1
00:00:00,240 --> 00:00:04,600
Speaker 1: Welcome to Noble Blood, a production of iHeartRadio and Grim

2
00:00:04,640 --> 00:00:07,880
Speaker 1: and Mild from Aaron Manky. Listener discretion advised.

3
00:00:10,560 --> 00:00:15,160
Speaker 2: Today on the podcast, we'll be talking about a Hungarian count,

4
00:00:15,760 --> 00:00:20,799
Speaker 2: a three hundred year old, undead Hungarian count who also

5
00:00:20,880 --> 00:00:24,400
Speaker 2: happens to be a vampire. Even though usually on this

6
00:00:24,480 --> 00:00:27,960
Speaker 2: podcast we talk about real royalty, today we're making an

7
00:00:28,000 --> 00:00:31,120
Speaker 2: exception to discuss Count or Locke and the rest of

8
00:00:31,160 --> 00:00:35,760
Speaker 2: the characters in Robert Eggers's phenomenal movie No Sparatu or Other.

9
00:00:35,920 --> 00:00:40,680
Speaker 2: More specifically, we'll be talking about the costumes, expertly researched

10
00:00:40,720 --> 00:00:45,559
Speaker 2: and entirely historically accurate thanks to OSCAR nominated costume designer

11
00:00:45,720 --> 00:00:49,160
Speaker 2: Linda Muir. Linda has worked with Robert Eggers on The Witch,

12
00:00:49,240 --> 00:00:53,040
Speaker 2: The Lighthouse, The Northman, and now No Sparatu, which required

13
00:00:53,080 --> 00:00:57,120
Speaker 2: her to dive into the world of nineteenth century corsets,

14
00:00:57,280 --> 00:01:01,720
Speaker 2: leg of mutton, sleeves, boots and coats to transport viewers

15
00:01:01,760 --> 00:01:05,000
Speaker 2: to Egger's vision of Germany and Transylvania.

16
00:01:05,120 --> 00:01:07,639
Speaker 1: Linda, thank you so much for joining me today.

17
00:01:08,319 --> 00:01:09,160
Speaker 3: Thank you very much.

18
00:01:10,240 --> 00:01:12,800
Speaker 4: The cost ofs truly, we're one of the first things

19
00:01:12,880 --> 00:01:17,680
Speaker 4: I noticed about this film they're incredibly detail oriented and

20
00:01:17,800 --> 00:01:21,360
Speaker 4: incredibly period accurate. Can you talk a little bit about

21
00:01:21,400 --> 00:01:23,640
Speaker 4: just how you started the process.

22
00:01:24,880 --> 00:01:31,039
Speaker 5: Robert Eggers is an incredibly detail oriented director writer. He

23
00:01:31,840 --> 00:01:36,520
Speaker 5: has this wonderful habit of creating look books. So he

24
00:01:36,600 --> 00:01:41,800
Speaker 5: gathers together images and he groups them not just for instance,

25
00:01:41,840 --> 00:01:46,040
Speaker 5: by character, but he also groups them sometimes under an

26
00:01:46,080 --> 00:01:51,840
Speaker 5: adjective or atmosphere or a particular beat in the script.

27
00:01:52,040 --> 00:01:56,840
Speaker 5: And so he uses those images while he's writing to

28
00:01:58,680 --> 00:02:01,760
Speaker 5: in bead detail actually into the scripts. And so we

29
00:02:01,960 --> 00:02:07,240
Speaker 5: being his production team Craigley throughout the production designer, his

30
00:02:07,360 --> 00:02:11,720
Speaker 5: DP Jarren and myself costumes, you know, when we start

31
00:02:11,760 --> 00:02:15,000
Speaker 5: prep and we usually do you know, a considerable amount

32
00:02:15,080 --> 00:02:17,680
Speaker 5: of pre prep on our own together, you know, sort

33
00:02:17,680 --> 00:02:22,360
Speaker 5: of wading into it, and we have that as a

34
00:02:22,360 --> 00:02:24,799
Speaker 5: starting point, which is absolutely amazing.

35
00:02:25,240 --> 00:02:27,079
Speaker 3: And so you know, really what I.

36
00:02:27,120 --> 00:02:29,400
Speaker 5: Have to do, or what each of us have to

37
00:02:29,440 --> 00:02:32,520
Speaker 5: do visually, is to is to go through Robert's images,

38
00:02:32,560 --> 00:02:35,800
Speaker 5: because you know, they're not necessarily dead on in terms

39
00:02:35,880 --> 00:02:38,880
Speaker 5: of the period, but they give the essence and so

40
00:02:39,360 --> 00:02:41,799
Speaker 5: you know, checking for anachronisms is one of the first

41
00:02:41,800 --> 00:02:44,720
Speaker 5: things that I do, and also try to broaden out

42
00:02:44,760 --> 00:02:47,680
Speaker 5: and obviously have to broaden out the bank of images,

43
00:02:48,360 --> 00:02:52,680
Speaker 5: and sometimes that is a hard slog to find things.

44
00:02:52,720 --> 00:02:54,400
Speaker 5: You know, the Viking era that we did for the

45
00:02:54,440 --> 00:02:59,680
Speaker 5: Northmen was exceedingly difficult because obviously there's this much fabric

46
00:02:59,720 --> 00:03:02,680
Speaker 5: that exists, and so you know, you're not looking at

47
00:03:02,919 --> 00:03:07,280
Speaker 5: a number of extent pieces. But thankfully for Nospharratu, you know,

48
00:03:07,600 --> 00:03:11,320
Speaker 5: the period is much more accessible. Still not photography, you know,

49
00:03:11,560 --> 00:03:16,040
Speaker 5: no really fabulous snapshots of people, but beautiful.

50
00:03:15,560 --> 00:03:18,960
Speaker 1: Portraits fashion plates, I imagine.

