter, you know, what happened, that she would always be that
• 6:55
  way, which was her expression of creativity.
• 6:59
  Do you feel like you were approaching it with like a you
• 7:02
  were taking in like contemporary fashion influences a little bit
• 7:05
  this time around? I'm wondering what like your
• 7:07
  influences kind of look like? Well, my influences kind of, it
• 7:11
  depended on the character, but I definitely, you know, leaned
• 7:16
  into more kind of St. kind of art sort of fashion on Winona's
• 7:21
  character. Like she, you know, like she
• 7:24
  shopped at Dover Street Market if she had time and, you know,
• 7:29
  bought one thing a year. It wasn't like she was out there
• 7:32
  in the shops, but you know, that she was kind of that girl and
• 7:36
  that Lydia was Maxfield saint-laurent.
• 7:39
  Like big, big shopping, big stuff.
• 7:41
  And then with a really leaning into the 80s with her fashion,
• 7:47
  which I felt was, you know, the era that that character was sort
• 7:51
  of stuck in. And then with Jenna, we just
• 7:55
  really talked about the character being into like grunge
• 7:59
  music, kind of grunge style, a little bit of the Northwest kind
• 8:02
  of vibe with the denim and the, you know, the little silk dress
• 8:06
  and the heavy boots and that sort of vibe with her.
• 8:09
  So it wasn't, it was it ended up being contemporary fashion
• 8:13
  because I think contemporary fashion today is a combination
• 8:17
  of all those things. So it makes it more feel like
• 8:20
  today, even though it really wasn't the energy of today in
• 8:26
  that in a conscious way, you know?
• 8:28
  Yeah, it gave room for all of them to really like, have their
• 8:31
  own self-expression essentially through their clothes and still
• 8:35
  spoke to their story and whatnot.
• 8:38
  We want to dive into some specific characters, starting
• 8:41
  with the iconic Beetlejuice suit.
• 8:43
  We actually had Aggie Rogers on the podcast last year and we
• 8:46
  talked about the black and white stripe suit and how back then
• 8:50
  they couldn't find those stripes to save their life and they had
• 8:53
  essentially make the fabric. So this time around, I was
• 8:57
  wondering how, I mean, how did that work out this time?
• 8:59
  What was your approach to the Beetlejuice suit?
• 9:02
  Well, I knew about, I mean, way before the show, I had a role of
• 9:06
  this fabric that I was gonna use on a couch.
• 9:10
  Actually, that was this beautiful too faced silk from a
• 9:14
  company called Taronian in Italy.
• 9:18
  And I had this giant roll of it that I'd never really done
• 9:21
  anything with. And I kind of have these fabric
• 9:24
  stashes all over the place. I kind of was going to, I think
• 9:28
  I have something really close to that.
• 9:31
  And so I went and dug it out and I kept looking at meantime for
• 9:36
  other stuff, you know, just to make sure.
• 9:39
  And you know, the thing you would have done today is I would
• 9:42
  have screened it if I couldn't have found it or pen painted it.
• 9:46
  But I had this fabric and I had it and it was the right kind of
• 9:50
  weight. I could age it really easily
• 9:52
  because it was silk. So it would take rumpling and
• 9:54
  dying. Well, I added a little edge
• 9:57
  stripe to it in kind of a poopy yellowy green to make it look a
• 10:00
  little bit nastier, you know, So I did stuff to it.
• 10:04
  But I actually had the fabric in my stock before we started the
• 10:11
  show that I just had, ironically.
• 10:13
  So I was luckier than naggy. I didn't have to make the
• 10:16
  fabric. I just had to get the suit, you
• 10:19
  know, make, get the suit made, make, make the suit.
