WEBVTT - Count Orlok's Coat (with Linda Muir) 0:00:00.240 --> 0:00:04.600 Welcome to Noble Blood, a production of iHeartRadio and Grim 0:00:04.640 --> 0:00:07.880 and Mild from Aaron Manky. Listener discretion advised. 0:00:10.560 --> 0:00:15.160 Today on the podcast, we'll be talking about a Hungarian count, 0:00:15.760 --> 0:00:20.799 a three hundred year old, undead Hungarian count who also 0:00:20.880 --> 0:00:24.400 happens to be a vampire. Even though usually on this 0:00:24.480 --> 0:00:27.960 podcast we talk about real royalty, today we're making an 0:00:28.000 --> 0:00:31.120 exception to discuss Count or Locke and the rest of 0:00:31.160 --> 0:00:35.760 the characters in Robert Eggers's phenomenal movie No Sparatu or Other. 0:00:35.920 --> 0:00:40.680 More specifically, we'll be talking about the costumes, expertly researched 0:00:40.720 --> 0:00:45.559 and entirely historically accurate thanks to OSCAR nominated costume designer 0:00:45.720 --> 0:00:49.160 Linda Muir. Linda has worked with Robert Eggers on The Witch, 0:00:49.240 --> 0:00:53.040 The Lighthouse, The Northman, and now No Sparatu, which required 0:00:53.080 --> 0:00:57.120 her to dive into the world of nineteenth century corsets, 0:00:57.280 --> 0:01:01.720 leg of mutton, sleeves, boots and coats to transport viewers 0:01:01.760 --> 0:01:05.000 to Egger's vision of Germany and Transylvania. 0:01:05.120 --> 0:01:07.639 Linda, thank you so much for joining me today. 0:01:08.319 --> 0:01:09.160 Thank you very much. 0:01:10.240 --> 0:01:12.800 The cost ofs truly, we're one of the first things 0:01:12.880 --> 0:01:17.680 I noticed about this film they're incredibly detail oriented and 0:01:17.800 --> 0:01:21.360 incredibly period accurate. Can you talk a little bit about 0:01:21.400 --> 0:01:23.640 just how you started the process. 0:01:24.880 --> 0:01:31.039 Robert Eggers is an incredibly detail oriented director writer. He 0:01:31.840 --> 0:01:36.520 has this wonderful habit of creating look books. So he 0:01:36.600 --> 0:01:41.800 gathers together images and he groups them not just for instance, 0:01:41.840 --> 0:01:46.040 by character, but he also groups them sometimes under an 0:01:46.080 --> 0:01:51.840 adjective or atmosphere or a particular beat in the script. 0:01:52.040 --> 0:01:56.840 And so he uses those images while he's writing to 0:01:58.680 --> 0:02:01.760 in bead detail actually into the scripts. And so we 0:02:01.960 --> 0:02:07.240 being his production team Craigley throughout the production designer, his 0:02:07.360 --> 0:02:11.720 DP Jarren and myself costumes, you know, when we start 0:02:11.760 --> 0:02:15.000 prep and we usually do you know, a considerable amount 0:02:15.080 --> 0:02:17.680 of pre prep on our own together, you know, sort 0:02:17.680 --> 0:02:22.360 of wading into it, and we have that as a 0:02:22.360 --> 0:02:24.799 starting point, which is absolutely amazing. 0:02:25.240 --> 0:02:27.079 And so you know, really what I. 0:02:27.120 --> 0:02:29.400 Have to do, or what each of us have to 0:02:29.440 --> 0:02:32.520 do visually, is to is to go through Robert's images, 0:02:32.560 --> 0:02:35.800 because you know, they're not necessarily dead on in terms 0:02:35.880 --> 0:02:38.880 of the period, but they give the essence and so 0:02:39.360 --> 0:02:41.799 you know, checking for anachronisms is one of the first 0:02:41.800 --> 0:02:44.720 things that I do, and also try to broaden out 0:02:44.760 --> 0:02:47.680 and obviously have to broaden out the bank of images, 0:02:48.360 --> 0:02:52.680 and sometimes that is a hard slog to find things. 0:02:52.720 --> 0:02:54.400 You know, the Viking era that we did for the 0:02:54.440 --> 0:02:59.680 Northmen was exceedingly difficult because obviously there's this much fabric 0:02:59.720 --> 0:03:02.680 that exists, and so you know, you're not looking at 0:03:02.919 --> 0:03:07.280 a number of extent pieces. But thankfully for Nospharratu, you know, 0:03:07.600 --> 0:03:11.320 the period is much more accessible. Still not photography, you know, 0:03:11.560 --> 0:03:16.040 no really fabulous snapshots of people, but beautiful. 