51
00:03:19,000 --> 00:03:22,920
Speaker 5: Yes, absolutely, And so the challenge for fashion plates with

52
00:03:23,040 --> 00:03:27,600
Speaker 5: Nosphratu was Robert set the story as a book that

53
00:03:27,639 --> 00:03:32,040
Speaker 5: it's based on obviously Bram Stoker's Dracula mi'r Now's Nospherratu,

54
00:03:32,560 --> 00:03:36,200
Speaker 5: you know, set in Germany at eighteen thirty eight, and

55
00:03:36,360 --> 00:03:40,760
Speaker 5: so rather than just looking at English flash fashion plates

56
00:03:40,880 --> 00:03:44,360
Speaker 5: or you know, Parisian beautiful as they are, I really

57
00:03:44,640 --> 00:03:47,880
Speaker 5: wanted German fashion plates and I don't speak German, and

58
00:03:47,920 --> 00:03:52,240
Speaker 5: so really locating a full range of I think it

59
00:03:52,320 --> 00:03:56,800
Speaker 5: was Wiener modem w E I N E R.

60
00:03:56,880 --> 00:03:58,160
Speaker 1: M O D E M.

61
00:03:58,200 --> 00:04:00,240
Speaker 3: I believe that was the that was the germ that

62
00:04:00,280 --> 00:04:01,080
Speaker 3: I was looking for.

63
00:04:01,560 --> 00:04:06,840
Speaker 5: And eventually due to one of my assistant costume designers,

64
00:04:06,840 --> 00:04:10,880
Speaker 5: Anna Monroe, who lives in Berlin and speaks German, you know,

65
00:04:10,960 --> 00:04:14,200
Speaker 5: I said, Anna, Anna, Anna, can you please you know,

66
00:04:14,280 --> 00:04:19,440
Speaker 5: and she fabulously sent me the full range, month by month,

67
00:04:19,560 --> 00:04:22,520
Speaker 5: and I asked, I think I asked for eighteen thirty

68
00:04:22,560 --> 00:04:26,520
Speaker 5: five to eighteen thirty nine, and I wanted obviously leading

69
00:04:26,600 --> 00:04:28,400
Speaker 5: up to and then I wanted after so that I

70
00:04:28,440 --> 00:04:31,960
Speaker 5: wouldn't go if anything was massively different in thirty nine,

71
00:04:31,960 --> 00:04:35,599
Speaker 5: I didn't want to go there. So that was really

72
00:04:35,640 --> 00:04:39,040
Speaker 5: exciting because then particularly for the gentlemen, you know, I mean,

73
00:04:39,120 --> 00:04:43,960
Speaker 5: like the women I could piece together, and the women

74
00:04:44,120 --> 00:04:47,520
Speaker 5: were more from portraits. Actually, I got more inspiration from

75
00:04:48,040 --> 00:04:52,479
Speaker 5: portraits paintings than I did from the fashion plates. Though

76
00:04:52,520 --> 00:04:54,920
Speaker 5: you know, there was a whimsy in the fashion plates

77
00:04:54,920 --> 00:04:59,560
Speaker 5: that I, you know, was trying to capture and certainly

78
00:05:00,320 --> 00:05:02,760
Speaker 5: the feeling of, you know, is it ever too much?

79
00:05:03,720 --> 00:05:06,400
Speaker 4: It's a very interesting time for fashion, a bit of

80
00:05:06,440 --> 00:05:10,120
Speaker 4: a transitional period, if I imagine, because eighteen thirty eight is,

81
00:05:10,920 --> 00:05:14,200
Speaker 4: if I'm correct, incredibly early Victorian, and we have these

82
00:05:14,240 --> 00:05:17,960
Speaker 4: sort of leg of mutton sleeves that are transitioning away.

83
00:05:19,320 --> 00:05:23,200
Speaker 5: Yeah, the transition happens prior to eighteen thirty eight, starts

84
00:05:23,240 --> 00:05:25,760
Speaker 5: to happen at about eighteen thirty six eighteen thirty seven,

85
00:05:26,320 --> 00:05:29,960
Speaker 5: and it transitions all through that period eighteen thirty nine

86
00:05:30,080 --> 00:05:32,440
Speaker 5: and then forty and then you start to really see

87
00:05:32,800 --> 00:05:35,640
Speaker 5: the difference that becomes the forties in the fifties, and

88
00:05:36,000 --> 00:05:38,200
Speaker 5: so you've got this transitioning period.

89
00:05:38,200 --> 00:05:39,000
Speaker 3: The forearm in.

90
00:05:38,960 --> 00:05:42,719
Speaker 5: The women's bodict sleeve is changing, and the pieces that

91
00:05:42,880 --> 00:05:46,560
Speaker 5: the actual authentic garments that I looked at, I was

92
00:05:47,240 --> 00:05:50,520
Speaker 5: sort of chuckling, thinking, Wow, they didn't cut any of

93
00:05:50,520 --> 00:05:51,800
Speaker 5: that fibricoat, they.

94
00:05:51,920 --> 00:05:56,000
Speaker 3: Just ceed it all. And then I understand.

95
00:05:55,600 --> 00:05:59,960
Speaker 4: Why, what would you say is characteristic of that period?

96
00:06:00,720 --> 00:06:06,159
Speaker 5: The embellishments, trying to figure out Anna Harding obviously much

97
00:06:06,279 --> 00:06:09,880
Speaker 5: more wealthy than because of her husband's he's a shipman

98
00:06:10,000 --> 00:06:11,840
Speaker 5: and he has lots of money to spend on her

99
00:06:11,920 --> 00:06:14,760
Speaker 5: and the children, and they are beautiful little replicas of her.

