Latest / The Art of Costume Podcast / One Battle After Another with Colleen Atwood - The Costume House with Spencer Williams

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One Battle After Another with Colleen Atwood - The Costume House with Spencer Williams · The Art of Costume Podcast

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The robe came about at our early fittings, you know, at Paul's
0:16
house, and then the robe idea because it's first thing in the
0:20
morning that maybe just has a robe.
0:22
You know, it felt right. And then we talked about, would
0:25
he get rid of the robe? Would he lose the robe?
0:27
And Paul's like, no way. He's like, not thinking about.
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He says when you're running for your life, you're not thinking
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about taking your clothes off and just running.
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Hello costume nerds, welcome to the Costume House with Spencer
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Williams, a podcast dedicated to the art and storytelling of
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costume design and film, television and on stage.
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I'm your host, Spencer Williams, and thank you so much for being
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here for our very. 1st episode. You know, I created the Art of
0:54
Costume in the Art of Costume podcast many years ago, and I've
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been doing the bonus episodes for quite a while now.
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And we just felt like it was time to give those bonus
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episodes their own pizzazz, their own spice, their own
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branding. Also gives us an opportunity to
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interview more and more costume designers.
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So as you can imagine, I am beyond thrilled.
1:16
In each episode, we'll open the doors to the Costume house and
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step inside the creative worlds of today's most visionary
1:22
designers, exploring the research, details, textures, and
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ideas that bring characters to life on screen and on stage.
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For our very first episode, I am honored to be joined by one of
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the most celebrated costume designers.
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Well, ever. This designer is basically like,
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I tell people, my Taylor Swift. I love her so much.
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I don't think I'd. Be here without.
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Being a student of her craft. Of her art for.
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All these years, I'm talking about none other than costume
1:53
designer Colleen Atwood. Colleen's latest collaboration
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with director Paul Thomas Anderson, 1 Battle After
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Another, takes us into a haunting modern story of
2:02
rebellion and control. We talked about finding Leonardo
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Dicaprio's now iconic robe, designing for Chase Infinity and
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Teyana Taylor. That creepy Christmas.
2:13
Cult and how she crafted the look of modern revolutionaries
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with her signature precision and imagination.
2:20
We have a lot to get into, so if that for the very first time,
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let's step into the costume house.
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I am so happy to welcome back to the podcast our friend, costume
2:37
designer Colleen Atwood. I'm so excited to talk about
2:40
this film. You know, obviously you've done
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all sorts of projects over the years.
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First, congratulations on Wednesday season 2.
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It's a huge hit. But then also you have just such
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a breath of work, from Memoirs of a Geisha to Edward
2:52
Scissorhands working with My Chemical Romance, Masters of the
2:55
Air. So when I saw the trailer for
2:58
One Battle After Another, you know, I looked it up.
3:00
I was like, who worked on this one?
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And I saw your name? And I instantly was excited,
3:05
like, oh, this is a different one we get to talk about.
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So I want to ask you, what drew you to working on One Battle
3:12
After Another? What was it about this project?
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Well, what drew me to that was, you know, the absolute
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possibility of working with Paul Thomas Anderson.
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When I first heard about the project, I didn't know who was
3:26
in it or anyone. Paul asked me to do it and then
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he sent me the script and it was really the best script I think
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I've ever read in my life. Personal favorite.
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It was just a great ride, the script, and I can't even
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describe. I just had some I love to read.
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I'm a reader so. So it was really fun to read a
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script that read that way, that I could see so much of the
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characters and the the way the story went and the humor and
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everything right away in the first, you know, in the first
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draft or the first draft that I got anyway, Yeah.
3:59
It really touches on so, you know, humor and there's a
4:03
tragedy to it and it's inspiring.
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It really goes a lot of different places.
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So to me, as a costume designer, you really embody what comes
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from like a strong costume designer director relationship.
