Transcript
Speaker: I'm Melinda. I'm Ariel. This is Hot Set, the movie podcast about costume design.
Speaker: Hello and welcome. It's your two favorite costumers, I say with audacity. um Thanks for joining us again for another episode. Today, we're going to be talking about Last Night in Soho by Edgar Wright.
Speaker: And I don't know about you, i love this movie. And I'm going to meet very quickly, i want to hear more on a sec. And I'm like, ah that sounds like I'm like, shh, Melinda. Yeah.
Speaker: it not at all the That is what you're doing. no no no, no. I don't want to silence women. Okay, real quick. The one sentence synopsis summary off of IMDb.
Speaker: Aspiring fashion designer Eloise is mysteriously able to return to nineteeni s London. where she encounters dazzling wannabe singer Sandy. But the glamour is not as it seems, and the dreams of the past crack and splinter into something darker.
Speaker: um um oh my God. Oh my God. So have you, I'm so sorry. i forget. everything between episodes. That's okay. The name of the game.
Speaker: Had you seen this movie before? I had seen this movie before. i saw it. um we We looked it up ah via Jonathan's very detailed letterbox because I don't even have one. um So we watched it in 2023 near Halloween because we were doing October spooky movie month And i had been wanting to see it up to that point. I'm pretty sure that i put it on our list and was like, we're watching this movie um because I am a big fan of Edgar Wright films in general. So whenever he has like a new project, I'm like automatically intrigued. And so, yeah, I had seen it before, enjoyed it and enjoyed it again this time.
Speaker: Yeah, this is my second time watching it. I love it. I just, this is the kind of like spooky like horror that I can get behind because it's the kind of thing where I know that some people don't love this, but it's like, I want to know why the ghosts are there. Yes. ah Spoiler alert. Shocker. But ah this came out a little while ago, so I don't feel bad about it. um But like, I don't just want to be spooked. I want to know why.
Speaker: And so this gives you that fully. And it's like totally haunting in many, many ways. And it's not just haunting. It's like but really there's sad stuff. And so pairing that together.
Speaker: with this like idealistic sweet um person who can see ghosts like yeah and her love of the 60s and i kind of want to say like mod like pastel 60s yes um glamorous 60s pairing all of that together with like the horrible underside of life and humanity is pretty great yeah and like there are so many different nightmares on display in this movie so many some are like much more fleshed out but they're all there Oh, and like we start at the very beginning with this like seeing Ellie at home with her grandmother. We find out that her mother passed away, but she was of raised by her grandmother. And she's wearing this mock-up gown that is supposed to look like it's made out of newspapers. I think that I was reading that it was printed on fabric to look like I would that would have to be. Yeah. Yeah. But it's supposed to look like it's made out of newspaper, which is super cool and incredible for a teenager at home who was raised by two seamstresses. That's rad. If only I'd been that cool. God, I wish. I know. Definitely not that cool. This character is sewing things with a very advanced knowledge of construction.
Speaker: And like we're supposed to understand, I think, that she's like... 1718 yeah she's going to university so yeah yeah so she's still a teenager way to go ellie i know second like she's she's wearing that and i was just like okay this is amazing like yeah this is a dreamer and i love that like at the beginning of the film it's a it's kind of ambiguous when this is happening. Like, because she's in this mock-up that has a very, like, 60s silhouette. There's all of the, like, posters and, like, pop culture stuff in her room is all 1960s. She's listening to a record on a record player. So, like, it's this wonderful, like, ambiguous moment until you're like, oh, no, this is now. yeah I feel like it's kind of like giving a little bit of the the game away that later in the movie that we're kind of in this liminal time period that's like flowing back and forth. And also the fact that her grandmother is like speaking openly about the fact that she can see ghosts without there being any acrimony or like...
Speaker: we don't talk about this, you know, like, it's just like, it's a fact. And so it's like, is this just a thing in this family that you can see dead people? So it's just, a we're just a given this fact that she can see ghosts and that she is, yeah, existing liminally in space and time, which is, very, very cool. And like the second that she gets to university, she's in a personal nightmare of mine for many reasons. But she like shows up at dorm.
Speaker: And I love the way that they make her the odd one out. yes Because she's not like, country bumpkin, but they're trying to make her feel that way. Yeah.
Speaker: At a fashion school. They're trying to big time her hard. ah Hard. Where it's like they're a bunch of little Victoria Beckhams from different eras of her career and life. And Like very urban in that they're like paying attention to what's on trend is what it feels like with how they dress. Right. They're they're label concerned and obsessed. Very, very concerned about labels. And they're trying to make her feel bad, weren't they? For wearing her own clothes. I was like fashion school. where We're saying, oh, you little sad country bumpkin that made your outfit. That's a bad thing? Genuinely.
Speaker: Genuinely. Like this is one of those things that we have talked about before that is constantly frustrating to me because that's how people in fashion talk about fashion. It's like if you're not a label, what are you doing? And it's like, how do you think that label got to be a label?
Speaker: but There was money behind it, but there were people who were doing something different. like It's absolutely insane. like It's like is is that kind of nightmare where you're like, am I crazy? And everybody else... but I know. And like one of the things that I really appreciate about Edgar Wright as a filmmaker is I feel like he uses visual ah Like visuals and editing to tell the story in a different way than a lot of other filmmakers. And like the the moment when they're like all in the dorm and Eloise opens the fridge and everything in there is already full And it's like from a bougie store and all of it is labeled Jocasta already was like the perfect way to demonstrate everything about that character that she is here to take up space, make you feel small, make you feel poor and make you like submissive to what she has already done. Like she is here to dominate everyone in every way possible.
Speaker: And like, she's not interested anything. getting to know anyone or like their point of view, period. And what's funny is that throughout the movie, we do have some scenes because Ellie doesn't stay in the dorm. She stays in there for like, what, one night? And she's like, I gotta get out of here. Which I'm like, I wish she had stayed. i mean, we wouldn't have a movie, but... Yeah, that for real. Or found another bedsit. But, like, there was no way to live in that dorm because, like, she does she wake up? Because she she, like, goes to sleep with her headphones on? Or she, like, wakes up and there's a party happening around her? she has She's trying to sleep in her room yeah And there's a party happening, but her her roommate, Jocasta, comes in with a guy and they proceed to like start hooking up regardless of the fact that she's already in the room trying to sleep. So she goes and sleeps in the common room while the party is happening around her just to get away from the uncomfortable. Nobody bothers waking her up to let her know like nothing. So it's just like she's on the outs, so isolated immediately. And she's like a super shy person.
Speaker: sweet character. So like, she's just being kind of trampled immediately, but like throughout the movie, when we do see classroom shots, um, we always see what Ellie is working on kind of almost like she's positioned centrally in the class. And yet it feels like she's like on her own little Island. Yeah. And like all these other people are concentrated kind of together, which totally checks out. her fashion and I was like fashion school studio, perfectly toxic. Yeah. Nailed it. it's ah And like also how, how chaotic those rooms can get because when you have, By the way, pretty sweet that each student has a dress form to themselves because like yeah sometimes in fashion school and in, you know, community or private school, whatever, sometimes you have to share just because there's not really enough space to always have one-to-one. But you are doubling the population of that classroom. So those rooms can get close and warm and like –
Speaker: In most of my schools, they were like in a basement or in the oldest building on campus. You know, there's always something like that. So this school was like pretty fancy. Hopefully they had some way to open windows.