100
00:06:15,200 --> 00:06:18,880
Speaker 5: And the story points really were that Ellen had less money,

101
00:06:18,960 --> 00:06:21,599
Speaker 5: Hutter had less money, which is why he goes to

102
00:06:22,320 --> 00:06:25,520
Speaker 5: count orlock, and so, you know, really trying to figure

103
00:06:25,520 --> 00:06:29,120
Speaker 5: out what the garments would be that would tell Ellen's

104
00:06:29,160 --> 00:06:35,360
Speaker 5: story and then use Anna's excess really to also tell

105
00:06:35,400 --> 00:06:38,640
Speaker 5: the story by contrast.

106
00:06:38,279 --> 00:06:41,640
Speaker 4: And Anna's outfits are just extraordinary. If you haven't seen

107
00:06:41,640 --> 00:06:45,080
Speaker 4: the movie yet, Anna Harding is the main character, Ellen's

108
00:06:45,200 --> 00:06:49,760
Speaker 4: wealthy married friend. She has these sort of adorable prim

109
00:06:49,880 --> 00:06:53,160
Speaker 4: children who are always dressed up to the nines. Yes,

110
00:06:53,839 --> 00:06:56,839
Speaker 4: one thing that I thought was a brilliant marrying of

111
00:06:56,960 --> 00:07:01,080
Speaker 4: fashion and plot is Ellen's corset. Can you talk a

112
00:07:01,120 --> 00:07:03,640
Speaker 4: little bit about the type of corset Ellen is wearing

113
00:07:03,720 --> 00:07:04,760
Speaker 4: and how that factored in?

114
00:07:05,920 --> 00:07:09,960
Speaker 5: Yeah, absolutely so. Because Ellen does not have staff, she

115
00:07:10,000 --> 00:07:12,600
Speaker 5: doesn't have a chamber maid. You know, I was trying

116
00:07:12,600 --> 00:07:16,000
Speaker 5: to figure out really what would tell that story, and

117
00:07:16,200 --> 00:07:20,080
Speaker 5: I came across a fan laced courset, which initially I

118
00:07:20,200 --> 00:07:23,640
Speaker 5: was referring to because I had been referring to it

119
00:07:23,680 --> 00:07:26,360
Speaker 5: with my colleagues about you know, self tightening, and I

120
00:07:26,480 --> 00:07:28,760
Speaker 5: realized in interviews that kind of made it sound like

121
00:07:28,920 --> 00:07:29,960
Speaker 5: the corset tightened.

122
00:07:29,720 --> 00:07:31,440
Speaker 3: Itself, which of course it didn't.

123
00:07:32,080 --> 00:07:36,840
Speaker 5: The wearer tightened it on themselves herself, and so it

124
00:07:36,920 --> 00:07:39,480
Speaker 5: still laces up the back. It has a closed front.

125
00:07:39,480 --> 00:07:43,120
Speaker 5: So the busk was a center front busk and not

126
00:07:43,400 --> 00:07:45,520
Speaker 5: quite the same boning.

127
00:07:45,200 --> 00:07:46,280
Speaker 3: As you have later.

128
00:07:46,680 --> 00:07:49,520
Speaker 5: You know, there's a little less in this corset, so

129
00:07:49,560 --> 00:07:52,200
Speaker 5: we still have the lacing crisscrossing and coming up the back.

130
00:07:52,280 --> 00:07:55,240
Speaker 5: But what the additional feature is is that all of

131
00:07:55,280 --> 00:07:59,760
Speaker 5: those laces are longer, they cross over, and they come

132
00:07:59,800 --> 00:08:03,080
Speaker 5: to the front around the waist, and so you can

133
00:08:03,200 --> 00:08:07,360
Speaker 5: use the body weight to pull against that and tighten

134
00:08:07,400 --> 00:08:09,680
Speaker 5: it and then tie it at the front. And the

135
00:08:09,720 --> 00:08:12,800
Speaker 5: reason that that was interesting to me, other than the

136
00:08:12,800 --> 00:08:16,760
Speaker 5: fact that it's an interesting piece, was that in our story,

137
00:08:17,400 --> 00:08:21,760
Speaker 5: doctor Severs has the now we know and have known

138
00:08:21,840 --> 00:08:25,720
Speaker 5: for quite a long time, this guided notion that tightening

139
00:08:25,760 --> 00:08:30,200
Speaker 5: the corset can calm the uterusts. And so in the

140
00:08:30,240 --> 00:08:34,360
Speaker 5: film when we see this in Ellen's she's convulsing, she's

141
00:08:34,400 --> 00:08:38,120
Speaker 5: communing with Orlock. She is not in the room, you know,

142
00:08:38,200 --> 00:08:41,520
Speaker 5: with the men that are there. She is away in

143
00:08:41,600 --> 00:08:44,400
Speaker 5: her mind. So her body is convulsing, and so the

144
00:08:44,480 --> 00:08:48,680
Speaker 5: notion is that doctor Severs will tighten the corset, and Harding,

145
00:08:48,720 --> 00:08:53,200
Speaker 5: Frederick Harding, who is her guardian so speak, friend of

146
00:08:53,240 --> 00:08:56,560
Speaker 5: her husband, is holding her down. And so if we

147
00:08:56,640 --> 00:09:00,840
Speaker 5: had used a typical corset that Lesy's and ties in

148
00:09:00,880 --> 00:09:03,640
Speaker 5: the back, she would have been flipped down, you know,

149
00:09:03,720 --> 00:09:06,640
Speaker 5: face into the mattress, and we would not have seen

150
00:09:06,720 --> 00:09:11,560
Speaker 5: any of Lily Rose's extraordinary portraying of this state. And

151
00:09:11,640 --> 00:09:15,640
Speaker 5: so the fact that the corset had ties in the

152
00:09:15,679 --> 00:09:19,040
Speaker 5: front meant that they could start flipper over and continue

153
00:09:19,080 --> 00:09:21,800
Speaker 5: tightening with her face to the camera, which was you know,

154
00:09:21,840 --> 00:09:24,040
Speaker 5: a real boon, obviously, because we want to see that.

