00:00Oltremmo avremmo un amico equale di un po' di vettura che avremmo incorporato in un vestito di mattina, per esempio.
00:09Plus, Lady Violet è sempre giusto.
00:11Esatto.
00:20Li avete già informati, Lady Grantham?
00:22No, non ci ha detto nulla.
00:23Vi prego, mettetevi a sedere. Sono entrata in possesso di una villa nel sud della Francia.
00:29Quale villa?
00:30Ti dispiace a partire dall'inizio?
01:00Questa è un'ottima caratteristica per costumare, e il dettaglio che si tratta di costumare in costumazione è un'ottima.
01:08E' un'ottima caratteristica che si tratta di costumare in costumazione.
01:22Plus, Lady Violet è sempre giusto.
01:25Esatto.
01:27In questo film, lei dice a Lady Mary che ora è il capitano di Downton.
01:33Hai avuto una scelta specifica scelta?
01:37E' un'ottima caratteristica che si tratta di costumare in costumare in costumare in costumare in costumare in costumare.
01:51in loro, in modo che si tratta di costumare in costumare in costumare in costumare in costumare in costumare in
02:00costumare.
02:02E' un'ottima caratteristica che sono dei nostri blogli per un fatto che volARRY pub.
02:16bifronted dress, so there was a kind of white bib front within the sort of white thirties
02:21inspired dress, but it was still mirroring the fact that the dowager often had a kind
02:26of white blouse underneath colour. So it was sort of shapes and silhouettes and little
02:34nods where I could in terms of silhouette and detailing that told that story without
02:39changing how Lady Mary looked. In this movie we have American actors, the British of course,
02:49and French people, so a lot of different styles. Is there a difference between the French clothes,
02:55the American clothes and the British clothes? What did you do? Yes, I mean differences of course in
03:02the way that there are differences today and it comes back to research. So knowing the different
03:07worlds that we were able to explore within the film, we spent a lot of time in early prep
03:11researching and researching and having almost sort of a separate bible for France, a separate bible
03:16for the film and the stars within that film and the crew within that film because they're from a
03:23different sort of strata of society from the downstairs and the upstairs staff that we've
03:27seen before. So it was about finding reference material where we really felt like we could
03:32hit the nail on the head in that way and then developing palettes that would sort of differentiate
03:39them and find kind of character within that. So yeah, it was a kind of balancing act between
03:44finding authentic imagery and building a palette that made the whole film feel cohesive.
03:50And in your opinion, what style is the most elegant, the British, the French or the American?
03:57Possibly French, but I think that's because it feels exotic looking outwardly rather than
04:02inwardly. I mean, I think for me it's just the era itself is something that I still love.
04:07You know, I've been working on Downton for many years now and I still have, I still get just
04:11as much joy from finding an original piece from that time as I did when I joined the series.
04:16Lord Grantham wouldn't agree about the French. We had many weddings in Downton. What makes special
04:28this wedding dress in your opinion? I mean, I love this dress and it's different from the other
04:35brides, but that's because every wedding dress should be unique to the bride themselves. And I think
04:40the opportunity that we had here with Lucy was the first time we were seeing her after her whole life
04:46had changed and she was no longer a lady's maid and kind of hidden within her, you know, position
04:51within society. So we were able to really express her personality and I wanted it to feel really
04:56fresh and young and free and that she could gather up her skirts and have a dance at her own
05:02wedding.
05:02And so there's a, I think there's a, it's a slightly looser, softer look to a lot of the other
05:08wedding
05:09dresses that we've seen, which have felt much more traditional and aristocratic.
05:13Um, so yes, I think, and, and, and, you know, we're heading towards the thirties, so it should feel
05:18really modern and in comparison to wedding dresses that were six or seven years earlier.
05:25Did you do like in real life there, there was something new as something blue?
05:30Oh no, I mean, there's definitely something new in there and there's definitely something old.
05:34Um, and there's definitely something borrowed because we had some incredible jewelry that,
05:39um, that we borrowed for this. So I think we were just missing the blue.
05:41The blue. Okay. Okay. And, uh, uh, have you ever had some trouble with some character? Maybe he or
05:52she didn't like the costume and you said, no, the character is this one. Yeah. Um, I don't think
05:59maybe as sort of headlocky as that. I think it's a really collaborative process and some actors want
06:04to be more involved than others. And that's brilliant because I think it challenges you and it means that
06:09you're talking about it and you'll end up with a really sophisticated end result because you've
06:14got lots of minds thinking on it and they know their characters better than anybody. Um,
06:19so I think it is a dialogue. Um, and I'm really opening, open to hearing from their point of view
06:25as they usually are with me. Um, sometimes I've really pushed because I know something's going to
06:31really work on camera. Um, and then I'll maybe be a little bit like, you just have to trust me.
06:35This is
06:36going to work. And then when it does work, they're, you know, yeah, really happy. Let me do my job.
06:41Yeah. And you did a really good one. Oh, thank you so much. Thank you. Thank you very much.
06:50Sembra che il pubblico ormai voglia solo film parlanti avrei giurato che più grande pregio dei
06:54film e che non si sentono meglio ancora sarebbe se nemmeno si vedessero.
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