Latest / The Art of Costume Podcast / Romeo + Juliet

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Romeo + Juliet · The Art of Costume Podcast

0:12
Yeah, I thought maybe I was like, oh, he's not gonna drink
0:15
the poison. It's gonna be like a Quentin
0:18
Tarantino ending where everything's different.
0:20
No, no, they both died. I was like, okay, on my clown
0:25
wig and clown of the muffling, what did you expect it was Romeo
0:30
and Juliet throwing through, you know, right?
0:43
Hello, and welcome to, the are accosting, black-ass times with
0:45
joy, glass and thy name is Spencer Williams.
0:51
Hi Spencer. Hello.
0:54
I've been practicing my Shakespearean and it's not
0:57
working. You've been practicing your old
1:01
Shakespearean English. Yeah, it's real fun.
1:04
Yeah. Really getting into Shakespeare
1:07
month, right? I've said this before.
1:09
I wish we still. Like that old English dialect.
1:13
If he fun this movie that we're about to talk about really like
1:17
reinforce that for me. Maybe maybe were you up here in
1:25
the like a Shakespeare play? I actually don't think I ever
1:29
was. The one year the Year, my high
1:32
school does a Shakespeare play. I either didn't get in it or it
1:38
wasn't old enough, hmm, But I remember helping with the
1:43
costumes for it. Well, in A Midsummer Night's
1:46
Dream there, you guys are feeling great and I think it was
1:49
a High School production. I remember in drama class doing,
1:54
I think it was either. I thought, maybe Hamlet and
1:59
Romeo and Juliet for sure Romeo and Juliet, I think I was tibble
2:03
tibble, you were to think so. But I'm ready to bet money on it
2:09
but it was just like in a classroom and for some reason it
2:12
took us like several weeks to get through the entire thing.
2:16
No interesting. I don't really remember how long
2:19
it is but I'm guessing the book is pretty long.
2:22
I mean it's a play so it's not yeah, too terribly long have
2:26
imagined a bunch of like 6th graders trying to read Romeo and
2:30
Juliet my gosh. No.
2:31
Thank you. Okay.
2:34
All that made sense to me. Yeah, I actually love
2:40
Shakespeare like I love Shakespeare, I took my freshman
2:43
year of high school. I took a Shakespeare class which
2:47
I was really annoyed my senior year I found out.
2:49
It didn't count towards my extra credits to graduate if I was
2:54
very annoyed but I love it what? I don't love Spencer here.
3:01
It comes is what we watched this week.
3:04
What did we watch this? Week, we watch the 1996
3:09
adaptation of Romeo and Juliet directed by the baz luhrmann
3:15
Elizabeth. I want to put some put this on
3:18
the counter. I remembered, I was like, oh,
3:20
Elizabeth actually hates just all Romeo and Juliet story's not
3:24
specifically this one. That's I was watching it.
3:28
The other night, I was like, oh this is gonna be so mad.
3:33
Like, I went I really wanted to like this.
3:36
I just don't like Romeo and Juliet, right?
3:40
Like, I think like, it's ridiculous.
3:42
The fact that it's still held up as like a lot, like love story
3:46
is ridiculous. I think it's far more a
3:48
cautionary tale for Elizabethan Renaissance.
3:53
Children be like, listen to your parents and don't hate other
3:55
people. When did we last tech?
3:57
Talk about this was a clueless was a Emma's.
4:01
Um, it was West Side Story. Oh well it's another Romeo
4:05
Juliet, right? Yeah, station is definitely West
4:08
Side Story. It's coming back to me now, and
4:12
I actually think I would have liked this movie if they didn't
4:16
keep the original dialogue, if they had updated the dialogue, I
4:20
think I would have actually really liked this movie.
4:22
I actually love the dialogue. I, those are my favorite parts
4:26
of a. Yeah.
4:27
Cuz and it was fun to like, I had to turn on the subtitles
4:30
obviously, but to kind of read it, it kind of took me back.
4:34
Seen it against this like, modern landscape.
4:36
I don't know. I was here for it.
4:38
I'm not saying that I love this movie, but I also didn't not
4:42
like it. I know people love this movie,
4:44
we've both never seen it. Yeah.
4:45
So this is why I'm excited to do this episode.
4:48
But yeah, I think if they changed it, I think I would have
4:53
really liked it. It's just like it's a chaotic
4:56
movie, they turn Romeo and Juliet into a very chaotic
4:59
story, which I appreciated because like yes, it takes.
5:03
It takes place over what? Like 72 hours is a chaotic
5:06
state. Story.
5:07
Yeah and then they made it even more chaotic and then like
5:13
having just like The Shakespearean dialogue in there,
5:16
I was like, this is too much, it was too much.