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Obviously, you've worked with a lot of great directors, Tim
4:17
Burton being one. This is your first collaboration
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with Paul Thomas Anderson, so how did that relationship sort
4:24
of develop throughout the process of this film?
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Well, I kind of knew Paul a little bit from Dodger Games and
4:31
a couple things that I've seen him at socially.
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And I always really liked talk. We just could talk easily.
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We had an easy way of talking. And and I think that I really
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appreciated the style at which he approached the project.
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The the place he was coming from was a place that I really liked
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that he that he really cared about every aspect of the movie
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The same way that a great director often does.
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Tim, for instance, or, you know, Rob or, you know, other
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directors I've worked with Bill Condon most recently, that
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they're really involved with the costumes, even though they don't
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micromanage them. They're not in there like, oh,
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this should be this or this should be that.
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But they really want the people to feel real and to feel like
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they belong in the story. And we did these fittings at
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Paul's house with Leo and Chase in the beginning and he would
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photograph everything on 35. You could look at what it looked
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like on film, which was the movie and film, which was a big
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part of the design process. Just looking at the the how
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beautiful the everything could look on film, like nuances that
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you've we forget, even though digital's become, you know,
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extremely good, you forget what real film projected film looks
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like if you don't use it. So it was really great to be in
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the room where that was actually going on.
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Just, you know, when I started, we shot in film.
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I worked with Gordon Willis, I worked, you know, I worked with
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a lot of great DPS that that were masters with lighting and
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stuff. So it was really fun to revisit
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that aspect using natural light a lot with stuff with Paul, with
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which effects, costumes, we had a lot of night stuff, you know,
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and so we tested everything. And so it was a very kind of,
6:29
besides just character, it was a very thorough kind of process
6:34
with each piece of clothing on how it would play in a long time
6:39
because it they wore the same thing almost the whole movie for
6:42
a long time in this, in the different environments and
6:46
different lightings that they had to live in.
6:49
Yeah. And before we get into the
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characters, like I want to stay in this idea of the setting, you
6:54
know, which it's contemporary, which isn't exactly the norm for
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Paul. He's done a lot of period.
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So he was quota saying he kind of like what you said.
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He wanted the story to feel like something you can relate to.
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So how did you and your crew go about building this world across
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so many different locations? Was it a lot of building?
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A lot of thrifting? Looking at the different
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environments? How did that process play out?
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Well, I think with the with the clothing for the principles, we
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sort of did those kind of based on research and scouting around
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and looking at real people in the different places we were
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shooting. And then backing into that with
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the, with the with what's what we call the, the supporting
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cast, the background. It was a combination of if I
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didn't need multiples, it was it was Goodwill, you know, vintage
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stores, but not really, you know, high end vintage.
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It was more second hand clothing, what we call it.
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And it was really interesting to base a story in that world.
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So in all the places that we shot, I would go to the those
8:02
stores in those places just to see what was different, how they
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did it. And actually on a certain level
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to look at the people that were buying the clothes for their
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kids, for their, you know, they were, they were shopping the way
8:15
we shop in a department store, but they were in, you know, a
8:19
second hand clothing store. So it was their, you know, it
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was their store. So you could see them get
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excited about the perfect sweatshirt for them.
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And the and you know, I found a lot of Tiana's stuff that way
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and it was so much fun just to bring this like this, her
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sweatshirt when she goes into witness protection.
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I found it. I found it a goodwill in
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Burbank, which is I one of my go to goodwills.
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I like that one. But but I found it and I went,
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Oh my God, this is so good for this.
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And Paul loved it and you know it, it was, you know, it was
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just a fun way to get as excited about that as you might get
8:57
about a high end designer piece. You know, it was like the right
9:01
kind of feeling for this story. Right.
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He just felt it when he saw it. I I was reading the production
9:07
notes too, like even just talking about the authenticity
9:10
of it, the high school scene, for example, the dance, the
9:13
sound like that was using that most of those students went to
9:16
that school as well. So he really got to see, you
9:19
know, what they dress like now, because I don't know what a high
9:21
school dress is. Like they, they bought, they
9:24
brought, you know, we had them bring choices.