• 10:22
  And, you know, we added a little tummy to him to make it look
• 10:25
  like he, you know, gotten on in years and hadn't been doing his
• 10:29
  exercises. So we kind of had fun with it in
• 10:33
  little ways between us with the actors like you sometimes do
• 10:37
  with stuff audiences do and do not notice, depending on who
• 10:41
  they are. But that was kind of how I ended
• 10:44
  up with the fabric. Gotcha, I love that you have
• 10:47
  this idea of all these fabrics like in case of Beetlejuice one
• 10:50
  day like this. It's so conscious and random
• 10:54
  what I have and I bring it to, you know, I and it comes in
• 10:58
  handy over the years. You know, it's like you have
• 11:01
  stuff that you can't find anymore.
• 11:03
  You know, if it's great, it's stuff's harder and harder to
• 11:06
  find. I love that and I also loved
• 11:09
  getting into Lydia Dietz character for this movie played
• 11:13
  again by Winona Ryder. She has evolved so much from
• 11:17
  like the goth teenager to TV host and mother, and you
• 11:22
  mentioned a little bit before with the street fashion, but
• 11:25
  revisiting that goth aesthetic while adjusting for her new
• 11:29
  phase in life as a mother and being a public figure, how did
• 11:34
  you approach that? Well, I just kept it simple
• 11:37
  really. Like there wasn't a lot of
• 11:39
  clothes. They were.
• 11:40
  It wasn't like she had like every time you saw her.
• 11:43
  Like she reused pieces of everything with almost every
• 11:46
  costume change, which I think is more how real.
• 11:49
  I tried to keep it like real people dressed.
• 11:52
  I mean, some people change everything head to toe every day
• 11:55
  of their lives, but that's who they are.
• 11:58
  Not you though, But but you know what I mean.
• 12:04
  Like she wore the same shoes every day.
• 12:06
  She wore like she, her, her, her color palette was black, Gray,
• 12:11
  shiny. You know, it's very limited.
• 12:13
  It was very to me, it feels like New York, the New York I lived
• 12:17
  in in the 80s, like a little bit of punk, a little bit of a
• 12:20
  Victorian, a little bit of, you know, of goth influence, all
• 12:24
  those influences together, but sort of contemporized in shapes
• 12:29
  that are more today. Like her Elaine Dawson coat that
• 12:33
  I had made for her, you know, in was to me, you know, very like
• 12:39
  could have been then can be now, but very now in the sense that
• 12:43
  it's this like throwaway deconstructed thing that looks
• 12:47
  like nothing. That's actually a very
• 12:48
  complicated made costume with a real nod to Victorians
• 12:54
  structure, like really narrow shoulders, things like little
• 12:57
  details like that. And you know, she wore that
• 13:00
  jacket all the time. So it wasn't like, you know, it
• 13:03
  was like it was her jacket. I wanted it to be more clothes
• 13:06
  than costumes. And talking now about Delia
• 13:10
  Dietz, who is just one of my favorite film characters of all
• 13:12
  time. Like you mentioned, her costumes
• 13:16
  are still very connected to the 80s, but she's also such high
• 13:19
  fashion that just, I could see her walking around at the Met
• 13:23
  Gala. She's just like over the top,
• 13:26
  and I love her for that. And Catherine O'Hara is just a
• 13:29
  dream. I just feel like the pairing
• 13:30
  between you and Catherine O'Hara is just a match made out of
• 13:33
  heaven. So I have to ask you what was
• 13:34
  like working on Delia, because I really feel like that's where
• 13:37
  you got to play. Well, she's, you know, she is
• 13:41
  somebody that's like, it's such a big character, it's such a big
• 13:44
  personality and you just kind of, you know, you just sort of
• 13:47
  get into finding stuff for her, like stuff online.
• 13:50
  It was just weird, random, like, I don't even know non brands,
• 13:54
  you know, and then going to find those blue jeans she wears that
• 13:58
  are like that that I found at San Lorenzo in LA.
• 14:01
  And then just pairing it with like, oh, that's cool.
