Latest / The Art of Costume Podcast / Interview with Moon Knight Costume Designer, Meghan Kasperlik

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Interview with Moon Knight Costume Designer, Meghan Kasperlik · The Art of Costume Podcast

0:12
Spencer told me about the hippo. I was kind of thinking, like,
0:15
oh, that must be like all visual effects, but you guys really did
0:19
an excellent job with that. I love that.
0:21
It's a practical costume. I text Elizabeth that.
0:24
I was like, yo, the hippo is practical, like alert alert.
0:43
Hello, and welcome to the art accosting podcast.
0:45
I'm Spencer Williams, and I'm Elizabeth Chow, a glass.
0:49
What's that Elizabeth Moon night?
0:52
Bass, plucks up my my favorite new show this year because it
0:55
combines my favorite. Things I dipped in mythology and
0:58
superheroes, right? Oh my gosh.
1:01
This is the best. I love the finale.
1:03
It was So much fun. I basically left work early to
1:07
run home so I could watch it. I didn't even tell, I was like,
1:10
I gotta go, I gotta go now before Twitter and Tick-Tock
1:13
spoils it for me, right? I was like, so excited.
1:16
I'm like the ending. I was like, yes, there's a
1:19
second season. Okay, I was worried it was going
1:21
to be like a one season deal for a second and something there's
1:26
last scene. I was like, okay, okay, there's
1:29
a season 2. Well, we loved it so much and
1:33
Elizabeth Been talking about Moon night for long time.
1:36
Now, actually, ever since I watched a show called mayor of
1:39
East Town, you've all heard of it because our good friend,
1:43
costume designer, Meghan cast were like, did the costumes and
1:47
surprised, she is here with us right now.
1:49
Megan, welcome to the studio. Oh, come, thank you for having
1:53
me here. It's so good to see you.
1:57
Every time I bump into you, I'm like Moon night eyebrows
2:00
eyebrows when we get to talk about it.
2:05
So let's just jump into it. There's so many incredible
2:07
costumes for the show and I'm sure you have all the behind a
2:11
wardrobe facts for us. So, Megan like I said before,
2:16
this is like a mix of the Comics superheroes and Egypt mythology,
2:20
which is a personal favorite of mine.
2:21
So I was like, particularly excited for this.
2:24
What was kind of your balance of inspiration between the two,
2:27
when it came to the costumes, I didn't credible amount of
2:31
research just because I do a lot of research.
2:33
For all of my projects, but I did a little extra on this
2:37
because I was not super educated, on Egyptian mythology,
2:42
Egyptian, ancient Egyptian history.
2:45
So being from New York, I was able to go to the met and check
2:50
out the Egyptian Wing. My assistant on this particular
2:54
show, he was living in London. So he went to the British museum
2:58
it looking at artifacts. Wow.
3:00
And then just the folders of inspiration behind it.
3:03
All Because it would be important to incorporate, not
3:05
only Egyptian mythology, but also a little bit of a Comics
3:10
mixed in with the designs. Nice, I love that I lost
3:14
specially. Say like the Egyptian gods, they
3:18
looked so cool. That was was that kind of like a
3:21
mix between you and like the visual effects department.
3:25
So it wasn't really a combination of Marvel has of his
3:28
Department before. Like any of the production
3:31
designers are costume, designers come in, they have kind of Look
3:34
of a tone of what they want to set for that.
3:36
So we come in and we collaborate on those renderings and discuss,
3:42
those renderings of like, how to move forward and make it from a
3:44
two-dimensional to a three-dimensional character.
3:47
And so, then I started getting in like Fabrications and
3:50
patterning sent, you know, samples and patterns, and
3:53
whatnot and textures. And then, in working with the
3:57
visual effects Department that is on.
3:59
That was a moon night, Sean, Satan and his team.
4:02
Like I work very closely with them.
4:03
Because what I designed, they were amazing and they wanted to
4:07
absolutely make sure that what I was designing was actually going
4:10
to be like seen on screen and they weren't altering it.
4:14
And then we made every seat every CG costume and all the
4:17
gods we made that a practical cost in an actor, wore it and
4:21
then they took it to c g. So it was about really making
4:23
sure that what Boba, what I designed and what we made was
4:31
actually on camera at the end. So you're talking about all of
4:35
them like, comment and Torrid the hippo.
4:37
God, like these all came through your hands at one point.
4:41
Oh yeah. So everything was made
4:42
practically and so the hippo, like the face and the hands and
4:47
stuff that was CG, but the actual like costume, the jewelry
4:51
everything was made in the, after War.
4:54
I was a service. I had no idea what we were
4:57
watching. I love that so much.
5:00
I thought Tara is like a phenomenal surprise.
5:01
And for like, it was such a good Moment.
5:04
Yes, it was so trippy and so hilarious.
5:09
I instantly fell in love with the hippo goddess, but the
5:12
finale we got to see all met and that was such an interesting
5:17
incredible costume. Thank you, the costume that
5:21
there's like, there's multiple layers to it.