155
00:09:31,600 --> 00:09:33,720
Speaker 4: And now to talk about the man of the hour,

156
00:09:34,000 --> 00:09:39,080
Speaker 4: the extraordinary costume of Count Or Luck who obviously this

157
00:09:39,200 --> 00:09:41,719
Speaker 4: story takes place in the eighteen hundreds, but this is

158
00:09:41,760 --> 00:09:45,360
Speaker 4: a man from three hundred years earlier. His costume is

159
00:09:45,480 --> 00:09:49,520
Speaker 4: just striking. I particularly love the coat he's wearing. Can

160
00:09:49,559 --> 00:09:52,880
Speaker 4: you walk us through the process of creating his costume.

161
00:09:53,720 --> 00:09:56,280
Speaker 5: Robert has had this in his head for a very

162
00:09:56,320 --> 00:10:00,400
Speaker 5: long time. He initially saw the images of match Track

163
00:10:00,960 --> 00:10:04,160
Speaker 5: in Mayor Now's Nosphratu when he was a boy, you know,

164
00:10:04,559 --> 00:10:07,360
Speaker 5: nine years old, ten years old, and went to great

165
00:10:07,440 --> 00:10:10,600
Speaker 5: lengths with his mom to obtain a VHS copy of it. So,

166
00:10:11,080 --> 00:10:13,800
Speaker 5: you know, he's had this playing in his head for

167
00:10:13,840 --> 00:10:17,120
Speaker 5: a very long time. And we also, as his collaborators,

168
00:10:17,520 --> 00:10:21,320
Speaker 5: had many false starts. We were initially going to do it,

169
00:10:21,400 --> 00:10:24,480
Speaker 5: you know, very briefly right after the Witch and then

170
00:10:24,520 --> 00:10:26,599
Speaker 5: the Lighthouse, and then we had a false start the

171
00:10:26,720 --> 00:10:29,080
Speaker 5: year before we actually I went to prout for a

172
00:10:29,080 --> 00:10:31,000
Speaker 5: week with my assistant, and I had done a number

173
00:10:31,040 --> 00:10:33,920
Speaker 5: of the sketches already in Toronto, but then, you know,

174
00:10:33,960 --> 00:10:36,319
Speaker 5: we had a cash change, so it was another year

175
00:10:36,720 --> 00:10:40,080
Speaker 5: before we actually started and then continued through. So the

176
00:10:40,120 --> 00:10:41,800
Speaker 5: point of me telling all of this is that we

177
00:10:41,920 --> 00:10:44,680
Speaker 5: have all had this in our heads for quite a while.

178
00:10:45,160 --> 00:10:47,360
Speaker 5: Robert has certainly had it in his head for quite

179
00:10:47,360 --> 00:10:51,840
Speaker 5: a while, and for him, his version of this story

180
00:10:52,720 --> 00:10:56,160
Speaker 5: is really rooted in as much as possible with these

181
00:10:56,240 --> 00:11:00,680
Speaker 5: characters rooted in in real time. And so he wanted

182
00:11:00,720 --> 00:11:03,680
Speaker 5: to know, Okay, so count or Lock, you know, what

183
00:11:03,720 --> 00:11:08,240
Speaker 5: would a Hungarian count of roughly, you know, three hundred

184
00:11:08,360 --> 00:11:12,440
Speaker 5: years prior to our story line, you know, what would

185
00:11:12,480 --> 00:11:14,200
Speaker 5: he look like? And the first thing I think that

186
00:11:14,320 --> 00:11:17,840
Speaker 5: Robert really cottoned onto was the notion that he had

187
00:11:17,840 --> 00:11:19,920
Speaker 5: to have a mustache, you know, just you know, there's

188
00:11:19,960 --> 00:11:21,240
Speaker 5: no way around this, you.

189
00:11:21,200 --> 00:11:23,720
Speaker 3: Know, he has to have a mustache.

190
00:11:23,200 --> 00:11:26,200
Speaker 1: And what a mustache he has, and what a musta

191
00:11:26,240 --> 00:11:26,760
Speaker 1: actually have.

192
00:11:27,080 --> 00:11:29,679
Speaker 5: And so when I received the images, that was sort

193
00:11:29,720 --> 00:11:32,440
Speaker 5: of like, well, this is interesting, you know, And so

194
00:11:33,320 --> 00:11:37,240
Speaker 5: there were a number of different portraits and like a

195
00:11:37,240 --> 00:11:41,320
Speaker 5: pastiche of images of this, and so again I start

196
00:11:41,400 --> 00:11:43,720
Speaker 5: to because we have to make these pieces, and we

197
00:11:43,800 --> 00:11:45,680
Speaker 5: have to and I have to know what they look like,

198
00:11:45,760 --> 00:11:49,040
Speaker 5: and I have to get a sense of what fabrics

199
00:11:49,080 --> 00:11:52,000
Speaker 5: I'm trying to find, and what buttons and what you know,

200
00:11:52,160 --> 00:11:57,720
Speaker 5: embellishments and and that's always a challenge now and it's

201
00:11:57,800 --> 00:12:01,200
Speaker 5: becoming more of a challenge because all are closing and

202
00:12:01,840 --> 00:12:06,520
Speaker 5: luxurious fabrics if they're even available cost the world. You know,

203
00:12:06,520 --> 00:12:09,840
Speaker 5: I have to find textiles that will evoke these things.

204
00:12:10,240 --> 00:12:12,960
Speaker 5: So I started research, research, research, and I started looking.

