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00:00I'm really impressed.
00:02I've been around my share of television studios,
00:04and you really know your stuff.
00:08The man got offered a gig, come with me.
00:10I'm starting a new position at the station.
00:12What if we don't work out?
00:16I thought about coming back a thousand times.
00:19Why didn't you?
00:21I guess I just wanted you to be happy.
00:30Hello, everyone. My name is Sidra Smith, and I'm one of the proud executive producers of Sylvie's Love.
00:41And I'm so happy to be here this evening with the fabulous women who created the look for this amazing film.
00:49We have Phoenix Mellow for costume design.
00:53We have Carla Farmer and Linda Villalobos for hair.
00:58We have Angie Wells for makeup.
01:02Thank you so much, ladies, for being here to talk about the look.
01:07I'm so excited to moderate this conversation.
01:10And thank you all so much for the amazing work that you did on Sylvie's Love.
01:18You all were very vital creating the look.
01:22And I just want to know, like, from each of you, what inspires each look, hair, makeup, costume design?
01:33Let's start with you, Phoenix.
01:36Every look from the top? Oh, man.
01:39Well, I mean, it starts with the script, you know.
01:43From that, you know, just all the detail of the characters are in there.
01:50And I guess from Tessa, you know, her style was very elegant and poised and tailored, chic, professional.
02:04She was inspired, I guess, by a lot of the most amazing fashion icons of the 50s and 60s, including even Eugene, the director's family.
02:19We looked at photos, you know, just real people and real stories is kind of what we wanted to tell.
02:26But yeah, some of those icons, you know, some of her inspiration came from, you know, like Nancy Wilson and Diane Carroll.
02:37There's this image, I think, there's this image that Sylvie's Love actually posted on Instagram that we were looking at that was Lady Bird Cleveland and her daughter in New York.
02:49And it's just this perfect photo that represented Sylvia and her daughter.
02:54But yeah, I don't know. There's so much that we could talk about with the inspiration and where we got those, you know, where each of those characters came from.
03:05So I don't know. Somebody else should also jump in.
03:08Absolutely. So so Carla and Linda, like the hair, you all tag team this hair like nobody's business.
03:17Like what inspired the hair for you?
03:19Well, for Tessa, I was inspired by Dorothy Dandridge and Audrey Hepburn.
03:28And that's where I got the idea for the short bangs and also Bridget Bardot for her 60 looks.
03:38I was inspired by her full kind of bangs and big hair.
03:44So those were my inspirations.
03:46And also I looked at films from that time period, like Breakfast at Tiffany's and Guess Who's Coming to Dinner and things like that.
03:59And research always inspires my work.
04:05And I love to do a lot of research.
04:07And Linda also, I know she wants to speak upon that, too.
04:11Yeah, I mean, same here. I mean, it's just lots of research for Namdi.
04:18You know, back then in the 50s, you know, they wore their hair pretty natural and processed.
04:25Most of the guys in the in the band in the movie wore their hair wavy, processed looking.
04:32So for him to be natural and kind of made him stand out, you know, and and be the lead in that band.
04:42And the glasses that he chose for his character to kind of, you know, help the look to look totally different for him, but still stay in that era.
04:52You know, so he personally like showed me pictures of different musicians and saxophone players and they all pretty much had the same kind of look with the, you know, shorter afro tapered haircuts.
05:08And so we kind of stuck with that. The only thing different that we did with the we I say we because biweekly, he will get his haircut by Stacy Morris, who is a great barber in the industry.
05:24And and then I will style it. So I would just show the difference between lengths and whatever it took to shrink his hair down, mist it, pat it down, do whatever.
05:36So we can show the difference in the in the in the era of years.
05:40So excuse me.
05:44No, I said absolutely. Yeah. Yeah. Yeah. So so a lot of research with that.
05:50And like I said, he was he was prepared, like he showed me pictures, you know, and then with the other characters in the in the movie, you know, was again, like West Side Story for Eva Lingora.