5:22
I loved it. I think I was just a little put
5:25
off by Claire Danes being like 17 at this point and Leonardo
5:31
was 21. I believe a little on the creepy
5:34
side. So this is 1996, oh, it's not
5:38
that long ago so I'm trusting that was a little interesting.
5:42
However, we are not here to just talk about Romeo and Juliet, you
5:46
know, we have our qualms with William Shakespeare but he's not
5:49
around at the moment for us to bring it up.
5:52
We're here to talk about the costumes designed by the
5:55
brilliant, Kim Barrett, who I love.
5:57
So dearly I think she's a genius.
5:59
So, yes, and before we get too spoilery, although, if Romeo and
6:04
Juliet is being spoiled for you, I don't know what's being
6:07
Spencer. Why don't you give us a little
6:09
summary, sir and baz, luhrmann's adaptation of the classic
6:14
Shakespearean, romantic tale takes place in a post.
6:19
Modern city named Verona Beach and this version, the capulets
6:22
and the montagues are two rival gangs.
6:25
When two star-crossed lovers of the two enemy gangs meet
6:28
Forbidden, Love and Sue's and tragedy follows that is Romeo
6:34
and Juliet. Let's go behind the Wardrobe.
6:39
Now, as we said, we have drew director baz luhrmann, and we
6:42
have costume designer. Kim Barrett.
6:46
Yeah. So we always talk, I always
6:48
thought this was a Catherine Martin film, but she's actually
6:51
to production designer on this one, which is pretty cool.
6:54
She is, which and I mean, hats off to her production Design,
6:57
This like visually this movie was so stunning.
7:02
Yeah. Like credible off like so good.
7:06
Like, that's why? I wanted to really like this
7:08
movie but the dialogue just like threw me off too much.
7:11
I think your beef is like we've said before with William
7:14
Shakespeare not Basler finish, my beef is not with that
7:17
luhrmann. Now it is definitely with
7:19
William Shakespeare but you will do Kim was a work from The
7:28
Matrix movies for which she received costume.
7:31
Designer Guild, domination from Hell, which we should do at some
7:36
point. To watch that for one of my
7:39
costume design classes. It's interesting.
7:41
You know what that is? It's like, it's about like Jack.
7:44
The Ripper okay has Johnny Depp in.
7:47
It's very interesting. Monster-in-Law, our favorite
7:51
movie Aragon, the costumes for the are gone.
7:58
Are the only redeeming quality about that movie.
8:01
So Props to compare it. Yeah, yeah.
8:05
And she got a costume designer, you do.
8:07
Domination. So she did her job.
8:09
That is wild. I did not actually know that so
8:12
that's pretty wild. The Amazing Spider-Man Speed
8:17
Racer, which is one of my favorite films ever.
8:20
Okay Cloud, Atlas costume designer Guild, domination
8:24
Aquaman, another costume, Guild nomination us, yes, tseng Chien,
8:29
the legend of the ten Rings another costume design
8:32
nomination. So, If you don't know her work I
8:37
don't know what movies have been watching.
8:39
Seriously, the wrong ones, the wrong ones.
8:43
And this was pretty much her first job and she said to Vogue.
8:47
It was definitely the job. You want to be your your first
8:51
job, it was Unforgettable. And yeah, the fact that like
8:56
what, 25 plus years later, people are still talking about
9:01
it. Like you did a good job, right?
9:04
I knew a lot of these costumes. For thing, I've never seen this
9:08
movie before, but I was pretty familiar with a majority of the
9:10
costumes. Same.
9:13
And it sounds like the production went pretty smoothly
9:17
as she described to Vogue Katherine baz and I all went to
9:23
an idea. The National Institute of
9:26
dramatic arts in Sydney, so we already had a common ground
9:30
first, we made a short film with actors from Sydney.
9:32
In an abandoned lot, we dress up our friends and show Shot, the
9:36
Mercutio death scene, then bath Senate to Leonardo, and to Fox.
9:41
And they decided to give us a small amount of money to start
9:45
building up to the project that we wanted to do.
9:48
We were kind of left on our own. It just grew from there,
9:52
Catherine, bad as Craig. And I went to Miami to do
9:56
research and Sony gave back as one of the very first small
10:00
movie cameras. So we made little video
10:03
vignettes and we edit it into what I guess.
10:06
You would call teasers it, was really a learning curve for all
10:10
of us but we just took our chances.
10:13
We were only given 15 million which is not much money for a
10:18
movie. We prepared in Canada for a
10:20
little while and then we decided to shoot in Mexico City for most
10:23
of it. So it was a cultural shock as
10:26
well, but also an incredible Adventure.