Speaker: I don't know. It's London. You might not want to. it might be cold. That's true. but like we we don't really – I don't remember looking at Jocasta's work.
Speaker: And I think that that's very on purpose is that it it doesn't draw your eye. no And like at the very, to skip to the end, just to talk about this part, at the very end, there is a fashion show and we do briefly walk Jocasta's dress form. And there's like a cool second that happens, which we'll circle back again to talk about circle back. yu But anyway, we Jocasta's dress form and it's just like this piece in black and white that's like very form fitting and like sculptural. Yeah. But isn't necessarily super exciting.
Speaker: And I feel like what we're kind of meant to understand is that Jocasta just doesn't really have very much creativity. doesn't have it as it were. Yeah. doesn't have it. like It's like she's just this character who...
Speaker: It's kind of recycling what she thinks the rules of fashion are. Instead of trying to bring something of herself. And so she recognizes that vulnerability in herself and tries to make fun somebody who does have that curiosity and does bring that creativity and tries to make that person a pariah. But Ellie's able to stand her own, like, by the end of the movie. Yeah, eventually. It's a rough road to get there. But know. And there's...
Speaker: there's There are so many Jocastas in the world of people who are just like if they could just let go a little bit of this insecurity or jealousy or whatever it is that's making them so toxic, they could...
Speaker: improve what they're doing a lot but instead of doing that they just tried to kind of like squish anything that they see as like being different or unusual in the first place um and very often in fashion that will come with people who tell you about rules of fashion Like, yeah, sure There are ways to like dress your body in a way that's like visually appealing to other people. But then there's also something known as fricking dopamine dressing, right? Which makes it about you. It makes how you dress about you, not about your audience.
Speaker: And I feel like Ellie is that kind of a character because she's a dopamine dresser. She's wearing things that she wants to wear that make her happy. And she's also like, And it's like, there's like an instinct, like I wrote it down, and God knows.
Speaker: She's an inspiration dresser, not an instinct. It's a different I word. But like, she gets inspired by things, and then she kind of gets swept away by them. And so she like has to...
Speaker: take that thing on completely and like understand how it moves and it informs how she moves. Like it's like she's putting on a character every time she's putting on a different outfit. It's a different facet of who she is. It's not just a way to communicate her wealth or her position or like...
Speaker: her social standing it's totally about herself which is really right interesting to watch because like so the the main plot line of this is that ellie moves to a bed sit and starts seeing which i'm like that's not a term that i'm feel familiar with I know. hear it's It's renting a place. it's Well, it's just ah a room. She's renting a bedroom.
Speaker: Yeah. But like, I'm like, I'm sure it's a term in, in you know, British English, but I'm like, ah I'm just saying, I was like, I don't know what that is. I understand what it is through context, but yeah it is when you see things like that, where I'm just like, ah everyone's saying this term like, a yeah, but I'm like, I don't know it. Like, so just saying that. Yeah. So this room that she's renting.
Speaker: We have a very cosmopolitan audience, so I'm the stupid one here Never. You are no country bumpkin. um And if you were, no it would you're still It would still be, it's fine to be from anywhere anyway. You can be any kind of bumpkin or country bumpkin, whichever one you want to be. um But like, she starts seeing the ghost of this young woman named Sandy and there's this like amazing scene where she follows her into this like music venue and and it's it's like tied into her she starts by dreaming about her like when she dreams she's sort of
Speaker: partway in Sandy's body and partway like observing and then as things unravel it bleeds into her waking life more but it starts as like extremely lucid dreams I would say it's amazing and so what's amazing about Sandy is that she's the visual opposite of Ellie Ellie is brunette Sandy is blonde with like the perfect like hairdo with the swoop and everything, which I'm not going to think of a name for that hairstyle. She's got a bit of a bouffant, a bit of a, yeah, she's got the perfect sixties, like curtain bang. Like she's, she's got the and evening look for the sixties. It's Anya Taylor joy who used to be a model. So there you go, you know? And so like her ah Sandy is in this like pink,
Speaker: dress that's made out of chiffon. um Ellie, when we've seen her so far, we've seen her in this gown made out of newspaper fabric. And we've seen her in kind of like autumnal colors that are yeah not like super standout. But I do love her outfits. Like no they're really cute. They're really cute. Yeah. But they're like deeper colors. And they're a little bit more utilitarian, like yeah in the type of clothing that she wears. Yeah, like for warmth, for function. And so they're very cute for her, but they're not party clothes at all. And so she sees Sandy and Sandy's just like this burst of color and movement and like knows how to navigate this world. And she's like,
Speaker: the ultimate symbol of the 60s to ellie like she's just so taken by her and this scene where it's like this lucid dream that she becomes a part of that she begins to interact with like as she's in it that was all filmed practically yeah i love that scene so But also, like, it's crazy to me that people wouldn't film that practically. Because i know it's so much cheaper to just film it. And it looks great anyway. movie magic. Like, genuine movie magic. And, like, I mean, there's this, like, Mater D, basically, who's, like, coat checking. And it's twins. Like, the actor plays It's twins. And so...
Speaker: Like there's no mirrors, even though we're supposed to believe that there's a mirror. It's just an open space so that Ellie and Sandy are able to touch and like move off of each other and reflect each other. And then they're taking part in a dance, like where it's this dream, which is we find out a memory of Sandy dancing with this man. It's the first time she meets this man named Jack. Matt Smith. And Matt Smith playing a real treasure. ah I love that somebody can play Doctor Who and then immediately after playing that character, they always play a villain. Yeah. Like always is a stretch, but two is two is enough. but like It's a pattern. Yeah. David Tennant went on to play like the villain in Jessica Jones and did such a good – so creepy, so awful. so good in that show. And he's – yeah. they it But like –
Speaker: It's this memory and whatever. there's You can watch behind the scenes footage and I could try to describe it, but I'll do it very poorly. It's worth it. It's so And it's like the wardrobe is fantastic because of course everybody's in period except for Ellie because she's in her PJs and these are the most colorless clothes that That we see her in the whole time because it's just sweatpants, a tank top, you know, like a shirt or a sweatshirt and they're all gray. So there's just, she's not plain. Yeah. This is very plain. She's just not meant to really stand out in this moment because the sixties is supposed to overwhelm her and it does. And so we have all these evening dresses on the dance floor, all these men in suits and like doing slinky dances, all this stuff. Yeah.
Speaker: hairstyles up the wazoo jewelry makeup that's like heavy but not tacky heavy it's just heavy for the for it's the style of the time and it's just like this really stunning way for us to follow ellie into being haunted like yeah and it's it's like everything about the setting the the The events is extremely seductive. It's like everything's glowing. Everything's beautifully shot. Everyone's beautiful. Everyone's, you know, going to live their dreams and have a great time. And like and that, of course, is like masterful storytelling because it's.