0:03:15.560 --> 0:03:18.960 Portraits fashion plates, I imagine. 0:03:19.000 --> 0:03:22.920 Yes, absolutely, And so the challenge for fashion plates with 0:03:23.040 --> 0:03:27.600 Nosphratu was Robert set the story as a book that 0:03:27.639 --> 0:03:32.040 it's based on obviously Bram Stoker's Dracula mi'r Now's Nospherratu, 0:03:32.560 --> 0:03:36.200 you know, set in Germany at eighteen thirty eight, and 0:03:36.360 --> 0:03:40.760 so rather than just looking at English flash fashion plates 0:03:40.880 --> 0:03:44.360 or you know, Parisian beautiful as they are, I really 0:03:44.640 --> 0:03:47.880 wanted German fashion plates and I don't speak German, and 0:03:47.920 --> 0:03:52.240 so really locating a full range of I think it 0:03:52.320 --> 0:03:56.800 was Wiener modem w E I N E R. 0:03:56.880 --> 0:03:58.160 M O D E M. 0:03:58.200 --> 0:04:00.240 I believe that was the that was the germ that 0:04:00.280 --> 0:04:01.080 I was looking for. 0:04:01.560 --> 0:04:06.840 And eventually due to one of my assistant costume designers, 0:04:06.840 --> 0:04:10.880 Anna Monroe, who lives in Berlin and speaks German, you know, 0:04:10.960 --> 0:04:14.200 I said, Anna, Anna, Anna, can you please you know, 0:04:14.280 --> 0:04:19.440 and she fabulously sent me the full range, month by month, 0:04:19.560 --> 0:04:22.520 and I asked, I think I asked for eighteen thirty 0:04:22.560 --> 0:04:26.520 five to eighteen thirty nine, and I wanted obviously leading 0:04:26.600 --> 0:04:28.400 up to and then I wanted after so that I 0:04:28.440 --> 0:04:31.960 wouldn't go if anything was massively different in thirty nine, 0:04:31.960 --> 0:04:35.599 I didn't want to go there. So that was really 0:04:35.640 --> 0:04:39.040 exciting because then particularly for the gentlemen, you know, I mean, 0:04:39.120 --> 0:04:43.960 like the women I could piece together, and the women 0:04:44.120 --> 0:04:47.520 were more from portraits. Actually, I got more inspiration from 0:04:48.040 --> 0:04:52.479 portraits paintings than I did from the fashion plates. Though 0:04:52.520 --> 0:04:54.920 you know, there was a whimsy in the fashion plates 0:04:54.920 --> 0:04:59.560 that I, you know, was trying to capture and certainly 0:05:00.320 --> 0:05:02.760 the feeling of, you know, is it ever too much? 0:05:03.720 --> 0:05:06.400 It's a very interesting time for fashion, a bit of 0:05:06.440 --> 0:05:10.120 a transitional period, if I imagine, because eighteen thirty eight is, 0:05:10.920 --> 0:05:14.200 if I'm correct, incredibly early Victorian, and we have these 0:05:14.240 --> 0:05:17.960 sort of leg of mutton sleeves that are transitioning away. 0:05:19.320 --> 0:05:23.200 Yeah, the transition happens prior to eighteen thirty eight, starts 0:05:23.240 --> 0:05:25.760 to happen at about eighteen thirty six eighteen thirty seven, 0:05:26.320 --> 0:05:29.960 and it transitions all through that period eighteen thirty nine 0:05:30.080 --> 0:05:32.440 and then forty and then you start to really see 0:05:32.800 --> 0:05:35.640 the difference that becomes the forties in the fifties, and 0:05:36.000 --> 0:05:38.200 so you've got this transitioning period. 0:05:38.200 --> 0:05:39.000 The forearm in. 0:05:38.960 --> 0:05:42.719 The women's bodict sleeve is changing, and the pieces that 0:05:42.880 --> 0:05:46.560 the actual authentic garments that I looked at, I was 0:05:47.240 --> 0:05:50.520 sort of chuckling, thinking, Wow, they didn't cut any of 0:05:50.520 --> 0:05:51.800 that fibricoat, they. 0:05:51.920 --> 0:05:56.000 Just ceed it all. And then I understand. 0:05:55.600 --> 0:05:59.960 Why, what would you say is characteristic of that period? 