Latest / The Art of Costume Podcast / The Color Purple with Costume Designer, Francine Jamison-Tanchuck

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The Color Purple with Costume Designer, Francine Jamison-Tanchuck · The Art of Costume Podcast

• 0:11
  And she likes walking strong and and wanted to have the certain
• 0:16
  boots that she could do that. And and I like, love the idea of
• 0:20
  when she kicked that door and that was really fun for me.
• 0:24
  You can see the boots, the the stockings and all of that that
• 0:28
  she kicked the door. You got a full view of the
• 0:32
  entire thing, the. Entire thing.
• 0:43
  Hello, welcome to the Art of Costume podcast.
• 0:45
  I'm Elizabeth Joy Glass. And I'm Dan White.
• 0:48
  Welcome, Dan. Yeah, special appearance.
• 0:52
  How are you doing? I'm doing great.
• 0:55
  How about you? Not too bad, you know.
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  It's winter time, just chilling at home.
• 1:00
  East Coast, That's pretty much all there is to do, I feel like.
• 1:03
  Yeah, that's the sad part. Yeah, yeah, but I'm so happy to
• 1:09
  have you here. Spencer unfortunately couldn't
• 1:13
  make it, but it's always fun when you're on.
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  I know I got to sub in for once. Yeah, you're usually you're
• 1:21
  usually just like you're a guest or you're just like hey, popping
• 1:24
  in for a second. But no, I know you're you're
• 1:27
  here for the whole intro. So this week we watched The
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  Color Purple 2023 and I'm very excited about this one because
• 1:41
  Spencer is not entirely gone from this episode.
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  Spencer interviewed the amazing costume designer Francine
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  Jameson Tanchuk and I am just so excited.
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  This is an incredible interview. But before that, Dan, do you
• 1:59
  want to give us a summary? Yeah, of course, through the
• 2:03
  unbreakable bonds of sisterhood. Celia is able to.
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  Face the many hardships in her life and finds the strength and
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  hope she needs. To build the life she hoped.
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  For and deserves. How was that for my first
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  summary? That was actually pretty good.
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  It's actually very good. If you have not seen The Color
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  Purple, go watch it. It's on Amazon.
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  You can go rent it. It's, I think it's going to be
• 2:28
  on HBO Max soon. So go watch it and enjoy the
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  incredible costumes. And this week, as we go find the
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  costumes, we have director Blitz Bazwali and as I said before,
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  costume Designer Francine Jameson.
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  Tan Chuck, You will know her work from White Men Can't Jump
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  sister Act 2. Back in the Habit Corinna
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  Corinna Virtuosity. Courage Under Fire.
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  Big Mama's House. The Birth of a Nation Detroit
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  One Night in Miami, For which she received a Costume Designer
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  Guild Award Emancipation. And this year she is receiving
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  the Costume Designer Guild Career Achievement Award.
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  Without further ado, here is Spencer's interview with
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  Francine Jameson Tanchuk for The Color Purple.
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  I am so excited to welcome costume designer for The Color
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  Purple, Francine Jameson Tanchuk.
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  Hi Francine. I'm so excited to meet you.
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  Hello, how are you Spencer? It's great to be.
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  Here, of course. Well, I we were just talking
• 4:07
  behind the scenes, but I love the film.
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  I've been so excited to talk to you, so let's get right into it.
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  Typically, I start these interviews by asking about your
• 4:17
  familiarity with the source material.
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  But just a few months ago, I interviewed my good friend Aggie
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  Rogers, who had so many good things to say about you, and I
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  had not realized at the time that you worked on The Color
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  Purple with her. So yes.
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  It was a joy to work with Aggie, really.
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  Yeah, Can we just take a moment to reflect on that?
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  What did that look like? What was your role in the
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  original film? My role on the original was I
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  was considered the ladies costume supervisor.