Speaker: luring Ellie in the exact same way that Sandy gets lured into believing that like her dream of becoming a singer in like these beautiful high-end nightclubs is attainable and something that's going to happen for her like soon if she could just meet the right person and like get the right opportunity and connection and yeah And it's no coincidence that this it's like a it's literally love bombing. Like she gets love bombed by Matt Smith. And this scene is like a love bomb to like this nostalgia for the period.
Speaker: And i think that's what's so What I love so much about this movie is it it relies on you being sucked into this idea that something was better in the past and things were more beautiful and more glamorous and that and bad things didn't happen. And we've been warned about it a bunch of times because Ellie's grandmother would have probably been in London in the 60s. Yes. And her mother went to London I don't know what town they're from she says Somewhere in Cornwall. She says Cornwall, which I find really interesting that Jocasta is trying to big time her and girl is from Manchester. I'm like, sorry you're not from Paris. like It's fine. Be from wherever you're from.
Speaker: But I'm like, my understanding is that Manchester is not like a glamorous place to be. So it's just like a town. It's just regular town with regular people. It's just place. Anyway, whatever. And so Like Ellie's grandmother is warning her about London because her mother went to London and it did not treat her well. She like spiraled and was like, I think it led to her death basically. yeah And so London is this like,
Speaker: big bustling monster to this girl. But she's like, no, I have to like succeed there for all of us yeah and like make it right. And so she immediately is seduced by, like you said, it's the perfect cocktail of like her fascination with this period and being seduced the same way that Sandy is because she's also kind of like channeling what this, like this ghost of this woman is feeling Yeah.
Speaker: And it's informing her work. So we see her work very much laser in on what she sees Sandy wearing and she starts changing herself to reflect exactly what Sandy is wearing. She dyes her hair. She gets like a PVC trench. like Oh, she spends so much money on that trench. So much money. Yeah.
Speaker: And it's like this white PVC coat that is like fantastic and very, very 60s. But dear God, like you better wear that coat for the rest of your life. Like keep it. She's going to have to to. Yeah. Like and the idea of being like 18 and spending 375 pounds yeah on a coat i was just like,
Speaker: i would they know but like it's it's part of the uncontrollable connection that she feels to the period and it's like she does that stuff like literally the next day and i'm like girl like there is so much in store for you to like really get an idea of what's going on in these like memory flashback dream whatever concoction like it's just like there's this naivete in the character which is like
Speaker: I mean, when we first see her and she's wearing the clothing that she makes, I'm going to say this, and it's not meant in a rude way, but I feel like it will evoke an image mentally for you. When we first meet her outside of the newspaper dress, Ellie's dressed kind of like a kindergarten teacher, where it's like very approachable, very sweet, very comfortable. And it's like clearly something that she enjoys, but it's not...
Speaker: super expensive clothing that she can't, that will restrict her movement or what she can do. It's like she's showing off her skills and yet has a, clearly has a color palette that she feels really at home in So when she starts kind of becoming Sandy, she starts like talking a different way. She starts trying to move a different way.
Speaker: Her hair goes blonde. She's got a bouffant. Like she's starting to adopt brighter colors, like immediately is wearing this hot pink, like oversized, like unbuttoned polo I feel like is what she's wearing at school and that might be right before she gets her hair done but like she's slowly taking in all of these things and it's consuming her like it's yeah consuming her personality and it's consuming her work and after she gets her hair dyed isn't it that she snaps back
Speaker: into the dream or the liminal space. And it's no longer as beautiful as she thought. Wait, right before that, I'm actually wrong. I'm reading my notes. that We do have this great scene where her teacher's talking about the dress that she's draping. it's basically she's making the pink dress that she saw Sandy in first. She's fantastic. ripping it off excuse me oh dare and she's not even researching who did it but like it's a it's chiffon i do have an interesting tidbit about that dress actually because i read precisely one article in preparation for this i opened two and read half of one um So i I don't feel 100% certain how our designer's name is pronounced, but I believe her name is Odile Dixmoreau. think it's Odile, I would imagine. um But I did get like a tiny portion of like an interview with her where she talked about that pink dress and
Speaker: is was actually from like a ready-made pattern from the 60s that they found and she found it really appropriate that even the most like glamorous thing that we ever see sandy in in the show is something that you could make at home and it's not a couture piece Perfect. love that.
Speaker: It also ties into before Ellie leaves, her grandmother is like reminiscing about yeah when she would take Ellie's mom, they would go to London and they'd go to the shops and all the shop girls knew that they were they weren't able to afford the things in the stores, but they didn't know that they were professional seamstresses and that they could go home and just make it for themselves. So it totally...
Speaker: Ties into both Ellie and Sandy's character of like aspiring. Yeah. Fake it till you make it. Yeah. Like she walks into that nightclub she,
Speaker: Immediately like, I mean, she had, she's gorgeous and she comes in with all the confidence in the world and like it carries her through. Obviously it doesn't work out, but um the idea that, you know, she possibly, like, I don't know if the implication would be that she actually made the dress. I think maybe not, but like the implication that she's attempting to fit into this like super glamorous high end thing, but she can't actually even afford one dress to, That would make her fit in there is perfect. And it says everything about this movie.
Speaker: It's phenomenal. And so like, I love this scene with this teacher talking to her about the dress, because I feel like it's an example a of a great teacher. She's not...
Speaker: Because she might know like that this is just a ready-made pattern from the 60s. It's not some magical thing that only existed on one body. And it's not a brand new design. um But she's not pointing that out. She's not like crushing um Ellie's enthusiasm and passion for it. She's just warning her about the fact that her fabric may potentially not behave.
Speaker: And the fabric is, of course, chiffon, which is wonderful, but it's the devil. I think that many people can agree that it's the devil. like There are certain fabrics that are just... so light and airy and will fight you.
Speaker: to the death when you try to sew it, pin it, unless you have it like, you know, very, very, very still. But you can't like whip it out necessarily the same way that you could with other fabrics that will like stay where you put them. Yeah. And so I was like, yay, a good a good fashion school moment that isn't like, you're a fool. You know, it's just like, hey, by the way, this is going to be a little bit of a pain, maybe. So just be patient. Yeah.
Speaker: I also like that she's asking her about the dress and Ellie's talking about how the fabric like moves and the teacher's like, oh, so you've thought about the person wearing the clothes while you're designing the clothes. And it's very much like a, yes, you're thinking about this in a slightly more sophisticated way.
Speaker: And she turns around, she goes, did anybody hear that? And then of course, Jocasta has a snarky ass little comment, yeah whatever. yeah But it's like, no, this is somebody who's thinking about more than just how it looks in a still static photograph. It's about the movement. It's about how the person will move, how the dress will inform the person and the person will inform the dress. And that is a very sophisticated thought.
Speaker: for like a brand new fashion student your first week yeah i'd be like oh my god are you ready to teach the classes my god so to go back to what i started stumbling into before which is that ellie goes back into the dreams and yeah sees that oh this big bright beautiful world isn't what I thought it was. And where she had left it was Sandy getting a gig with Jack. He got her a gig at a theater. So she's like, oh my God, everything's coming true for Sandy. it can come true for me. I can take a hold of my destiny and be a little bit braver.