0:06:00.720 --> 0:06:06.159 The embellishments, trying to figure out Anna Harding obviously much 0:06:06.279 --> 0:06:09.880 more wealthy than because of her husband's he's a shipman 0:06:10.000 --> 0:06:11.840 and he has lots of money to spend on her 0:06:11.920 --> 0:06:14.760 and the children, and they are beautiful little replicas of her. 0:06:15.200 --> 0:06:18.880 And the story points really were that Ellen had less money, 0:06:18.960 --> 0:06:21.599 Hutter had less money, which is why he goes to 0:06:22.320 --> 0:06:25.520 count orlock, and so, you know, really trying to figure 0:06:25.520 --> 0:06:29.120 out what the garments would be that would tell Ellen's 0:06:29.160 --> 0:06:35.360 story and then use Anna's excess really to also tell 0:06:35.400 --> 0:06:38.640 the story by contrast. 0:06:38.279 --> 0:06:41.640 And Anna's outfits are just extraordinary. If you haven't seen 0:06:41.640 --> 0:06:45.080 the movie yet, Anna Harding is the main character, Ellen's 0:06:45.200 --> 0:06:49.760 wealthy married friend. She has these sort of adorable prim 0:06:49.880 --> 0:06:53.160 children who are always dressed up to the nines. Yes, 0:06:53.839 --> 0:06:56.839 one thing that I thought was a brilliant marrying of 0:06:56.960 --> 0:07:01.080 fashion and plot is Ellen's corset. Can you talk a 0:07:01.120 --> 0:07:03.640 little bit about the type of corset Ellen is wearing 0:07:03.720 --> 0:07:04.760 and how that factored in? 0:07:05.920 --> 0:07:09.960 Yeah, absolutely so. Because Ellen does not have staff, she 0:07:10.000 --> 0:07:12.600 doesn't have a chamber maid. You know, I was trying 0:07:12.600 --> 0:07:16.000 to figure out really what would tell that story, and 0:07:16.200 --> 0:07:20.080 I came across a fan laced courset, which initially I 0:07:20.200 --> 0:07:23.640 was referring to because I had been referring to it 0:07:23.680 --> 0:07:26.360 with my colleagues about you know, self tightening, and I 0:07:26.480 --> 0:07:28.760 realized in interviews that kind of made it sound like 0:07:28.920 --> 0:07:29.960 the corset tightened. 0:07:29.720 --> 0:07:31.440 Itself, which of course it didn't. 0:07:32.080 --> 0:07:36.840 The wearer tightened it on themselves herself, and so it 0:07:36.920 --> 0:07:39.480 still laces up the back. It has a closed front. 0:07:39.480 --> 0:07:43.120 So the busk was a center front busk and not 0:07:43.400 --> 0:07:45.520 quite the same boning. 0:07:45.200 --> 0:07:46.280 As you have later. 0:07:46.680 --> 0:07:49.520 You know, there's a little less in this corset, so 0:07:49.560 --> 0:07:52.200 we still have the lacing crisscrossing and coming up the back. 0:07:52.280 --> 0:07:55.240 But what the additional feature is is that all of 0:07:55.280 --> 0:07:59.760 those laces are longer, they cross over, and they come 0:07:59.800 --> 0:08:03.080 to the front around the waist, and so you can 0:08:03.200 --> 0:08:07.360 use the body weight to pull against that and tighten 0:08:07.400 --> 0:08:09.680 it and then tie it at the front. And the 0:08:09.720 --> 0:08:12.800 reason that that was interesting to me, other than the 0:08:12.800 --> 0:08:16.760 fact that it's an interesting piece, was that in our story, 0:08:17.400 --> 0:08:21.760 doctor Severs has the now we know and have known 0:08:21.840 --> 0:08:25.720 for quite a long time, this guided notion that tightening 0:08:25.760 --> 0:08:30.200 the corset can calm the uterusts. And so in the 0:08:30.240 --> 0:08:34.360 film when we see this in Ellen's she's convulsing, she's 0:08:34.400 --> 0:08:38.120 communing with Orlock. She is not in the room, you know, 0:08:38.200 --> 0:08:41.520 with the men that are there. She is away in 0:08:41.600 --> 0:08:44.400 her mind. So her body is convulsing, and so the 0:08:44.480 --> 0:08:48.680 notion is that doctor Severs will tighten the corset, and Harding, 0:08:48.720 --> 0:08:53.200 Frederick Harding, who is her guardian so speak, friend of 0:08:53.240 --> 0:08:56.560 her husband, is holding her down. And so if we 0:08:56.640 --> 0:09:00.840 had used a typical corset that Lesy's and ties in 0:09:00.880 --> 0:09:03.640 the back, she would have been flipped down, you know, 0:09:03.720 --> 0:09:06.640 face into the mattress, and we would not have seen 0:09:06.720 --> 0:09:11.560 any of Lily Rose's extraordinary portraying of this state. And 0:09:11.640 --> 0:09:15.640 so the fact that the corset had ties in the 0:09:15.679 --> 0:09:19.040 front meant that they could start flipper over and continue 0:09:19.080 --> 0:09:21.800 tightening with her face to the camera, which was you know, 0:09:21.840 --> 0:09:24.040 a real boon, obviously, because we want to see that. 0:09:31.600 --> 0:09:33.720 And now to talk about the man of the hour, 0:09:34.000 --> 0:09:39.080 the extraordinary costume of Count Or Luck who obviously this 0:09:39.200 --> 0:09:41.719 story takes place in the eighteen hundreds, but this is 0:09:41.760 --> 0:09:45.360 a man from three hundred years earlier. His costume is 0:09:45.480 --> 0:09:49.520 just striking. I particularly love the coat he's wearing. Can 0:09:49.559 --> 0:09:52.880 you walk us through the process of creating his costume. 0:09:53.720 --> 0:09:56.280 Robert has had this in his head for a very 0:09:56.320 --> 0:10:00.400 long time. He initially saw the images of match Track 0:10:00.960 --> 0:10:04.160 in Mayor Now's Nosphratu when he was a boy, you know, 0:10:04.559 --> 0:10:07.360 nine years old, ten years old, and went to great 0:10:07.440 --> 0:10:10.600 lengths with his mom to obtain a VHS copy of it. So, 0:10:11.080 --> 0:10:13.800 you know, he's had this playing in his head for 0:10:13.840 --> 0:10:17.120 a very long time. And we also, as his collaborators, 0:10:17.520 --> 0:10:21.320 had many false starts. We were initially going to do it, 0:10:21.400 --> 0:10:24.480 you know, very briefly right after the Witch and then 0:10:24.520 --> 0:10:26.599 the Lighthouse, and then we had a false start the 0:10:26.720 --> 0:10:29.080 year before we actually I went to prout for a 0:10:29.080 --> 0:10:31.000 week with my assistant, and I had done a number 0:10:31.040 --> 0:10:33.920 of the sketches already in Toronto, but then, you know, 0:10:33.960 --> 0:10:36.319 we had a cash change, so it was another year 0:10:36.720 --> 0:10:40.080 before we actually started and then continued through. So the 0:10:40.120 --> 0:10:41.800 point of me telling all of this is that we 0:10:41.920 --> 0:10:44.680 have all had this in our heads for quite a while. 0:10:45.160 --> 0:10:47.360 Robert has certainly had it in his head for quite 0:10:47.360 --> 0:10:51.840 a while, and for him, his version of this story 0:10:52.720 --> 0:10:56.160 is really rooted in as much as possible with these 0:10:56.240 --> 0:11:00.680 characters rooted in in real time. And so he wanted 0:11:00.720 --> 0:11:03.680 to know, Okay, so count or Lock, you know, what 0:11:03.720 --> 0:11:08.240 would a Hungarian count of roughly, you know, three hundred 0:11:08.360 --> 0:11:12.440 years prior to our story line, you know, what would 0:11:12.480 --> 0:11:14.200 he look like? And the first thing I think that 0:11:14.320 --> 0:11:17.840 Robert really cottoned onto was the notion that he had 0:11:17.840 --> 0:11:19.920 to have a mustache, you know, just you know, there's 0:11:19.960 --> 0:11:21.240 no way around this, you. 0:11:21.200 --> 0:11:23.720 Know, he has to have a mustache. 0:11:23.200 --> 0:11:26.200 And what a mustache he has, and what a musta 0:11:26.240 --> 0:11:26.760 actually have. 0:11:27.080 --> 0:11:29.679 And so when I received the images, that was sort 0:11:29.720 --> 0:11:32.440 of like, well, this is interesting, you know, And so 0:11:33.320 --> 0:11:37.240 there were a number of different portraits and like a 0:11:37.240 --> 0:11:41.320 pastiche of images of this, and so again I start 0:11:41.400 --> 0:11:43.720 to because we have to make these pieces, and we 0:11:43.800 --> 0:11:45.680 have to and I have to know what they look like, 0:11:45.760 --> 0:11:49.040 and I have to get a sense of what fabrics 0:11:49.080 --> 0:11:52.000 I'm trying to find, and what buttons and what you know, 0:11:52.160 --> 0:11:57.720 embellishments and and that's always a challenge now and it's 0:11:57.800 --> 0:12:01.200 becoming more of a challenge because all are closing and 0:12:01.840 --> 0:12:06.520 luxurious fabrics if they're even available cost the world. You know, 0:12:06.520 --> 0:12:09.840 I have to find textiles that will evoke these things. 