06:03I know it's not part of that whole movie, but for some reason that was sticking to my head with what was her name?
06:14I'm awful with the names and maybe you can help me, Carla. You know, the Spanish lady that played Rita Moreno.
06:20Yes. For some reason, I blocked that. She was a big inspiration for me for her for Carmen.
06:26You know, so I love Eva. We saw her like never seen her before singing and dancing.
06:33And yes, fabulous. Like, I just loved her so much.
06:39The makeup.
06:41The makeup, girl, the makeup. It was flawless. What inspired it?
06:49Again, you know, I'm going to probably repeat a lot of the same things that Carla and Linda said research for me is majorly important.
06:59So I don't know if you can see I'm sitting in front of just a stack of all of my like research books that I use a lot of my research books.
07:06Also, musicians from that time period. You know, I am a jazz musician in real life as well.
07:13So that was very easy for me to pull up, you know, pictures of Charles Mingus and, you know, Miles Davis and those kinds of guys from the jazz world.
07:23And then as far as for Tessa's look is concerned, I was very inspired by Diane Carroll and by Audrey Hepburn.
07:30Those two women were sort of where I kind of melted a lot of things together to make Tessa's character.
07:40And I would say her her look in the in the 50s was definitely more Audrey Hepburn.
07:46As we got towards the 60s, then I went more with the sort of a Diane Carroll look.
07:51And then I took pictures from my family and pictures from society, black society of New York City.
07:58And I looked at those photos and that's sort of how I developed her look.
08:02And, you know, for this film to have taken place in the 50s and the 60s over a span of, what, five years.
08:09I mean, I love the transitions that you all made from the short hair to the long hair to the change in the wardrobe for all the characters.
08:18It was fabulous.
08:19I have, like, another question.
08:21What did you all think?
08:23Like, what was your first reaction to the script?
08:26When I read this script, it was such a breath of fresh air.
08:30It was just so, like, I just want to know, were you all excited to, like, bring each of your departments to life within the script?
08:39Like, what did you all think, Phoenix?
08:41Like, when you read the script, did you, like, what was your first reaction?
08:45I mean, I, you could see it all playing out.
08:48It just felt like my favorite movies from the 50s and 60s.
08:53And Eugene really hit it on the nose with the script, just the story and how you want the love to come together in the end and showing all these really exciting locations.
09:04And also, yeah, just the shifting times that, you know, from Robert being, like, a poor musician to then seeing success and then going back down.
09:16You're just seeing so much change.
09:19You know, just having that in the costumes was really, really important.
09:25And I think, you know, also the script, there was something about it that just was so reminiscent of scenes from those favorite movies, like Breakfast at Tiffany's, you know, where you see her going and eating her breakfast.
09:42And those iconic moments, I could just see them happening during the script.
09:50I don't, maybe it was just imagining Tessa in these, like, amazing costumes that just, I was like, oh, my God, that's going to be amazing.
09:59But, yeah, I think, yeah, the script itself just had such detail and, or just, just inspiration in it.
10:09Yeah.
10:12It was so beautiful.
10:13For me?
10:14Yeah, yeah, yeah, yeah.
10:16No, no, please go right ahead.
10:17Oh, for me, it was really personal because I grew up in a family that was a part of black society.
10:25So I got to see my grandparents, my mother was a debutante, and John F. Kennedy was at her debutante ball.
10:33So I've seen these photographs.
10:35So for me, it was something that was missing from the film history as a whole.
10:43We didn't get to see a lot of African Americans in this type of story because usually we were broke, like in, broke on welfare.
10:57We were slaves, nappy and greasy.
11:00We, we just don't have a lot.
11:02We don't have a lot of films that portrayed the black society as we know that was a part of a lot of our growing up.
11:14So for me, I was so excited.
11:16And like with Angie, I pulled pictures from my own family.