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We had a rail there to augment or if somebody didn't have
9:29
anything that that we could help.
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But we really just went through their stuff and picked, you
9:37
know, the best of talk to them about what they liked.
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And, you know, we sort of did it that way with with all those
9:44
kids and it, you know, it just turned out fun and real.
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And, you know, some of them bought like really the goofiest
9:52
stuff could imagine and like Stephanie never make up.
9:56
So it was pretty great. Yeah.
9:58
We got rolling back just a little bit, but I think that
10:03
kind of speaks to the bigger reason why I think so many
10:06
people are loving this film. I honestly have not heard a
10:08
single negative critique about this film.
10:11
It's because it just feels so real and you could tell that
10:14
everyone approached this story with such authenticity.
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And I that kind of leads me to want to ask you about just like
10:20
kind of your research. It handles so much real themes,
10:23
you know, from stories to the border to understand the French
10:26
75 and what revolutionaries dress like, you know, past,
10:29
present, future. So can you talk about that
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authenticity that you all brought to the film and how it
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was the research was integral to preparation for this story?
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Well, I think we looked at the classical like revolutionaries
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and it's really easy when you're doing that to romanticize the
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look cause Che, you've got some very, you know, charismatic
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people that were revolutionary leaders.
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So you kind of wanted to sort of go with that.
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And then and then we kind of realize these people were
11:04
living, you know, they don't want you to notice and they're
11:06
living off the grid, especially in our story.
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So we have very kind of classic, but not showy sort of
11:15
revolutionary, just really strong clothing on, you know, on
11:20
Deandra's, on her character and on, you know, the the other
11:25
French 75. You know, a lot of times they
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dressed like to get into the courthouse in a way that they
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blended. So it was more of a thing about
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blending it but not making it too too, you know, too obvious.
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And that was kind of the journey with with that.
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Well, let's talk about some of our characters.
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Pat, who becomes Bob, played by the great Leonardo DiCaprio,
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which by the way, I was shocked that you hadn't worked with
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Leonardo DiCaprio. I felt like somewhere in my head
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that happened. But I.
11:55
Know we've been around both of us for a while, but I've never
11:58
had the pleasure. Yeah, well, this was the moment
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then and. Then I put him in The Dirty
12:03
bass. Yeah.
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So obviously. The movie star in LA.
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So obviously there's the Stoner aspect, which everyone's talking
12:13
about, but also to me, I think what's the tag role to
12:16
understand, Bob, is this is someone that's been sitting at
12:18
home with 16 years of heartbreak.
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It's become very closed off, paranoid and cranky, which I
12:25
think, you know, at a point we could all kind of understand, we
12:28
will be home and just in your robe, comfortable.
12:31
So tell me about working with Leonardo and the journey that
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this robe goes through. I mean, it goes through tunnels,
12:38
riots, car chases, jail. I mean, it goes to distance.
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So that must have been the journey for you and your team in
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this robe. Well, the whole the robe came
12:48
about at our early fittings, you know, at Paul's house.
12:52
And we kind of started with a sweatshirt, A baggy, you know,
12:55
like a zip up sweatshirt. And then and then the robe idea,
13:01
because it's first thing in the morning that maybe just has a
13:03
robe. And then it just, it was the
13:07
thing, you know, it felt right. And then we talked about would
13:11
he get rid of the robe? Would he lose the robe?
13:13
And Paul's like, no way. He's like not thinking about, he
13:16
says when you're running for your life, you're not thinking
13:18
about taking your clothes off and just running.
13:21
So, so there's that aspect to it that like it just kind of played
13:28
and then it sort of took on a life of its own as it, it went
13:31
through all its evolutions of filth and sweat and dirt and
13:35
dust and, you know, everything. So we had about 6 or 7 robes
13:39
that we, we aged at different levels.