0:12:10.240 --> 0:12:12.960 So I started research, research, research, and I started looking. 0:12:13.280 --> 0:12:14.800 I would love to be able to go to museums 0:12:14.840 --> 0:12:18.520 all around the world and look at these things. Unfortunately 0:12:18.559 --> 0:12:21.080 that's not quite you know, where we're at, and so 0:12:21.440 --> 0:12:25.920 I try to go online and find museum online collections. 0:12:26.360 --> 0:12:28.840 That is obviously easier if it's something that is at 0:12:28.840 --> 0:12:31.680 the DNA or something that's at the met These were 0:12:31.720 --> 0:12:34.680 not necessarily so, you know, I'm looking at museums again 0:12:34.720 --> 0:12:37.360 where I can't necessarily speak the language of the museum 0:12:38.040 --> 0:12:42.400 it is operating in. So I'll find images and then 0:12:42.440 --> 0:12:46.839 I'll have to have the text translated, and that also 0:12:46.920 --> 0:12:50.800 applied to you know, the folk costuming in both the 0:12:50.840 --> 0:12:54.400 Inn and the Roma and the monastery. 0:12:55.160 --> 0:12:57.520 For listeners who haven't seen the film yet, one of 0:12:57.520 --> 0:13:01.680 the characters, Thomas, travels to visit Counterlock and interacts with 0:13:01.760 --> 0:13:05.839 a large group of peasants sort of outside of his castle. 0:13:06.320 --> 0:13:08.720 Figuring out the garments that would make up an outfit 0:13:08.800 --> 0:13:14.160 for a Hungarian count of great wealth, entitlement, and personality 0:13:14.640 --> 0:13:18.840 from around fifteen sixty to fifteen eighty to roughly sixteen 0:13:18.960 --> 0:13:23.160 twenty inch, and that consisted of the very large overcoat 0:13:23.440 --> 0:13:27.800 which has the incredibly long sleeves, which actually I realized 0:13:27.920 --> 0:13:32.760 through researching the peasant costuming that that is a feature 0:13:32.920 --> 0:13:36.400 that kind of seems to have come from shepherds wearing 0:13:36.600 --> 0:13:40.760 the sheepskins as cloaks, but without arms, and that slowly 0:13:40.800 --> 0:13:44.720 starts to develop into these sheep skin coats with arms, 0:13:45.040 --> 0:13:47.480 but the arms are always really really long, and they 0:13:47.480 --> 0:13:51.320 don't seem to be always, especially for the nobility, intended 0:13:51.360 --> 0:13:54.760 to be worn with arms through the sleeves. It's more 0:13:54.760 --> 0:13:57.360 of a show of I have all of this money, 0:13:57.400 --> 0:14:01.560 I can have luxurious fabrics that make up the body 0:14:01.600 --> 0:14:04.920 of the overcoat. It's all fur lined to keep me 0:14:04.960 --> 0:14:08.200 warm in my stone castle with no essential heating. 0:14:08.800 --> 0:14:10.280 And I've got. 0:14:10.040 --> 0:14:14.640 You know, gold gold galloons and incredible buttons, and the 0:14:14.679 --> 0:14:19.240 buttons were often painted glass buttons painted with gold images, 0:14:19.440 --> 0:14:22.040 you know, I mean, not possible to find these days. 0:14:22.320 --> 0:14:25.360 So we ended up actually crocheting gold buttons and then 0:14:25.480 --> 0:14:27.800 weighing them with fish weights to give them, you know, 0:14:27.840 --> 0:14:34.520 a bit of heft. And so the Mente y Nte 0:14:35.080 --> 0:14:38.760 actually has these slices that are like kind of you 0:14:38.800 --> 0:14:42.040 know here in the fabric, and they're fur trimmed as well, 0:14:42.040 --> 0:14:43.360 and the arms can go through that. 0:14:43.560 --> 0:14:45.120 So you can actually keep. 0:14:45.280 --> 0:14:50.360 This big overcoat on by putting your arms through those slits, 0:14:50.440 --> 0:14:53.760 but you can't put your arms through the sleeves and 0:14:53.840 --> 0:14:56.200 keep it on, which I found really interesting. 