5:23
There was a leather corset over that in a like a skirt that was
5:27
a luminous, like a very shimmery Fabric and then over that was an
5:32
overlay. That was a hand beaded.
5:33
Dress that was in about three different tones than three
5:37
different colors and shades of beads so that when the it moved
5:41
it would kind of like she's gliding along similar to like
5:45
when you Glide along in the water and like the water kind of
5:47
ripples. So that was supposed to have and
5:51
I had an amazing person on my team who after she did one I
5:57
said oh we have to have to just in case it breaks at me like oh
6:03
she's a 10. Just like Mama
6:17
molded that and hammered it and then dipped it in the metal and
6:21
like sculpted that Cobra, it was like absolutely phenomenal and
6:25
person. So hopefully if the costumes all
6:27
of them, get displayed in Los Angeles.
6:30
Like the, do you have to see them?
6:31
Because it's like, phenomenal, how that was sculpted.
6:34
Yeah, I hope so, too. On that, like, she was
6:38
personally, one of my favorites because I'm like, oh, I can see
6:40
the Egyptian inspiration. Especially in that, that beaded
6:43
dress. That I was like, oh, that's on
6:45
point. And it looked like so perfect
6:47
and was kind of like Eerie for her to.
6:49
Yeah. The way that like she was
6:51
lighting and then those like this piece that came down from
6:54
the head, we made that as well and then the jewelry.
6:57
But then like the actual skin like I gave references and stuff
7:01
to the VFX team and then they went from there.
7:03
R for the skin tone because it's really you guys do like, a
7:07
seamless job. I was kind of until Spencer told
7:10
me about the hippo. I was kind of thinking, like,
7:12
oh, that must be like all visual effects.
7:15
But you guys really did an excellent job with that.
7:17
I love that. It's a practical costume.
7:19
I text Elizabeth and I was like, yo, the hippo is practical, like
7:24
alert electric, stop everything. So before we get into mark,
7:33
Vector and Steven Grant. I just imagine I remember when
7:37
you went away for this project a little bit, you had to do some
7:40
serious traveling for this. What was that?
7:43
Like, yes. So I did maybe stop in
7:47
Philadelphia Pennsylvania, right?
7:49
Which is where Elizabeth's from? And I got a call for this that I
7:57
was just going to sit finishing their so we like had gone back
8:01
after covid, likely to go back. So, I went to Budapest and we
8:07
were so, we filmed in Budapest and then we also like we prepped
8:10
and filmed in the past. And then we went to Jordan,
8:13
which was like, absolutely phenomenal to shoot like a big
8:16
desert, seems well. So that was what I had never
8:19
been to the Middle East. It was just like phenomenal.
8:22
It was so cool, and beautiful. And everyone was so lovely.
8:26
And I was in Budapest that em, he's like I got 12 Emmys, for
8:32
mayor and then I, Like 500 passed to La for the Emmys day
8:38
and then I flew back and I was in Budapest for two days and
8:41
then we went to Jordan and then I'm Jordan.
8:43
I flew back to the US and to fly back from Jordan.
8:47
To the US was like 19 and a half hours of travel because they're
8:51
like, where we were everything. So it was a little crazy, but
8:56
that's what happens when you film in other countries.
8:59
Yeah. Have you recovered yet but then
9:02
you just I started working on. Another projects.
9:08
All right. Well, back to our our favorites
9:11
and we're a big Oscar Isaac fan podcast over here, and we'll
9:16
just put that down right away between Marc Spector.
9:21
And Stephen Grant, there's very noticeable difference.
9:24
In style. Elizabeth mentioned in her notes
9:27
that marks more of a classic Adventurer while Stephen is very
9:31
Professor like in his costume. What was Process for creating
9:34
these two different looks for essentially the same character
9:38
but not really. Yeah, it was very important for
9:42
Oscar and I that they were different characters, but there
9:45
would like the transition was like, we had to figure out how
9:48
that transition would take place.
9:50
So, as we started with Stephen first, because that was some
9:54
kind of something that we had to like, okay, Steven has to kind
9:59
of look cool because he lives in Brixton, but like he's not cool
10:02
like bricks, it The Echo Park or the like Williamsburg or
10:08
Greenpoint type of area. Like it's like cool but there's
10:11
a what there's also people who like like to live there but
10:14
they're not like dressing the part.
10:15
So how can we make him look kind of in that area but like not
10:19
necessarily the coolest guy. So I found this like really
10:21
great shirts in New York these vintage shirts and so we kind of
10:25
played off of that like a bag of your pant for men is in style.
10:29
So we crouched that and I gave him like a heavier shoe and
10:32
these charge act, that's a lie. Looks like kind of cool and as
10:35
soon as he put it on the kind of like slouch down a little bit
10:38
and like, we're finding the character makes great.
10:42
And then I had a like, white sock.