205
00:12:13,280 --> 00:12:14,800
Speaker 5: I would love to be able to go to museums

206
00:12:14,840 --> 00:12:18,520
Speaker 5: all around the world and look at these things. Unfortunately

207
00:12:18,559 --> 00:12:21,080
Speaker 5: that's not quite you know, where we're at, and so

208
00:12:21,440 --> 00:12:25,920
Speaker 5: I try to go online and find museum online collections.

209
00:12:26,360 --> 00:12:28,840
Speaker 5: That is obviously easier if it's something that is at

210
00:12:28,840 --> 00:12:31,680
Speaker 5: the DNA or something that's at the met These were

211
00:12:31,720 --> 00:12:34,680
Speaker 5: not necessarily so, you know, I'm looking at museums again

212
00:12:34,720 --> 00:12:37,360
Speaker 5: where I can't necessarily speak the language of the museum

213
00:12:38,040 --> 00:12:42,400
Speaker 5: it is operating in. So I'll find images and then

214
00:12:42,440 --> 00:12:46,839
Speaker 5: I'll have to have the text translated, and that also

215
00:12:46,920 --> 00:12:50,800
Speaker 5: applied to you know, the folk costuming in both the

216
00:12:50,840 --> 00:12:54,400
Speaker 5: Inn and the Roma and the monastery.

217
00:12:55,160 --> 00:12:57,520
Speaker 1: For listeners who haven't seen the film yet, one of

218
00:12:57,520 --> 00:13:01,680
Speaker 1: the characters, Thomas, travels to visit Counterlock and interacts with

219
00:13:01,760 --> 00:13:05,839
Speaker 1: a large group of peasants sort of outside of his castle.

220
00:13:06,320 --> 00:13:08,720
Speaker 5: Figuring out the garments that would make up an outfit

221
00:13:08,800 --> 00:13:14,160
Speaker 5: for a Hungarian count of great wealth, entitlement, and personality

222
00:13:14,640 --> 00:13:18,840
Speaker 5: from around fifteen sixty to fifteen eighty to roughly sixteen

223
00:13:18,960 --> 00:13:23,160
Speaker 5: twenty inch, and that consisted of the very large overcoat

224
00:13:23,440 --> 00:13:27,800
Speaker 5: which has the incredibly long sleeves, which actually I realized

225
00:13:27,920 --> 00:13:32,760
Speaker 5: through researching the peasant costuming that that is a feature

226
00:13:32,920 --> 00:13:36,400
Speaker 5: that kind of seems to have come from shepherds wearing

227
00:13:36,600 --> 00:13:40,760
Speaker 5: the sheepskins as cloaks, but without arms, and that slowly

228
00:13:40,800 --> 00:13:44,720
Speaker 5: starts to develop into these sheep skin coats with arms,

229
00:13:45,040 --> 00:13:47,480
Speaker 5: but the arms are always really really long, and they

230
00:13:47,480 --> 00:13:51,320
Speaker 5: don't seem to be always, especially for the nobility, intended

231
00:13:51,360 --> 00:13:54,760
Speaker 5: to be worn with arms through the sleeves. It's more

232
00:13:54,760 --> 00:13:57,360
Speaker 5: of a show of I have all of this money,

233
00:13:57,400 --> 00:14:01,560
Speaker 5: I can have luxurious fabrics that make up the body

234
00:14:01,600 --> 00:14:04,920
Speaker 5: of the overcoat. It's all fur lined to keep me

235
00:14:04,960 --> 00:14:08,200
Speaker 5: warm in my stone castle with no essential heating.

236
00:14:08,800 --> 00:14:10,280
Speaker 3: And I've got.

237
00:14:10,040 --> 00:14:14,640
Speaker 5: You know, gold gold galloons and incredible buttons, and the

238
00:14:14,679 --> 00:14:19,240
Speaker 5: buttons were often painted glass buttons painted with gold images,

239
00:14:19,440 --> 00:14:22,040
Speaker 5: you know, I mean, not possible to find these days.

240
00:14:22,320 --> 00:14:25,360
Speaker 5: So we ended up actually crocheting gold buttons and then

241
00:14:25,480 --> 00:14:27,800
Speaker 5: weighing them with fish weights to give them, you know,

242
00:14:27,840 --> 00:14:34,520
Speaker 5: a bit of heft. And so the Mente y Nte

243
00:14:35,080 --> 00:14:38,760
Speaker 5: actually has these slices that are like kind of you

244
00:14:38,800 --> 00:14:42,040
Speaker 5: know here in the fabric, and they're fur trimmed as well,

245
00:14:42,040 --> 00:14:43,360
Speaker 5: and the arms can go through that.

246
00:14:43,560 --> 00:14:45,120
Speaker 3: So you can actually keep.

247
00:14:45,280 --> 00:14:50,360
Speaker 5: This big overcoat on by putting your arms through those slits,

248
00:14:50,440 --> 00:14:53,760
Speaker 5: but you can't put your arms through the sleeves and

249
00:14:53,840 --> 00:14:56,200
Speaker 5: keep it on, which I found really interesting.

250
00:14:57,000 --> 00:14:59,400
Speaker 4: It gives it a sense of menace too. It does

251
00:14:59,440 --> 00:15:01,280
Speaker 4: make it sort of a cape.

252
00:15:02,040 --> 00:15:07,560
Speaker 5: And for our purposes, because Bill, he's gliding effortlessly, you know,

253
00:15:07,640 --> 00:15:10,920
Speaker 5: through this this castle, but because of the weight of

254
00:15:10,960 --> 00:15:13,840
Speaker 5: the overcoat, every time in fittings it would just slide

255
00:15:13,880 --> 00:15:14,600
Speaker 5: off his shoulders.

256
00:15:14,640 --> 00:15:15,080
Speaker 3: And so for.