• 14:04
  It'd be great with the leotard from Wolford, you know, like
• 14:06
  keeping still, keeping some art in it and not just like going
• 14:10
  like full on, like the whole outfits from one place, but
• 14:14
  there's a piece of it. So it feels like she owns it,
• 14:18
  like she owns it it. It's not like she's wearing it
• 14:22
  in a way that's that's for anybody but herself, even though
• 14:26
  it's definitely, you know, you know, those people that just
• 14:30
  have the ability to pull off stuff like that black and white
• 14:33
  crazy code and you know, stuff that's both super high end and
• 14:37
  super street and but still has an artistic kind of vibe to it.
• 14:43
  We need a coffee table book of these costumes.
• 14:45
  I'm just playing that out there. Another character that I think
• 14:49
  is dressing for themselves, Astrid.
• 14:53
  We've talked about Jen Ortega on the podcast quite a bit since
• 14:57
  she's become a symbol of like goth angsty characters since
• 15:01
  Wednesday. And how did you collaborate with
• 15:04
  her to differentiate Astrid from Wednesday Adams?
• 15:09
  Well, I feel like, you know, we started with with who Astrid was
• 15:14
  and we didn't really want her to look at all like Lydia, which is
• 15:19
  more kind of Wednesday Adams style.
• 15:21
  Is that sort of severe sort of even she's even more structured
• 15:25
  than Lydia in a way. Wednesday Adams she's very
• 15:27
  defined. But Astrid is more a softer
• 15:31
  character. She's got a vulnerability.
• 15:33
  She's missing her father. There's parts of real, like
• 15:37
  human, like a different kind of not just teen angst, but real
• 15:41
  human angst about loss and loneliness and humanity that's
• 15:46
  like not as stilted as in Wednesday's character, where
• 15:50
  it's very kind of, you know, character ish.
• 15:54
  And so we went with softer material, softer colors, you
• 15:59
  know, we leaned into the 90s because that was her kind of
• 16:02
  music that she dug and sort of her era.
• 16:05
  And then she had, you know, the guy that she was interested in
• 16:08
  who knew what he was going to turn out to be.
• 16:11
  But you know, they had that music Nirvana moment.
• 16:14
  And so I kind of made her more that thing with the denim jacket
• 16:18
  in the homemade like little Daisy print dress with with Doc
• 16:22
  Martens, which is very kind of early 90s kind of young vibe.
• 16:28
  So that's kind of where we went, you know, in getting her
• 16:31
  character sort of defined in that way.
• 16:34
  And then for Halloween, the Madame Curie dress was just like
• 16:38
  a take on the period of Madame Curie.
• 16:41
  And then I, I knew this fabric again, I had it, but it was a
• 16:46
  fabric that I used a long time ago and something.
• 16:49
  And it was really, I thought it would be really cool because it
• 16:52
  looked like it glowed in the dark, like she was radioactive.
• 16:55
  So I got very excited when I read that because I went, I know
• 16:58
  exactly what I want to do for that because it was a high neck
• 17:01
  Adam Curie with the skirt. So that was another
• 17:05
  serendipitous fabric moment. We got to get to Colleen's
• 17:08
  fabric storage. There's all sorts of treasures
• 17:10
  in there. I.
• 17:11
  Do indeed lots of diamond butterflies I got to figure out
• 17:15
  what to do with? We'll help you with that.
• 17:18
  Just let us. Know we're.
• 17:20
  Available on weekends. So our final question, we have
• 17:25
  to talk about the wedding finale.
• 17:26
  It was such a fun moment. Lots of dancing, a good dance
• 17:30
  number. We got to see sort of the return
• 17:33
  of that iconic red on Lydia. And of course, the Beetlejuice
• 17:37
  is in this really hilarious tuxedo.
• 17:41
  And not to mention Monica Bellucci comes in which she just
• 17:45
  looks amazing. We could talk.
• 17:46
  She deserves her own podcast. That's a yeah, that's a wedding
• 17:49
  dress. Yeah, so I have to ask you about
• 17:53
  how your team approached putting this scene together with all
• 17:56
  these different characters and colours.