Speaker: And then what she's actually seeing is that Sandy's dreams have been sold out by Jack. yeah That she's a dancer in a nightclub that's kind of like a men's club, but there are... It's a burlesque club. It's burlesque club. I don't think there's any... Yeah. No, but it's a burlesque club. And so it's not what she wanted. And it's also not even the focal singer. Like there's a different person. I know. She doesn't even get to sing. She's just in this... She's just a crazy doll costume. Which let's talk about those doll costumes. My God. It's a wind up doll costume.
Speaker: They're terrifying. They're perfect. They're so perfect, especially for what it is. And like Anya Taylor-Joy some interview at some point, I think she was talking about her role in Witch.
Speaker: is that what it was? Yeah. But she's talking about like an earlier role before she was like huge, huge, huge. And so I think it was pre-Emma. Maybe it was Emma, but she's talking about how she was being cast as like a pretty character who's known for being pretty. And yes, Sonia Taylor-Joy has been an actress and she's beautiful, but she's also unique. Like her face is very unique.
Speaker: And so she points out, like, I think that she her her Well, she said something about like her face lends itself to like characters who are a little bit disquieting.
Speaker: yeah And like she wouldn't necessarily call her face like pretty. A classic, yeah. Yeah, it's not like a classically thought of European face. right And so it's like...
Speaker: To have her eyes be emphasized the way that they are for the doll makeup. Oh my god Because her eyes, she's got large eyes and my God, they like really underline, like extend to create these like cartoonish doll eyes. And all the actresses have to keep their eyes pretty open to emphasize the wind up doll for the song.
Speaker: And like, she's got like dead eyes. Yeah. oh my god she's got just like absolutely crushed dreams crushed and nightly revealing outfit because it's like we see her in that first pink dress and it's like a shapeless dress right it's not contoured it's it's mostly the fabric and how it moves and how it hides the body and how the body moves underneath the fabric that's like what the point of that outfit is and this is just very tight very revealing and like
Speaker: just so perfect for this point of the plot that like her will is being taken from her. And then at the end of the number, She changes out into a red dress that has a giant bow in the back, which kind of mimics like the key. The wind-up doll, yeah. and it's like it's similarly kind of light and hangs, but it's cut very differently and has a large emphasis, I would say, on her breasts. which Yeah. It's more like lingerie. Yeah, it looks more like
Speaker: yeah yeah it looks like more like a like nighty, guess, kind of look. And it's a negligee, a negligee. That's the word. But I'm just like that scene where she tries to like escape when she, when she really understands the gravity of the situation what she's found herself in The first time, not only that she's not a singer in this club, that she's a dancer to burlesque club. And a background dancer, no less. But that she's also witnessing when we switch to the red dress, she's witnessing the first time that Jack is basically selling her. Yeah, trafficking her without even speaking with her about what, like, yep they don't they don't talk about what's happening. Clearly, she's not on board. Like, it's awful. And he's like, this is
Speaker: I'm trafficking you now is like the subtext of the meeting. And when she tries to escape backstage and it's this like carnival fun house nightmare of like all of the fates of these background dancers where we see like drug use and we see explicit like sexual acts happening. And we just like see girls like slumped over. Like it's,
Speaker: We're seeing under the veneer. Under, under, under. And it's so well... crafted in that it makes me so sad and so angry and like all of the emotions immediately in a scene that's like 25 seconds maybe yeah it's like so quick and there are many scenes because of course like you pointed out Edgar Wright is really great with editing and the editing like gives you a lot of information real quick and then it slows down
Speaker: goes real quick slows down but like we have a few moments especially sandy related that like we have very quick edits where the lights are a big deal and i just want to bring up that like anybody out there anybody hopefully let's make this a stage production. This would be so great on stage. Could you imagine? And I'll bring this up again because I'm so annoying about it at the end of the movie. But like, this is a movie where I watched it. And at the very end, I was like, Oh my God, I would, I would love to be a part of this as a production on stage because it lends itself to that so well.
Speaker: And like, being able to get these clothes on so that you can really see them on stage in person and how things are supposed to move and how things change as the characters are like really starting to now fall like on their roller coaster descent.
Speaker: Because like we have that very quick 25 seconds or so where we just are like hammered with brutal truth.
Speaker: And then we like, where am I even going? i don't even know. But it's like, it's the beginning of this kind of theme, I guess, where we have these like montages of Sandy.
Speaker: Yeah. Where her clothes keep getting tighter and tighter and then darker and darker. Yeah. As time goes on, because it's like,
Speaker: The way that I kind of thought about it, like, sorry to be annoying, is if this was a production meeting, but it's almost like her clothing is like both the last and the first thing to rot because, like, it's so bright for a while. But it's clearly...
Speaker: like the control is no longer, she's not behind the wheel as much. So it's like, in a way you can look at it as maybe this is the last thing that she has control over. So she can like have some style and like enjoy some of the color, but then probably not because she has to now be putting herself out to be trafficked and yeah be like revealing things. So it's like this thing that brought her potentially as much joy as Ellie is now a trap. Yeah.
Speaker: And like it is just so awful because every time you see her, there's less and less light in her eyes. And like the clothes just start to change and change and change. And that doesn't mean that the clothes are evil. You know, they're totally neutral. But it's the situation and the context that totally determines how you feel about it. They become an expression of her situation and there's like this haunting montage of her like dancing in that like basement club where we understand that it's like a succession of time because her outfit keeps changing but the
Speaker: it It becomes much more go-go and it becomes much, like you said, tighter, more revealing, shorter, shorter, shorter. And her dancing becomes much more manic and out of control with each change that we see. And it's a...
Speaker: really clear progression of her loss of self and loss of belief in the idea of anything ever getting better. Like we see the hope like die in her and it culminates in that scene where she's sitting in the booth with, ah what's his name? Sam Clayfin?
Speaker: Claffin? I don't know how to pronounce his name either. Dude from The Hunger Games is my touchpoint for him. He's been in many things. He's very talented. But where he says to her, you know, like, you're better than this, essentially, which I kind of like roll my eyes at that because I'm like, well, who's not in your estimation? Whatever. Everyone's deserves more than that. It's the whole Madonna syndrome where it's like you're untouchable by this Or just the idea that some people aren't too good for Like everybody's too good to be treated that every single person on planet earth deserves better than being trafficked. That's not a controversial statement. um
Speaker: But she like shoots back with, I don't think I am. And that's like a truthful statement on her part. She says it in a very glib way, but like she has internalized this, uh,
Speaker: belief that's been put upon her that she only has one worth and it's this one thing and it like everything else about her it doesn't mean anything um ah But we we see it in the progression of especially like her makeup, her hair and her clothing. And we just like watch it, watch it, watch it, watch it happen throughout the movie. And it's the same with Ellie, like in a kind of an opposite way.