10:30
Wow. Who's all over the place?
10:31
Yeah. I'm like wow, this took some
10:33
time to get like interpreter. Duction.
10:37
Which I kind of can't blame them since they did decide to stick
10:41
with the Shakespearean dialogue. I'm like this.
10:45
Probably did take some convincing.
10:47
Yeah, you know, Studios to be like yeah, give us your money.
10:51
It definitely was not an easy project.
10:53
I think Leonardo DiCaprio. This is before Titanic, even.
10:57
I mean, like, it might have been shot around the same time, but
11:00
this came out right before Titanic.
11:02
So that's all pretty early on for everyone at this I mean, he
11:07
already had made a name for himself because I think he
11:09
started in TV, so he was already like known, but he wasn't like
11:13
the big star. He was about to become with
11:16
Titanic, right? And can't bear.
11:19
It talked a little about the two nylon about, you know, keeping
11:22
the dialogue, The Way It Is. She said we really discussed
11:26
dissected. What Shakespeare was trying to
11:27
say and how we wanted the imagery to support those words
11:31
and tell a visual story, so that the audience had time to digest
11:35
the Shakespearean language and not to be locked out of it, we
11:41
wanted them to straightaway be drawn into this version of Romeo
11:44
and Juliet in our time. With these young characters that
11:48
people could identify with even if they're diverse religious
11:53
culture. I think one of the strengths of
11:56
the movie is that our characters were very clearly drawn and
12:00
strong and in the style of movie, we were trying to make
12:05
that was appropriate. Mmm.
12:07
They did, they did good job with that, right?
12:10
I mean, even though I don't like it, they did do a good job with
12:13
that. I do love how they said that
12:15
they're just can't really dissecting what Shakespeare is
12:17
trying to say and really try to make their own interpretation of
12:21
it, which is why I think I enjoyed it so much.
12:24
Because yeah, it's a Romeo and Juliet story, you know, we don't
12:27
really love a Romeo and Juliet story.
12:29
However, I thought it was still like so beautiful and artistic
12:33
and I feel like I enjoyed it a little more because it will It's
12:36
so chaotic. I think that the story is
12:38
chaotic so it made more sense to me.
12:41
Yeah absolutely. And let's just take a little
12:44
break your break before we dive into this.
13:14
Spencer Elizabeth. I was excited that we gotta fall
13:20
in this. We love a costume ball.
13:22
You all know that we I was so excited.
13:25
As soon as this got started, it was playing Young Hearts Run
13:29
free. One of my favorite songs.
13:31
I was I've already I was like, I know I'm going to like this
13:34
movie A lot. It was wild.
13:37
It was all over the place. This is when I kind of felt like
13:39
I was like I feel a little high or drunk right now watching
13:42
this. It's so artsy and all over and
13:45
so colorful and fun. It was wild.
13:49
It's an experience. It was so wild.
13:51
It took me a second to realize that Romeo was high.
13:55
I was like wait what, right? So when Romeo is high to I was
13:58
like what is going on? Like what is happening and can
14:06
talk to priests back about the ballroom scene.
14:09
She said, the ballroom was sad as a way of contrasting, the
14:13
Simplicity of Romeo and Juliet and their love to harness of the
14:19
world that surrounds them a world.
14:21
That is more concerned with appearances.
14:25
It also makes it very clear that there is a reason they are
14:29
together. They are both Outsiders.
14:32
In the extraordinary, over the top place.
14:36
That makes sense when you put in that sense.
14:38
I mean, I get it. That's why they end up together.
14:42
I don't think I was ready for the jump scare.
14:43
That was seeing 1996. Paul Rudd and Astronaut suit.
14:48
Yeah. How about the jump-scare of just
14:51
seeing Paul Rudd in this to begin with?
14:55
And he looks exactly the same. I was like, is that Ant-Man?
14:58
Like, okay, I was so confused because it starts and there's
15:01
this really Cool opening with like a newscaster kind of like
15:04
setting the scene. And I was like, okay cool.
15:07
And then they have another one right?
15:11
Where like they are like this is this for this is this person for
15:14
this? Exactly the same.
15:15
Like, it's a different voice over but with the exact same
15:18
like words and I'm like, I was just like, wait, hold on what's
15:21
Happening? And then Paul Rudd's in my face
15:23
and I was like, wait, hold on. That was wild.
15:27
All right, he is a vampire. We've talked about this before
15:30
is he looks the same? Name, nothing's changed very
15:35
creepy in a good way. I mean, we love poverty over
15:38
here, but he looks exactly the same.
