00:00Ready for Oods and Nick are reacting in How Costume Designs Briefless Heart Hamnet Edition.
00:33Hi, Focus Fashion fans, and welcome back to TREP, a series that celebrates the costumes of bonus features and films.
00:40Today, I'm going to present to you about the incredible costumes of Hamnet.
00:44From a Cathy Award-winning writer and director Chloe Zhao, Hamnet took a phenomenal story that inspired the creation of
00:50Shakespeare's timeless fashion, Hamnet.
00:55It was such an honor to be joined here by the POSSA provider, Hamnet.
00:59Chloe Zhao, for joining me today.
01:02And first of all, Luke is so beautiful.
01:04How did you connect with Chloe on this particular movie?
01:07And what changed this project?
01:08Chloe and I have a history of this connection.
01:11We went to NYU together, and I was going to meet our first new movie, and it almost happened.
01:16Then the movie pushed, and I could do it.
01:18And so finally, we just worked together on Hamnet.
01:21What did she bring in to initially bring you to say, like, what's the world, basically?
01:27Honestly, openness and feelings.
01:31It was never about doing anything with these things.
01:34It was about connecting to these two people.
01:37Forgetting that they were based on new characters.
01:40Just creating individuals and letting both just people discover those characters,
01:45and letting us discover this world, as if we were careful about it for the very, very first time.
01:50And this movie very much is our emotional dream.
01:53The connection to location, to character, to costume, how it would be.
02:00Yeah, how I'm sure.
02:02How we can see what that would be.
02:04Anya is very much of the woods.
02:06There was a possibility that she was going to be more enlightened than that.
02:11Somehow it felt that she always needed to be read.
02:14Almost as if she was a product of nature.
02:17So, like a berry, but also like a living blood muscle.
02:21And then gradually it turned into a little bit of a, like a dried, sad stab.
02:26But the nature part, it was the textures of the woods, the dirt of the soil.
02:33Things that made me feel like they grew out of a tree, basically.
02:37And so, using a lot of plant-based fibers, like minute, and bark cloth, and letting her exist as a
02:46little animal, almost.
02:48So I want to talk a little bit, actually, about Paul's character, the way of Shakespeare, a.k.a. Will.
02:53How did you go about circuses, you know, how Will would be?
02:57I wanted to make sure that we give this Will a chance to live.
03:02That we forget about, you know, the portraits that was, you know, of him.
03:06That we forget about the baggage that a character like that had.
03:11Part of it was him as a man, growing up with him as his father, in a colder family,
03:17trying to represent those extremes that never happened, you know, through those little slashes.
03:22Gradually, it grows, you know, he gets bigger and bigger slashes.
03:26The color, I wanted to make sure that the way he started was a little bit more lookful.
03:31There's a little bit of the blues and greens, and you can see how the beginning of the relationship is
03:36so important.
03:37So when they look so gorgeous together, they, like, truly found their person.
03:42And gradually, he is trying to color.
03:46At the very, very end of the ghost, he is just being covered in this white clay,
03:50and cracked.
03:52Where we see them at the beginning, and she's in the reds, and he's in the sort of greenish blues,
03:57they're two pieces of a whole.
03:59Whereas here, they suddenly, they don't match, and even though their shapes are so similar,
04:04there's no connection.
04:05And we are talking about a movie that's set in the 16th century Elizabethan era.
04:09How accurate would you say that you wanted to make it into conceiving these costumes?
04:16So I did extensive research, and I wanted to make sure that I know the rules of the period.
04:21I needed to know the vocabulary and, like, what the actual textures and structures of the film were.
04:27But ultimately, my goal always, not only in this movie, is to not eat away of the story.
04:35Because of shapes that are a little bit unusual to our height right now, so it is a little bit
04:40strict.
04:42I just wanted to make sure that it is organic and true to this world, to our world, to our
04:48story.
04:50How are your story?
04:52How are your story?
04:53How are your story?
04:53How are your story?
04:54I do have some veryIR storylines to do.
04:56Thank you Paul and Jessie for joining us.
04:59The minute will start, you're in it, and you're going to try to do it in some chill
05:02when seeing you, Jessie, just lying there in nature curled up in this puddle of rain.
05:09When you started in version of Valgoza, how did you break down the character in terms of what you thought
05:14and yut should be wearing it?
05:16I didn't know, to be honest, and it was more textural stuff and colour, and straight away there was a
05:23red.
05:24And then we were just setting other things, textured and wood, and weaving things, and, like, that was how the
05:35ganta was so in, so agnostic to the costume.
05:40How many reds did you also have to go to?