• 17:58
  It was really quite a sight. Well, it was a real nod back to
• 18:02
  the original kind of clean kind of graphic colors with each
• 18:07
  character sort of defined in that way.
• 18:10
  I mean, Will, I'm never obviously never change clothes
• 18:13
  the whole show because of that, but the leather jacket kind of
• 18:17
  plays in that. And then, you know, each and
• 18:21
  every person in the scene has a sort of definitive costume that,
• 18:25
  you know, the Red Wedding dress from the original was really
• 18:28
  beautiful, I thought, and really a great, you know, color for the
• 18:33
  the wedding dress. So I found all these a mixture
• 18:37
  of new and old laces to to make that dress and sort of refine it
• 18:42
  a little bit from the original. It's a little bit like nicer
• 18:46
  materials and stuff. So I sort of did that with that.
• 18:50
  And then Catherine was already ended up in her like the the
• 18:56
  Cleopatra look from everyone within their Halloween costume
• 18:59
  basically, except for Winona, who's so magically changed.
• 19:03
  But the rest, you know, the rest of the girls were in Halloween,
• 19:07
  which worked out great color wise in the room.
• 19:09
  But yeah, it was, you know, it was a crazy, it was definitely a
• 19:14
  crazy couple days with the and then it kind of Beetlejuice
• 19:18
  exploding, like making that costume that actually blew up
• 19:22
  like that and all those things. There were a lot of technical
• 19:25
  things that happened in it that we practically did because Tim
• 19:29
  was really, you know, it was really important to Tim that the
• 19:32
  movie not be a big digital extravaganza there.
• 19:36
  There was a lot of real art and everything and which was really
• 19:40
  a a fun element of it. Wow, I did not realize that was
• 19:43
  practical. That's amazing.
• 19:44
  Well, it blew up, but when it exploded, that was fake.
• 19:48
  But but we got, we got it. We did a suit that we did it
• 19:52
  small, right? And then we had the big fat, the
• 19:56
  the blow up suit and we made a suit for that.
• 19:58
  So what came in the middle was fake, but the beginning and the
• 20:02
  end, not the very end, but the beginning and the end were both
• 20:05
  real. Always a challenge.
• 20:09
  It's still something new every time at this point.
• 20:12
  I mean, that's the Halloween costume, right?
• 20:15
  Like a suit, like a bitch. I have a new favorite.
• 20:19
  Go back down and then they go to the next house.
• 20:24
  I love that. That's insane.
• 20:25
  Well, it's still it's exciting to know that even after all
• 20:28
  these iconic projects, you're still trying new things and new
• 20:32
  challenges like suits that blow up.
• 20:34
  That's why it's the best job in the world, yeah.
• 20:38
  Oh man, costume designer calling out with this has been such a
• 20:42
  joy. Thank you for sharing this time
• 20:43
  with us and we hope one day if you ever have some free time, we
• 20:46
  could talk about some of your other iconic films.
• 20:49
  But until next time, you have some extras to go take care of.
• 20:53
  OK. Got to go check them.
• 20:54
  Thank you. Thank.
• 20:56
  You. Thank you and my heart is still
• 21:02
  beating out of my chest. I know, I know.
• 21:06
  She literally was in a studio working on something else.
• 21:10
  Yes. I know I was like.
• 21:12
  Who? Are all these people and what
• 21:14
  are they doing? Can we talk about that?
• 21:16
  No. OK.
• 21:17
  You guys could see but her literal costume crew was like in
• 21:20
  the background of some workshop like it was Santa's workshop.
• 21:24
  Oh, no wonder you only have what was it like 20 minutes?
• 21:27
  Yeah, it was very fast, but it was worth every second.
• 21:31
  You and I haven't really talked too much about it, but what did
• 21:33
  you think of the film? I loved that there was a little
• 21:36
  bit more of a story, yeah, than in the original.