Speaker: ah She gets more like haggard as well. But it's because she's so unsettled and so like tortured by watching this happen. Yeah. and everyone else in the world who sees Ellie just kind of assumes, whether they care or not, that she's basically having a breakdown or right that all of this is too much and that you know she's just collapsing. And she is, but there's a reason. And it's because she's like tied to the this spirit, this this
Speaker: set of stories that are going to play out regardless of whether she wants it to play out or not. She's carried along in the tide. and like for a while, the same way that Sandy was like, I'm going to have control in my life and starts out with like, this is how I'm going dress and I'm going to present myself this way. And then got carried away by the tide of Jack and all of these things. Ellie is being carried away by the tide of these memories. And she thought that she would have power by like, this is going to you know, make me stronger and better. And like, I'm going to be able to ride this high, but then it just like starts tumbling her over rocks because it's fucking brutal.
Speaker: And she just like her hair, she doesn't put it in the bouffant anymore. It's just like pretty flat. And then like her makeup starts to get, this is Ellie starts to get more and more um almost like the raccoon so like almost kind of like by the end she's almost like trad goth and we're supposed to understand that she's like not sleeping well she's just like you know just really at rock bottom and she's super pale and so she's got like this very very white face and very very dark eye makeup and this very like limp blonde hair and then she's wearing by the end of the movie like all black basically because she's just like she it's almost like she doesn't
Speaker: She doesn't want to reflect what she's seeing in these memories anymore. Right. And so it's like, what is the farthest thing from those things that I'm seeing? It's no color at all. Yeah. Like, get me as far away from that as possible. Because like, she's seeing, there's one point, it's in that scene with Sam Claflin where He's like, you're better than this. No, I'm not.
Speaker: And he says something about look in the mirror and i see who you are before it's gone forever. yeah And she refuses to look and look in the mirror. But in the mirror. don't want to Yeah, I don't want to. And in the mirror is Ellie. And Ellie trying to punch through. and then she does and just like grabs Sandy to hug her. And then that's like cut the scene.
Speaker: It's almost like horror pacing, right? Yeah, it is. I think of this as a horror movie. It is a horror. Like it is. So it's like, it's, it's clearly Ellie trying to be like, you're not alone and you are worth something. But it's, if it were from, if the movie were from Sandy's perspective, it would be like a poltergeist breaking through the glass. Totally. But Sandy's not interacting with Ellie, right? No.
Speaker: And she's not aware of her at all. Because it's just a memory playing out. And so Ellie's just being like crushed by these memories and they just get worse and worse. And while that's happening, she is being haunted by men who are in the bedsit, the bedroom that she is renting, who come up from the floors, who come out of the walls, who are standing in her room. And they're always, they're like not very clear.
Speaker: Yeah, they have a distorted mystery face. And some of them seem to have partial suits. Some of them seem to be in like undershirts. But it's like they're not super duper clear. They kind of start to get clearer and clearer as the movie goes. Yes. But then she has context for who these ghosts are when there's a montage in the bedroom. Yeah.
Speaker: Now, when you said that she's haunted by men, I was like, yes, all of the creepy real men in the real world that won't leave her alone. yeah Because that is also like it starts immediately with the taxi driver. yeah It's like guys in the pub, guys at the party at the dorm. yeah The old man like that keeps like coming to her work. or Yeah. like who can like Talking to her is if he knows something, but not letting her in on it. And just like all these different things where she is seeing this everywhere. And like she can't even rest from this because she's being haunted by men who haunted ah another woman.
Speaker: And like, it's really, really awful. And there's like one incredible sweet character that we do have to shout out, which is John, played by Michael Ajao, who's in Attack the Block, which by the way, everybody should see that. It's a great sci-fi movie. But he, this character is so sweet. And I love that he's like, I know what it's like to feel like you don't quite fit in and just Like where you're from somewhere else.
Speaker: And it's hard to like get used to being here. And she's like, oh, where are you from? And he's like, I'm from South London. you know That was so good. And it's like, of course, there's gonna be like a cultural difference and everything. But I just think that's so every time they bring it up. It's so funny. It's like like such a regional joke.
Speaker: I have to say, like, I found John's role very underwritten. Like, he did not have, like, his own story and, like, no character, like, given to us as audience. And he's really, really relegated to, like, the role of, like, endless helpfulness and sympathy for Ellie's character, which was kind of, like, that one of the only things that I disliked about this movie. I feel like he's supposed to be this kind of like untouched single thread that is is's like a reflection who she was. yeah And like is also kind of like if Sandy had had an untouched like –
Speaker: kind thread it would have potentially pulled her through like a hand reaching out who didn't want anything except to just know her because that's kind of like what what his character seems to do is he just likes her and thinks that her work is cool and he doesn't want anything from her except to maybe like hang out and get to know her better without it being creepy or a power dynamic involved like right he's he just He's very one dimensional in that way. And so it's like, I do wish that his character had more to do because he is like one of the first people that she sees when she gets into London. And then he offers to buy a drink at a bar, but he like accepts her no when she says no, you know, like he just is this...
Speaker: shining like ray of light that's kind of like what's able to get her out of the darkest shit yeah and i he like always seems to pop up yeah he's always there i just wish that it was like reciprocated a little bit more like not necessarily that she doesn't but that like the movie doesn't invest in him no he is 100 an in her story and like He has a very valuable space to take, but there's just not a lot that is done with him. yeah And that is a shame because the actor who plays John is fantastic and like yeah brings such a sweetness to like what was given to him. I also loved his wardrobe in this. like Oh, it was great. you know And like we do actually see like a couple classrooms like um at college and all the kids really...
Speaker: Nobody's a slouch. Nobody's wearing workout gear. Everybody's got something going on, which is pretty great. But um he is like one of the only men. Yeah. Possibly the only man. Yeah.
Speaker: Yeah. I think i think he is. Yeah. Who isn't an absolute garbage creep. Tosser. and To to use the british use a British term. Absolute tosser.
Speaker: I wish you could see the side to side it. you felt it with your bones. um But like, he's, he's always pretty bright. And like, I don't know, he's just like, his character supposed to be bright. And like, he usually has some item of clothing that's like, pretty bright, which is kind of fun to follow. Yeah. But um there's this montage where Ellie's in her room.
Speaker: and I think, is it where they're about to hook up? Like her and John and they're both, it's Halloween. So they both have like ghost ghost face paint. Which is like, ha ha ha. Yeah, because like he's above her and that's where she sees like the ghost of Sandy. Like now we're really in the dark stuff because now she's been trafficked to the point where she has no control over her living space anymore. Now men come to call
Speaker: And like she can't say no because Jack is just he's taken over her life and she has no space left. So like while this moment of intimacy is like sort of starting to happen, it's a complete break for Ellie because she's just like literally seeing moment after moment after moment. And there are these cuts in the mirror where the lights come up and and down and up and down. And each time we see Sandy reflected there, she's wearing a different lingerie set, a different lingerie set. Is that that scene? I think that that's the scene. I...
Speaker: I believe not going to say with 100% certainty because that ah obviously is a scene in the movie. But I think the scene where they're after the Halloween party, where they're together in the bedroom is where she sees what she thinks is,
Speaker: is Jack stabbing Sandy to death in the bed. And it's like they're mirror. They are mirroring the pose where Jack is on top of her the way that like her and John are. But she sees yeah the blood everywhere and the knife and Sandy covered in blood. And she starts screaming.
