1 00:00:06,423 --> 00:00:08,960 [del Toro] If you don't ground this movie in reality, 2 00:00:09,051 --> 00:00:12,840 then it's a genre artifact, and we wanted it to feel real. 3 00:00:13,555 --> 00:00:16,468 The first thing to do is to actually have 4 00:00:16,558 --> 00:00:19,095 every frequency of wardrobe possible. 5 00:00:19,186 --> 00:00:23,521 You know, a lot of period movies make almost uniforms. 6 00:00:23,607 --> 00:00:25,689 We had a kaleidoscope of characters. 7 00:00:25,776 --> 00:00:29,144 So Luis Sequeira and I started talking about it 8 00:00:29,238 --> 00:00:32,071 and we said, well, we wanted to have cardigans, 9 00:00:32,157 --> 00:00:35,275 leather jackets, people that worked as mechanics, 10 00:00:35,369 --> 00:00:37,280 people that worked as executives. 11 00:00:37,371 --> 00:00:40,784 We didn't want everybody dressed like an ad from a catalog. 12 00:00:40,874 --> 00:00:43,241 [Sequeira] This film is quite huge. 13 00:00:43,335 --> 00:00:47,545 I mean, just in the carnival, we have 242 costume changes. 14 00:00:47,631 --> 00:00:51,215 Probably another half of that in the city. 15 00:00:51,301 --> 00:00:53,838 So it's a lot of clothing, a lot of costumes. 16 00:00:53,929 --> 00:00:56,967 [del Toro] He fabricated an enormous amount of wardrobe, 17 00:00:57,057 --> 00:00:58,843 even with these restrictions. 18 00:00:58,934 --> 00:01:02,017 This is an incredibly fabrication-heavy film 19 00:01:02,104 --> 00:01:03,936 for Luis and the wardrobe department. 20 00:01:04,022 --> 00:01:05,763 [Sequeira] We built so much on this film, 21 00:01:05,857 --> 00:01:07,939 and then an important part of any Guillermo movie 22 00:01:08,026 --> 00:01:10,438 is the aging of the costumes. 23 00:01:10,529 --> 00:01:13,521 And so, even in the city, the costumes were aged 24 00:01:13,615 --> 00:01:16,607 so that they went back from costumes to clothing 25 00:01:16,702 --> 00:01:19,945 and in the carnival everything was pretty beaten-down 26 00:01:20,038 --> 00:01:24,999 to give it the feeling that people have owned these garments for years. 27 00:01:30,465 --> 00:01:33,423 [del Toro] Luis Sequeira and I had a big meeting 28 00:01:33,510 --> 00:01:36,423 in which the boundaries were defined, 29 00:01:36,513 --> 00:01:42,054 that we could build most of the wardrobe for all the main cast. 30 00:01:42,894 --> 00:01:45,101 [Sequeira] Guillermo wanted very few costume changes, 31 00:01:45,188 --> 00:01:49,102 so each character from Stanton down to our minor characters 32 00:01:49,192 --> 00:01:52,480 would have a very specific iconic look. 33 00:01:52,571 --> 00:01:54,437 [audience members clapping] 34 00:01:54,531 --> 00:01:56,613 [del Toro] We wanted to classify 35 00:01:56,700 --> 00:01:59,158 and understand the characters very, very fast. 36 00:01:59,745 --> 00:02:03,454 Molly was life, was red. 37 00:02:04,124 --> 00:02:08,368 We abandon the color red when we leave the carnival, 38 00:02:08,462 --> 00:02:13,002 and it exists only on Molly and the Salvation Army sign. 39 00:02:15,135 --> 00:02:17,502 Zeena had greens and golds, 40 00:02:17,596 --> 00:02:20,213 sort of life, earth, grass, 41 00:02:20,307 --> 00:02:22,594 you know, she was earthy. 42 00:02:22,684 --> 00:02:24,971 [Collette] Luis has done the most incredible job with all of the costumes. 43 00:02:25,062 --> 00:02:26,552 This is actually my favorite. 44 00:02:26,647 --> 00:02:30,106 This is a particularly kind of tomboyish traveling outfit. 