• 21:40
  The first one's just kooky. Yeah, this was kooky and there
• 21:44
  was so much going on. Maybe too much going on.
• 21:47
  I loved that they didn't update the CGI.
• 21:51
  It was kind of great. Yeah.
• 21:53
  I mean, as we get into our Stitch rating, I think I'm going
• 21:57
  to give it a solid 4 is what I gave it on Letterbox and I think
• 22:01
  I'll stick with it. Everyone knows that Beetlejuice,
• 22:05
  the original is one of my top 4 movies.
• 22:07
  That's what my letterbox says. We had Aggie Rogers on last year
• 22:12
  to talk about the costumes for that one.
• 22:14
  I just Beetlejuice is such like a pillar to me as like a
• 22:18
  creative. I love that movie.
• 22:20
  So I was like honestly a little nervous going into this new one.
• 22:24
  I like this could blow it, you know, like it's been a long time
• 22:29
  and I just thought it was, it was great.
• 22:31
  I loved it. You know, there's some things I
• 22:34
  would say. Maybe it's not perfect, but no,
• 22:36
  I it just had fun. It didn't take itself too
• 22:39
  seriously. It used the same characters,
• 22:42
  though. I'll say Catherine O'Hara might
• 22:44
  have been playing my Rose a little bit, but that's neither
• 22:46
  here nor there. Oh, we can talk.
• 22:47
  About that later. Yeah, but I thought it was
• 22:50
  great. The costumes are great.
• 22:52
  I thought the casted like stellar.
• 22:54
  I thought Winona Ryder is fantastic.
• 22:57
  I agreed that they were waiting for Jenna Ortega to be born
• 23:00
  because she was perfect for this role.
• 23:03
  Michael Keane's great. I thought the production design
• 23:06
  was over the top. Tim Burton hasn't lost his edge.
• 23:10
  I just thought the whole thing and the music was everything
• 23:12
  about it. I thought it was so fun.
• 23:14
  So was it as amazing as the first one?
• 23:16
  No, but like, why would you expect that?
• 23:18
  Like that's just you. Some things aren't meant to be
• 23:21
  better than the first. It's just was, it was like a fun
• 23:24
  tribute that I absolutely appreciated.
• 23:27
  And I hope I just feel like they need to make one more because it
• 23:31
  just feels weird to end that Beetlejuice.
• 23:32
  Beetlejuice with just two sayings of the name.
• 23:35
  We need a Beetlejuice. Beetlejuice, Beetlejuice.
• 23:37
  Let's be real, Tim Burton. I agree.
• 23:40
  I, I'm a little, I'm a little behind you.
• 23:43
  I'm at a solid 3 1/2 like it's, it's, it's staying together.
• 23:48
  And there was some really nice embroidery on there.
• 23:53
  There was a little too much going on for me because you have
• 23:57
  like 3 bad guys in one film and Spider Man taught us that's not
• 24:00
  a good idea. Yeah.
• 24:03
  OK, that's fair enough. And I'm like, OK, so we have
• 24:07
  Beetlejuice, which clearly he wasn't going to be like the big
• 24:10
  bad guy because he's just a gross spirit.
• 24:13
  Like he's not like. He's misunderstood.
• 24:16
  He tried to marry a teenager. Yeah, you're right.
• 24:21
  Objection, substance, sustain. I forget about that detail.
• 24:29
  Yeah, that small, small, small detail.
• 24:31
  That was the crux of the first film.
• 24:36
  So they had three incredible other bad guys, which was a
• 24:42
  Lydia's stupid. Husband of Rory.
• 24:47
  No, it was her fiance. Oh right, fiance.
• 24:50
  Yeah, that guy sucks. Yeah, he was the word, and he
• 24:52
  was just like, obvious he was using her and she didn't realize
• 24:56
  it because I think she's still kind of hung up over over
• 25:00
  Astrid's father. Dolores was a great villain.