05:43I don't remember on it, because it was just, like, going from one to the other, and, like, darkening things,
05:48and, like, even, you know, this orange is, like, this, it was a very bright orange where we just, like,
05:53rubbed dirt into it until it, you know, lived it.
05:57Okay, well, you want to tell us a little bit about the bark off here?
05:59So, actually, this is made out of bark off, which is literally a tree.
06:04Yes, it is dyed, but it is truly unprocessed, just, like, stripped the bark off, and it would, like, work
06:10a little bit, and, you know, it started living.
06:13It's all life, as we were, as we were shooting, but the bark off is supposed to, like, it would
06:17have to be there.
06:18And, like, all that their character would will, it was, like, a different thing.
06:22It was much more about story-phrase, you know.
06:24How could the costume really help me?
06:26What kind of character would sort of have been going for the freedom, right?
06:29The constant processes of, like, for me to want to play this, like, don't want to play it like a
06:34circle, heavy person.
06:36People want to feel anomalous and important, you know, it's also with having these playful players, men,
06:44who are these games, kind of, on the road, and seeing things going wrong, and you can probably follow the
06:49road where you're doing,
06:50you can imagine, you know, you can tell the drugs.
06:52I think a lot of people won't know this detail is that during the 16th century Elizabethan era, men wouldn't
06:58wear daggers around the waist, but you opted to not wear that if you wanted to just call the center,
07:04which is sort of a case that carried a seal and then in the end of the year.
07:12And then, well, it's Massachusetts. Yes. No, you don't. Speaking with people, sometimes they don't agree. Kathleen, a little toward
07:24the end of the movie, I wanted to talk about this. How did you feel putting this on, Jessie?
07:29I mean, this is so worthwhile. Fearless with her life. There's something about that color, almost like when the blood
07:39is dried up and even the stitches, the threads are one thing.
07:43It really feels like a lack of effort for me in a way where it feels like I'm just getting
07:47through my life. I'm just getting through my day.
07:49This is not a proper way to dress. The skirt is missing. No, this is just the smog of the
07:54body. It's dead, you know? Yes, it does feel like wood, but it feels like if it touched it, it
07:59withers and falls into dust. So it's just a very devoid of life and love.
08:04Paul, I want to talk to you, too, because in terms of will's pressure, the flashes on his costume is
08:10yet increasingly larger and more prominent.
08:14I feel like it's a manifestation. Yeah, it's like it's inside of what it's costing you to write this play.
08:19It's tearing up the powers.
08:22Oh, it's a consideration of how good you put into it. Just felt direct. It's just felt like we were
08:27doing it. Thank you, Debbie. Thank you, Paul. Congratulations. Welcome to New York. It's such a powerful kind of coin.
08:32Amazing. Amazing. Amazing. Amazing. And thank you. Thank you.
08:39Great deal. Look where the colors are getting in the same figure, like the king that's dead.
08:47There is also a play within the movie. So you actually had to take costumes for the play at the
08:54Globe Theater.
08:56So William Shakespeare writes very famous for the pamphlet. How did you build up painting the show within the movie?
09:01The way it was done in the era is the people on the stage were doing the same as the
09:06people in the audience.
09:07It helped the people in the audience see themselves on stage. So it was a moment of connection.
09:13So I was trying to find something that was using the shapes of the movie, but had a little bit
09:19of a modern question to them.
09:20So what we ended up doing is we built everything that we were all in it and then just painted
09:25a flat coat of latex paint, super not really appropriate.
09:30It brought this beyond functionality and the meta effort to it that hopefully lets both us and the audience in
09:38Hamlet cross-connect to the world stage.
09:41Almost every single thing created from the light was hand-painted.
09:44Yes.
09:44By actually.
09:46By you.
09:46So you hand-painted this yourself?
09:48Yes.
09:49Oh my goodness.
09:50It was a lot of fun.
09:51It was a lot of fun.
09:53But what's really interesting is that if you can feel the heft of this, this is a heavy jacket, then
09:57you put on the layer of people over it and then you mage it.
10:00So, in a way, it almost created the fear of these characters because that sounds artificial.
10:06I think it gives the story another player that, you know, this is a play as Hamlet, we've seen it,
10:14we've all read it, like everyone knows it, and so there is already a cantina over it and it's just
10:19kind of acknowledging it and in a way like turning it on his head a little bit, so I hope
10:24it works.
10:25Thank you so much.
10:36Thank you for joining us for this episode of Dress. I hope you enjoyed the detailed look into the incredible
10:45costumes from Hamlet. I can't wait to see you all again next time. Until then.
10:55Alright, that was the end of Guess the Dress with the Hiding the Look at Hamlet. Thank you, Uzi and
11:05Nick.
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