257
00:15:15,040 --> 00:15:19,480
Speaker 5: Practicality and for the image of it, we in a

258
00:15:19,480 --> 00:15:24,680
Speaker 5: costume department devised a harness that he wore underneath the dolmen,

259
00:15:24,760 --> 00:15:28,360
Speaker 5: which is the tunic that he wears under the overcoat,

260
00:15:28,800 --> 00:15:31,600
Speaker 5: and there were slices it hidden in the shoulders and

261
00:15:31,880 --> 00:15:35,680
Speaker 5: they had quick release mechanisms that we could snap and

262
00:15:35,720 --> 00:15:38,320
Speaker 5: then you know, a companion piece on the inside of

263
00:15:38,360 --> 00:15:41,080
Speaker 5: the mente so that it would just stay on his

264
00:15:41,200 --> 00:15:45,280
Speaker 5: shoulders and float around with him and he could really

265
00:15:45,440 --> 00:15:48,120
Speaker 5: recede into the bulk of it. When he wanted to

266
00:15:48,160 --> 00:15:51,720
Speaker 5: not be visible, he could you know, expand his chest

267
00:15:51,800 --> 00:15:55,000
Speaker 5: and have not just the galloons that are visible on

268
00:15:55,040 --> 00:15:58,880
Speaker 5: the overcoat, but also all of the incredible gold lace

269
00:15:59,000 --> 00:16:01,800
Speaker 5: overlay that is is present in the dolmen as well,

270
00:16:01,840 --> 00:16:04,200
Speaker 5: and all that could be visible. So it gave Bill

271
00:16:04,680 --> 00:16:08,040
Speaker 5: confidence that he could act with the costume and not

272
00:16:08,200 --> 00:16:13,440
Speaker 5: have it be cumbersome. So then he had silk trousers,

273
00:16:13,480 --> 00:16:17,240
Speaker 5: a tight fit, and they went into one of my

274
00:16:17,320 --> 00:16:22,080
Speaker 5: favorite pieces, which were the boots. And in reality they

275
00:16:22,120 --> 00:16:26,040
Speaker 5: would have been leather mules with about a four inch

276
00:16:26,280 --> 00:16:30,080
Speaker 5: steel heel that is kind of horseshoe shaped, really freaky,

277
00:16:30,440 --> 00:16:34,160
Speaker 5: and a leather sack that slid into the mule for

278
00:16:34,280 --> 00:16:37,560
Speaker 5: our safety and for convenience purposes. You know, I designed

279
00:16:37,600 --> 00:16:40,200
Speaker 5: it so that it was all one and Bill Scarscar

280
00:16:40,440 --> 00:16:44,680
Speaker 5: is a very tall actor man anyway, and Lily Rose

281
00:16:44,760 --> 00:16:47,160
Speaker 5: is quite petite, and so you know, there was a

282
00:16:47,200 --> 00:16:50,560
Speaker 5: real overpowering presence. And then he had the coal pop

283
00:16:50,800 --> 00:16:57,040
Speaker 5: hat kolpak and that is a crazy weird design. It

284
00:16:57,200 --> 00:16:59,840
Speaker 5: sort of is like a like a large tube that

285
00:17:00,080 --> 00:17:04,080
Speaker 5: folds back, you know, and so you've got this potentially

286
00:17:04,160 --> 00:17:10,960
Speaker 5: quite overwhelming hat, right, And then it had the embellishment

287
00:17:11,000 --> 00:17:13,879
Speaker 5: of hawk feathers and be jeweled at the front with

288
00:17:13,920 --> 00:17:18,200
Speaker 5: the pearls and jewels. So all of that was intended

289
00:17:18,240 --> 00:17:24,640
Speaker 5: to allow Robert our director writer, to obscure when when

290
00:17:24,680 --> 00:17:28,879
Speaker 5: Thomas Hutter first comes to the castle, it's such a

291
00:17:28,880 --> 00:17:31,280
Speaker 5: weird world. He's as soon as he comes into the

292
00:17:31,280 --> 00:17:35,200
Speaker 5: Carpathian mountains, he encounters, you know, our villagers, he encounters

293
00:17:35,200 --> 00:17:39,439
Speaker 5: the Roma, he encounters another very disturbing event in the

294
00:17:39,480 --> 00:17:41,760
Speaker 5: woods that night that he's not quite sure did he

295
00:17:41,840 --> 00:17:43,719
Speaker 5: see that or did he not see that? You know,

296
00:17:44,040 --> 00:17:45,800
Speaker 5: by the time he gets to the castle, at least

297
00:17:45,960 --> 00:17:50,080
Speaker 5: his horse is gone and is met by this unbelievable carriage.

298
00:17:50,280 --> 00:17:53,040
Speaker 5: You know, every event leading up to the castle is

299
00:17:53,080 --> 00:17:55,600
Speaker 5: plummes to more and more and more, and so he

300
00:17:56,000 --> 00:18:01,800
Speaker 5: comes in and the count has this luxurious voice, you know.

301
00:18:01,960 --> 00:18:03,119
Speaker 3: Deep, deep, deep deep.

302
00:18:03,160 --> 00:18:07,280
Speaker 5: He's certainly unique, certainly not in the same era, that

303
00:18:08,160 --> 00:18:14,280
Speaker 5: almost empty castle, and he's terrified. And because Orlock is

304
00:18:14,440 --> 00:18:18,040
Speaker 5: three hundred years old, and Robert has chosen to really

305
00:18:18,080 --> 00:18:25,760
Speaker 5: go with the embodiment of a folk vampire, which is undead,

306
00:18:26,240 --> 00:18:29,880
Speaker 5: he's reanimated, so he is a corpse that is reanimated,

307
00:18:30,200 --> 00:18:32,960
Speaker 5: come back to life, and so he's rotting.

308
00:18:34,200 --> 00:18:35,920
Speaker 1: It's such an interesting interpretation.