10:45
I had a lighter color sock and he's like, oh, hot, Oscars, like
10:48
having a white sock and I was like, we're gonna make it gray
10:51
because that'll be like the moon night suit.
10:53
Hmm. The sock is like a nod to moon a
10:57
because I also didn't want it to be a white sock like another
11:00
iconic character in life so that So we changed that up.
11:05
And then with Mark, I feel like he couldn't be like too cool.
11:10
He couldn't stand out because I also didn't want him to look
11:13
like your stereotypical like action figure and like a leather
11:16
jacket in like jeans. So, for the image that you're
11:20
sharing, this is like, one of my favorite contemporary looks of
11:23
the whole series. Oh, yeah.
11:26
I'm obsessed with this jacket. Megan, it's so cool.
11:29
Put this on, and that's it. Like, the fitting.
11:31
He put it on the first fitting. Like, I only had We had like the
11:34
first thing I did was in New York and we have I had like a
11:37
racks and racks for Stephen and like we kind of figured it out
11:39
there and went by the time we got to Mark I had like I don't
11:45
know three things on the Rock. I like had nothing.
11:48
I was like, I feel like this is, this is kind of what direction
11:51
we need to go with them. We'll play off of it and I'll
11:53
fit the rest of it when you get to the past, but he put it on
11:56
and I was like this is like, this is we're done so dope.
12:03
And when he came by, the time they came to Budapest and he put
12:06
it on, I was like, this will be the poster, like it will
12:09
absolutely be the poster. Yeah, because I wanted him to
12:12
have like the white reminiscent of the suit with a hood, but
12:16
like, we needed the lighter colors.
12:17
But like with the jacket that like, it wasn't very intentional
12:21
that with the jacket when I knew they would be up on like a sand
12:25
dune and when the wind would blow it would like blow out like
12:27
a cape and it was absolutely intentional.
12:29
And like the moment I happened on set, I like totally got
12:32
chills because I was like Oh my gosh.
12:34
This is actually a costume moment.
12:36
Where, like, your vision actually happened.
12:39
I'm getting chills right now. It's so cool.
12:44
I just yeah, I love that. White jacket, but really to both
12:47
of them had such interesting fashion and I think Steven grant
12:51
school I relate a lot to Stephen Grant.
12:53
I mean he had such a cool job, a worked at a cool area so I don't
12:58
know. Justice for Steven Grant. 16.
13:04
And now, speaking of Mark, his Moon night, superhero costume,
13:14
something that gave me chills. When it first showed up, I was
13:17
like, wait, hold on. Is this actually the superhero
13:21
looks like a mummy like it's so interesting.
13:26
It's one of my favorite superhero suits of like all
13:29
time. It's it really is up there.
13:31
It's incredible how far it jumped up.
13:33
The list so quickly I'm good. Is this something?
13:37
You took more inspiration from the comic for?
13:40
So we're closely with the this department and there was many
13:43
iterations of this costume, by the time, I like even started.
13:47
So this was there was a full disclosure that was a different
13:52
suit. And when I went to the Oscar,
13:56
for the first time in New York, we kind of started talking
13:58
about. We'd like the mummy wrappings,
14:00
but we want the suit to have like a like, how there's this
14:03
pose. Like you need to be strong and
14:05
have stature, and so we wanted to add the armor to it.
14:09
And so that was kind of something that was like adjusted
14:12
and it. But I think that more for me, it
14:15
was the color I knew was going to be a challenge because in the
14:20
comic, it's white. So the overall, there's actually
14:23
take the back, there's multiple versions of the suit in the
14:27
comics, but it's predominantly white because he says, Moonlight
14:31
says, I wear white so you can see me coming.
14:34
They can see they come so it landed like instead of like a
14:37
other caped Adventure type of person who wears all black.
14:41
Right. He looks like a bat when on the
14:46
render, it was this great own. I was a little bit concerned
14:51
because that's like something that can go so flat.
14:55
So I was like to have a lot of texture in my designs and a lot
14:58
of like subtle textures. So the entire suit there's not
15:01
one flat color on the entire Nothing like there's all of
15:05
those. Like mummy wrapping and bandage
15:07
wrappings. Those are all like it's a Euro
15:10
Jersey that has been 3D printed on top of it.
15:14
So there's different levels and layers on the 3D print, so some
15:18
of them are raised higher than the other.
15:20
So, when like this suit has been pattern into 803 pieces, okay?
15:28
No. Thank you.
15:30
I didn't realize how many pieces are were and tell Um I spoke
15:35
with FB FX is the company that put it all together who
15:38
constructed and they also did, they did the 3D printing and
15:43
everything. So what I spoke to them as like,
15:45
how many are there in there? Like, there's probably about,
15:47
like, oh, like 23 in the pants and the like, No.
15:51
And there's so like one arm alone has 45 pieces.
15:57
No, thank you. Yes, you did a tremendous job
16:02
but I was very adamant about like, Like we have to have
16:04
depth. We have to have texture, it
16:06
can't be flat. So there's a lot there was a
16:11
number of options for the textures and stuff.