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And then suddenly we thought it would be good to have a couple
13:45
more. And I went back to get fabric
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and they, they, the place that I got in the fabric had
13:50
discontinued the fabric, of course.
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Yeah, well, we didn't. We just got by, you know, and it
13:56
all worked. And, you know, I mean, he did,
14:00
he Leo did a most of the work himself.
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There wasn't a huge amount of stunt doubling or anything with
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him. We did have driving double S and
14:09
stuff like that. But he really, he really did a
14:12
lot. So it made the life, you know,
14:15
the lifespan and the ability of the ropes working, you know,
14:20
really good for me. Yeah.
14:24
It's almost like it became like his superhero armor in a way.
14:27
Like it just became part of the character.
14:30
Yeah. It's it's a lot of fun.
14:32
Like you never know when you do stuff like that, how it's going
14:35
to play out. You know, it just kind of, you
14:39
know, you know, when somebody of that acting ability wears
14:42
something in the way that Leah wears costumes, that that it it
14:48
he'll make it, he'll make it work.
14:50
Whether he leaves it that, like, total trust, you know, is really
14:55
important with when you're doing a story like this about a
15:00
character. Yeah.
15:01
It's so funny how how popular this rope has become.
15:05
So over the years you've got to work with, I feel like a lot of
15:09
new talent and you know, some people have gone on to become
15:13
such incredible stars throughout your career.
15:15
And Chase Affinity, who plays Willa, is incredible in this
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film. I think one of the best parts,
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she's so good. PTA said that she instantly was
15:24
a professional on this film set of being her first feature film.
15:28
So I've been dying to ask you about it because I really loved
15:30
the juxtaposition of this very hard leather jacket, perhaps
15:35
combined with like this soft, flowy, very feminine skirt that
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she gets to wear from basically from beginning to end in this
15:43
film. So she goes also like Leonardo,
15:46
a lot of action in this costume. So I was hoping you could talk
15:49
about working with Chase and how you settled on this, this very
15:54
interesting costume. Well, Chase's costume, I'll
15:57
address that first, then I'll get into Chase costume came
16:01
about from Paul observing a dance up in the area We were
16:05
were shooting and a girl had on like a petticoat like that.
16:11
And we had messed around with these little, little dresses
16:15
that we could beat up and different things that were, you
16:18
know, what we'd seen young girls in and stuff.
16:22
And then he came back and he said, you know, I saw this girl
16:24
and she had on this petticoat and, you know, a white T-shirt.
16:28
It looked really cool. And, you know, we just kind of
16:33
kind of decided we messed around.
16:35
I made a couple of them. I made a pink one and a blue
16:38
one. And we tested them with film
16:41
and, and photos and stuff. And we ended up the, the blue.
16:45
I bought an old Marcus set, which is an old kind of kind of
16:49
silk that I dyed that that could flow and sort of be lighter
16:55
weight than polyester. Like the ones you can get on
16:57
eBay and they're on, you know, Amazon, whatever.
17:00
But anyway, on those kind of things, I really wanted it to be
17:04
able to age beautifully without losing its kind of quality of
17:10
lighting and stuff. So anyway, I made I made them
17:13
out of that. And then we played around with
17:15
some different leather jackets. I had some more beat up ones.
17:19
I had some real vintage ones. And then we ended up just
17:23
getting one that she could have bought, you know, at a
17:25
department store today. So it was more, you know, it was
17:29
more everyday kind of kind of jacket and we I worked with
17:36
beating it up a little bit and then we kind of went back to it
17:39
not being too over age because it just kind of looked fake.
17:44
And that's kind of where we ended up with that with Chase.
17:47
And then Chase herself from the first time I met her, had that
17:52
kind of quality of of quietness, like quiet concentration of
18:01
wanting to to do a good job, not just a good job job, but a good
18:09
job of taking this character on. She worked very hard with
18:12
martial arts. She was totally, you know, on
18:16
time, professional and just really very kind of
18:23
straightforward and intelligent to work with.
18:26
She's she's a very smart actor and I think that she's going to
18:31
have an amazing career. Amazing.