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  This in those days there were two supervisors, one for the for
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  the ladies department and one for the men's department and Don
• 4:53
  Vargas was on the men's side. But for me, I was also helping
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  Aggie to pull vintage clothing from the costume houses.
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  My job was to dress the the background players and day
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  players and also to assist her in some of the fittings and
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  whatever swatching of fabrics that she needed.
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  I I was pretty much also acting as an assistant costume designer
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  even in those days I feel it and and Aggie knew my love for
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  period it outfits and period costumes.
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  So she was really, really wanted me to work with her on sourcing
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  a lot of those things. Sound like an incredible,
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  incredible opportunity back then, and it turned out into
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  this incredible Oscar film. So it's.
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  Like talking about, you know, coming full circle back around
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  is, is. Just.
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  Amazing. Yeah, when she told me that I
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  was like me and the Francine. I'm getting ready to talk to you
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  in a couple weeks. So.
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  So now, years later, it's your turn to be the costume designer
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  on The Color Purple. So what was your initial
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  reaction when you were like, I'm doing The Color Purple you must
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  have been like? It was when I was approached to
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  do it. I got the phone call from Blitz
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  and he thought if he said to me, oh I would love for you to work
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  with me on this new version coming for Of The Color Purple.
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  And I thought The Color Purple, Oh my goodness, it was at first.
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  Do I dare? Do I try and do I do?
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  Yes. I would love to be a part of it.
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  Yeah, it's almost feels like like this was, it was all
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  leading up to this, almost like you were just gearing up for it
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  this entire time. Exactly, really.
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  So I want to talk about your collaboration with director
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  Blitz Bazzuli. What did that look like in this
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  film? Blitz is such a visionary and to
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  me he has such an eye for color and texture detail and and it it
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  was so important for my meeting with him constantly because we
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  wanted to make sure that the arc of art the characters was
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  properly being introduced and properly going just on this
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  journey. And the colors and textures were
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  so important to tell the story of Celie where she or the abuse
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  in her life and and of course finding her true self and and
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  and also toward the end and and just making sure and and knowing
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  that she is beautiful inside and and I think having that the
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  start bringing Celie through these different eras was also
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  bringing her through that journey and it was a journey
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  that took many years for her. But I think sometimes it it has
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  to happen that way. I don't think you could just
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  turn on itself and just turn the tide and and and for it to be a
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  a a quick fix. I think you know people we're
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  all human beings and we have to learn from certain things and it
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  takes others much longer to learn.
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  But as we're going through the journey of it it, it was
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  important to tell the story of where Celie was in certain her
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  clothing and the and the styles and and the colors until she
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  received that beautiful dress from Suge.
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  I think that was a moment for her it it really brought said to
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  herself that I'm worth it that I I really feel that I'm worth it
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  with this and and that's where we ended up having because of
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  that outfit and it it it had to speak to Sealy the audience it
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  had to say something for the it's a kind of a pivotal moment
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  really for for Sealy and when she descends the stairs and Mr.
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  was even looking at her it it it was really kind of a a nice turn
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  of events that were taking place.
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  Sealy was very happy or beginning to feel her worth.
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  Yeah, that feels like a big moment where the costume design
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  was really a big player in the storytelling through the film,
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  which is one of the reasons why I love costume design.
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  Yeah, and. I do too.
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  Well, the film starts with a young Nettie and Celie.
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  What sort of research did you do in preparation for The Color
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  Purple? Because as you mentioned that
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  this story takes place over a wide time period, it goes
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  through many, many years, so I imagine you must have had to do
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  quite a bit of research. Though you did mention you're a
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  fan of periods, so I'm guessing you were ready.
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  At first I thought I wanted to major in history when I was in
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  in school but I thought well I I love costumes so much and and
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  the making and the creating of them so I was able to to blend
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  my my different likes and all that.
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  But for for me I have an extensive library of my own at
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  homes of of wonderful books that I have gathered all over the
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  place and and but online sites such as Pinterest was very
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  helpful in in researching a lot of the the errors that we had to
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  go through and just to see what could happen with people and I'm
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  not into trying to be so rigid within the period.