45 00:02:30,192 --> 00:02:34,607 And then, yeah, she looks very different in the performance mode, 46 00:02:34,696 --> 00:02:36,186 almost priestess-like. 47 00:02:38,241 --> 00:02:40,448 [del Toro] Dafoe was black leather. 48 00:02:40,535 --> 00:02:45,746 He was hard and flinty and uncaring, but seductive. 49 00:02:46,500 --> 00:02:50,368 Very early, Luis started experimenting with things, 50 00:02:50,462 --> 00:02:52,419 and I did quite a few fittings. 51 00:02:52,506 --> 00:02:56,625 And he's very precise, and he also lets you weigh in 52 00:02:56,718 --> 00:02:58,334 to make you feel comfortable. 53 00:03:01,848 --> 00:03:05,341 [Sequeira] Cate and Bradley and our other actors were brought in early, 54 00:03:05,435 --> 00:03:08,769 where we were able to actually craft a look. 55 00:03:08,855 --> 00:03:12,143 [Blanchett] It's always a relationship that I really prize. 56 00:03:12,234 --> 00:03:14,475 When you start having costume fittings 57 00:03:14,569 --> 00:03:17,061 and that dialogue about how a character is going to look, 58 00:03:17,155 --> 00:03:20,648 there's such important physical propositions 59 00:03:20,742 --> 00:03:23,109 that you then have to inhabit or adapt. 60 00:03:25,622 --> 00:03:27,784 [Sequeira] For Cate, the room was elegant, 61 00:03:27,874 --> 00:03:32,209 and so the character was also very elegant and affluent, old money. 62 00:03:32,295 --> 00:03:36,129 It was exciting to actually design clothing 63 00:03:36,216 --> 00:03:39,083 that showed that, and the textures and the lines. 64 00:03:39,970 --> 00:03:42,257 Being able to dress Cate Blanchett in one's life, 65 00:03:42,931 --> 00:03:44,547 I could die now, thank you. 66 00:03:44,641 --> 00:03:46,177 We're going to work on that. 67 00:03:50,897 --> 00:03:53,605 [Sequeira] As for Stanton, he really goes through a transformation 68 00:03:53,692 --> 00:03:57,811 from being quite poor to being quite rich. 69 00:03:57,904 --> 00:04:00,896 We looked at various, you know, iconic styles 70 00:04:00,991 --> 00:04:03,449 that would help to tell that story very quickly. 71 00:04:03,535 --> 00:04:08,075 There were instances of cut and drape, uh, and fit. 72 00:04:08,165 --> 00:04:09,576 That's the one. 73 00:04:09,666 --> 00:04:11,202 - Yeah, Miss Cahill. - Yeah. 74 00:04:11,293 --> 00:04:15,787 What was important with that, was that Stan looks like a helper. 75 00:04:15,881 --> 00:04:17,292 He looks like a helpless. 76 00:04:17,382 --> 00:04:19,464 He looks like a master, 77 00:04:19,551 --> 00:04:21,588 a powerful figure, a preacher. 78 00:04:21,678 --> 00:04:25,171 He is very much a mercurial character. 79 00:04:25,265 --> 00:04:28,428 He can transform according to the circumstance. 80 00:04:28,518 --> 00:04:30,384 Can you watch my tie, please? 81 00:04:31,188 --> 00:04:32,849 - I'll watch it. - Thank you. 82 00:04:32,939 --> 00:04:35,681 [Sequeira] Stanton has a certain dandy aspect 83 00:04:35,776 --> 00:04:39,360 that you will not see in this old-money crowd. 84 00:04:40,030 --> 00:04:41,395 Let me take your jacket. 85 00:04:42,032 --> 00:04:43,147 Please. 86 00:04:44,826 --> 00:04:48,410 [Sequeira] Stanton being just on the other side of, not garish, 87 00:04:48,497 --> 00:04:51,080 but just a bit nouveau, nouveau riche. 88 00:04:55,045 --> 00:04:59,630 Visually, between the sets, even the hair and makeup, costuming, 89 00:04:59,716 --> 00:05:04,131 we were able to create these two polar opposite worlds. 90 00:05:04,930 --> 00:05:07,012 Everything matters, whether it's seen or not. 91 00:05:07,849 --> 00:05:09,385 If it gets to be seen, 92 00:05:09,476 --> 00:05:12,810 then it's got to be as perfect as can be.