15:41
And like, I feel like, I don't think of him existing before the
15:43
year 2000. So, every time I see him, like
15:46
before that, I'm like, oh, okay. She talked more about the ball.
15:53
Seen two Vogue in terms of the imagery.
15:56
She said I didn't want to bang people over the head with
15:58
didactic imagery, but I did want, Out there to be a
16:02
subconscious connection to stories and myths.
16:05
The ballroom party is populated with characters from
16:09
Shakespeare. Lord, Capulet is a Roman
16:12
Emperor, and Lady Capulet is Cleopatra, then.
16:15
Paul Rudd is Paris, as Paris is a bit on the outside.
16:20
A bit of a space could act. So an astronaut felt right.
16:24
I always thought of him as floating out a bit beyond
16:28
reality. Yeah but we're excited to like
16:30
the whole time you're like Why is this guy here?
16:33
And that makes sense. He's just out there.
16:35
He's just they're always kind of feel bad for Paris.
16:38
Yes, because Paris is just like a good guy who's just trying to
16:40
make a good match for himself in like a medieval world and she's
16:46
just like, fuck you Paris. I'm gonna go marry.
16:48
This other guy actually is nothing wrong with Paris, that I
16:51
can remember, and he doesn't know what's happening.
16:55
It's just one second. He knows he's getting married to
16:57
this nice chick and the second another second, she's dead.
17:02
It's a wild 72 hours. I love Mercutio's costume.
17:07
That was fabulous. The dance number.
17:10
I was so in it. No one told me.
17:12
There was a dance number in this movie.
17:14
No, I was shocked. Like I see him.
17:17
I was like oh okay, this is about to be fun.
17:21
Those so good. So good also, what was good our
17:25
Romeo and Juliet's costumes like the like these are the looks you
17:30
know, even You have not seen this movie, like, I've seen so
17:36
many people dressed like, so many couples have done this for
17:40
Halloween. Like we all know what this is.
17:43
These costumes are burned into my memory because they are
17:46
really spectacular. I think they're fabulous
17:48
costumes, I think the two of my favorite costumes, pray for an
17:52
entire movie. They're just so iconic, they
17:54
really are and can put a lot of thought into them as she told
17:59
nylon on Juliet's dress. Yes, which I don't think you
18:03
can. See, I printed written lines
18:05
from the script in white Romeo says, in the script, o speak
18:09
again. Bright Angel, which is why I
18:11
dressed her as an angel. But I also printed that dialogue
18:15
from that scene onto her dress with white print, I try to do
18:20
things for the actors that only they could see our have as their
18:24
own thing. I thought that it would be an
18:27
important kind of Touchstone for them to have Things like pieces
18:32
of jewelry and writing engraved on their guns.
18:36
And in the capulets case it's scriptures.
18:40
So she looks fascinating added little things which are like no
18:43
you can't see it. No, you'd have no idea.
18:46
I still don't see it for that. So beautiful though, and it
18:48
makes all sense. Why she's dressed like an angel
18:50
now. I mean, that's so gorgeous.
18:53
It's so cool. And she also talked about
18:58
Romeo's costume to Vogue saying With Leonardo, he's like
19:03
Lancelot. He's driven away from his own
19:05
people from everything he holds dear to him.
19:09
It's an echo of the knight in shining armor only in this case
19:13
it doesn't work out. Of course I wanted to have that
19:16
duality of it being one of the greatest romances in the world
19:21
but also one of the most tragic it's like yeah that's what I
19:26
suspected with the night armor I thought it was pretty ironic
19:31
Because he is like the knight in shining armor except he loses
19:34
and then not so much. I love the armor though.
19:38
I love how its, you know, it's armor but it's not like a full
19:41
like chestplate. I love how it's like really
19:43
happy on the shoulders and arms. I think that's so cool.
19:48
It's so it's costumey like it looks like legit but it's like,
19:52
oh yeah, this is like a Halloween costume.
19:55
Like it's not trying to do protect you or do anything
19:59
crazy. Yeah.
20:01
And their wedding outfits weren't trying to do anything
20:05
crazy either because the next day they get hitched.
20:09
So, the next day, I like their wedding costumes because that
20:14
felt like to me like the most real part of it.
20:17
Hmm. They weren't, I mean, obviously
20:20
they're living in this wild fantasy but in that moment, that
20:23
was very real to them. So she's wearing, like, a very
20:26
simple white. I mean, I wouldn't even really
20:28
call it a wedding dress. It's just like a white.
20:31
Dress. Yeah, Romeo's.
20:33
Just suited up looking nice to put together.
20:36
Like they're going to a courthouse wedding.
20:38
Exactly, that's kind of what Kim was going for a.
