- 5 months ago
Director: Nikki PetersenDirector of Photography: Tommy FitzgeraldEditor: Katie WolfordSenior Producer: Bety DerejeProducer: Michelle RyanCamera Operators: Esme McNamee, Paul O’Connor, Michelle RyanAudio: Ross Carew, Ben MeakinProduction Assistants: Anna Hanlon, Alex Madigan VaughnProduction Coordinator: Ava KasharLine Producers: Natasha Soto-Albors, Romeeka PowellSenior Director, Production Management: Jessica SchierAssistant Editor: Andy MorellPost Production Coordinator: Holly FrewArts & Graphics Lead: Léa KichlerSupervising Editor: Kameron KeyPost Production Supervisor: Alexa DeutschSenior Talent Manager: Mica MedoffExecutive Producer: Rahel GebreyesSenior Director, Video: Romy van den BroekeSenior Director, Programming: Linda GittlesonVP, Video Programming: Thespena GuatieriFootage Courtesy of: Netflix
Category
✨
PeopleTranscript
00:00Here we go, and action!
00:02We're currently on the set of Wednesday season 2 in Dublin.
00:05We are in Auschwitz Studios.
00:08We're shooting a ball scene.
00:09The theme has a Venetian backdrop, so we have the chance to wear our party outfits.
00:15Very good!
00:21Reset guys, reset!
00:22We haven't made it very far yet, but we are shooting the opening of the gala.
00:26Steve Buscemi just came in looking like a complete idiot on the gondola.
00:30He's got the most ridiculous purple floral outfit.
00:33Tim Burton has been calling him George Washington all day.
00:35The entire Addams Family is together.
00:37Everyone's wearing dresses as big as a table.
00:39We're having to block out the scenes to make sure we're not bumping into one another.
00:42It's quite fun, actually.
00:47The gala that we're doing now, we talked about it when we first started,
00:51because that was one of the biggest things, you know,
00:53there's going to be an 18th century gothic ball.
00:55I think we first started talking about this look months ago.
00:58So to finally be in this place and be able to wear it and show it on screen,
01:01and everything looks so beautiful with the lighting, it's just very gratifying.
01:05Actually, yesterday was the first time that we'd seen it all in the ballroom together,
01:09and it was quite a moment.
01:10We probably manufactured over, you know, almost a thousand pieces of clothing for this scene.
01:16So that's a lot of making and dyeing and aging and prepping fabrics.
01:21In the costume department, there's about 60 to now about 100 people,
01:28including the workroom, pager dyes, printers, costumes, standbys.
01:33This is sort of the workroom adjacent stuff.
01:36It's buttons, notions, linings, things like that.
01:39This is where we keep all the principal costumes here.
01:42So everything is lined up scene by scene, character by character.
01:45This, to me, as an actor, is one of my favorite places to be.
01:51It's the costume house.
01:53My mother was an amazing seamstress. She still is.
01:55And so I was brought up with fabric bolts hanging around the house
01:59and walking on the shag 70s carpet with needles and pins.
02:03This was basically a shed.
02:05When we arrived, we've had to put windows in, we put lights in.
02:09This is typical of what happens on these kind of projects.
02:12We don't have permanent spaces.
02:14We come in and inhabit a place and make it ours.
02:17So we have our cutting tables, our machines,
02:20and then we have this part that's the heart of it, really the workroom.
02:24Walking into the fitting room for the first time
02:26and seeing what they've come up with
02:28and the structures and shapes.
02:30And, you know, it's always really amazing to me
02:32that they could see something like a gala on a script
02:34and come up with something that's amazing and intricate and beautiful,
02:37yet not contradictory of the character and who she is.
02:41The old adage is that an actor's never an actor until the shoe's wrong.
02:52Wardrobe is so incredibly important to developing a character
02:55and I do feel like even going back to the first season
02:58when we first tried everything on,
02:59the black, the white, the hair, the makeup, everything about it,
03:02it is kind of hard not to start sitting up with a straight posture
03:07and you realize it looks kind of silly to move too much
03:09because you're too alive all of a sudden.
03:11So it definitely helped, especially when it comes down to the physicality.
03:14A lot of it was the costume kind of telling me what to do
03:17and I just followed.
03:24When we first started Wednesday Season 1,
03:26it was like a collaboration with Jenna,
03:29just trying to figure out who Wednesday is now.
03:33She is not like she was in previous times.
03:37You know, she'd evolved and also we wanted Wednesday to be more current
03:42and also for people to associate with her really in the real world.
03:47What was very important to Tim was that we made these characters real.
03:51Even though they were quirkier and a bit more out there
03:54than everybody else's family, the fundamentals people got.
03:59And if it's rooted in reality, you can play.
04:03There's so many different routes that you could go.
04:05It's entirely subjective, but because it's so expressive
04:08while also being very black and very dark,
04:10I think there's plenty of ways that we could go with Wednesday's costume.
04:14And considering she's in high school, it's a very experimental time in one's life.
04:18I definitely feel like you can kind of feel the shift in her age this season.
04:22We looked at the scripts because they dictate where the story's going.
04:28We were lucky with this one because it's very rich.
04:31You know, you have contemporary, you have pilgrim world, you have monsters,
04:35you have insane asylums, you have all kinds of worlds that you're creating.
04:38Obviously with Tim, you tend to go to the Victorian era,
04:42just because it's a known kind of comfort zone for him
04:45and sort of feels right for the architecture of the places that we're working in.