0:14:57.000 --> 0:14:59.400 It gives it a sense of menace too. It does 0:14:59.440 --> 0:15:01.280 make it sort of a cape. 0:15:02.040 --> 0:15:07.560 And for our purposes, because Bill, he's gliding effortlessly, you know, 0:15:07.640 --> 0:15:10.920 through this this castle, but because of the weight of 0:15:10.960 --> 0:15:13.840 the overcoat, every time in fittings it would just slide 0:15:13.880 --> 0:15:14.600 off his shoulders. 0:15:14.640 --> 0:15:15.080 And so for. 0:15:15.040 --> 0:15:19.480 Practicality and for the image of it, we in a 0:15:19.480 --> 0:15:24.680 costume department devised a harness that he wore underneath the dolmen, 0:15:24.760 --> 0:15:28.360 which is the tunic that he wears under the overcoat, 0:15:28.800 --> 0:15:31.600 and there were slices it hidden in the shoulders and 0:15:31.880 --> 0:15:35.680 they had quick release mechanisms that we could snap and 0:15:35.720 --> 0:15:38.320 then you know, a companion piece on the inside of 0:15:38.360 --> 0:15:41.080 the mente so that it would just stay on his 0:15:41.200 --> 0:15:45.280 shoulders and float around with him and he could really 0:15:45.440 --> 0:15:48.120 recede into the bulk of it. When he wanted to 0:15:48.160 --> 0:15:51.720 not be visible, he could you know, expand his chest 0:15:51.800 --> 0:15:55.000 and have not just the galloons that are visible on 0:15:55.040 --> 0:15:58.880 the overcoat, but also all of the incredible gold lace 0:15:59.000 --> 0:16:01.800 overlay that is is present in the dolmen as well, 0:16:01.840 --> 0:16:04.200 and all that could be visible. So it gave Bill 0:16:04.680 --> 0:16:08.040 confidence that he could act with the costume and not 0:16:08.200 --> 0:16:13.440 have it be cumbersome. So then he had silk trousers, 0:16:13.480 --> 0:16:17.240 a tight fit, and they went into one of my 0:16:17.320 --> 0:16:22.080 favorite pieces, which were the boots. And in reality they 0:16:22.120 --> 0:16:26.040 would have been leather mules with about a four inch 0:16:26.280 --> 0:16:30.080 steel heel that is kind of horseshoe shaped, really freaky, 0:16:30.440 --> 0:16:34.160 and a leather sack that slid into the mule for 0:16:34.280 --> 0:16:37.560 our safety and for convenience purposes. You know, I designed 0:16:37.600 --> 0:16:40.200 it so that it was all one and Bill Scarscar 0:16:40.440 --> 0:16:44.680 is a very tall actor man anyway, and Lily Rose 0:16:44.760 --> 0:16:47.160 is quite petite, and so you know, there was a 0:16:47.200 --> 0:16:50.560 real overpowering presence. And then he had the coal pop 0:16:50.800 --> 0:16:57.040 hat kolpak and that is a crazy weird design. It 0:16:57.200 --> 0:16:59.840 sort of is like a like a large tube that 0:17:00.080 --> 0:17:04.080 folds back, you know, and so you've got this potentially 0:17:04.160 --> 0:17:10.960 quite overwhelming hat, right, And then it had the embellishment 0:17:11.000 --> 0:17:13.879 of hawk feathers and be jeweled at the front with 0:17:13.920 --> 0:17:18.200 the pearls and jewels. So all of that was intended 0:17:18.240 --> 0:17:24.640 to allow Robert our director writer, to obscure when when 0:17:24.680 --> 0:17:28.879 Thomas Hutter first comes to the castle, it's such a 0:17:28.880 --> 0:17:31.280 weird world. He's as soon as he comes into the 0:17:31.280 --> 0:17:35.200 Carpathian mountains, he encounters, you know, our villagers, he encounters 0:17:35.200 --> 0:17:39.439 the Roma, he encounters another very disturbing event in the 0:17:39.480 --> 0:17:41.760 woods that night that he's not quite sure did he 0:17:41.840 --> 0:17:43.719 see that or did he not see that? You know, 0:17:44.040 --> 0:17:45.800 by the time he gets to the castle, at least 0:17:45.960 --> 0:17:50.080 his horse is gone and is met by this unbelievable carriage. 