20:41
She told nylon she said they didn't have a lot of time to get
20:45
ready for a secret wedding. So I thought it should be very
20:48
simple, little white dress. I didn't want the wedding to be
20:52
about the costumes. The wedding had to be just about
20:56
them. Nailed it, nailed it and With
21:02
the help of Prada. She really nailed Romeo's, look,
21:05
she told nylon again. Miss Prada was really kind
21:09
enough to make us a suit for Leonardo for the wedding being
21:12
Australian. We weren't really in the fashion
21:15
world yet, but everywhere, we went people helped us.
21:19
So it was pretty cool moment in time.
21:22
Well, that really worked out. Yeah.
21:24
And we're going to talk about more a little later about all
21:26
the help they got from the fashion industry.
21:29
But one very important And part of this movie, that we don't
21:32
really get to see very well, is the rang Juliet is to Romeo as
21:40
she told so cute. It's so says, yeah, I love thee.
21:46
She talked to nylon about this, she said the overall design
21:50
process was very integrated. But the wedding bands that Romeo
21:54
and Juliet War were designed by Martin.
21:57
I was aiming to complete an integrate with Catherine's
22:01
production design to create a seamless osmosis of style.
22:06
The ring was an important thing. There was a lot of discussion
22:09
about what the ring looked like, and what we wrote in the ring,
22:13
we all got a Keepsake at the end, which I think was a really
22:16
great and lovely thing to have. So that was the production gift
22:21
was a replica of the Ring. I'm so jealous.
22:24
I want one. It's not cool.
22:26
Apparently, it's like you can actually like people on Etsy and
22:30
stuff will like reproduce this ring.
22:32
Oh I'm sure I'm sure there's so many like you know inexpensive
22:36
copies out there and they have this fight.
22:38
Yeah, I love this cool idea of Catherine Martin doing the
22:42
production. I just could imagine she's just
22:44
a genius. I'm so excited to talk about her
22:46
more later on but yeah, I'd love to collaboration between Kim
22:52
Catherine. As I felt like very
22:54
collaborative. Yes absolutely.
22:57
It was also a collaborative with some fashion houses for the
23:01
background characters as she described to Vogue.
23:05
She said we made almost everything ourselves.
23:09
The collaborations with the fashion houses were partly
23:12
because we were strapped for cash.
23:14
I had done a bunch of photo shoots in New York and met
23:17
different people at different showrooms.
23:20
And when I was thinking about how to design, For the capulets
23:24
I was like, well, Dolce & Gabbana is a great jumping-off
23:27
point so we struck a deal with them for them to give us old
23:32
stock that we could use to populate Verona beach with all
23:37
the gangs and the background people.
23:40
They came, they came from the showroom with these big boxes of
23:45
stuff. So the extras fittings were
23:48
amazingly fun. Everybody loved it.
23:51
We were able to Bastardize, some things, we chopped the sleeves
23:57
off, or we over died them, to age them.
24:00
Or through dirt on them. We were really lucky and I had
24:04
an amazing team in Mexico. My Cutters and some seamstresses
24:08
from Montreal and hair and makeup Came From Italy, it was
24:12
really an international crew. We had people from all over the
24:17
world. Speaking different languages,
24:19
that's such a rich way to work on a creative project, you know?
24:23
There was this really energetic tension.
24:26
Wow, let me talk about something coming together, right?
24:32
Everyone in their mother had a piece in this film.
24:35
I'm surprised that reach out to us when we were one and two
24:39
years old. Yeah, truly truly.
24:43
Because I like all of that, all the extras really do have like
24:47
this distinctive look like it's extremely distinctive.
24:52
And it's like oh No wonder it's so cohesive because they just
24:55
were able to get you know all this Dolce & Gabbana and like
24:59
throw it on them and like make it work.
25:02
Yeah this is all very cohesive. I didn't really notice that the
25:05
first time around, but going through it again, it's very
25:07
cohesive. I always loved the color
25:09
palettes. I think it just came together,
25:11
so awesome, it reminds me of Miami armas.
25:14
Brazil, Mexico, City like we talked about, it's very fun.
25:19
What if I think, what my favorite parts of the film was
25:21
just seeing all the background? Ders.
25:23
Yeah, I also love the distinction between the capulets
25:27
and the montagues, which Kim talked to Vogue about saying the
25:33
capulets, definitely have that kind of gun-slinging gangster
25:38
low hip cowboy boots kind of vibe and then the montagues are
25:43
more flyboy. They're like guys in Hawaii
25:46
Hawaii on leave from the ship. They're still Fighters but
25:51
they're more laid-back and Laxed An American in a way which is
25:56
like, absolutely true. Yeah.