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  I like the idea that people are human beings.
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  Someone did something different in those eras.
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  So why do let's break out of it a little bit just to show the
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  the story and the and the character on on what this what
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  we can achieve with a costume in the time in the framework of the
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  historic time. But and also it's important to
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  to tell the story for the character.
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  So this is what I like about researching because you can look
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  and see that the diversity on on human beings doing what they
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  were doing in in certain eras. I was just kind of blown away by
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  it, especially researching for Suge's outfit in the in the the
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  early to mid 20s how the ladies were very risque and in the
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  entertainment it was, I mean to almost practically nude and and
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  mesh see throughs and it was just amazing.
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  Well, let's talk about Suge Avery.
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  Taraji P Henson plays Suge, and she is such a vision every time
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  you see her. I mean, it goes well to
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  character. You see her in those costumes,
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  You're like, well, yeah, that must be Suge Avery.
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  She brings of her a ton of fun, extravagant costumes.
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  So you started to talk about, but what was really your process
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  in working with Suge? The process for Suge when Taraji
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  arrived in for the first fitting, because we had several
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  fittings of course, because all the different costumes and went
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  through the different eras. But Taraji was very supportive
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  in allowing me to do what I do. And there were times that she
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  the only input is if certain things were not going to be
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  comfortable for her to do a dance or or that you know,
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  certain shoes were just not working on her feet.
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  But these were only for comfort things, not for as much as
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  style. She left a lot of the style to
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  to me and also to to blitz for us to decide how to bring this
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  character, Suge Avery onto the screen again.
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  And she was very open to so many different suggestions and it it
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  and Taraji is the the beauty about Taraji anyway, you know,
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  physically and emotionally and all of that you can do those
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  things. And she is kind of open to all
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  the big hats of of the 1900s and all of the things that you
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  wanted to do. So she was a a very willing
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  subject. She was having fun and playing
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  dress up a. Lot of fun.
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  Well, it really comes through on screen for a large majority of
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  this film of Fantasia. Barrino plays Seeley, who is
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  absolutely incredible and really is the heart and soul to this
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  story. So tell me about your
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  collaboration with Fantasia and bringing Seeley to life through
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  costume. Well, Fantasia is another.
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  She really relied on me to speak the character to her, to really
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  say that this is Sealy and and also I like doing what is called
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  mood boards, collaborate, just having different research picks
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  and different to set a mood on on a costume board and everyone
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  and delve for the different characters.
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  I made-up one for all of them and that was in the very start
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  before anything started going into fabrics and and the
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  creative part of it and all this making patterns but for
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  Frantasia, just to let her see the the journey of the costume
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  when taking all of it through the era.
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  And she was so open to that and she loved the idea that someone
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  would take the time and you know, to really show that is
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  especially to to make this to to bring Seeley in to life on
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  screen and and where she wanted to take Seeley.
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  And she was very informative and supportive as well because she
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  would let me know what I don't. I know that I want to take her
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  character in this particular way and so we work together on that.
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  You know I think that's great. I have just the thing let let's
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  you know I'll come back with you for something else and then and
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  we will go from there and and also of course our Dear Blitz
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  who has such a wonderful vision of color and texture and and
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  just the input of how he wants those characters how he wants to
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  take them through this arc and this journey.
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  So that for Fantasia she was another that was just very open.
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  They all have the entire cast. Halle Bailey and Felicia, Cory,
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  Sophia, I mean Danielle Brooks, every, every last one really
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  trust my idea on what this character and what these things
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  are going to do. Even our wonderful, wonderful
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  Mr. Louis Gossett Junior who is my goodness he has more films
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  and he relied on on my vision on what that what old Mr. would be
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  and Coleman Domingo he he would just hear.
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  He says Here I am, just put me into the character.
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  Yeah, it leads me to my next question, actually, Coleman
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  Domingo, who I love, and Corey. Hawkins.