16:13
So the the top is all like the same pattern or the same 3D
16:18
print button, two different colors.
16:20
So you get the depth in the wrapping so they're not all the
16:22
same color but the pants have like four or five different
16:28
prints of 3D printing and then their pattern into different
16:32
pieces and blend it together. Because the patterns are so
16:35
small, like the blend is kind of seamless, pretty complicated.
16:40
Yeah, no, I love that because one of the things I appreciated
16:44
about the Moon Knight costume and like, now that you explained
16:48
it so much better, is it like it looks kind of dirty but the
16:51
color, but it's still very, like, put together.
16:53
I'm like, oh, that's like, it's like / steam, but not for a
16:56
Steen. And that's kind of something I
16:58
don't like about superheroes. Is that they're super pristine
17:00
all the time. And I'm like, oh, I like this.
17:02
I, he's a little dirty. Yeah.
17:04
There's definitely like shading in there and to show that like,
17:08
he's not fresh out of the package.
17:10
Yeah. That's that's a statement so
17:13
good. But then we got this other
17:15
iteration which is Stephen grants.
17:17
Iteration the mr. Knight suit where he's in this
17:21
very incredible suit. I am obsessed with that lapel.
17:25
I don't know what kind of fabric or textured of is but I love it.
17:29
You have to talk about the soup. Thank you.
17:33
The lapel. Actually the same Euro Jersey
17:36
that was used for the moon night suit.
17:39
It's like it's just a different color.
17:40
It's white and then we 3D printed on top of that.
17:44
Hmm. So that little kind of pattern
17:47
is the feather design. That's also on the khonshu
17:50
costume that has like these leather bandolier straps that
17:53
goes across. So that was taken from khonshu
17:55
onto his lapel. And then the white fabric that
18:00
the suit is made out of is actually upholstery fabric.
18:03
Yes, I'm do that. He would have to, I mean who's
18:07
not terrified of wearing white all the time.
18:09
So yeah. He would have to like be doing a
18:13
lot of action and be out on the street and was like we will
18:16
never keep this thing clean. So it's actually an upholstery
18:19
fabric because it has a little toughness to it, but you can see
18:22
on the picture that you have that he's holding his glove,
18:25
like the texture of the fabric. So then always important to me
18:30
that there's texture. So it doesn't just go like flat
18:32
and because we were filming a Nighttime new.
18:34
Like if you just have a solid white suit, it would just be
18:37
like a marshmallow running across the screen.
18:39
It would just be a flat one. It's so interesting.
18:43
And I love the seam that goes down his mask in a Setter.
18:47
It's very I don't, I don't know what about.
18:49
It's just as says show it says so much about like the torn
18:53
personalities but also like the broken vulnerability to Steven.
18:59
It's very interesting. I can't take credit for that.
19:02
That was all Kevin feige like He suggested it in a meeting and
19:05
everyone's like, oh yeah. And like, that's what happened.
19:08
And it was like an instant success.
19:10
It was great. Oh, well well, I mean it speaks
19:12
to the collaborative process between you and Kevin feige.
19:16
So that's that's an answer in itself in any marble job.
19:20
It's like a full collaborative effort with like a whole team
19:23
and they make it kind of seamless in the sense of like
19:27
they bring these characters into the MCU and they know how
19:30
they're going to transition. So they don't tell us how Going
19:34
to transition. So when you said, Elizabeth
19:36
season 2, I cannot I cannot say that if there is or will not be
19:40
a season two because I have no idea.
19:42
I watched the finale just like everyone else watched the
19:45
finale. They send it to me ahead of
19:47
time. So umm, yeah.
19:50
Well, we're not here to Badger answers out of you so don't
19:53
worry would be murdered. So The marble Illuminati coming
20:05
after us. Okay.
20:08
So another character I found. So fascinating was Arthur
20:11
Harrow. He did have too many costume
20:14
changes but when he did they really they say a lot about the
20:18
character. I would love to just hear you
20:20
kind of explain the thought process.
20:22
Yeah, I work really closely with Ethan.
20:25
He is an amazing character actor.
20:29
So we spoke in depth about the character.
20:31
How many changes he would have, should be?
20:34
Always have to be in the same costume.
20:36
Should he be in the same silhouette?
20:38
Or the same custom, put in a different fabric or a different
20:40
color? Like it was very much discussed
20:42
and then calculated for the runway show.
20:45
So I talked a lot about like, pot leaders.
20:49
Like, if he's leading these group of people like, called
20:52
leaders that have been discussed, I would say in
20:56
history, that we're like flashy clothing, they don't like Drive
21:01
fancy cars. Or like if they do like They
21:04
have one thing about them that has like a cork.
21:06
So it's like it's their hair or their glasses, or like a car, or
21:10
a prop or something of the sort. So, that was taken into
21:13
consideration. And then also, Ethan was like,
21:16
well, this character is like, part of the people.