Speaker: And you see things get really, really real for John when the yeah the landlady, Mrs. m Collins, Says she's going to call the police. You see the the switch in his mind come on that he's like, I cannot be here when that happens. For a thousand reasons, I have to leave. Yeah. And he's also like, he's...
Speaker: Like their night has been crazy already. Right. Like, of course, I'm remembering things out of sequence. But like their night's been crazy already because at the party she had like a massive full hallucination. Yeah. And then he like chased her to make sure she was okay.
Speaker: And then they like left together and they ended up like running to, to her apartment and, you know, trying to be together and his night has to have been crazy. So like for him, he's like this very delicate young woman seems to be having a really hard time. And I would like to like,
Speaker: be there for her however but this is gone another level and like yeah he's like i'm gonna get shot and like ellie is just like this is like off the deep end now because she's convinced that sandy was murdered in that apartment And like goes to the police and tries to tell the police and the police are like, well, you're crazy. Like, yeah, they're like, you want to see a mental break. You want to report a 60 year old murder with characters who you don't even know their last names. Like, sorry, girl, we can't there's what ah what are they supposed to do with that information? i mean, and like,
Speaker: this is the point now where she's got, yeah, raccoon eyes. Cause the Halloween makeup is like still there, but it's like been wiped away a little bit. She's been chased by ghosts all the way to the police station, everywhere she looks there. They are. And the whole time, the clearest ghost is Jack. Like she just yeah sees, he's like taunting her and it's just horrifying. And like, she's just this like wilted pale like thing by the end.
Speaker: And then like she tries to research what's happening in a library and she's just like this wraith that's like sitting in front of you know, what it is a microfiche, but not microfiche. Yeah. But yes, but microfiche, but not, but yes. But like, she's just like sitting there just like clicking, clicking, clicking. And she's like trying, she's being eaten alive by these memories. So it's like my, I really enjoy, I think I keep like mentioning that she looks so wrung out and like this like trad goth kind of thing.
Speaker: because this is sucking the life out of her, like watching this happen. And it's not metaphorical. It's not, you know, like just passively witnessing something. She's deeply invested and feeling it and it has taken control of her entire life. And she's now starting to kind of look like the specters that are haunting her who have like these deep eye sockets and stuff. And like the makeup on her face is mimicking that. It's pretty a great progression. And I really love the the visual choice that all of these sort of ambiguous sort of faceless men, the base costume for every single one is black suit, black tie, white shirt. yeah And it's like the perfect...
Speaker: 1960s with the skinny suit the skinny tie like the slim cut everything and it's such a great like visual shorthand for just like man yeah man business man yeah and every man that we've seen from the 60s has basically been at these nightclubs so either they're working there and they're wearing like tails because they're like maitre d's or they are in businessy suits or in like evening where which is all very similar unless you're actually looking for the the tiny tiny little differences and so it's just yeah highlights right to the heart of it man yeah period right and like man who feels entitled to things and like the way that the the ghosts like loom
Speaker: really highlight the entitlement of like getting close and like where are you going it's horrifying and like the way that the ghosts are shot too because like we do see some slight differences like a ghost might be be wearing like a trench coat like an overcoat yeah or a hat or might be holding a hat as they're coming down the stairs and the way that they're edited is like on one step is one ghost the next step down as if it's one body walking down but it's just to show how many men have entered or left and it's just so affecting because it's also like everywhere ellie looks even with modern clothing she's gonna catch sight of those and it's like mixed in with the ghosts all over and it's just super absorbing Yeah. I find it really interesting that this movie is made by a man. um Yeah.
Speaker: Because it's so, I think, for me anyway, captures the like visceral... feelings that a lot of that, like, I feel like women express and a lot of times men don't really like want to hear about it. Like, and so it's really interesting to me that this movie is like made by a man, but I feel like it really captures the sort of um visceral, visceral threat of violence and uncomfortableness and entitlement and just, just general grossness. of these characters in the movie so it's just in i it's just interesting to me yeah it's very on the nose yeah like there's no subtlety here no but it's very effective it's very effective and what's also super effective is that
Speaker: The whole time that we've been seeing these ghosts, we've been seeing them in different states of undress. Yeah. But not necessarily full undress. True. um And then we turn a corner where we see that it was not Sandy who died. That it was Jack.
Speaker: Yeah. And that Sandy... killed a lot of people a lot of men not so many men like no women yeah men and like she stabbed all of them like stabbed them all viciously like rage and what i thought was really interesting is that when we get to like the denouement like the big big big moment which happens after my oh this has to be a stage play oh my god someday this has to go on stage which is the staircase scene yeah yeah oh my god and like mrs collins we find out is sandy because like we get told by that old man who i believe is terrence stamp um
Speaker: he was that cop who was played by Sam Claflin who told her you're too good to be here. But he was that police officer. And when Ellie accuses him like at the height of her like frenzy, because she's convinced that he's Jack and that he killed Sandy. And he's like, no, Alex killed Sandy. Yeah.
Speaker: And Alex is one of the many names that we see Sandy adopting when she's being trafficked. Like she's just coming up with random names. Well, her her name is Alexandra. So all of her all of her random names are various nicknames that you could conceivably pull from Alexandra. Which is pretty...
Speaker: Great. But it's also like her distancing herself, right? Yeah. Yes. And so it's like creating different versions of herself to try to like survive her own life. And going by Alex is like, well I'm not Sandy anymore because how could I be Sandy anymore? And so no, I'm Mrs. Alex Collins and Mrs. Alexandra Collins.
Speaker: And like – Alex killed Sandy and then he gets hit by a car and that's kind of the last time we see him. And then she like, you know, goes, goes back to the house. And then Mrs. Collins, the whole time has been a force, but hasn't really been, know,
Speaker: somebody to write home about, you just think that she's very firm and she's just dressed in very dark clothes and like doesn't really stand out. She's just kind of like a spider in her web a little bit where it's like we always see her in the same positions. We don't see her out of the house. Right.
Speaker: And then we start to put together that she's made a bunch of comments the whole movie about, oh, I could never sell the house. Oh, well, you'll just have to watch out in summer because that's when the smells start to rise. Right.
Speaker: all these different things. And she starts to like poison Ellie basically. And she's like, you're going to die tonight. Yeah. She's like, actually you gotta go. like yeah and I don't mean back to Cornwall. you went to the police, rut row, and like gives her this poison. Yeah. And this scene plays out after she finds out that she didn't come home alone, that she did bring someone that John was waiting And she stabs John, which is awful and sad. And he's like trying to tell, know, Ellie run and get out. And Ellie starts running upstairs. Yeah. For that landline. She knows about the landline. Because it only rings out for emergencies. Yeah. And so she's going up these stairs and we have seen so many ghosts coming down these stairs, like so many times throughout this movie. And she's going up and it's now starting to switch between that liminal space of the sixties of young Sandy and Mrs. Collins. And both of them are holding a knife. Both of them are singing. Both of them are like coming after her and swiping and stabbing. And like, it's,
Speaker: awful and beautiful the way oh plays out the dress the dress sandy is wearing so like Is this golden green and like – is it golden green? would call it turquoise. Turquoise, yeah. I think it's got gold beading over the turquoise. And then like these like shiny leather shoes that like – I mean she just – She's glamour, glamour, glamour. Glamour, glamour, glamour. It ties her back to the beginning yeah when we first met her. Yes. But her eyes are the same eyes as at the end. Yeah. And she's just –
Speaker: Gonna kill you. You gotta die. gonna kill. The stairs start to distend and turn into glass. And it's like she misses stabbing Ellie and stabs glass and like just flames because like she threw a cigarette and it landed in the record box and like everything's on fire. It's just this incredible moment.