309
00:18:36,040 --> 00:18:39,919
Speaker 4: I feel like we're used to seeing very sexy vampires

310
00:18:39,920 --> 00:18:41,720
Speaker 4: who are sort of dashing gentlemen.

311
00:18:42,119 --> 00:18:42,320
Speaker 1: You know.

312
00:18:42,440 --> 00:18:45,119
Speaker 4: Orlock is very sexy in his way, but now maybe

313
00:18:45,240 --> 00:18:46,280
Speaker 4: in his physical body.

314
00:18:47,119 --> 00:18:51,199
Speaker 5: It was always amazing to me to watch Bill in

315
00:18:51,359 --> 00:18:57,480
Speaker 5: full makeup and costume, and still I could feel the

316
00:18:57,760 --> 00:19:01,439
Speaker 5: power of the man from three hundred years what he

317
00:19:01,440 --> 00:19:04,239
Speaker 5: would have been like as a living person. And that

318
00:19:04,359 --> 00:19:07,240
Speaker 5: I think is an extraordinary accomplishment for him to have

319
00:19:07,320 --> 00:19:11,280
Speaker 5: made in portraying this character. And so the idea of

320
00:19:11,320 --> 00:19:13,719
Speaker 5: the huge hat that for a caller that comes up

321
00:19:13,760 --> 00:19:16,280
Speaker 5: quite a bit. It has a sort of dual purpose.

322
00:19:16,320 --> 00:19:19,920
Speaker 5: It's obscuring or Locke obscuring all of that rot until

323
00:19:19,920 --> 00:19:22,920
Speaker 5: he gets that signature. And also it's kind of an

324
00:19:22,960 --> 00:19:27,640
Speaker 5: ode or a homage, a nod whatever to the previous

325
00:19:27,680 --> 00:19:31,560
Speaker 5: iterations of vampires, whether they be a black satin cape,

326
00:19:31,960 --> 00:19:36,080
Speaker 5: you know, whether they be incredible costuming of Francis Ford

327
00:19:36,160 --> 00:19:41,200
Speaker 5: Coppola's Dracula, The notion with that Dracula was that he

328
00:19:41,320 --> 00:19:42,200
Speaker 5: was a shape shifter.

329
00:19:42,440 --> 00:19:44,320
Speaker 3: He could force people.

330
00:19:44,400 --> 00:19:50,320
Speaker 5: To imagine or see any number of different versions of himself,

331
00:19:50,440 --> 00:19:53,000
Speaker 5: you know, the Dracula that Gary Oldman played in so

332
00:19:53,080 --> 00:19:59,160
Speaker 5: many different extraordinary time periods and costumes. This Nosratu has

333
00:19:59,200 --> 00:20:01,800
Speaker 5: its feet in reality, so that you know, the notion

334
00:20:02,000 --> 00:20:04,600
Speaker 5: is that, and I certainly, you know, stand by this

335
00:20:04,680 --> 00:20:07,920
Speaker 5: notion for myself that you know, it could be more

336
00:20:08,000 --> 00:20:12,800
Speaker 5: terrifying if what you're looking at is potentially real, you know,

337
00:20:13,240 --> 00:20:16,919
Speaker 5: then it really does close that gap between the fantastical

338
00:20:17,080 --> 00:20:17,720
Speaker 5: and real.

339
00:20:18,640 --> 00:20:20,600
Speaker 4: We don't have a ton of time left to before

340
00:20:20,600 --> 00:20:22,439
Speaker 4: I let you go. Can I ask did you have

341
00:20:22,560 --> 00:20:25,560
Speaker 4: a favorite costume in the entire film?

342
00:20:26,480 --> 00:20:28,840
Speaker 5: I'm asked this and I realized over and over again,

343
00:20:28,880 --> 00:20:32,160
Speaker 5: it's like choosing a favorite child. You know, I love

344
00:20:32,240 --> 00:20:35,359
Speaker 5: them all and for different reasons. But you know, Orlock

345
00:20:35,520 --> 00:20:40,000
Speaker 5: is because it could have been an incredibly terrifying notion

346
00:20:40,160 --> 00:20:43,920
Speaker 5: to design such an iconic character. And you know, due

347
00:20:43,920 --> 00:20:46,480
Speaker 5: to the fact that Robert had such very clear ideas

348
00:20:46,480 --> 00:20:49,440
Speaker 5: about what he wanted, you know, that fear was didn't

349
00:20:49,480 --> 00:20:52,680
Speaker 5: actually really even come up. I think designing the men's

350
00:20:52,760 --> 00:20:57,200
Speaker 5: where that is at that period so romantic and so lush,

351
00:20:57,520 --> 00:20:58,520
Speaker 5: that was a real treat.

352
00:20:59,480 --> 00:21:02,480
Speaker 4: Willem Oh, we're such an extraordinary if I remember correctly,

353
00:21:02,520 --> 00:21:04,840
Speaker 4: sort of floral coat in one scene.

354
00:21:05,560 --> 00:21:06,880
Speaker 3: Yes, you don't.

355
00:21:06,720 --> 00:21:10,000
Speaker 5: See it a lot in his Arctic room because it's lit,

356
00:21:10,359 --> 00:21:13,600
Speaker 5: you know, very very sparsely, with candles and oil lamps

357
00:21:13,600 --> 00:21:16,080
Speaker 5: and things like that. But he had beautiful little curl

358
00:21:16,119 --> 00:21:21,000
Speaker 5: told slippers and you know, a very oriental gentleman's kind

359
00:21:21,000 --> 00:21:23,560
Speaker 5: of eveningwhere. But you know the other thing you asked

360
00:21:23,560 --> 00:21:27,000
Speaker 5: about the folk costuming, and yes, it is incredibly authentic.

361
00:21:27,040 --> 00:21:28,000
Speaker 3: In fact, I.