21:18
He should not be, it should be like his wording, his voice, his
21:24
kind of like preaching to them. Like that's how he has a power
21:27
amongst them, but he's very calm.
21:29
So we talked a lot about monks and how they have such a
21:32
presence. We're very, very, very simple.
21:36
But a simple road. So, this was kind of my Ode to
21:39
call leader / month. This costume was like his Mane
21:44
costume and it was made out of linen, and it's just like a
21:48
trouser and a brand-new since need nehru color shirt.
21:52
So, it was like, very simple, but it just was so impactful and
21:56
then you can kind of see it on the one that he's holding the
21:59
larger image. He has two bracelets on that.
22:02
Are they there? Both the same and they have like
22:05
omits death pair adjutant them. I found like I got inspiration
22:09
off of the at the Met. There's basically this really
22:13
long like embody their like empowerment of death or
22:16
something. Like there's this big long
22:18
scroll and so I took different inspiration from like the
22:21
artifact and etched it into his bracelet.
22:24
And then the sandals I was like obsessed with the sandals.
22:28
I want to wear these sandals. I would like the whole, the
22:31
character together and I kind of want you to walk.
22:33
A little funny like I don't want it to be, there has to be a
22:37
different strut to it that I just think that like all works
22:40
so seamlessly. Yeah.
22:41
I mean that's what that's what was getting it.
22:44
I think I was like he's gives off a very real cult leader but
22:47
I don't know what that word was. Until you said I'm like oh
22:49
that's what it is. The collar and the artifact is
22:55
holding it, just all but it's like something about him.
22:58
That's very comforting and approachable which is you know,
23:01
which really builds to the To the genius of the cult leader.
23:05
I guess in a not good way I guess.
23:08
Yeah. Yeah.
23:11
He definitely has like a comforting look about him
23:13
because there were times I was like, wait, is he really the bad
23:16
guy who's inviting? Yeah.
23:19
There you go. So Megan.
23:22
We have to talk about the heck. A priest.
23:24
Why do I feel like this is an underrated character in a sense
23:27
that this was so scary. I was watching this at night and
23:31
I was not ready for this. I told Elizabeth This before I
23:34
have a serious problem with people crawling on walls and
23:38
ceilings. I don't like it's true.
23:41
That was not okay with this. However, we did get a small look
23:45
at the priest has costume, and it was so interesting and I just
23:50
really want to take this one out to dive into it because there's
23:53
the armors so intricate and beautiful even though this was
23:56
horrifying and I don't ever want to see it again after this
23:59
moment. Well thank you.
24:03
Were actual white people in the tombs and basically, they were
24:08
like the embalmers. So, when they would Mom, but
24:11
they would mummify the people in when they decided that, okay,
24:15
you're dying and the tomb and they mummify you and they take
24:18
out your organs of those little kind of canisters that are on
24:21
his waist, right? Can a panic germs.
24:25
So they are also like an ancient artifact, so that's all like
24:31
real in history. So this character We knew would
24:35
be a stunt guy and that he had to like be chasing her, but when
24:38
I started making it, I actually didn't know, like, what exactly
24:41
was going to be happen happening.
24:43
It was like, there's going to be this character.
24:45
So we made everything practical and then we, then rubberized it.
24:50
So that, you know. So then that piece my metalsmith
24:54
like made all out of individual. Little teeny metal.
24:58
Like, it almost looks like quills or feathers like how it
25:02
scales to me. Yeah, so is similar to that, but
25:06
in each one of those is the Eye of Horus or like an evil eye, or
25:11
like a hieroglyph symbol on each individual, one piece of that
25:17
and then we the chest plate and the leather belt.
25:19
That was kind of product jars. We 3D printed and painted and
25:23
put on there, all of the jewelry was made.
25:25
Like, you can't see all of his Rings.
25:27
We didn't actually take some of the Rings off because they were
25:31
like, I basically made them very similar to That were found, but
25:35
he couldn't do all the action because this skin is actually a
25:39
prosthetic, mmm? So keeping it like, eventually
25:42
that we made them big enough to get over, but then it was like
25:44
hindering something. So, you know, take put it on and
25:47
take one thing off that whole foliage.
25:51
But yeah, it was really in person, it was just like
25:55
phenomenal, it was so good and creepy, and the stunt guy that
26:01
did this is more like a Circus. Olay type of guy.
26:03
I said he could like really maneuver and do all these weird
26:06
creepy moves. So in person, it was like,
26:08
great, I love it. It's it makes sense.
26:11
That I said, it has rubberized to, I was wondering, I was like,
26:14
how did he do this terrifying. Yeah.
26:18
Equally terrifying, was this whole Asylum scene, which took
26:24
me off-guard, all the white and then white really became
26:29
unsettling in the show. Yeah, it did.