25:59
I was kind of pulled out a little bit when I saw Jamie
26:03
Kennedy with the pink hair I was like what is going on?
26:05
This is wild. That's Jamie Kennedy.
26:08
Yeah you didn't realize that oh my gosh I couldn't stop looking
26:15
at it. I do love the pink hair though.
26:19
Yeah. Yeah, but Kim is right onto.
26:22
I mean Obviously she designed a costumes but like it is very
26:25
laid-back kind of Hawaiian and and that's why whenever they see
26:29
the capulets they look very sophisticated and like a real
26:33
gang. So seems like the montagues are
26:36
always a little bit scared or nervous around the capulets.
26:39
Yeah, by the way, they dress the price should be honestly.
26:42
Yeah honestly. Yeah, and can added like a lot
26:46
of symbology into the costumes as she explained to boat Vogue
26:51
saying both families are Religious.
26:53
So it made sense that when I designed the shirts, they should
26:58
have that kind of iconography painted on in them, we had an
27:02
amazing team of fabric painters in our department and we
27:06
designed the shirts to have all these different religious
27:09
symbols embedded in them Leo shirt.
27:12
At the end that he wears in the cathedral was definitely the
27:16
inspiration and jumping off point.
27:18
I found it in a thrift store in Miami.
27:21
It already had this very Dreamy romantic Technicolor Motif.
27:25
Then there's one with the bleeding heart and the death
27:30
lilies. That the team painted, I chose
27:33
the flowers as foreshadowing of what's going to happen which is
27:38
like you don't see it at first, but there is like on the
27:41
Monty's, there's lots of like, you know, like the Virgin Mary
27:44
and like different like iconography on it and then in
27:48
the capulets it's not like as, you know, Ah, but they all have
27:53
like their crosses, their guns, have all sorts of iconography on
27:57
them. It's really interesting all the
27:59
little details. Yeah, I definitely feel like I
28:03
love to Capulet style a little bit more.
28:05
Not saying I'm picking sides here but perhaps I can almost
28:09
all black. That's I wasn't going to say it
28:12
but it was us. Right?
28:17
I don't of course we have Mark ushio, which is probably the,
28:20
like classiest looking Ralph montagu, but he's like a friend
28:27
of the montagues and she explained his look a little bit
28:31
to nylon saying Harold is a is, of course, a beautiful person as
28:36
well as a great actor and I wanted you to see how vulnerable
28:40
he was. So I used sheer fabric, a lot of
28:43
the time with him, it was like a veil.
28:46
We could relate to him and he didn't wear any armor.
28:51
And that's why in the end, he was one of the strongest and
28:54
most heroic characters in the show because he let his true
28:58
self out. He was different and he
29:02
embodied. The better traits of both those
29:04
groups but he was, unfortunately sacrificed.
29:08
No poor Mercutio. Yeah, I love the use of the
29:13
sheer Fabrics. I mean, Mercutio doesn't really
29:15
wear a lot of clothes in this film.
29:17
He is always very, very vulnerable.
29:20
Very open. Open which I think is.
29:22
Why his death is the saddest? Yeah, just really what his death
29:27
kind of makes Things Fall Apart. I didn't really understand.
29:31
I mean I need to go back and kind of read the Play Again by
29:33
then understand why he was killed at the moment.
29:38
It's just kind of like a beach Blowout at the moment.
29:41
I guess a rumble you would say but it was pretty much like a
29:44
curse on both your houses and I'm like, I'm pretty sure you
29:47
joined in this, right? Okay.
29:51
No side in the end, a curse upon both of the houses is great.
29:56
And then the storm rolls in and it's like, oh no.
29:59
Yeah. But it's time to leave town.
30:02
I think I love that part was so good.
30:04
How was that was great. Well, that's awesome.
30:07
Great is, when Claire Danes goes to the priests?
30:10
If you like yo, what am I going to do?
30:12
I can't marry this guy. Oh my gosh.
30:14
Her little Alpha is so cool. I love it.
30:17
It's giving me it's real nerd moment here.
30:20
She reminds me of Of Jill, Valentine from Resident Evil.
30:23
She has a beret, the gloves, the gun.
30:26
She looks like even like a Street Fighter character other
30:30
than I love this costume so much, but it's like a, it's like
30:33
a uniform. Yeah, and Kim talked to nylon
30:37
about it saying, it was very simple and classic, but had a
30:41
little bit of a renegade. She was a cloistered, girl, very
30:45
protected. And from a rich family, I went
30:48
to an all-girls Church of England.
30:50
Anyway, In school and our uniform hadn't changed for 50 or
30:53
60 years. So, I wanted the uniform to feel
30:57
a bit like that. She was very traditional girl in
31:01
the middle of Miami of a parallel universe, which is two
31:06
very different worlds. Hmm.