0:17:50.280 --> 0:17:53.040 You know, every event leading up to the castle is 0:17:53.080 --> 0:17:55.600 plummes to more and more and more, and so he 0:17:56.000 --> 0:18:01.800 comes in and the count has this luxurious voice, you know. 0:18:01.960 --> 0:18:03.119 Deep, deep, deep deep. 0:18:03.160 --> 0:18:07.280 He's certainly unique, certainly not in the same era, that 0:18:08.160 --> 0:18:14.280 almost empty castle, and he's terrified. And because Orlock is 0:18:14.440 --> 0:18:18.040 three hundred years old, and Robert has chosen to really 0:18:18.080 --> 0:18:25.760 go with the embodiment of a folk vampire, which is undead, 0:18:26.240 --> 0:18:29.880 he's reanimated, so he is a corpse that is reanimated, 0:18:30.200 --> 0:18:32.960 come back to life, and so he's rotting. 0:18:34.200 --> 0:18:35.920 It's such an interesting interpretation. 0:18:36.040 --> 0:18:39.919 I feel like we're used to seeing very sexy vampires 0:18:39.920 --> 0:18:41.720 who are sort of dashing gentlemen. 0:18:42.119 --> 0:18:42.320 You know. 0:18:42.440 --> 0:18:45.119 Orlock is very sexy in his way, but now maybe 0:18:45.240 --> 0:18:46.280 in his physical body. 0:18:47.119 --> 0:18:51.199 It was always amazing to me to watch Bill in 0:18:51.359 --> 0:18:57.480 full makeup and costume, and still I could feel the 0:18:57.760 --> 0:19:01.439 power of the man from three hundred years what he 0:19:01.440 --> 0:19:04.239 would have been like as a living person. And that 0:19:04.359 --> 0:19:07.240 I think is an extraordinary accomplishment for him to have 0:19:07.320 --> 0:19:11.280 made in portraying this character. And so the idea of 0:19:11.320 --> 0:19:13.719 the huge hat that for a caller that comes up 0:19:13.760 --> 0:19:16.280 quite a bit. It has a sort of dual purpose. 0:19:16.320 --> 0:19:19.920 It's obscuring or Locke obscuring all of that rot until 0:19:19.920 --> 0:19:22.920 he gets that signature. And also it's kind of an 0:19:22.960 --> 0:19:27.640 ode or a homage, a nod whatever to the previous 0:19:27.680 --> 0:19:31.560 iterations of vampires, whether they be a black satin cape, 0:19:31.960 --> 0:19:36.080 you know, whether they be incredible costuming of Francis Ford 0:19:36.160 --> 0:19:41.200 Coppola's Dracula, The notion with that Dracula was that he 0:19:41.320 --> 0:19:42.200 was a shape shifter. 0:19:42.440 --> 0:19:44.320 He could force people. 0:19:44.400 --> 0:19:50.320 To imagine or see any number of different versions of himself, 0:19:50.440 --> 0:19:53.000 you know, the Dracula that Gary Oldman played in so 0:19:53.080 --> 0:19:59.160 many different extraordinary time periods and costumes. This Nosratu has 0:19:59.200 --> 0:20:01.800 its feet in reality, so that you know, the notion 0:20:02.000 --> 0:20:04.600 is that, and I certainly, you know, stand by this 0:20:04.680 --> 0:20:07.920 notion for myself that you know, it could be more 0:20:08.000 --> 0:20:12.800 terrifying if what you're looking at is potentially real, you know, 0:20:13.240 --> 0:20:16.919 then it really does close that gap between the fantastical 0:20:17.080 --> 0:20:17.720 and real. 0:20:18.640 --> 0:20:20.600 We don't have a ton of time left to before 0:20:20.600 --> 0:20:22.439 I let you go. Can I ask did you have 0:20:22.560 --> 0:20:25.560 a favorite costume in the entire film? 0:20:26.480 --> 0:20:28.840 I'm asked this and I realized over and over again, 0:20:28.880 --> 0:20:32.160 it's like choosing a favorite child. You know, I love 0:20:32.240 --> 0:20:35.359 them all and for different reasons. But you know, Orlock 0:20:35.520 --> 0:20:40.000 is because it could have been an incredibly terrifying notion 0:20:40.160 --> 0:20:43.920 to design such an iconic character. And you know, due 0:20:43.920 --> 0:20:46.480 to the fact that Robert had such very clear ideas 0:20:46.480 --> 0:20:49.440 about what he wanted, you know, that fear was didn't 0:20:49.480 --> 0:20:52.680 actually really even come up. I think designing the men's 0:20:52.760 --> 0:20:57.200 where that is at that period so romantic and so lush, 0:20:57.520 --> 0:20:58.520 that was a real treat. 