26:33
Then especially Arthur Harrow is all of a sudden, a little
26:39
psychologist. I guess I was like, oh wait,
26:42
hold on, this is different. Yeah, tell us about this, Asylum
26:45
saying a little bit. So the importance of this thing
26:49
was to obviously focus on Oscar in Ethan's characters that
26:55
they're portraying, but I wanted it to be like, overall, like
26:59
when the all of the Asylum members are together all the
27:01
patients, I didn't want them. Like I feel like in a lot of
27:05
like TV or movies. They always have everybody the
27:08
same look. But if you in reality that's not
27:12
like really how it is because you have, it's just the hottest.
27:15
So I wanted to make sure that each person had something
27:18
different on. I knew that I wanted it to be
27:22
like slightly off-white because I wanted to save the white white
27:26
for mr. Knight, so he had Oscar, has on
27:30
like a long-sleeve white shirt, but then the other components
27:33
are you Are awkward. And then with Harrow, if you
27:37
like look into his like, everything has a little symbol.
27:41
So his time has almost like a little teeny pyramids that are
27:44
like two shades. But if you look at it, the way
27:46
it looks triple of a scale pattern is constructed.
27:51
And then he wears sandals that are similar to The sandals that
27:55
he wears in, as Arthur harrow in all the other episodes, but
28:00
they're not the same ones. So that was like a big moment
28:03
with like Ethan and I like doing where the same ones or do we
28:06
change them up? So we change them up and they
28:09
didn't end up doing it. But when, when, well, you can't
28:13
see it with the throw blocks away, and if the blood is on the
28:17
floor, I actually put like an outlet.
28:20
Like, on the bottom of the shoe. Imprint is like a little
28:23
crocodile, did a close up on it. You would have seen that as
28:28
like, a little Easter egg, but it didn't show it, but it's
28:31
okay. Okay.
28:32
I was like, I don't think I would I miss that but and he has
28:39
on like it was just it was just more.
28:42
So like how can we make them similar?
28:43
Have Louise drugs but also have them be like slightly different
28:46
because it was more about. I mean, Oscars performance in
28:49
this is just like Beyond. Oh yeah, Emmy.
28:52
Yeah, before we get into our final character, there was a
29:02
little moment where we were in the Underworld.
29:03
Old. And there were some very
29:05
interesting characters coming out of the sand.
29:09
How much of this was part of your process?
29:11
Not underworld scenes. So when they're in the
29:15
Underworld now I realize that the do I.
29:17
So that is called the right, they word?
29:20
Yes. Anyone who's under there?
29:26
We actually physically dress someone and made them Sandy and
29:29
then they like scan them for CG. So all the people That are on
29:34
the boat that are coming up on the boat when Marcus even like
29:38
are fighting them. Those are all some people that
29:41
we like, okay, like the makeup and then the clothing and
29:44
everything was stand. And then they say gee they did
29:48
it with a hit and whatnot that obviously dcg.
29:51
So everybody under there, the only thing that we didn't do is
29:54
there was a couple of people when the boat passed and there
29:57
was like sand people like in, you know, in there from times
30:00
past, those are like the only people we do not do everybody
30:03
out. We said we had a lot and had a
30:06
lot of sand in our office. Yeah.
30:09
It's gonna say, it's like, what he could to the beach or
30:10
something? These were like, oh my gosh,
30:14
this and but they did it how they applied it and like, did
30:18
levels and stuff. It was really cool.
30:20
That's so funny. I also loved was the Scarlet,
30:26
Scarab Layla superhero outfit this.
30:31
I didn't expect her to become a superhero and I was Was so
30:34
excited for this look, I think I teared up a little bit when she
30:38
opened up those wings. I was like, okay.
30:40
Yeah, so ways, I mean, I have to tell you the wings make the
30:43
costume. Yeah.
30:45
The wings are like phenomenal. The winds are CG.
30:49
So, if you look, there's about like a 5 inch panel that it
30:53
comes down from the underarms. So that's like what the effects
30:57
wanted us to have is like a 5 inch panel so that they could
31:00
like that. We need a jumping point to do
31:03
the To do the winds. And I was like, okay.
31:05
So we did the 5 inch panel and it's Masterpiece was like
31:09
created, but everything else on her costume was created and made
31:13
and was practical and she could completely move in it.
31:17
The stunt people could completely move-in it like it
31:19
also for like the moon in the mr.
31:20
Knight The Stunt people all wore the costume like we didn't have
31:23
like seeds or grains. It's they bore the costumes
31:27
while they're fighting. Oh wow that's awesome.
31:30
That's great I love that because so often they're not Not
31:34
terribly practical, it seems like but I love that you were
31:38
able to make them practical and they they still look so
31:41
beautiful. Like I would not have guessed
31:43
that like they were able to do everything in these suits.
31:47
The there was like only a couple of scenes where they had to have
31:52
the harness on to do like flying scenes.
31:54
So for Scarlet, Scarab we made for the stock person.
