Issue link: https://digital.copcomm.com/i/1545089
MOTIONPICTUREC O S T U M E R S .O R G 47 PH: When we started, there were certain characters, they called them Citizen One, Citizen Two in the Situation Room; and they had been on the show for a while and had one outfit. So, we slowly, especially the secondary characters, the ones that were in almost every week, built them up a lile closet and made them feel like they were being paid aention to, that they weren't just filler. CQ: How did you all collaborate on geing the costumes to DC? Was there anybody on your team who went to DC with the costumes? PH: Frankie did go. But basically, Robert did all of it. I mean, everything was following continuity. We weren't really establishing things in DC most of the time. DB: We tended to buy for our main leads that would go get doubles of things. We were just always in the habit of buying doubles for stuff so that we could shoot in LA prey much at the same time if needed. So, there would be a second set of suits, shirts, ties, whatever, a whole second set of everything. Because oentimes they would work cast members through the end of the week or right up until that time and then send them off to DC. We were really, really good at communicating with each other about things that were going on. CQ: Because the show had such a resurgence when it became available on streaming, how does it feel to be a part of something so influential and well loved? PH: I haven't been following the resurgence, but I just felt like we knew it was special when we were making it. I mean, it was the government you wished that you had; even people that you disagreed with could at least make compromises. And it's not the world we live in anymore. But even then, like I said, that first script that we have our first show was brilliant. When I still see the scene of Martin doing that speech in the ballroom with Stockard Channing, I cry because it is such a beautiful speech. DB: It was such an honor to work on the show, to work with that cast, to work with those scripts, even when it was tough because of the subject maer. It was amazing for a few years aer, when there were lots of reruns, I would hear that theme music come on if my TV was on, and I would literally stop and watch whatever episode was on. Just because you're pulled into it, that theme music, everything. And you knew there were going to be some great lines. The West Wing can currently be watched on Netflix. (Above, l to r): The West Wing Final Call Sheet; March 2006, Top Row: Kate Crowley (Key Costumer), Betty Edwards (Set Costumer), Robert Cron (Key Costumer) Lyn Paolo (892 Costume Designer), Philip Hayman (Supervisor), Bottom Row: Francesca Bruno (Set Costumer), Debra Beebe (Supervisor).