0:20:59.480 --> 0:21:02.480 Willem Oh, we're such an extraordinary if I remember correctly, 0:21:02.520 --> 0:21:04.840 sort of floral coat in one scene. 0:21:05.560 --> 0:21:06.880 Yes, you don't. 0:21:06.720 --> 0:21:10.000 See it a lot in his Arctic room because it's lit, 0:21:10.359 --> 0:21:13.600 you know, very very sparsely, with candles and oil lamps 0:21:13.600 --> 0:21:16.080 and things like that. But he had beautiful little curl 0:21:16.119 --> 0:21:21.000 told slippers and you know, a very oriental gentleman's kind 0:21:21.000 --> 0:21:23.560 of eveningwhere. But you know the other thing you asked 0:21:23.560 --> 0:21:27.000 about the folk costuming, and yes, it is incredibly authentic. 0:21:27.040 --> 0:21:28.000 In fact, I. 0:21:27.840 --> 0:21:33.640 Am moved beyond belief. In my Instagram account, there's a gentleman. 0:21:34.280 --> 0:21:39.480 His page is called Transylvania dot heritage, I believe, and 0:21:39.920 --> 0:21:46.240 he's messaged me just to say, finally, finally, respect given 0:21:46.480 --> 0:21:50.080 to the folk costuming of Romania, and I can't time. 0:21:50.280 --> 0:21:52.639 I'm going to start crying, you know, because it was 0:21:52.760 --> 0:21:56.720 really difficult, really difficult to find the information because neither 0:21:56.840 --> 0:22:00.960 Robert nor I speak Romanian. And you know, you're looking 0:22:01.080 --> 0:22:05.440 at a lot of modern photographs of people who still 0:22:05.480 --> 0:22:07.919 create this costuming, but what we were looking for was 0:22:08.200 --> 0:22:12.359 pre photography, so we were relying on illustrations and written 0:22:12.400 --> 0:22:16.959 accounts and then having that translated, and then also in 0:22:17.000 --> 0:22:21.520 the monastery the Great Schema. Abbess Robert's writing is often 0:22:21.640 --> 0:22:25.920 quite feminist, and he was quite determined that the exorcism 0:22:25.960 --> 0:22:30.720 would happen with a mature nun, and as it turned out, 0:22:30.720 --> 0:22:33.560 we needed a priest. This we couldn't quite escape the 0:22:33.720 --> 0:22:37.920 religious reality. But you know, the Great Schema, abyss her 0:22:38.080 --> 0:22:42.479 Analev was so researched, so we had to give her 0:22:42.480 --> 0:22:46.600 a name embroider that across the bottom in a cyrillic alphabet, 0:22:46.760 --> 0:22:50.840 along with the psalm that she would have chosen from 0:22:50.920 --> 0:22:55.000 her Bible that would have been indicative of her religious 0:22:55.080 --> 0:22:58.680 journey to get her to the place of great learnedness. 0:22:59.160 --> 0:23:03.440 And so the icons, there's the ladder, there's the there 0:23:03.440 --> 0:23:07.760 are the angels, there is pillar. All of these different 0:23:08.000 --> 0:23:10.920 icons are things that were thoroughly researched, and the colors 0:23:10.920 --> 0:23:14.199 that would have been used in the embroidery, and the 0:23:14.280 --> 0:23:17.399 and the applicat work was all researched as well. So 0:23:17.480 --> 0:23:20.640 that is really dear to my heart, you know, because 0:23:21.200 --> 0:23:24.320 it was such a journey to get there, and you know, 0:23:24.400 --> 0:23:27.760 the hand inbroidery took a good deal of time to do. 0:23:29.080 --> 0:23:32.000 I can only imagine. Well, thank you so much for 0:23:32.119 --> 0:23:36.520 joining me. The movie knows Faratu. The costumes are absolutely extraordinary. 0:23:36.600 --> 0:23:39.040 To any listeners who haven't seen it yet, watch it 0:23:39.080 --> 0:23:40.919 and then watch it again, just with an eye to 0:23:40.960 --> 0:23:44.320 the costumes, especially that coat, those sleeves that go to 0:23:44.359 --> 0:23:47.800 the knee for orlac They're incredible. Thank you so much, 0:23:47.800 --> 0:23:50.520 and best of luck at the Oscars. These these costumes 0:23:50.560 --> 0:23:54.399 are are OSCAR nominated, so I'll be keeping our fingers 0:23:54.440 --> 0:23:55.000 crossed for you. 0:23:55.480 --> 0:23:57.560 Thank you very much, have a wonderful day. 0:24:06.800 --> 0:24:10.600