31:58
We made a soft version of the top of the corset so that
32:03
Because the mother was so sick, like, we couldn't actually go
32:06
into it. So we made a, we made a soft
32:09
version then then that was like, hand painted and everything.
32:13
So just so it would be as similar as possible but other
32:16
than that they wore them. That's amazing.
32:19
And talking about Layla's looks too when she was not the
32:22
Scarlet, Scarab. She also kind of had that
32:24
adventurous gave me like, oh my gosh, so Elizabeth, what's her
32:28
name? Evie, but mommy.
32:29
Yeah, so cool. I love her talk about her style
32:36
with her. It was the director for episode
32:39
like 1 3 5 & 6 is Egyptian and it was very important to him to
32:45
always have this character be very like Egyptian but I thought
32:49
really hard for the fact that like Leila's and live a story,
32:52
she's Egyptian but then she like left and moved to London and but
32:56
also is like a world traveler. Yeah, any coming-of-age story
33:01
that like you, do you grow so much?
33:03
Like 16 to 20 and then 20 to 24 and then 24 to like 30.
33:08
They those are different points in your life.
33:10
So I wanted to make sure that she didn't just represent.
33:13
It was very important that she represented Egyptians, but
33:16
Egyptians and other cultures and like living in other cities
33:19
because how do you adapt from like what you've been living in
33:22
and then adopting to a place like London, which is like
33:26
completely different? What was the other location of
33:29
that in her style? So in the jacket that she she
33:33
wears an episode 2. If you look it has kind of a
33:38
similar shape to what this course it is that the chest
33:41
where the gold and the white meat like there's like a kind of
33:44
a little um just the way if you go back and look at this with
33:48
that is and so is important to bring kind of like that as well
33:52
as Tower X like shape and with a Scarab and then her and like
33:56
into this into the spinal up and it's almost like the
33:59
Contemporary. I wanted to have a little bit
34:01
more color but she also like it was Important that she was 40
34:06
and I didn't want I pushed very hard with every with everyone to
34:12
not have it also be that stereotypical super skin, tight
34:16
skinny jeans with the leather jacket because we're not doing
34:19
that anymore from the stereotypical action figure to
34:26
like move forward. And also with made like she's an
34:30
amazing shape. She did like a ton of her own
34:32
stunts and I To show off her arms.
34:34
I wanted to show her like teeny tiny waist, and so is about like
34:38
balancing that out and having she's a lot of texture in her
34:41
hair. So like that we won't put as
34:43
much texture in like every single piece.
34:45
And so I texted a lot with the accessories and the accessories
34:49
had like symbolism, like The Serpent and different parts of
34:52
her of her rings meant different things.
34:55
So and then some of it was just cool, like, everything.
34:59
I mean, everything didn't have a symbol.
35:02
Yeah, whatever. One of my favorite looks for her
35:05
was when they were in the desert and she has that like that, like
35:07
tannish gold zip up and a black shirt that I was like, I think I
35:12
need that. That looks so cool.
35:16
I wish you could have seen the back of the vest that she has on
35:20
because it's completely cut out. And then there's like the Bell
35:23
is like holding it like in and talks and chicken voices.
35:26
Like he's very cool like silhouette on the back but that
35:30
fabric is actually military fabric that I found in.
35:33
Yes, and I just made a best, so I love that.
35:39
I just made him put it together. Just just the coolest best after
35:44
800 plus piece pattern. I'm sure a vest was probably a
35:47
breath of fresh air. So my entire tailoring
35:53
Department in Budapest was like, phenomenal, because we couldn't
35:57
because of Cogan, we couldn't get like a lot of shopping and
35:59
stuff and the getting thing making a long time.
36:02
So we met Like so many contemporary pieces that you
36:06
normally wouldn't make on, you know, for the Contemporary
36:09
characters. So it was really cool that we
36:10
were able to do that. Yeah, oh my gosh, I love that.
36:15
We asked for audience questions. I want to get like I did see it
36:19
on it. Yeah, I'm trying to find ones
36:22
that you. You will like, for example, one
36:24
of them's, like what's your favorite costume?
36:26
People have been asking and you're like, how do you pick one
36:29
child? It's hard to say because I love
36:34
so many. I've never gotten like emotional
36:37
about a costume like I've never but there's a couple on this.
36:42
It was like oh marks look with the white jacket.
36:45
Like that's absolutely the poster like I know that that's
36:47
in the Smoothie like that's in the show like I absolutely know
36:49
what it is. I was very excited about Tara
36:53
like every single person in my apartment like touch that
36:57
costume in a way like the metalsmith, the leather worker,
37:00
the Taylor's I had like a In house painter, who was like
37:05
painting things on it. Like, a lot of people work done
37:08
it and it was it just like got better and better.
37:12
So that was amazing. I mean, obviously the Moonlight
37:14
in the mr. Knight costumes were great in
37:18
like, yeah, I feel like I'm gonna is the underrated costume
37:20
because in person, it is like, a sensation.