04:52The theme for this gala was Venetian ball.
04:54Very Italian and everyone's dressed in period piece clothing.
04:58It's very beautiful in there.
05:01The gala is a fundraiser.
05:03My character, Matisha, has helped on the fundraising committee,
05:08which she's very proud of.
05:10So she's making an extravaganza like no other extravaganza.
05:14The motivation in our design was what would Morticia have done?
05:18And so that's kind of our starting point.
05:20And then we just took the 18th century and did a spin on it.
05:24If it's today, combined with rental house materials and costumes
05:29and sort of mixed it up and mashed it up and, you know, had a blast.
05:33There are quite a lot of 18th century costumes, but with the students,
05:37we've had more of a contemporary take on the look.
05:40The 18th century is an amazing period to riff off of.
05:44I mean, many people have done it in fashion over the years.
05:47Galliano, the Adrian, the old costume designers from the 40s.
05:51So what we did is we took that vibe along with a new vibe and sort of mixed it up.
05:56The menswear is a little more true to the period in the sense of the silhouette
06:01than the women's, which we spun out more about just because it was more fun.
06:05There was more of it.
06:10In the beginning, my first inspiration for a costume was really Oscar Wilde
06:14because she's, you know, witty.
06:16She's droll.
06:17She has a sense of humor, but she's dry like Oscar Wilde.
06:20So I kind of did Oscar Wilde from here up because it's almost like a men's tailored waistcoat
06:25from a certain period.
06:27And the shirt's kind of like a romantic shirt, but out of silk tulle.
06:30And then I realized that from the waist down, it needed to be a dress with some presence
06:34to be in the room with all the big costumes around it.
06:37Something that I really appreciate about Wednesday is I feel like she
06:40tows a great line of always being feminine, but there's something about her that
06:43occasionally is masculine.
06:44She balances androgyny pretty well.
06:46For her casual wear this season, we tried to stay away from stripes and checks,
06:52even though that's what everybody expects Wednesday to be in.
06:55So we used different layers.
06:57Maybe we'd put a white t-shirt on with a sweater over the top.
07:00So it creates its own pattern and texture.
07:03With a character like Wednesday, I think it's very easy to become monotonous
07:06with someone who's so deadpan and straight.
07:08And this season was really interesting because I'm wearing my school uniform
07:12a lot of the time, but some of my free time clothes are a bit more nineties.
07:16So we started off the season kind of in the summer.
07:18So I'm wearing a t-shirt at some point, things like that.
07:20It's a bit different from first season, which was a bit more structured silhouettes.
07:23You know, Wednesday wears like a quite sporty look for Willow Hill.
07:29So one of the ideas was to have like a tracksuit that we could open up at the side
07:34that you could have another pair of pants on.
07:36So it's just creating different layers.
07:38So we can still have that monochromatic palette.
07:42When I first met with Creative, I remember specifically saying,
07:46I want a modern twist to her, but retain the iconic look.
07:51This creation, for example, you have the classic Marticia dress.
07:56This fabric, when I found it, was in between each of these kind of things
08:00that look like a road to me were diamond strips, which we hand removed.
08:05I didn't want the brightness of the diamantes in the middle of it.
08:09But I thought it was way more interesting without them, and especially for Marticia.
08:13This is only one element of her gala dress.
08:16As you can see, this is an exterior pannier, which basically in the olden days,
08:22this would be under the garment, which would create that Louis XV skirt.
08:27So it's a little saucy.
08:29She's showing her underwear on the exterior, but it has everything that Marticia would love.
08:36Sharp edges, bones.
08:39It looks painful to sit in, and it is, but what you do for art.
08:48I've got three different stockings on.
08:50I've got nude, I've got fishnet, I've got shorts, I've got a leotard,
08:54I've got the sheer shirt on, I've got a corset on that's locked in.
08:59The costume, I think I need at least a 40-minute heads-up to put it on in the morning,
09:04which sounds crazy, but that is showbiz.
09:07It's not easy to carry this dress around for 15 hours a day, but that's the job,
09:12because without all this, it'd be a much harder job for me.
09:16I haven't got to say anything, and I can just walk into the room,
09:19and anyone would go, oh, she's Matisha Adams.
09:24Colleen and Mark always ask me how I feel in the costumes, and I always feel great.
09:29And I feel great because their entire team, all their tailors, all the dressers,
09:34everybody looks, and they kind of have a similar reaction,
09:36which makes me feel good and comfortable and confident.
09:39It's nice because they're such an incredible team here at the Wednesday set.
09:42When we did see it all together, it felt good.
09:45It felt like we'd all done a great job together, that it was really a great team effort.
09:50Yeah.
09:51I felt proud for us as a whole because it was a lot of work.
09:55Things have been hand-made, hand-stitched, hired, rented, fitted.
10:00So yeah, it was altered.
10:02Yeah, exactly.
10:03So it's a great sense of achievement.
10:05And also seeing stuff on camera, you know, when you see like big scenes like the gala and everything like that,
10:11for me, that is the best part of my job.
10:14You know, you have all these ideas and these clothes that you put on people,
10:18but when you see the actors actually wear them and start performing in them,
10:22it's really a great sense of happiness.
10:25Let's see.
10:26Look at us.
10:27One big unhappy family.
10:29We're about to heat things up with the student dance.
10:32Hey, how was that?
10:33Very nice.
10:34Very good.
10:35Very nice.
10:36All right.
10:37Cut there.
10:38Cut there.
Comments