Speaker: like visual stunning piece. Genuinely, could you not imagine this on stage with like a really cool staircase that like comes up out of a trap? Like, oh my God. I can picture the set the like i can picture the set of this play. so here we go. So- Let's it get into it. It's obviously two stories, yeah yeah maybe three, but the bedroom up there is there all the time. Yes. The entire show and the big stairs coming down. And that is constant. And that is what we call foreshadowing. And...
Speaker: And, yeah this would be – I would die. Right? And please make it a play, not a musical. Not a musical. Please. Because, like, here we have a few moments where where Sandy is singing because that's her goal. You can have that in a play, everybody. You don't have to turn the whole thing into a musical. It makes it creepier when one character – is just singing while for no reason flashing.
Speaker: if there's a scene in the fashion school where everyone's like rolling dress forms around and singing about creating a dress, I will leave. yeah i will leave the theater. i will get up and walk away. Thank you. Nobody asked for that. But what we did ask for was just a straight up play that has an incredible set, incredible costumes and hairstyles. Incredible effects. if Real fire. Would be so stunning. Yeah. And so it's just like you are on this ride. Like it is just – and it's almost like Hitchcock-y, you know, with like the steps.
Speaker: And like the flames get higher and higher and higher. Sandy and Mrs. Collins keep flashing in between each other. And the ghosts, like once Ellie gets into her room, she can't make it to the phone because the ghosts are punching up through the floor and grabbing her. She gets dragged onto the bed and held down. Like the ghosts are punching through the walls. One of them comes through the walls and,
Speaker: And picks up the phone. And all of a sudden, she can hear what they're saying. And it's not anymore, where are you going? You know, any of that stuff. What's your name? Yeah, now it's help.
Speaker: Yeah. And, and they're saying, like, get her, which I was like, okay, listen. Okay. Yeah, we had very much the hold on. Same exact thing. Because like when when Ellie was looking at the microfiche in the library, she was just like seeing how many missing men were in these newspaper reports like from that time, from that area of London. yeah And so she's cataloging that this is many, many, many people who were murdered and went missing. And so...
Speaker: I was like, what a weird position to be in for the dead men to be begging her to save them. well I mean, the endless audacity. The endless. Incredible. Because it's like, these ghosts are obviously trapped here. And like, we are to understand that where they're coming from is where they're buried. They are buried underneath. We saw that she started burying them ah in the house. Yeah. And so like, they're trapped there. But like...
Speaker: And like, did they deserve to get murdered? I mean, like, look, the jury's out. but like That's a different conversation. But like, they fully understood the situation that they were in and that she was in. yep So I'm just saying it's Hannah coming.
Speaker: I mean, I just want people to understand that just because someone's not a hero doesn't mean they have to be a villain. That's really what I'm trying to say. We all exist in a liminal space, if you will. yeah ray Gray.
Speaker: But now they're trying to say... Yeah, kill her. And she's like, hold on. No. Yeah.
Speaker: And so like these ghosts are here. We're seeing them in in a way that we have seen some in partial states of undress. But now they're all in their underwear, which means their undershirts and their boxers.
Speaker: And so we see them all. And now they're no longer these like faceless, distorted ghosts. Now we're seeing them as men. hmm. And that I think is what hammers home for her.
Speaker: No. Yeah. No. And like Mrs. Collins comes into the room and she can see the ghosts. Yeah. And she sees them alive. Yeah. like they are now flesh colored. The blood is red. It's not, they're not gray anymore. They look like they did. when When she killed them. Yeah. And so she is seeing all of these men and she's like, this is the end of my road.
Speaker: But Ellie's like, no. yeah But she also says... i didn't I never wanted this. Yes. And Ellie says, I know. yeah because Jack is in the middle saying, you wanted this. yeah You chose this. yeah And that's what she's been told yeah probably for years. Every day for, yeah. Yeah, and she's like, I didn't. And like Ellie is like, I know, i saw.
Speaker: yeah i know. yeah And so Ellie is still, and like she's still flashing between the younger self. and her older self and ellie's like i still want to save this woman yeah and like she hugs her yeah and sandy pushes her out and says get out of here like i'm gonna burn here yeah it's too late for me save yourself and save the boy yeah because she's like this boy stepped in front of a knife and
Speaker: and tried to save this girl, which is probably not something that she ever saw happen. No. So she can recognize maybe not everything is as dark and as awful as it has been for me. Don't let it be that for you and pushes her out. And it's just like, get out of here.
Speaker: And like, she goes and she runs and she goes to save John, but she can't quite do it like she falls and she can't lift him and then the firemen come and get the house has been engulfed in flames golfed in flames it's like it's just like like it's yeah and it's very contained because this is like a row house yeah which like either side seems okay which is like yes this house is extremely haunted last time phil and i went to london we actually walked on that street And it is that teeny tiny. It's so little. And like we were just walking and, you know, people just live there. So we're not trying to be disruptive or weird. We're like, hey.
Speaker: And then we just like, okay, we saw it. Now we got to go. It's like, let's go get dinner. Just like very quiet. And like, I do love that it's called but good. Like, i love that it's called good street. It's perfect. who Gouge. I'm so sorry. Nevermind. Yeah. Forget it. Cut this. Cut this. Yeah. It's it's like Gouge place or something on like good street. What a goofy name. I know. So it was like pretty great. And I think we also saw the bar that she worked at, which oh I can't remember if it was not that far. we were just like walking and Phil looked up these places while we were out. And then we went and got dinner afterwards. But um we were like, cool this is the street that Terrence got run over. ground But
Speaker: This movie is just like, it's, it's really well executed. And like, I know that there are many movies that you and I will talk about where we talk about like the color story, the journey of the the costumes. And I feel like that's all present here. And we've definitely talked about it. Yeah. But it's not punching you in the face all the time. Because like, even when it's Sandy,
Speaker: descending, you're not always seeing her whole body. You're seeing like a little bit. So you're getting pieces of information because they're mostly focusing on her face and like what parts of her body are coming into frame when she's dancing, especially as things get darker and darker and darker. Right. And so it's like,
Speaker: You aren't – it's a very subtle way to do that thing of like taking you on this journey. And it it's funny to say subtle when you're talking about 60s clothes. But like – In a horror movie. Yeah. But it's like it is because it starts yeah at like this pinnacle and then it just goes down and down and down. Yeah.
Speaker: Well, and I think that's why I like Edgar Wright so much as a filmmaker. And i don't believe that our costume designer in this movie has worked with him extensively. So he's certainly worked with other costume designers on other movies.
Speaker: But... i would I think that he he's so um careful in his filmmaking. And i can only imagine that that bleeds into design decisions and like very thoughtful and seems very thorough in his storytelling. So that is exciting. That gives you like a lot of room to...