37:24
It's not underrated here between these two pretty, it's pretty
37:31
exciting and because Elizabeth You know, I look Egyptian,
37:35
ancient Egyptian history, like I pushed for that dress up and was
37:39
like, I don't understand what that is and I was like it isn't
37:42
it is from ancient Egypt like we its historical and it was so
37:50
well that question was from know it's Captain Chunk on Tick-Tock.
37:54
So thank you Captain, Chunk another, I'll just quickfire a
37:59
few questions here. Google, loopy and zap.
38:03
The mom take talk. I'm sure that's absurd.
38:07
They want to know. Was there any other Inspirations
38:09
behind a costumes besides comics and Egyptian mythology?
38:14
So, besides the obvious ones like a question, I think like
38:20
the cult leader thing with Arthur Harrow that was
38:22
definitely an inspiration and it was mainly like that would be
38:28
the off the cusp that the a wall type of one that wasn't age.
38:33
Egyptian. I don't know.
38:35
I always have like somebody random weird thing that I like
38:37
get inspired by and I'll have to think about it if I think about
38:41
it all even if there's any. Yeah.
38:43
Definitely. The hair thing.
38:45
Okay. You could comment on Tick-Tock.
38:47
If you have Tick-Tock this one, what I thought was hilarious,
38:51
but I'm trying to think so sharp and Dapper wants to know.
38:55
Did you ever have a problem with?
38:57
I'm guessing Oscar Isaacs shirt. Sting tucked in.
39:01
We remember, sir, Being typed in think about if we put like
39:06
sometimes, sometimes all we can do is we can put buttons the
39:10
inside of the shirt and the trousers.
39:12
So it stays buttoned in we might have done it on the front but
39:17
when we had a lot of action and we had a lot of stunts, we put
39:22
on the on the waistcoats on the best.
39:24
We put like a stretchy back so that they could do all of their
39:27
action and that kind of held the shirt in interesting.
39:31
But that was when the checkered jacket was on The jacket comes
39:34
off and the jacket originally was not supposed to come off but
39:38
then when we did enough you're doing with a camera test or we
39:44
were doing something and Justin and Erin just a method are more.
39:51
Had they did to episode 2 and 4 and they're like oh Oscar if you
39:54
like roll your sleeves up because that is something from a
39:57
comic and when I like I'm very soft.
40:00
I'm like very observant of like what's happening and all the
40:03
sudden my What had webs around him.
40:04
Like no. Stretch your back anymore.
40:06
Like he's so Oscar. Never had that but I feel like
40:12
it was. Okay, surprise.
40:13
Surprisingly, the front we always were like, constantly
40:16
kind of pushing down but other than that and just one final
40:21
question, which I think is a great one and tallix underscore
40:25
D on Instagram. Wants to know what part of
40:29
Designing costumes for Moon night, was the most fun for you
40:33
almost. Fun.
40:33
That's a great question because most the time I went up to see
40:35
what was the most challenging, the most fun I think is that I
40:39
just got to make almost everything build build from
40:43
scratch, everything. So that doesn't really happen
40:47
unless you're doing a period show and because it was so much
40:51
contemporary, I just had like such a great time mixing up a
40:54
lot of patterns, lot of pattern pieces, working with said, my
40:59
team and figuring out how far I could push it.
41:02
There was There's one Taylor that I had in particular, and
41:08
she would always be, like, I'll take this out.
41:10
I like the chat, like the challenging things.
41:13
It's okay to take a challenge. Like, you can't be spoken to the
41:19
wrong person. Yeah, be careful what you ask
41:22
for. I will absolutely what like you
41:24
will do and she did like the Concha.
41:27
Costing was like very hard to construct so she didn't khonshu
41:31
and Tower at and The late, she's a lot of the lady would like
41:35
card, jackets in the vests and stuff.
41:38
So she did a lot of the trickier things and I'm very grateful
41:42
because it was one, Meghan is so good to talk to you again, that
41:46
we love the show. It was so, so, so, so much fun
41:51
and we're just such big fans, and I'm so grateful that you
41:54
took the time to talk to us about this.
41:56
Well, thank you so much. I hope you're feeling better and
42:00
I'm sure I'll be seeing you soon.
42:02
Would you be? Tootie's a thing you have coming
42:05
up in the future or we keep it on the down low for now.
42:08
Oh no, this one. I'm allowed to say what it is
42:09
and I want on Alex Garland's. Next film called Civil War, Alex
42:16
garlanded ex-mafia. So I'm doing currently doing his
42:20
movie. Oh, great.
42:22
Hey, we will keep a lookout for that.
42:24
Very excited and thank you, Megan.
42:27
We will let you go now and we're gonna go re-watch Moon night,
42:30
100 times. Cuz yeah.
42:34
So right, I feel like that's the thing you miss so much the first
42:37
watch through we go. Watch it again, so good.
42:40
Thank you, Meghan. This is so much fun.
42:43
Thank you. You're out of costume.
42:49
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42:57
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