11:20And I was just, I was just ecstatic about being able to be a part of such a beautiful story, film, and a vision, the visual that we were going to be able to put in among all the other films.
11:37Yeah.
11:38I agree.
11:39I agree.
11:40Before we go to Linda, can we just say amen to no nappy, greasy?
11:44Yeah.
11:45Yes.
11:46I don't even do nappy, greasy sometimes when I'm doing way back period stuff.
11:50I mean, I don't do dirty either.
11:54Well, she's keeping it real short.
11:55Well, she's keeping it real short.
11:56That doesn't work for me.
11:59Because, Sandra, the reality is, you know, we as a people, as black people, one of the things we will dress even when we don't have money, let's face it.
12:09Exactly.
12:10It's the reality.
12:11We're not a dirty people.
12:12We're very image conscious.
12:14Yes.
12:15One of the things that I felt so wrongly about this film was that when I read it, it was the same kind of, it's like, this is refreshing.
12:25Yes, we were out there.
12:27Yes, we did dress.
12:29Yes, we had jobs.
12:30Yes, we had nice homes.
12:32You know, not all of us can be lumped together in a sort of this stereotypical image that people like to sort of portray us in always.
12:43So this was really, you know, a step away from that.
12:48And I was really happy to be a part of that.
12:51I love the way that they honor that the director, writer honored black people, their music, their family, like, he just really honored black people in this movie.
13:06And it was so beautiful.
13:08And yes, so Linda.
13:10Yeah, I just want to add that because everything, you know, everything that was said was just so on point.
13:16When I read it, I just felt like, wow, a refreshing, romantic love story.
13:22No killing, no blood, no, you know, just, it was so nice to actually, you know, be involved in this project.
13:32It was so nice that there was there was just all nothing but love, you know, the struggle for love, you know, and to have to reach your whatever it is you're striving for, you know, the support of black love, you know, and it was just great.
13:48I thought it was so refreshing and so glad to be a part of it.
13:52Yes. Can we just talk two seconds?
13:54Can we just talk about the men in this movie?
13:58Like, let's talk about how fine every single one of these men in this movie are and I'm just curious, you know, Phoenix, like, when you read the script, and you saw all of these fabulous male characters, starting with Mr. Namdi Asamoah's character.
14:22Like, were you just excited to, like, dress them?
14:27Oh, my, well, this is, I think one of the most just romantic eras of fashion and dress and the men, like, I want to dress like the men of this era.
14:41And just the way that, I mean, Namdi is so tall and his body dresses or he wears clothes so well, but everything definitely needed to be tailored properly and fitting just right for the 50s look and then the 60s look.
15:00I mean, for him, we really got into his character in the fittings, you know, we listened to jazz and soul music while we were in the fitting room the whole time to get in the mood and he would bring his saxophone.
15:18A sentimental move by John Coltrane, like, over and over and over again.
15:26And it just, he really got into the character and wore the clothes and really would think about, you know, every look that we put together and make sure it fit just right so that he could carry his character and be, you know, that underdog talented musician, you know.
15:48And just, he needed to have that suave, understated, handsome hero, you know, with those loving faults.
16:01Yes, yes.
16:03And love.
16:07Oh, and I wanted to say with Tone, Tone, what was his last name?
16:13Tone.
16:14Oh, shoot.
16:15Why did I almost say Loke?
16:18Tone Bell.
16:20Tone Bell.
16:21Yeah, Tone Bell came in with a whole beard and, you know, a natural hairstyle.
16:29And Lily created that style where his people came and they were like, oh my God, like, they loved that look.
16:39And they were like, man, you need to, there's something here with this.
16:43So I think he did some press after that and used Lily.
16:48She was our third and she helped us a lot also and used Lily to do that press with for him.
16:55Good for him.
16:55Let me ask you a question.
16:58When you started thinking about the makeup, right?
17:01Was it important, like your process, did you want to see what the wardrobe looked like?