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  Oh, they're both so good, this father and son duo.
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  My gosh. Yeah, Mr. and Harpo, who are
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  father and son. We haven't really talked about
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  the men's costumes yet. So how did you approach their
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  costumes? It's a little bit of a different
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  ball game. Well first to rely to see what
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  is Mr. Where are these the the characters.
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  They are in a small southern town starting in the early 1900s
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  and you and they're pretty much farmers so their outfits have to
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  they they have to work for doing farming which boots and and old
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  work hats and things like that that they can use.
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  But also Mr. had a a way of being very proud of who he was.
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  I mean he would the you know the style that he carried he he felt
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  very masculine and and cool in his boots and and the his
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  ruggedness and and his old kind of western farm hat.
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  No, you know, he he liked that idea.
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  So he was looking at himself as a quintessential ladies man in a
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  way. And with Corey, because we have
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  Corey's character starting off as a child.
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  And I thought it would be wonderful to put young Corey
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  young Harpo in the breeches of 1900 and still have him in it
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  even though Corey that when Corey himself comes in as Harpo
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  he's still in them in 1917. So he hasn't really matured
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  enough stand up to his dad so he eventually he he does.
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  So it it was making that particular, having that idea of
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  telling that story that when Sophia comes in and she meets
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  Mr. and old Mr. and she just pushes her way into the into the
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  bar area. And Harpo is still a little
• 19:14
  unsure of himself. So I wanted his clothing to
• 19:18
  continue to reflect that about him.
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  But as he got older, of course, and he gained the Juke joint,
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  something that happened later, especially in the end of 20s,
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  and all that he he grew to have on his long trousers.
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  So he was coming into himself and standing up to his father,
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  something that his father didn't do with his father.
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  It it was like, you know, I think Harpo kind of broke that,
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  that chain of, you know, standing up for the person you
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  love. Yeah, I didn't.
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  I actually didn't notice that the first time I watched
• 19:54
  through. But I love that little note
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  that's in the storytelling of the costumes.
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  I'm going to go back and watch and look for for harpo's pants
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  now. So there's a lot of movement and
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  dancing in this story. So how did you and your team
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  work together to make sure these costumes also work with the
• 20:12
  choreography? There's a lot of dancing.
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  Oh my gosh, yes and and working and just put.
• 20:19
  Tina Robinson was incredible. She would send us a a video on
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  how all the dance numbers were being choreographed in and she
• 20:28
  wanted me to specifically see that because of the costumes, we
• 20:32
  didn't want to have any restriction on the movement.
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  We wanted the the dancers had to continue to be able to move with
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  the costume and the costume had to hold up somewhat which in
• 20:46
  many ways sometimes they didn't and and the one of the costumers
• 20:50
  on set were great in in repairing and and trying to give
• 20:56
  the dancers some extra sturdiness or some type of the.
• 21:03
  The costume being a little bit more body to it in order for
• 21:09
  them to go the distance. Because sometimes we didn't have
• 21:13
  a lot of the budget for them to be doubled or tripled.
• 21:17
  So they had to really be able to stand up over all of the dance
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  numbers and the different ones, and thank goodness, so you.
• 21:27
  We had dance numbers in every era and every era.
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  And the wonderful thing about going to the floor and you say
• 21:33
  they wear trousers, the women can wear pants.
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  You're like, thank God. Well, it worked out beautifully.
• 21:48
  So I have one more character I want to talk about, which is, of
• 21:51
  course, Sophia, played by Danielle Brooks, which?
• 21:53
  Oh my goodness. She is so good, so good,
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  deserves an Oscar but I probably shouldn't say that she brings a
• 22:01
  whole lot of fun and energy to this film.
