Issue link: https://digital.copcomm.com/i/1542297
he Pa he Paper per T MOTIONPICTUREC O S T U M E R S .O R G 15 ABOVE PHOTO: JOHN P. FLEENOR/PEACOCK is the long-awaited follow-up to the much-loved mocku- mentary, The Office. Set some time in the future, we leave Scranton, PA, for Toledo, Ohio, and instead of selling paper, the cast is aempting to run a failing newspaper with lile more than naïve ambition and dumb luck. With the same quirks and deadpan comedy fans have come to love, The Paper is a worthy sequel to its predecessor. Working on this show, I saw how the Costume Department handled the fortunate task of being the keepers of the actors' costumes for this freshman show. While some elements of TV costuming are mostly the same, the creator's vision for this production required us to work differently to achieve his goals. The show's creator and longtime comedy legend, Greg Daniels, prefers all his cast to look as natural as possible, allowing the actors to embody their characters in a way that makes for a more authentic feel on screen. Daniels achieves this effect by reducing the amount of interference the actors receive on set. For costumes, makeup, and hair that means no touchups in between takes. Costumers and crew alike follow the parameters set in place by a show's creator and director. One of the parameters