17:06What the hair was going to look like?
17:07Or did you, so tell me about that a little bit.
17:09Because a lot of people don't know what happens behind the scenes when it comes to the process.
17:14For me, I generally, first I start with my own research, just getting pictures and generally sort of getting a feeling for the time based on the script.
17:28And then I look at the descriptions in the script as well.
17:31And then I usually will talk with costumes because I want to see the style of things and how that's working.
17:37And then hair and I kind of work together, I mean, I usually, you know, we kind of work together once we sort of see the costumes come about.
17:45Then you kind of have an idea of, okay, coloring as far as makeup is concerned for me.
17:51Also style, because there are styles of makeup as well.
17:54I mean, Tessa's character went from, you know, thick eyebrows in the 50s with, you know, heavier winged liner and, you know, pretty much red matte, very matte lips.
18:08And as, because her character was also very refined and a socialite, basically, I felt that her makeup needed to be refined, classy and refined.
18:21Not big, not over the top.
18:23Thank you very much.
18:25Thank you so much.
18:26And then in the 60s, because her character was her own woman, I made a point of not having her look cookie cutter.
18:37I made a point of her not being totally matted out like women of those times would have been with lots of powder, you know, wore a lot of powder then.
18:47Eyebrows were very hardly drawn on.
18:49And I didn't want that for her character because that wasn't her character.
18:54So it was a combination of script, costume, hair, and makeup is how I develop, you know, the looks that I come about.
19:03And let me ask you a question.
19:06This is a, just a quick, like, question for all the ladies.
19:11The process working with the director, like, what was that like with you?
19:17Were you nervous about bringing his, his pages to life?
19:23Did he allow you that freedom?
19:25Like, what was that process like working with a director when it comes to, you know, the hair, the makeup, the wardrobe?
19:34I think, go ahead first, Carla.
19:39Oh, I feel Eugene gave us a lot of freedom.
19:42A lot of freedom.
19:43And he trusted, he trusted us.
19:45And he was happy.
19:47And if he didn't like something, he would let us know and we would change it or alter it.
19:52But overall, we were all on the same page.
19:57I love that.
19:57We all had the same vision.
19:59And he was very open to our ideas and transitions.
20:04And he really helped me to sell the short hair for Tessa.
20:10And I think that, that just really gave the movie something special.
20:17Than just the ordinary ponytail 50s look with bangs.
20:23Right.
20:25And what about you, for the, for the, the, the grooming of the men?
20:31Like, like, how involved, what was the process with the director when he came to the men?
20:38Are you talking to me, Linda?
20:40Or, oh, okay, gotcha.
20:42Yeah, same.
20:43I mean, he was real hands-on.
20:46Like, he wanted to know.
20:47Like, you, you, he came in the trailer.
20:49He talked about, he got super excited about, um, uh, uh, Tony Bell's hair.
20:56For sure.
20:56I didn't do it, but Lily did it.
20:57He was, like, over the top with that.
20:59He loved Namdi's hair.
21:00If he had a question, you know, hey, do we keep the little grays on it?
21:04Do we keep it a little, you know, he really came in and kind of talked to us about it.
21:09And concerns and, and, um, and, but again, like Carla said, still allow us to do.
21:16Well, we felt, trust us, you know, and, you know, and that's important.
21:21He trusts us.
21:22And that's why we were hired, because we're, we're all good at what we do.
21:25And we did our research.
21:28Yeah.
21:28And you know what's so beautiful about Eugene?
21:30It's like, for him to have been the writer and the director, like, he was just so clear,
21:35you know, reading the script and seeing the movie.
21:39It was just like, he was, he has such clarity.
21:43And with makeup, Ang, did he like come in and say, oh, I want, did he like get, like,
21:48what was that process like?
21:50Or did he, you know, it's really interesting.
21:52I think I was one of the first after, maybe I'm not sure, but I know that I met with him
21:58very early on in the process.