31:09
And that's like you definitely get that like Catholic
31:12
schoolgirl. Almost look.
31:14
Yeah, this I totally think it's Catholic school girl.
31:18
But why seated gloves? That's what makes it Like Street
31:21
Fighter Resident Evil or me? Yeah.
31:25
And it's like, just a great little moment because like, you
31:26
really don't see, Juliet outside of like, some sort of white
31:30
dress, right? And then Paris shows up mr.
31:34
Paul read. And he's kind of like, girl, are
31:36
you? Okay, well, what's happening?
31:38
I haven't died. But like, is everything cool
31:43
right? And she's like, nope, but I
31:44
don't want to talk to you about it.
31:48
He's like all right. See you tomorrow.
31:51
But we come to the end with Romeo and Juliet, just lots of
31:58
miscommunication miscommunication ruining the
32:04
show. I mean to me it seems like the
32:07
postal delivery service was kind of lacking in this parallel
32:11
universe because clearly Romeo didn't get the letter.
32:15
I've not the plan was basically solid by think, maybe it would
32:19
have been worth like handle. Delivering this message and
32:22
telling Juliet like maybe let's wait like a day or two and I'm
32:26
like, hey, how about like the guy that was clearly his best
32:30
man at the wedding who clearly knows what's going on.
32:34
Why don't you just give it to him and have him right out?
32:37
It's a Romeo and deliver like really bad kid would have been
32:41
like oh yeah I'll go tell him about this secret plan.
32:43
So the two of them can be to get.
32:45
He was at the wedding right? Like I mean sir what were you
32:49
doing? Maybe we shouldn't.
32:51
Priest for like undercover secret missions.
32:55
Maybe the police should just be priests and nurses, just be
32:58
nurses. Yeah, by the way, I love the
33:02
nurse. I thought she was fantastic.
33:04
He was amazing. Oh my gosh, I'm forgetting her
33:07
name. She's in Harry Potter.
33:09
Also she is oh my gosh Miriam Margolies?
33:15
Yeah Miriam. Yeah yeah.
33:18
Fantastic Spectrum in Joliet. I mean, their final looks were
33:24
pretty beautiful. I love Juliet's, look with the
33:26
white Veil. Yeah, it looks comfortable.
33:30
She doesn't really know. She's going to take Eternal
33:32
Slumber. No, it's beautiful.
33:35
And I really think this was supposed to be her wedding dress
33:38
to Paris. I think that's like what it was
33:41
supposed to because it's like, it's white.
33:43
It's like long-sleeve, like mutable gown and then he's got
33:49
this great like Blue blue pants with like this.
33:54
It's not quite a Hawaiian shirt, but this great pollute like pink
33:59
and red pattern across it. It's Hawaiian passing the oh
34:03
yes, definitely like cousin of Aloha sugar, it's in that it's
34:07
in that area. And what both of these things do
34:11
is make them look very young, which is something Kim talked to
34:15
nylon about. She said they're so young and so
34:19
beautiful, a lot of the Time. I really wanted their faces and
34:23
their youthfulness to be in front of the canvas.
34:27
It was all about what was going on in their faces and their eyes
34:31
because those characters are who most people identify with young
34:36
old. Everybody's had one of those
34:38
super intense love affairs and it's like, oh, I feel like
34:41
that's what these final looks accomplished.
34:43
It's like, oh yeah, they're just kind of kids.
34:47
I'll say I was still shocked at the end when they both died.
34:51
No, I read this Sam movies. He was like, oh no places.
34:57
I lo he like zoned out a little bit.
35:00
So like I see him. I see him like get up with like
35:03
the vial of poison but I didn't see him drink it and then I saw
35:06
her hand come up and I was like, oh wait, are they like not gonna
35:09
die at the end of this? I know I'm going to back and I
35:12
was like, oh, everything's going to be okay.
35:15
And then I was like oh maybe she's not gonna die because
35:17
clearly they there's all these people outside.