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  Sophia, but she's also such an integral character to to the
• 22:07
  story where she goes through some really traumatic events as
• 22:10
  well. So how did you approach her
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  costumes? Because you really had to show a
• 22:14
  variation of emotions and storytelling throughout her span
• 22:19
  of the film. Well, Bliss and I wanted to keep
• 22:22
  Sophia also in her femininity. She's a a a strong character to
• 22:29
  to to reckon with. But at the same time Danielle,
• 22:35
  the Sophia love being Sophia. She loved being a girl and we I
• 22:41
  wanted to show not to have her outfits, so to be strong as as
• 22:49
  well in color or any of that. Because we are also dealing with
• 22:53
  an era where she came in what in 1917 and I I really still wanted
• 23:00
  to show that particular era when she is coming in because some of
• 23:03
  those periods 191719222324, they were almost in close relation in
• 23:12
  a silhouette to one another. So I wanted to keep Sophia's
• 23:18
  costumes and a little bit more light and color something that
• 23:24
  the the the colors and the tone reflect Sophia's complexion that
• 23:30
  beautiful skin tone of hers and and and forward to to work
• 23:36
  because I mean she likes walking strong and and wanted to have
• 23:40
  the certain boots that she could do that and and I like love the
• 23:45
  idea when she kicked that door and that was really fun for me
• 23:50
  but you you can see the boots the the stockings and all of
• 23:54
  that that she kicked the door when.
• 23:57
  She got a full view of the entire thing.
• 23:59
  The. Entire thing and and I like the
• 24:02
  idea of some of these little frumpy hats with the flowers
• 24:05
  that are that was shaking on on it as she was moving.
• 24:09
  So it it was a combination of still keeping Sophia's her
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  feminine Wiles and all of that about her because she likes you
• 24:21
  being a woman and and a wife to to Harpo and and a mom but at
• 24:28
  the same time she's not going to have anyone lessen her strength.
• 24:33
  I mean she she knew how strong she was she knew her strength
• 24:37
  and doing things and and that's why it was so hard when she got
• 24:41
  arrested when you see her in jail and that was almost a that
• 24:46
  was a teary moment for me even when we were shooting it.
• 24:48
  I I had to kind of walk away from the monitor a bit because
• 24:53
  it it that performance is just so in incredible.
• 24:57
  When she says, you know don't leave me here, you just feel Oh
• 25:03
  my gosh, it it it was it it was really a a heartfelt thing
• 25:10
  because you're wondering are they taking Sophia's spirit?
• 25:15
  Is it seemed like her spirit. It wasn't crushed, crushed, but
• 25:20
  it did go through a a moment. It it more than than a moment
• 25:25
  really, but it it you were just hoping that this cannot happen
• 25:31
  to this wonderfully strong, beautiful lady.
• 25:35
  And in the end, what she did not want is to be a maid.
• 25:38
  And she ended up being a maid for Miss Millie.
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  And I wanted the the dress she came out of was dated into the
• 25:46
  30s. But it it was something of the
• 25:50
  color and the texture of it and the and the and the little hat
• 25:54
  on her head was just speaking how she was feeling at that
• 25:59
  time. But as as things went on the air
• 26:03
  is go on and you see her also in Miss Sealy's pants and they all
• 26:08
  just really blossomed their their whole character and
• 26:14
  emotions just really took another turn for for me as doing
• 26:21
  the costumes. Right.
• 26:23
  It it really is a hard moment to watch.
• 26:26
  I mean, I know when I saw everyone around me was crying
• 26:28
  and clue myself. It really is.
• 26:31
  And it was even harder Spencer to me.
• 26:33
  It was hard watching it when Blitz was directed.
• 26:36
  I'm sure it was really a moment. Yeah, but then like you said,
• 26:41
  the costumes really add to this. Almost a moment of like,
• 26:45
  awakening where they're all able to get their spirit back and
• 26:48
  just really rejoice and come together toward the end.
• 26:51
  So it's really quite beautiful. Yeah.
• 26:54
  So there is a quick dream sequence on the beach and we see
• 26:57
  this incredible parade of traditional African costumes.
• 27:01
  It's only there for a quick minute, but it is stunning.