22:00And I went over to his place and I took, you know, a bunch of photos and things that,
22:06you know, and sent them to him as well.
22:08And he felt that I was on target with what, you know, he was doing.
22:14So he didn't really, he gave a lot of like, yeah, that's great.
22:20I love it.
22:21He was excited about a lot of things.
22:22I think, like Linda said, you know, he saw that my vision matched his, he was happy with
22:29that.
22:30And he basically just let me do what I needed to do, which was great.
22:35Don't you love it when a director lets you do your job and trust you?
22:39Yes.
22:40Yes, we do.
22:43Can you say, please, please, for letting us do our jobs?
22:49And I'm going to say this too, what was so important and was an asset to the movie is
22:55that we did have a black director.
22:59And I've, I've been in shows where the narrative was a black story and the director, I've had
23:06to explain certain things to them about why it should be this way and not be that way.
23:13And luckily I've been in the room to say those things.
23:19So it was really great to have someone who directed the movie, who you didn't have to
23:27explain a lot of things.
23:28He understood it.
23:30That, that is, it's great.
23:34More in mind, the scenes and directing and in different departments, it's really good.
23:40I love it.
23:41And so, and Fina, so let me ask you, um, the Chanel gowns, was that an idea, like who came
23:48up with, put like, with the idea of putting those fabulous Chanel gowns on Tessa?
23:54Well, it was just like this amazing coincidence of things that were happening at the time that
24:01we were shooting.
24:02And what's funny is before we even talked about Chanel, Eugene and I had always talked
24:09about how Givenchy dressed, uh, uh, what's her name?
24:14Audrey Hepburn.
24:16What's her name?
24:19In Breakfast at Tiffany's.
24:21And just like the look that, that created.
24:24And at the time Tessa was one of the spokespeople or, uh, um, for Chanel and we had a connection
24:38there and we talked to them about the vision and I sent them all the boards and what certain
24:44things I would be looking for if we could use Chanel.
24:47Chanel and they let us, uh, look through their past collections.
24:53Um, we were so lucky to do that and pick things out and work with them.
24:58And they also knew, um, Tessa's body.
25:02So they knew what would work too and her sizes.
25:05And yeah, we got to pick out some of the best things I think in our movie were Chanel, obviously.
25:12But, uh, yeah, it just worked out and I just, the look, we just love Tessa Thompson.
25:20Can we just say amen to Tessa Thompson for being so.
25:23Yeah.
25:24Amen.
25:25Corner.
25:28But Tessa, so working with Tessa, you know, who has done so many different films, like,
25:35and she's a producer of this film as well.
25:38Like, I just want to know, Angie, like, what was it like working with the ladies?
25:44Like, did a lot of the ladies, did they, I know they trusted you, but did they come with,
25:50here are my ideas for this character or what are we doing?
25:54Who are, what?
25:55Everybody came open.
25:57Everybody was open, which was really, really wonderful.
26:01Tessa and I, I mean, once I showed her where I was thinking of going, um, you know, she
26:07was all good with it.
26:09Um, no, I have to say that, like, they were all very open.
26:15And I think because it was period, you know, I think you, you might have a little more of
26:21that if it's contemporary, because it's the way, you know, people look today, but period
26:26is period and you have to fit into what the period was, if it's going to be authentic.
26:32So, you know, the looks that I presented were authentic looks.
26:37Yeah.
26:37Nobody really gave us any drama at all.
26:39Everybody kind of sat down and went with the flow.
26:42Yeah.
26:42And this is really like with the process, you know, a lot of people don't know, like, what
26:47that process is working with an actor, you know, and it's, it's just great to hear just
26:52how everyone came just so like vulnerable, so open to allowing you all to bring your expertise
27:00to it.
27:01And it, and it really does start with the leader, with the director who to me always sets that
27:06tone that everyone else follows.
27:09And it's just beautiful.