• 25:05
  I also feel like maybe she was unnecessary, but like Monica
• 25:10
  Belushi to me. I mean, I just think she's
• 25:13
  absolutely incredible. She was so hot.
• 25:16
  Tim Burt was like, throw her in there, just let her go and it
• 25:20
  was worth it. She was so high.
• 25:22
  And then you have the serial killer kid.
• 25:27
  That was cool. It was Spoon.
• 25:28
  The Astrid Falls war, which, yeah, I really like him too.
• 25:31
  I'm like, I think if it had just been like the fiance and the
• 25:35
  ghost kid would have been a higher stitch rating and then
• 25:39
  they should have saved Monica Belushi for Beetlejuice.
• 25:42
  Beetlejuice. Beetlejuice.
• 25:43
  Yeah, I think she needed more time.
• 25:46
  Yeah. Because she killed what she had.
• 25:49
  We just need more of it. I think you and I were the ones
• 25:52
  that were talking about it. But we, you know, we were
• 25:54
  talking about this a lot at La Comic Con when I was running
• 25:56
  around as Bob. Yeah.
• 25:58
  That Monica Belushi was one of Dracula's brides and Bram
• 26:02
  Stoker's Dracula. That's.
• 26:04
  Crazy, I think. Which one?
• 26:05
  She was too, Yeah. Oh yeah, yeah, me too.
• 26:10
  The hot one. Well, they're all hot.
• 26:12
  Oh yeah, that's kind of the point.
• 26:15
  And I, I feel like I've been saying this for years, that one
• 26:19
  day, you know, if the Beetlejuice sequel ever comes
• 26:22
  out, that it has to be calling that wood that doesn't.
• 26:24
  You have told me that on multiple occasions before they
• 26:26
  even announce this. Before they announced it.
• 26:29
  And then as soon as I saw, you know, like, they announced that
• 26:31
  I was on IMDb immediately. And I was like, thank God.
• 26:35
  Like, if it's not Aggie Rogers, then it has to be calling that
• 26:38
  wood. And it was well worth the wait.
• 26:40
  Yeah, well, let's play our favorite game.
• 26:44
  Absolutely. The one costume to rule them
• 26:49
  all. Spencer, what's your one costume
• 26:56
  to rule them all? This was a hard 1.
• 26:58
  I actually was flipping back and forth.
• 27:02
  I want to give an honorable mention to Lydia's black coat
• 27:07
  that has like the white basting stitches on it.
• 27:11
  I think it's. Really.
• 27:12
  Cool with the zigzag design but I have to go with Delia Dietz
• 27:18
  who I believe was my the person who was the one costing rule
• 27:22
  them all in the original. Her like black and white
• 27:25
  motorcycle jacket. It is so fool.
• 27:30
  Catherine O'Hara just wears clothes so well and I just feel
• 27:33
  like Colleen Atwood's kind of gain like as she goes further
• 27:37
  and further into her career, she can't, she's getting like this
• 27:39
  really cool like street wear eye and I just feel like she really
• 27:43
  got to shine with Delia and this one, we could just really see
• 27:46
  her like cool artsy St. wear vibe and you kind of see in like
• 27:51
  Wednesday as well. So I think it's something she's
• 27:53
  enjoying like playing with. And honestly, if we had more
• 27:56
  time, I probably would have liked to dive into that with
• 27:58
  her. But perhaps another time.
• 28:00
  I agree Delia was I love Delia might have been my favorite
• 28:04
  character. I disagree that she was my Rose
• 28:08
  You. Don't think so.
• 28:10
  No. I think it came out for her a
• 28:12
  little bit. I I think a little bit, but then
• 28:15
  so 'cause I saw the original right before seeing this one and
• 28:20
  I watch Schitt's Creek all the time.
• 28:23
  Delia's like a tiny bit. She's a little bit more like
• 28:26
  checked into the real world. She also just says whatever she
• 28:30
  wants. Yeah.
