Issue link: https://digital.copcomm.com/i/1531371
MOTIONPICTUREC O S T U M E R S .O R G 47 "It was fresh, it was different, and we did not use an inch of Euro jersey. It was delightful. " —MARILYN MADSEN her internship by being hired on a union waiver for the last 19 production days of Captain Marvel and Matthews was able to help her get her remaining 11 union qualifying days on Jupiter's Legacy. She had an extensive education but credits a lot of her training to the internship on Captain Marvel which prepared her to work in the film industry. "Learning from experts on their craft such as Heather Vandergriff, Marilyn Madsen, Bill Traetta, Karen Mason, Keith Muessigmann, Dorothy Bulac- Eriksen, Klara Farberov, and many more on that show was the most nerve wracking and electrifying experience ever and I was a sponge the entire time, soaking in all of the knowledge that they were willing to share." Hoang finds her adaptability to be one of her most useful skills. She says, "I love problem solving so I'm always willing to work with the Designer or the Costumer and figure out the best solution to the problem in any way shape or form. The adaptability works best in the workroom, especially working under a new Pattern Maker or with a new team. Everybody has their own way of doing certain techniques, so I will adapt to satisfy their preferences." Can you tell us about your role in the department and what costumes you specifically focused on? HOANG: On Agatha, my role was to be Marilyn's First Hand. I did the cutting, planning, laundering, and prepared work so it can be stitched together. I also worked on the character bible throughout the show. I made sure all of the information was up to date such as fabrics, notions, threads, sewing details, etc. The costumes that I specifically focused on were Kathryn Hahn's hero look: her coat, which she wears on the Road. Klara and I worked on those for three to four months straight. We eventually called ourselves the coat factory because of it. I did get a break from her coat and worked on parts of the Ghost Agatha costume, such as her shawl, skirts, and bolero. On Agatha, you worked with Marilyn Madsen, who you've worked with on several Marvel projects. Can you tell us about how you two work together as a team, especially on this show? HOANG: Daniel Selon and Marilyn approached me to work on the show to be Marilyn's First Hand. In short, a First Hand is the person who assists the Pattern Maker with the cutting, stitching, fittings, pattern making, laundering, and preparing work for the stitchers. So I would take Marilyn's patterns that she just finished, true it up, cut them out, trace it onto the fabric and cut the fabric. In addition, I managed her patterns and organized them as new patterns got made along the way. Ultimately, my goal was to make sure that she had everything she needed and was happy on her last show before she retired. I think the highlight for me was when I carried her box of tissues during her surprise