• 27:05
  How did you and your team pull this together?
• 27:08
  Well, the one thing is of course our Dear Blitz was very
• 27:12
  instrumental in that because these costumes were Ghanaian and
• 27:18
  the the fabric that was used was kente cloth which has been
• 27:23
  around for thousands of years. So it was the the the weave, the
• 27:27
  strip weaving of Kente is and the color of it and the beauty
• 27:32
  of it is just amazing too. And Blitz introduced me to a
• 27:37
  dear friend, a partner producer of his that lives in Ghana, Mr.
• 27:41
  Boutang. And he was so instrumental in
• 27:45
  guiding me through what would work for that era and to stay
• 27:48
  within the culture. And that was really very
• 27:54
  helpful, very, very helpful. And I just say thank you Mr.
• 27:59
  Boutang 'cause he was wonderful in doing that and and the idea
• 28:04
  of the the the scars surround their waist you know that they
• 28:10
  can that's moving with the dancers it it was just all of
• 28:15
  the that inspiration plus and looking into research as well
• 28:19
  but knowing a little somewhat about the kente cloth of of
• 28:26
  Kenya of Ghana and it was just how that fabric we had to have
• 28:32
  really the real thing it it it cannot be something that is so
• 28:36
  printed maybe toward the end of the 40s it could be it started
• 28:41
  becoming that but in the 1910 with Sealy's imagination because
• 28:48
  she's going with the imagination of what Nettie introduced her to
• 28:51
  from school so we so that imagination of her she has to
• 28:56
  see the color and the amazing things of the African people and
• 29:02
  and the and the culture of it. So that one was just A to me,
• 29:09
  like Blizzard, it was a labor of love.
• 29:12
  It really was. Yeah, it was beautiful.
• 29:14
  I I I felt my jaw hit the floor when I saw it.
• 29:18
  I just couldn't believe because it was just like that too.
• 29:20
  So it was like, whoa, what? What did Francine just do there?
• 29:23
  That was incredible. Toward the end of the film.
• 29:26
  Well, the end of the film, we see Celia and Nettie come
• 29:29
  together in this beautiful celebration, and I believe
• 29:33
  everyone was wearing white. So I was wondering what you what
• 29:37
  you were intending with the use of the white.
• 29:40
  First off, Blitz and I felt that the white for everyone to be in
• 29:45
  white it. It also gave an opportunity for
• 29:49
  Sealy's beautiful quilts to shine on the table, so if
• 29:53
  everyone else was in certain colors then we wouldn't see
• 29:56
  those wonderful quilts as much. And then we also thought it was
• 30:02
  a moment for Sealy to end up back in white from her time as
• 30:08
  young. Sealy and Nettie, Of course, in
• 30:10
  neutral white colors in a way. But they're both ending.
• 30:15
  They're back to where they were, let's say, from the beach.
• 30:19
  And it's a, it's a nice circle back around that the purity of
• 30:24
  their their friends, of their love for one another as family
• 30:30
  and friends and all of that around the table.
• 30:33
  So and and and the inspiration that I have for Miss Sugar
• 30:37
  Avery's 1946 jumpsuit was a image that I I saw online.
• 30:45
  I thought it was just remarkable.
• 30:47
  I wanted to do it with another different print, but in the end
• 30:52
  Blitz and I decided, oh let's do polka dot.
• 30:54
  So that was how that came about. But to see everyone around the
• 30:59
  table in that white or cream or the neutrals was just it it it
• 31:04
  was nice. It was a nice moment.
• 31:07
  Yeah, it was a perfect full circle moment that really just
• 31:10
  tied the whole thing up in like this beautiful bow.
• 31:13
  And with that, Francine, The Color Purple was a magical film.
