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After wrapping the box-o ce hit, Once pon a Time in Hollywood, she didn't think she would take another film next. "Olivia Wilde reached out to me through mutual friends. She wanted to talk about a movie she was directing and acting in called Don't Worry Darling." Phillips was familiar with Wilde as an actor and was intrigued by her directorial debut, Booksmart. "She piued my interest. The script re- ally impressed, surprised, and delighted me." The two powerhouses met at a restaurant to chat. Wilde shared a sophisticated visual mood board of art references. "rom the moment I met her, I felt so excited to work and collaborate with her. It just seemed like the right fit." Phillips enthuses about the experience of working with a female di- rector. "It's a different energy on set. Olivia has very discerning taste and great instincts. She has a wonderful way of making everyone feel seen, and is very generous in the way she invites her collaborators to participate." Phillips was encouraged to share her insights on charac- ter development. "That's what I love about being a costume designer, to be a part of the filmmaking process, to expand my creativity and imagination. Philosophical discussions with the director are essential for me, especially working with a director for the first time. Olivia re- ally indulged me. She loves to have that conversation. As a high-level communicator and an actor herself, she has a uniue way with per- formers. There was a real sense of ease and trust on setthe space in front of the camera and behind the camera was unified." "My procs bld n life ca te a ful l-bodi• c•cept • who oto arner ros ictures Merric Morton Cris ine as ran ivia ide as Mar in e ine Cinemas Dont orr Daring 22 THE COSTUME DESIGNER | FALL 2022 oto arner ros ictures Merric Morton emma Can as ee in e ine Cinemas Dont orr Daring