Speaker: infuse thoughtful detail into your work as a designer and know that it will be ah worth it like that it will shine and that it will be highlighted even if it's not like super explicit like people will see it and they will know like they'll they'll feel it And I feel like looking at a lot of her work, our costume designer has had many film opportunities to kind of be able to do that. like Yeah. Which is very cool because like she's got a lot of different movies on her CV.
Speaker: But, you know, sometimes it's like you're taking a certain type of job or you're taking like a bunch of different jobs. And I I feel like you learn so many different lessons no matter what you do. Yeah. But there are a lot of like period movies on here.
Speaker: There are. um So that's like definitely a big strength is that she's experienced a lot of period stuff. And um it's really on display in this movie. Like it's it's not nothing feels like a caricature, which would be very easy to do.
Speaker: It all feels alive and it all feels symbolic of something because like it all feels like a dream, but it is a memory. And like what I also love is that at the end of this movie, we have a fashion show. and Yeah.
Speaker: We have a return to self for Ellie where she's dyed her hair back to brown and she's styled it. kind of more organically for herself and not in a way that's a big bouffant. And like, she's back in the darker colors that she was wearing at the beginning of the movie, but seems more self-assured yeah and not trying to hide.
Speaker: yeah And um her fashion line, which we had watched her start developing in class, the whole movie is no longer just the sixties. Now it's a fusion.
Speaker: Yes. And so it has the shapes of that first dress that she saw Sandy in. So clearly she is holding on to the full picture of what she got from those memories. But she's overcome it and now can blend it into what is now. And so there are like these like halters, like the the necklines.
Speaker: What would you call the additions that she's made? It's like the necklines. Yeah, they kind of turn into like a kind of like a yoke. Yeah. And they're all like they're almost like leather halters. Yeah. But like incorporated in this sixty s thing where it's all chiffon. But then there's like incredible Which, by the way, if this was your first year as a student and you started doing shit, I'd be so furious.
Speaker: So excited. Like, oh my God, you're amazing. But I'd be like, what the fuck? Because there's like geometric... stuff Yeah, there's like structural – At the hems. Like three-dimensional geometric. on Which I was like – I mean, come on. Like that's not fair. i was like that's stunning. That's amazing. God, good for you. Great. I love that for you. yeah And like – So happy for you and just a little bit jealous. Yeah.
Speaker: And like, that seems to have made sense to you at like, what, 19? Great. I love that. You've got nowhere where to go but up, buddy. No, that's fine. That's fine. I'm happy for her So happy for her. And she like, you know, walks the runway and we've seen her come like full circle where now she is self-assured and able to walk under her own power. But backstage she's getting like congratulated and people saying she's so strong because obviously people have found out that her landlady was a serial killer who tried to kill her. You know? So, like, and did stab their friend. And, like, they had to be rescued from a burning townhouse. Yeah, that was absolutely just consumed by flames. Yeah. And so... Now people are like, oh, so maybe you did have a rough semester and it wasn't just in your head. Okay. So good job. You did it.
Speaker: And then, you know, she's got her grandma and John come to like say congratulations. And at the end, she sees her mother. Yeah. Which she did before when she left home. She saw her in the mirror. Right. Sees her in the mirror again. They smile at each other.
Speaker: And then she turns back and she sees Sandy. Yeah. And they touch the the way and that they did at the beginning. And then black. Black. But there was one little detail that I thought was pretty cool before yeah we see her, see her. No, we see her mother in the distance in the mirror. Like behind her. But the way that the camera is moving, because it's like a continuous shot is what it feels like, walking behind the models into the backstage area. They continue straight. She kind of veers right. She goes past these two girls who say, oh, my God, you're so brave. And then she veers past Jocasta, who does this little like semi-sarcastic golf clap. And we see her offering, which is like, okay, well, no.
Speaker: i Like I guess it was fine. But she also has a mirror in front of her. Yeah. And so the camera goes past Acosta, but we still see her in the mirror at the same time we see the mother in the mirror. And I was like, I just kind of like that because it's like there's a I don't know, there's like something tying her to like being hungry, like kind of like a hungry ghost. Like, I don't know. It was just this cool little moment. But yeah, ending the movie with Ellie and Sandy tapping fingers oh i was like yeah
Speaker: and she's in she's in the first dress yeah so it's like return to yeah but she also gets to kind of be remembered yeah as she wanted to be remembered yeah <unk> and so i don't know i just the the use of clothing In this chef's gift. Yeah, it's perfect. I loved it. um Yeah, we did it.
Speaker: Everyone, if you haven't seen this movie, please see it. It didn't do very well when it came out. It also came out in like 2021. So like not a huge surprise that it did not perform amazingly at the box office. But um it doesn't seem to have...
Speaker: uh like established itself in the years since but i really think that if anyone has listened to all of this and is like okay well now that i know the ending i'll go watch the movie but you should you should do it you should watch the movie if you have you should it's all of edgar wright's movies are a fun ride um But they're all a great example of what you can do with filmmaking. Yeah.
Speaker: And like Shaun of the Dead, World's End, you know, all these different movies. What is it? The Cornetto trilogy. Right. um And I also grew up watching these like as a teenager when Shaun of the Dead came out. Yeah, yeah the first time i The first time I went to or maybe the second time I went to London And every single like billboard, bus station, bus had the image of Sean from Shaun of the Dead holding the bloody cricket bat. and
Speaker: like there was I never saw a trailer. I only saw the still image of him holding this bloody cricket bat. And all of the taglines just said like comedy of the year. And I was like, what is this? So when it was released in the US, I was like, I have to see this movie. I have to understand what this is about. Yeah, it was fantastic. um But yeah, it made me a lifelong fan, I think. Oh, absolutely. And like this makes me such a fan of the costume designer.
Speaker: Yes. And I realized that I've seen a bunch of her work, yeah which is very cool. Please look her up. And um please somebody make this into a stage production. like Look, if they can if they can make a move a stage play out of paranormal activity, they can make a a stage play out of this. Okay? Okay.
Speaker: Oh my god, this would just be so cool. Like, oh, and also like now that we've said that publicly, we have to get like a story credit on that because obviously it originated the idea. You're welcome. TMTM, we are very litigious. Just keep that in mind.
Speaker: um I have my little my little list here of our next movie. And I'm really excited because I have not seen the next movie that are watch.
Speaker: All right. Our next film, please join us. We are going to be watching The House of Gucci. oh my God. I haven't seen it either. haven't seen it This is funny because like I'm totally – we can keep this in, of course. But I'm locked out of my Google account where – I can see the the list for the rest of our season. So literally the past few episodes have all been a major shock. And like, ooh. How fun. To just be surprised. Too long for the ride. So like House of Gucci. I haven't seen. i remember when it came out. But I was like, i don't know. Do another stuff, I guess. And just didn't make it while it was in the theaters. Yeah. So now I get to watch it and just...
Speaker: not listen to anybody else's responses which is great yeah just gonna have a good time heck yeah yeah we'll talk about it and we'll see you all there me and thank you thank thanks for listening yeah bye