18:33
Yeah, I really can't wait to see what she's doing next.
18:36
She really did such a great job working with such heavy hitters.
18:38
By the way, working with you, with Paul, with Leonardo Di
18:42
Caprio, like it's pretty wild. She had so much Ravitas.
18:45
She was just kind of easily in the room with people in a way
18:49
that was not overly confident or cocky, but just sort of relaxed
18:54
and present. Well, someone else I was very
18:57
excited seeing this film was of course Tiana Taylor, who I was a
18:59
fan of already coming into this film.
19:02
She described her character as someone who is complicated, but
19:05
also very much in survival mode the whole time.
19:08
So it also, this is a character that's very active, like we're
19:11
talking about lots of running. So stunts also probably played a
19:15
big role with this character. So how were you able to convey
19:17
this character on screen through costume?
19:19
Someone who's very much in survival mode?
19:21
We kind of touched on it a little bit about how she's
19:24
really not trying to be seen sometimes.
19:26
Well, she's like, can't resist being seen sometimes a little
19:30
bit. She's not, you know, she's
19:33
definitely unbalanced. I think she's socially
19:37
unbalanced and emotionally unbalanced as a character.
19:40
And she's quite, you know, it's a really complicated mindset
19:46
because she believes in something and is trying to, to
19:51
believe in it in a way that the people around her can't
19:55
necessarily take to that level because it's, it's a, it's a
20:00
level that, you know, few people are able to achieve in their
20:05
sort of social beliefs. And she ends up being.
20:11
Not only hurting others, but hurting herself in the process
20:15
of this belief, you know, almost a martyr to A cause in a
20:19
strange, bizarre way. She loses her daughter, she
20:23
loses her friends. She, you know, loses everything
20:28
and but she's reckless. She take she's dangerous.
20:33
She's a dangerous woman. You know she is Muha.
20:36
She's a dangerous woman because she's so sad on, on on things
20:43
that her vision doesn't see everything on the peripheral.
20:49
And I think Tiana really got that about the character.
20:52
Her clothes were a combination of, you know, of of clothes you
20:58
could get very cheaply. They weren't expensive clothes
21:02
ever. They were stuff like thrifted
21:04
stuff from military surplus, a real mixture of stuff.
21:08
And but really, but it was a constant process of taking the
21:15
blend and trying to keep the blend down on the character
21:19
because you wanted just to see her.
21:21
You didn't want to see what she was wearing, you know, you
21:25
really didn't. So so it was sort of, you know,
21:30
an interesting journey when you have a body is is insanely
21:34
special as Tiana's. You know, you kind of want to
21:37
see it, but you don't want it to be like stupid.
21:41
You want it real. You want her to feel like this
21:44
girl still you know, can shoot a machine gun or carry a handgun
21:49
and and not be afraid of using it even though it was a mistake
21:52
when she did. Yeah, you could have pulled
21:54
people out of the fantasy if you went a little too close to that
21:57
edge you went. To, you know, music with it, you
22:01
could really mess it up. So it was a fine line with her,
22:04
but I think her acting really succeeded in it and her constant
22:09
ability to just stay steady, you know, in character.
22:14
Right. And then on the other hand,
22:15
though Regina Hall is Deandra, I feel like compared to Perfidia,
22:20
Perfidia Beverly Hills is more like the moral truth.
22:23
She brings like a motherly energy to it.
22:25
There's a softness to it, and she actually does not want to be
22:28
seen compared to her friend. Do you feel like that's true
22:31
when it comes to her costume? Right.
22:33
She was, you know, she was wise. You know, she was the wise
22:38
person in the group. She's it's almost like the adult
22:40
with all these goofballs around. That's a good word for it.
22:44
And even though they're all peers, there's always somebody
22:48
that's that's sort of the mother.
22:51
And she to me, is the Madonna of of them all.
22:55
Like and her, her causes are the same causes, but the process is
23:02
a different process of realizing them.