362
00:21:27,840 --> 00:21:33,640
Speaker 5: Am moved beyond belief. In my Instagram account, there's a gentleman.

363
00:21:34,280 --> 00:21:39,480
Speaker 5: His page is called Transylvania dot heritage, I believe, and

364
00:21:39,920 --> 00:21:46,240
Speaker 5: he's messaged me just to say, finally, finally, respect given

365
00:21:46,480 --> 00:21:50,080
Speaker 5: to the folk costuming of Romania, and I can't time.

366
00:21:50,280 --> 00:21:52,639
Speaker 5: I'm going to start crying, you know, because it was

367
00:21:52,760 --> 00:21:56,720
Speaker 5: really difficult, really difficult to find the information because neither

368
00:21:56,840 --> 00:22:00,960
Speaker 5: Robert nor I speak Romanian. And you know, you're looking

369
00:22:01,080 --> 00:22:05,440
Speaker 5: at a lot of modern photographs of people who still

370
00:22:05,480 --> 00:22:07,919
Speaker 5: create this costuming, but what we were looking for was

371
00:22:08,200 --> 00:22:12,359
Speaker 5: pre photography, so we were relying on illustrations and written

372
00:22:12,400 --> 00:22:16,959
Speaker 5: accounts and then having that translated, and then also in

373
00:22:17,000 --> 00:22:21,520
Speaker 5: the monastery the Great Schema. Abbess Robert's writing is often

374
00:22:21,640 --> 00:22:25,920
Speaker 5: quite feminist, and he was quite determined that the exorcism

375
00:22:25,960 --> 00:22:30,720
Speaker 5: would happen with a mature nun, and as it turned out,

376
00:22:30,720 --> 00:22:33,560
Speaker 5: we needed a priest. This we couldn't quite escape the

377
00:22:33,720 --> 00:22:37,920
Speaker 5: religious reality. But you know, the Great Schema, abyss her

378
00:22:38,080 --> 00:22:42,479
Speaker 5: Analev was so researched, so we had to give her

379
00:22:42,480 --> 00:22:46,600
Speaker 5: a name embroider that across the bottom in a cyrillic alphabet,

380
00:22:46,760 --> 00:22:50,840
Speaker 5: along with the psalm that she would have chosen from

381
00:22:50,920 --> 00:22:55,000
Speaker 5: her Bible that would have been indicative of her religious

382
00:22:55,080 --> 00:22:58,680
Speaker 5: journey to get her to the place of great learnedness.

383
00:22:59,160 --> 00:23:03,440
Speaker 5: And so the icons, there's the ladder, there's the there

384
00:23:03,440 --> 00:23:07,760
Speaker 5: are the angels, there is pillar. All of these different

385
00:23:08,000 --> 00:23:10,920
Speaker 5: icons are things that were thoroughly researched, and the colors

386
00:23:10,920 --> 00:23:14,199
Speaker 5: that would have been used in the embroidery, and the

387
00:23:14,280 --> 00:23:17,399
Speaker 5: and the applicat work was all researched as well. So

388
00:23:17,480 --> 00:23:20,640
Speaker 5: that is really dear to my heart, you know, because

389
00:23:21,200 --> 00:23:24,320
Speaker 5: it was such a journey to get there, and you know,

390
00:23:24,400 --> 00:23:27,760
Speaker 5: the hand inbroidery took a good deal of time to do.

391
00:23:29,080 --> 00:23:32,000
Speaker 4: I can only imagine. Well, thank you so much for

392
00:23:32,119 --> 00:23:36,520
Speaker 4: joining me. The movie knows Faratu. The costumes are absolutely extraordinary.

393
00:23:36,600 --> 00:23:39,040
Speaker 4: To any listeners who haven't seen it yet, watch it

394
00:23:39,080 --> 00:23:40,919
Speaker 4: and then watch it again, just with an eye to

395
00:23:40,960 --> 00:23:44,320
Speaker 4: the costumes, especially that coat, those sleeves that go to

396
00:23:44,359 --> 00:23:47,800
Speaker 4: the knee for orlac They're incredible. Thank you so much,

397
00:23:47,800 --> 00:23:50,520
Speaker 4: and best of luck at the Oscars. These these costumes

398
00:23:50,560 --> 00:23:54,399
Speaker 4: are are OSCAR nominated, so I'll be keeping our fingers

399
00:23:54,440 --> 00:23:55,000
Speaker 4: crossed for you.

400
00:23:55,480 --> 00:23:57,560
Speaker 1: Thank you very much, have a wonderful day.

401
00:24:06,800 --> 00:24:10,600
Speaker 4: Noble Blood is a production of iHeart Radio and Grim

402
00:24:10,600 --> 00:24:12,080
Speaker 4: and Mild from Aaron Mankey.

403
00:24:12,680 --> 00:24:16,560
Speaker 1: Noble Blood is hosted by me Dana Schwartz, with additional

404
00:24:16,600 --> 00:24:21,280
Speaker 1: writing and research by Hannah Johnston, Hannahswick, Courtney Sender, Amy

405
00:24:21,359 --> 00:24:22,720
Speaker 1: hit and Julia Melaney.

406
00:24:23,400 --> 00:24:27,000
Speaker 2: The show is edited and produced by Jesse Funk, with

407
00:24:27,200 --> 00:24:32,800
Speaker 2: supervising producer rima Il Kaali and executive producers Aaron Mankey,

408
00:24:33,040 --> 00:24:34,720
Speaker 2: Trevor Young, and Matt Frederick.

409
00:24:35,240 --> 00:24:36,480
Speaker 1: For more podcasts

410
00:24:36,520 --> 00:24:41,680
Speaker 4: From iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever

411
00:24:41,720 --> 00:24:45,720
Speaker 4: you listen to your favorite shows.