• 28:31
  Moira is a little more like socially conscious about what
• 28:35
  she's saying. But I mean, they even had the
• 28:37
  part where Delia was like doing the arch.
• 28:40
  I remember where she was like the crowd and I was like, hello,
• 28:44
  that's straight out of Schitt's. Creek.
• 28:46
  I think that probably. Was a fun like Schitt's Creek
• 28:49
  nod. Yeah, like if, if like someone
• 28:52
  told me this, that designer or Tim Burton or Colleen Atwood is
• 28:57
  a gigantic Schitt's Creek fan, I would not be surprised.
• 29:01
  Elizabeth, I think it's fair to say that we're going to do
• 29:03
  Schitt's Creek next season. We just got to do that.
• 29:06
  Yeah. Yeah, OK, so everyone put down
• 29:08
  the calendars. What was your one costume to
• 29:11
  rule them all? MY1 costume to rule them all was
• 29:15
  Dolores. Oh, that's a good one.
• 29:18
  From the entrance, putting herself back together.
• 29:21
  Oh, it's a tragedy by the Bee Gees.
• 29:24
  Yes, Oh my gosh, all the way through.
• 29:28
  She's just this like, sexy like femme fatale trying to murder
• 29:36
  Beetlejuice and it's incredible. I love like how her costume
• 29:41
  shimmers. When it changes colors.
• 29:44
  Yes. Oh my, that's my dream.
• 29:48
  It was just like so perfect for the character.
• 29:51
  And it says because, like you said, she's not, she should have
• 29:55
  been a bigger villain than she was, but she makes what time she
• 29:58
  has on screen. She makes the best of it.
• 30:00
  Even if she's just like, very sexually walking down hallways,
• 30:04
  just wears Beetlejuice. I'm like, perfect.
• 30:07
  Yeah, Oscar. I think Colleen realized like,
• 30:11
  she's not saying a lot. Like a big part of her
• 30:14
  character's gonna be just the costume.
• 30:17
  Yeah. So she they each just ate it and
• 30:21
  did the most. Yeah, well, Elizabeth, I love
• 30:25
  this episode. I'm so excited we finally we got
• 30:28
  to do it. I'm so glad it worked out.
• 30:29
  We were really banking on Colleen Atwood being here.
• 30:34
  I've been trying to set it up since like March or May of this.
• 30:37
  Year. And I've been hell bent on
• 30:41
  bothering poor Warner Brothers. So shout out to the team at
• 30:44
  Warner Brothers for hooking us up.
• 30:46
  I we're very appreciative. And Spencer, what are we
• 30:50
  watching for our next episode? Well, we made a promise earlier
• 30:55
  this year, Elizabeth. We did.
• 30:57
  We did. Did an episode that was hosted
• 31:00
  on a deserty planet called a Rakis.
• 31:04
  We're talking about Dune Part 2. We were supposed to have on
• 31:08
  costume designer Jacqueline W for that episode and I promised
• 31:12
  that I will do what I can to make that happen one day.
• 31:15
  I'm happy to say that Jacqueline W, as we are gaining to our
• 31:19
  Oscar season, Jacqueline W is going to be here to talk about
• 31:22
  Dune Part 2. So I'm so excited.
• 31:25
  This is also like our Part 2 to Dune Part 2.
• 31:30
  I'm so excited. I love this film and I, I'm just
• 31:34
  going to say I'm a little biased.
• 31:36
  I'm really rooting for Jacqueline W to get an Oscar
• 31:39
  this year. So yes, yes, it's kind of my
• 31:41
  ghostly campaign to make that happen, so I can't wait.
• 31:46
  I hope you all join us. Make sure you subscribe to us on
• 31:49
  YouTube so you can see all the visuals for Beetlejuice.
• 31:52
  Beetlejuice, I can't wait to see you on a Rackus.
• 31:56
  Bring your steel suit. Oh, you know I will.
• 31:59
  Everyone has. Had a fantastic week.