23:05
Yeah. She wasn't flashy, she wasn't in
23:08
a hurry. She knew she knew it had to take
23:11
time and she, you know, was a believer.
23:15
She's still living outside the grid as Bob is, but she's
23:18
functioning in society in a better way than him.
23:23
So I really kept her colors very simple and pure and her clothes
23:29
kind of quasi military, but not military enough to actually
23:34
notice that that's what they were.
23:36
Yeah, if you were to walk by her, you probably would not even
23:38
notice her. Yeah, it was like she's an
23:40
invisible person. Which is sometimes hard to do if
23:43
costumes. I mean, sometimes the best
23:45
costume is one that is unnoticed, you know?
23:49
Yeah. Talk about all this action and
23:50
movement made me really excited to talk to you about how mindful
23:54
you and your team had to be about stunts.
23:56
How that's, you know, I don't really get to talk to you about
23:58
stunts too often. How did that play a role in the
24:01
process? Well, we, you know, we were
24:03
very, a lot of the actors did a lot of their own action
24:08
themselves. Obviously when Leo fell off the
24:10
roof, it was a stuntman and we had pads and everything, but the
24:14
costumes were all pretty flexible for stunts because they
24:17
weren't they were contemporary, they weren't corsets and things
24:21
like that. They were really, you know, kind
24:24
of fluid costumes. A lot of them had stretch in
24:26
them or we could get them a size up to for, you know, the
24:30
military guys to to accommodate padding and stuff.
24:34
So, you know, the constant stunt troupe of people in the movie
24:40
wasn't really, it was something we knew from the start.
24:43
So we just bought for that and accommodated that as we went
24:48
along in this story. So we had, we were able to pull
24:51
it off OK. Yeah, and one of my favorite
24:55
things to talk about is aging and dying.
24:57
Why is aging and dying the breakdown process so crucial to
25:01
filmmaking? Like the Film 1 battle after
25:04
another? Well, I think caging and dying
25:06
is really important to any movie because again, like the costumes
25:10
in one battle after another, on a good day, you don't notice it.
25:14
It's it's just there. It makes stuff look real.
25:19
People would never know a lot of times that every costume in that
25:24
movie was aged in some way. You have to get shoes for
25:27
people. They look horrible if they're
25:30
new. So you have to beat up shoes.
25:31
You have to beat up pants, you have to wash them, age them,
25:35
sometimes over dye them to make them, you know, make, just make
25:39
the threads more, more complex, sand them.
25:43
You do a lot of things that people that do that are amazing
25:47
part of the, the and the process.
25:52
And for instance, like Willis skirt, I did like 5 or 6 samples
25:56
of colors for her skirt. And within the skirt there's a
26:00
couple different colors, but you don't really see it.
26:03
It's just there. And to me that kind of defines,
26:08
you know, I mean, there's showy aging and dying, like silk
26:11
screening and all that stuff. But for most movies where people
26:14
are just people, but no matter what period they're in,
26:19
everything looks better if it's if it's not, if it doesn't look
26:23
new, unless it's meant to be new.
26:25
Right, Yeah. I I can't imagine Bob was doing
26:28
a lot of clothing shopping in those sixteen years.
26:30
You could. You could tell that pretty
26:32
instantly. He had a couple things.
26:34
He had a what? You know, probably went to the
26:37
laundromat, you know, Yeah. That's the that's the least he
26:41
could do. Which is a really big way to age
26:43
your clothes quickly, but. Oh, interesting.
26:47
We have a little bit of time actually.
26:49
So I wanted to ask you then let's talk about the Christmas
26:52
Adventurers Club. What about them and their
26:56
costumes make them feel so instantly sinister as soon as
27:00
you see them? Well, I think it's them.
27:02
The casting was really good for those characters.
27:05
Yeah, but it's also the idea that they're, they're those guys
27:10
that we think of that are just nice neighborhood guys when in
27:14
fact, they're up to some seriously bad shit.