27:10Like my other question is one of my favorite scenes was just the dancing at the blue Morocco.
27:18Like, what was that like for you to wear the makeup, the wardrobe, the, you know, I mean,
27:25that was just like, that was fun.
27:27That's my favorite makeup scene.
27:29Yeah.
27:29With Tessa's hair short and that little wig and the red lips and the thick eyebrows and
27:35that cute little white, off-white dress.
27:38And I just, that I think is my favorite.
27:40For y'all, just my favorite.
27:42This is going to be fun.
27:44Yes.
27:44And Linda and I, when we hired our staff, we made sure that all the tools they used on
27:55the hair were the tools of the period.
27:58Yes.
27:59So there was no electric curling irons.
28:01There were no blow drying.
28:03It was all Marcel iron work.
28:05And it's very important.
28:08Linda and I go crazy when we watch a period movie and you can tell they're not using the
28:12tools of the day.
28:13So I think we both, when we do movies, we make sure things are implemented.
28:19When we did Dolomite, we did the same thing.
28:21Yeah.
28:22And then also, you know, preparing because one system that Carla and I do have is preparation.
28:30Like, you know, in period, of course, you're going to use a lot of wigs.
28:33So we, I mean, you want to call it a sweat trailer or something, but we have all the wigs
28:38prepped.
28:38Extra help prepping the wigs way before in advance so we can rise to any occasion, you
28:45know, and in the background, as far as I've seen, it looks amazing.
28:49You know, we're getting a lot of feedback on how great, you know, people looked, hair,
28:53makeup, wardrobe, everything.
28:55So, and it's because we prepared for it, you know, we really, really did.
29:00Yeah.
29:00Yeah.
29:00And I agree with using tools of the time, because the same for us, we used liquid eyeliner.
29:08There were no pencils.
29:09We used pencils on eyebrows, no powder, because we weren't, they weren't using that then.
29:15So yes, in order to make the look authentic, you need to use the types of things that people
29:20use there.
29:21And I agree 100% with that.
29:22And I mean, history is really big for you, like, so your history background, like, did
29:29it, did it make this process easier for you?
29:33Like, tell me how you just tied that into like your work as a costume designer.
29:39Yeah, I mean, it's really important to know, you know, the different historical things that
29:46are going on and the different fashion trends.
29:49And just, I think, just incorporating, like everybody's saying, the things that people
29:59were actually wearing, the pantyhose, the girdles, the proper, you know, bras and the way that
30:05they are shaped, you know, it makes you stand differently.
30:09And the way that the actor carries themselves, you know, that is how you're going to fit into
30:14that period dress.
30:16And yeah, just knowing that, yeah, the historical significance of that.
30:22And tell me something, you said it makes you stand differently.
30:31Yeah.
30:31Tell me about that.
30:33What do you mean when you say that?
30:35Yeah, so I mean, the way that the girdles hold you in and you have your back.
30:44I'm telling you, you're two inches taller, suddenly, when you have a girdle on.
30:53But it's true.
30:55You'll see, too, when modern women put on these 50s and 60s dresses, there's this little bit
31:02of fabric that would have our grandmothers and, you know, mothers would have just that two
31:11inches longer in their posture.
31:14Because of these, you know, they had those classes, just like Eunice's charm school.
31:22You taught how to stand up properly.
31:25So, you know, just having those elements of Tessa's character in there are really important.
31:32And just like small little details about like the earrings that she wore, these little emeralds
31:39and just having like a backstory to all the details, you know, and historical elements that
31:47I think are important in this movie.
31:49Now, let me ask my last question.
31:54My last question.
31:55And I could go on forever with you ladies.
31:57I want to just do a conference call.
32:02So, your favorite look in Sylvie's Love.
32:07Angie.
32:08Tessa at the Blue Morocco with the thick eyebrows and the short hair and the red lips in the
32:18off-white dress.
32:23I think probably the blue Chanel dress.