• 31:17
  And I just want to ask you, what do you hope audiences take away
• 31:20
  from seeing The Color Purple? I think to take away that we all
• 31:27
  have the possibilities to go through some hard some hard
• 31:35
  times in life some tragedy some or the you know certain things
• 31:39
  may not what Seeley went through but there are people who have
• 31:44
  gone through those things and and it what I like for people to
• 31:48
  take away is that there is there can be a new day that dawns for
• 31:54
  everyone and we're all on this planet together.
• 31:59
  And I would like to see us all just respect and care and and
• 32:04
  and be there for one another because this is the only that
• 32:09
  are this Little Rock that's going through the the universe
• 32:14
  and we're all on it. We're all on the same journey
• 32:17
  maybe and taking different paths but eventually the the journey
• 32:22
  is has a stop and how we want to go from birth to to that stop.
• 32:32
  I think it's all up to a lot of us as individuals.
• 32:36
  And looking back on now that you've seen The Color Purple, I
• 32:39
  hope and what just what does, what does this experience meant
• 32:43
  to you? Now as we mentioned it's kind of
• 32:45
  a full circle moment. So looking back on it, just how
• 32:48
  do you feel? I just feel really blessed,
• 32:52
  Spencer, to have gone on the journey with Aggie in 1985.
• 32:57
  Like you said, I think it prepared me for this moment as
• 33:00
  well and and like I said it, it's and to me it.
• 33:05
  I felt I was divinely LED because it it it does feel as
• 33:13
  though it was many ways meant to be.
• 33:17
  Wow, the costume designer Francine Tanchuk, Thank you so
• 33:20
  much for talking with me. This has been such a joy.
• 33:23
  Thank you so much Spencer. It's been a joy for me as well.
• 33:41
  Hi, this is Dan, audio engineer of the podcast here to let you
• 33:46
  know that if you wanted to support the show.
• 33:48
  You can head over. To theartofcostume.com Podstore.
• 33:54
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• 34:03
  baby onesie. Thanks for all your support.
• 34:27
  Daniel, I love that interview. How about you?
• 34:32
  I know she's so amazing. She had so much good info.
• 34:35
  I know. And it I think it's just so cool
• 34:37
  how this movie was a full circle moment for her after she was an
• 34:40
  assistant on the original. Yeah, true.
• 34:44
  If you would like this, we would love to hear what you thought.
• 34:47
  You can leave us a voicemail at 626-515-1826 or e-mail us at The
• 34:55
  Art of Costume at gmail.com and next week we are going to be
• 35:02
  watching a many time requested TV show.
• 35:07
  We are going to be watching all five seasons of the Marvelous
• 35:11
  Misses Mazal. In the meantime, if you would
• 35:15
  like some more content from us, you can visit us on Instagram at
• 35:21
  the Arctic Costume Pod on TikTok at the Arctic Costume.
• 35:25
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• 35:28
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• 35:32
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• 35:35
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• 35:38
  And as a last note, we are updating our YouTube channel.
• 35:43
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• 35:44
  Com slash at the Art of Costume. We're trying to update more
• 35:50
  videos on there that actually show the costumes that, you
• 35:56
  know, we're all talking about throughout the interview or, you
• 35:58
  know, the episode in general. So yeah, definitely check that
• 36:02
  out. Subscribe, Like, comment.
• 36:05
  We appreciate all of that. Yes, Daniel, thanks for joining
• 36:09
  me today. Yeah, I know it was quick, but
• 36:12
  you know, I'll definitely try to show up for more of these.
• 36:16
  Yes, absolutely everybody. Goodbye and have a fantastic
• 36:21
  week. Bye, bye.
• 36:27
  The Art of Costume podcast is hosted and produced by Elizabeth
• 36:31
  Joy Glass and Spencer Williams. Our audio engineering and
• 36:36
  editing is done by Dan White. Follow us on TikTok at The Art
• 36:41
  of Costume and Instagram at The Art of Costume Pod.
• 36:45
  If you want to support the show, go to
• 36:47
  theartofcostume.com/PODstore. For more podcast updates,
• 36:53
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• 36:58
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• 37:03
  best in costume design.