27:18
And their whole, you know, their whole vibe is in a way, you
27:24
know, my inspiration for them was just going around looking at
27:28
people 'cause ideas. They met like early in the
27:31
morning. They were going to play golf or
27:33
they were going to meet their grandkids.
27:35
You know, they're like the heart of the the heartbeat of the
27:38
nation. But they're in there like
27:41
Saturday. I go post magazine outfit from
27:45
the 50s kind of. So they're all like, you know,
27:49
khakied up or in the latest sports gear.
27:52
So they look, you know, they're, they're ready for action in
27:56
their world. They're like this is them
27:58
relaxed. I think it's like the cut from
28:01
like seeing the revolutionaries who are trying not to be seen,
28:04
you know, in their military wear and then you see these guys come
28:06
buttoned up and they're knit sweaters and that just that
28:10
weird. Lemony yellows and those colors
28:13
that stuff comes in which I didn't have to dye at all.
28:15
I found all those. You know, I don't want to hang
28:18
out with them. They were just, they were just,
28:21
it was just kind of a fun Segway in the store as a designer to
28:25
get to wander off into that world for a minute.
28:28
Yeah. And then there's that fun moment
28:31
that's in the script. I well, maybe it's in the script
28:34
where Willa's with Sergeant Lockjaw and she asked him why
28:40
his shirt is so tight. And I did not even think about
28:44
that until she said that. And I was like, you're so right.
28:46
That is such like a a detail that's kind of been there the
28:49
whole time. So could you talk about Sean
28:51
Penn and his character? Maybe some things you did that
28:53
kind of spoke to? That's very absurd villain that
28:57
he is. That's very different from rest
28:59
of his troupe. Well, I think the thing that
29:01
worked about Sean's costume is it was all real stuff.
29:04
It was all real military stuff. Like those guys buy their stuff
29:07
online a lot, you know? But the vanity in the manner in
29:11
which he wore it defined his character.
29:14
You know, So he was, you know, aspiring to be, you know, the
29:21
perfect soldier when he was in fact, you know, like his muscles
29:27
were super buff. And he was, you know, sort of
29:31
trying to be tall, a little bit taller, to look more, to have
29:34
more authority. You know, he wanted to have
29:37
authority over others. And in doing that, the fit of
29:42
his clothes being sort of tailored military kind of vibe,
29:46
whether it was a T-shirt or a pair of army pants, depicted the
29:51
character. I mean the real sell on it
29:53
though was Sean, how Sean moved and handled himself in the cost
29:58
more than the costume itself. Yeah, I read it almost like he
30:01
was. He had like this man that he
30:04
always wanted to be, and that was him kind of dressing for the
30:07
job you want. Honestly, he was trying to be
30:09
that, that macho soldier. Yeah.
30:13
Yeah. Colleague, this has been
30:14
incredible. I'm so glad I got to talk to you
30:16
about this film. Yeah.
30:17
Nice to see you again. Yeah, As we wrap, I just want to
30:20
ask you about this film. Why do you feel like audiences
30:23
are connecting to this film so much?
30:25
Why is everyone loving it and running to the theater to see a
30:28
second and third time? Well, I think people are
30:31
enjoying it because it's like it has so many layers that you
30:35
probably every time you see it, you catch something different.
30:38
And it's at the end of the day, it's fun, it's entertaining, but
30:42
it has a huge heart in the story of Bob and his daughter.
30:46
And I think that resonates with people like the craziness of
30:50
life's journey. Yeah, definitely.
30:53
Well, costume is Our Calling out.
30:54
Thank you so much for joining us.
30:56
I am so happy. Got to talk to you.
30:58
And I'm sure we'll be talking again soon about something else,
31:01
I hope. All right, all right, we got, we
31:05
got Kiss of Spider Woman. Oh yes, I'm very excited about
31:09
that one. I've already had those pictures
31:11
sent to me, so I'm very excited. So we'll be talking soon.
31:14
All right. Talk to you later.
31:15
Thank you.