32:32It was kind of a crazy story how it happened, too.
32:37Like, we were going to make it.
32:39And we went through this whole process that we were going to make this dress.
32:43We did the camera test with some other, the silk dress.
32:49It was so dull on camera.
32:51And I was just like, what's going to happen to this dress?
32:54Like, this is Eugene's moment that he's been talking about, like, since the beginning.
33:00And it just, like, happened to, like, just happen that day that that Chanel dress was opened and
33:11it was there.
33:12And we just, like, moved it into her room and tried it on.
33:17And it just was the moment.
33:19And just that special, I don't know.
33:22It just all came together.
33:23And it just had this, you know, Jackie O-esque feeling with the matte gloves and the lucite
33:30heels and the pearls.
33:32It just, you know, it really came together.
33:36And it was the day of.
33:39I mean, I hate that.
33:41I never liked to do that kind of thing.
33:43But a lot of this movie was fast.
33:46So it just felt so perfect when it all came together.
33:51And it was so perfect, too.
33:53It was perfect.
33:54So, Carly, your favorite look.
33:58My favorite look would be the birthday scene with Tessa and Tone and Eva, just the whole
34:09cast.
34:10That was my favorite look of the movie.
34:15And what was your favorite look, Linda?
34:17Oh, yeah.
34:18You know, I loved when they were outside the theater and he was standing with Tessa.
34:25And the cab was right there.
34:27I mean, Breakfast is Tiffany's look, that Chanel dress.
34:30And I just loved that.
34:32That was, that kind of set the whole movie to me.
34:35I mean, it was just beautiful.
34:37I think that's my favorite looks.
34:39Yeah.
34:39And I must, and y'all know I have to give you my favorite look.
34:44My favorite look was this Chanel gown as well, in front of the theater.
34:48It was just, I was so proud to see Tessa looking so elegant and so rich and so fabulous.
34:57And then when she saw Robert, you know, as the character, I just started crying.
35:04I was just like, oh, my favorite movies.
35:10Wow.
35:11You know what?
35:13I'm just going to say this real quick.
35:14It's just that in this, with this movie, like you want them to get together.
35:20You want it to happen.
35:21You felt everything, you know?
35:23And that's so important.
35:25That's what makes it.
35:26And it's just great that you even said that and you felt that, you know?
35:30Because that's exactly what I'm sure Eugene wants and we want because we worked really
35:37hard on it.
35:38And I think it was great.
35:39It's a great moment.
35:40Well, I just want you to know, Angie, Carla, Linda Phoenix, you all have created some award-winning
35:48looks.
35:49And I'm so excited.
35:50Wow.
35:51Wow.
35:51I want to thank Amazon Prime Video for picking this movie up.
36:00I just, I want to thank Fenty Beauty.
36:03I want to thank Chanel.
36:05I want to thank all the people who supported this film, who continue to support it.
36:10I'm so excited that it's on Amazon Prime Video so that so many people globally can see the
36:19look, the story, Black people who aren't nappy and greasy.
36:26And dirty.
36:27Don't forget dirty.
36:27And dirty.
36:30Baby, I love all of you.
36:33Thank you all so, so much.
36:35And I also have to give a shout out to our producer, our leader, Nandi Asamwaki.
36:42Yes.
36:43Yes.
36:43Thank you so much for seeing this and believing in this and putting all your faith in this
36:50because without you, this would not be happening.
36:53So thank you all.
37:07I'm really impressed.
37:08I've been around my share of television studios and you, you really know your stuff.
37:13I suppose I do.
37:15What?
37:15I don't know.
37:17You just, you really are some.
37:21May I have the pleasure of this dance, Miss Johnson?
37:34The band got a gig in Paris, so come with me.
37:37What if we don't work out?
37:40I need to be the woman of my dreams.
37:42Not just yours.
37:43Oh.
37:44Robert.
37:53Sylvie?
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