Then there was the Los Angeles part of it and going to the Chateau Marmont, and that scene when she’s fake killing herself which was just very Norma Desmond. And then the courtroom was another costume department, and then another for each part of the story, like Morocco and Berlin. We didn’t know how they were gonna use each of the pictures, so the Instagram of it all was practically its own costume department. Even if you just saw her face in the photo, she was dressed head to toe.
#Shonda rhimes anna delvey full
We created all of that, every single one of those was a full costume. I think a lot of people don’t realize when they watch the show that we created an outfit for every single picture on that wall in the baby’s room where the Instagram photos are posted. PAOLO: Definitely the volume of costumes. The research part of it was a lot of fun.ĭEADLINE: What was the biggest challenge you faced on this project?
Our research was who made that dress? Where were those sunglasses from? And then we would look at an image and ask what year was that? We’d be looking at all the online sites from all the designers to find the right pair of sunglasses and find the right dress and more… and it was actually fun. Shonda and her research team had done a lot of the work already for us, but their research was images. It had been taken down and we actually had to go down this worm hole of following people that she used to hang out with and doing a deep dive into that. PAOLO: But it was hidden by the time we looked at it.
So it was a little bit of both of the special worlds of costume design – lots and lots of research, and then lots and lots of creative freedom.ĭEADLINE: Was there a lot of good research material? She basically lived her life on instagram. It had to match exactly to what she had been posting, but then the rest was on the story end creating amazing images. And I mean that in the best way of a challenge, in that we were trying to create the sense of New York and the fashion, but we were also having to do absolutely massive amounts of research on Anna, in the way that you would if you were doing a documentary or someone’s biography. On this particular project, it was a tricky, not in a bad way but it was a challenging thing to do. If she does respond, sometimes it will only be to give direction. Not all the time, but if I’m unsure I’ll send Shonda images and if she doesn’t respond it means she liked it. If I ever have a moment where I don’t know what she meant, I will send her images. She will literally give you exactly what she’s expecting on the page. Other times she’ll actually write “whatever Lyn P says,” which is an enormous gift for a costume designer and its highly amusing when people read that. Some of the time it’ll say “a fabulous outfit” or sometimes it’s very descriptive. She puts it in the script, so it’s not constant phone calls or emails since it’s written on the page.
It’s hard to describe because so many producers are very hands on with the costume design but aren’t clear in what they want, but Shonda was very clear. Lindsay Lohan's Netflix Rom-Com 'Irish Wish' Adds Ed Speleers, Alexander Vlahos, Ayesha Curry, Elizabeth Tan & Jane SeymourĭEADLINE: You worked very closely with creator Shonda Rhimes, what did she have in mind for costume design?
0 kommentar(er)