35:21
One of them is going to like come in because they're probably
35:23
all super confused, right? Everyone's confused, but no, no,
35:31
yeah, I thought maybe I was like, oh he's not going to drink
35:35
the poison. It's going to be like a Quentin
35:38
Tarantino ending where everything's different now they
35:41
both died was like okay my clown wig and clown nose enough like
35:47
what did you expect? It was Romeo and Juliet throwing
35:52
through, you know, right. But so in her vote article which
35:58
was celebrating the 25-year anniversary of the film, she
36:03
talked to Vogue about why she thinks this film has resonated
36:08
over so many years. She said I think the reason it
36:11
endures and fashion is that a lot of people who are now
36:15
heading up these fashion houses were in that age group. 25 years
36:19
ago. It was a new Ooh, way of viewing
36:21
Shakespeare. And I think whether consciously
36:24
or subconsciously it impacted people of that generation,
36:28
especially the music, which was extremely evocative and
36:32
emotional and carried the story. I think everything came together
36:35
to serve the characters and made them memorable even if the
36:39
storytelling was heightened, the character, the characters were
36:43
King. I always say to people that a
36:46
costume, isn't anything, without a person in it, it becomes
36:49
something. When the Or puts it on and
36:52
becomes the character. And I think that's why it
36:55
resonates with people. It's a testament to the enduring
36:58
power of Shakespeare and his characters and our ability to
37:02
reinterpret them for our time. It was a film about two
37:06
teenagers that was really made for that age group and I'm still
37:10
proud of it. I've done lots of films by now
37:13
and I still think it's my favorite.
37:16
Oh, that's cool. I love that quote.
37:19
I mean yeah, I totally understand And everyone I've
37:22
talked to who, you know, kind of grew up with this movie.
37:25
They love this movie. Yeah, so it is a classic is a
37:29
costume designing Masterpiece. I can't believe it wasn't
37:33
nominated for Academy Award because it really to me stands
37:37
the test of time. It's incredible costuming and
37:40
can bear. It is one of the goats.
37:42
She's absolutely. She is, she's our go-to, she
37:48
knows she knows. Can we want to talk to you about
37:52
the Matrix? Let's make it happen.
37:55
Spencer, are you ready to play our favorite game?
38:00
Let's do it. Daniel hit the track, the one
38:04
costume to rule them all. Spencer, what was your one
38:12
costume to rule them all? I think mine was pretty simple.
38:15
I liked Romeo's, Knight armor. It's just like an armor.
38:19
I've kind of grown up knowing about but never having seen the
38:23
movie. So now that I've seen it, I just
38:26
think it's pretty cool actually. I'm having second thoughts as we
38:31
talk about this Elizabeth. Oh, no.
38:33
What I'm actually switching to Juliet's dress because now I'm
38:38
remembering the lines that were printed onto it, and I just
38:42
think it's stunning. Beautiful.
38:43
Honestly, really those two ball looks were my favorite costume
38:47
is that could just be a twofer, right?
38:50
Piece of luck, that's meant to go together, they support each
38:54
other and support each other. And I only say that because my
38:57
one costume to rule them all is also a twofer.
39:01
We see them this week. We did it is their final looks
39:06
in the in the chapel her baby are cohesive.
39:11
They are cohesive her long, beautiful white dress, his blue
39:15
Hawaiian shirt Ensemble. It does make them look young and
39:20
it's tragic and it's everything. The story is about and it still
39:24
explains like the you know the ideation between both of their
39:29
houses. You look at them laying next to
39:30
each other. So Masterpiece is so good.
39:34
Absolutely with that Elizabeth. I think we picked some good
39:40
costumes but if you all disagree with us or if you do agree with
39:42
us, feel free to leave us a voicemail at 62, 65 15, 1826.
39:47
Or you can send us an email at the art accosting, blogcast at
39:51
gmail.com and let us know what your one costume to rule them
39:55
all was. And with that Lizabeth, we are
39:57
at the end of our Shakespeare. Per month, we are Spencer.
40:02
But what what what world are we going to creep into next?
40:07
So we're still kind of staying close to where we were, you
40:10
know, we've had a lot of fun talking about the work of baz
40:14
luhrmann and Catherine, Martin. So, our next month of episodes
40:19
is going to be our first Catherine Martin month to be
40:24
talking about The Great Gatsby next week, with a special guest
40:28
host. So, it's going to be Pretty
40:29
awesome. I am so excited in the meantime
40:34
if you want to some content from us, you can follow us at the art
40:39
of costume pod on Instagram at the Arctic costume on Tick-Tock.
40:45
You can also get some merch from the art of costume.com pot store
40:49
and if you really liked what you listened and you you love us,
40:54
you could leave us a little five-star text review on Apple
40:57
podcast or five star. Review on Spotify, we would
41:02
really appreciate that. Everybody will see you in two
41:06
weeks. A curse upon both of the houses,
41:10
no, nothing but blessings upon everybody's houses.
41:14
All right, have a good if they everyone.
41:23
The art of costume, blogcast is hosted, and produced by
41:27
Elizabeth Joy, glass, and Spencer Williams.
41:30
Our audio engineering and editing is done by Dan White.
41:35
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Blog dedicated to highlighting the best in costume design.