Issue link: https://digital.copcomm.com/i/1545089
PHOTO: SPIKE JONZE How does this level of project differ from other commercials you've done? NA: This was definitely the largest Costume Department I've ever been a part of which was incredible as we so rarely are given the resources to properly staff the department. When there was the level of secrecy that a project of this level comes with—that was a whole new level for me. I remember, I think it was the morning of day one of the shoot or the night before, but either way, I was informed I was not granted photo access (aer numerous conversations about why it was necessary for me in order to perform my job), meaning I would not be permied to take photos on set—something that is incredibly necessary for a Set Costumer to perform their job properly. I was put on a phone call with an executive and was told to explain why it was necessary for me to have photo access. I said, 'I am more than happy to not have photo access, but I will also not be commiing costume notes to memory. By denying me this, you will essentially be paying me to sit on set and do nothing. Again, I'm totally fine with that, but I do need you to accept responsibility for any errors in costume continuity. Your choice, I'm fine with either.' Huge surprise to no one, I was granted photo access. Oh, and then add the cherry on top of it being January of 2025 in LA during the fires. That was a whole other stressor for the entire crew because each fire was in or around the neighborhoods of entertainment workers. On any set at the time, the crew was impacted by each and every fire. Was there anything specific with the choreography and the split costumes that created new challenges? NA: I was so glad that I was present during each rehearsal, as some dancer positions did change, and that meant a change to both the color of their costume and how their costume would be split (le/right or front/back). In fact, during the rehearsals, Colleen Washington (705 Women's Finished) and I would make diagrams of where the camera was going to be, the placement of the dancers, how their costumes were split, and the dancers' movements. These diagrams we made helped not only our department keep track of dancer costumes, but also the AD department ended up using our diagrams during the shoot. SL: I was given a cast chart with the specific plan for each garment worked out and dates of fiings. Groups of garments that were to be melded together were marked very clearly. This is the key organization. Despite massive numbers, intricate combinations and changes, there wasn't real chaos—it was orderly, from my perspective. What was the most difficult task in the project for your team? How did that affect the versions of the costumes that you made? SL: The planning and precision on the part of Costume Designer Kim Barre and her team were mind-boggling. Especially trying to safeguard against last-minute choreographic changes. We made sure that the costumes that were split right-to-le also had a version which were split le-to-right, and the front-to-backs had back-to-fronts when possible, just in case they needed to change the actors' positions on set. An important aspect of the workroom dynamic is to discover each person's greatest talents and tailor their workload to what they do best. Of course, this isn't always possible, but if you do have a big crew, it's up to you as the manufacturing foreperson to match the project to the person. There were so many positions key to the success of Someday. Anyone from your team you want to give a shout-out to for this project? NA: Our Ager/Dyers, our Custom Made, our Shoppers, literally everyone. I truly believe this project would not have been possible (or at least a lot harder) had we been just one person less. And our set team was incredible. We all had each other's backs and were willing to jump in wherever and whenever help was needed. I could not have done this job without Colleen Washington, my counterpart back at the stage, where she and her team dressed the dancers and with whom I was in constant contact. Nicholas McGrath, who helped me with all the male dancer fiings! And Jody Felz (705 Women's Finished), Pedro's personal [Costumer], who was always there with an encouraging word! Such a lovely team and I hope I'm lucky enough to work with each of them again. Also, huge shout-out to Kate Greenberg, the 1st AD. I have rarely felt more respected, safe, and seen on a set. Her leadership was integral to the success of this project, and I would truly be honored to work on any of her sets. That's not just prey words; I love that woman and would do crime for her. Not to mention she brought on Ashley Park, Carly Sturgeon, and Amy Hughes (the AD team and DGA trainee)! If I am offered a project and told any of those individuals is involved, I'm taking it. No questions asked. SL: I think the garment I was most impressed with was a purchased coat with a print on it, which our Textile Artist, Sharen Fauve (705 Women's Custom Made), was able to match through block printing. She is a true artist who worked for the Parisian couturiers and amazes me on every project. While the commercial may be a vessel for marketing, the focus on the color, costuming, and a deeper connection to the world surrounding us makes for a refreshing change from an everyday advertisement. "An important aspect of the workroom "An important aspect of the workroom dynamic is to discover each person's dynamic is to discover each person's greatest talents and tailor their workload greatest talents and tailor their workload to what they do best." to what they do best." –STACIA LANG Bright reds, yellows, and greens in the costumes and on the set reflect the character's emotional turn.