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Dungeons and Dragons- A You and Me Conversation
0 Playsin 3 days
We're chatting about the 2023 Dungeons and Dragons and totally not getting sidetracked a bunch of times to talk about other things. We would never Enjoy!
https://www.motionpictures.org/2023/04/how-dungeons-dragons-honor-among-thieves-costume-designer-amanda-monk-casts-a-sartorial-spell/
http://imdb.com/title/tt2906216/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_dungeo
Music: Cassette Deck by Basketcase
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Transcript
Introduction to 'Hot Set' Podcast
00:00:00
Speaker
I'm Melinda. I'm Ariel. This is Hot Set, the movie podcast about costume design.
00:00:21
Speaker
Hello, friends. Welcome back to another episode of Hot Set. We are back. We are continuing down our road of doing fantasy movies this season and kind of jumping around different flavors of the genre, different time periods that the movies were made in.
Discussion on 'Dungeons & Dragons: Honor Among Thieves'
00:00:43
Speaker
Today we have arrived at our episode on twenty twenty three Dungeons and Dragons Honor Amongst Thieves, which is interestingly co-directed by um John Francis Daly and Jonathan Goldstein.
00:01:05
Speaker
Not that often that you get a directing duo. Right. A while. Yeah. They also were both writers on the film ah along with some other folks.
00:01:17
Speaker
um But I'm going to read a little synopsis from IMDb. ah A charming thief and a band of unlikely adventurers embark on an epic quest to retrieve a lost relic But things go dangerously awry when they run afoul of the wrong people.
00:01:41
Speaker
Quite vague. Quite simple. Quite vague. Keeping it the way that like we wanted trailers to be now. Like how they used to be when we were kid kids. But like it starts with, in a world.
00:01:53
Speaker
absolutely yeah absolutely but i do think that is kind of striking about this movie is the plot is pretty straightforward like a to b um which is interesting given um i mean i'm not a player of dungeons and dragons i don't believe or am yeah for i want to play but i have not yeah But my understanding of the game is that it can you know go off into you know this sort of side quest thing and can meander through a story for a really long time, depending on how it's structured.
00:02:32
Speaker
um And this one has, of course, I mean, it's a film. It has... It's complications and like twists of plot and things that don't go right. But it is a pretty straight line of um Chris Pine and Michelle Rodriguez characters.
00:02:49
Speaker
um Their pretty singular goal is to get this ah relic. who What do they call it in the movie? It's a tablet a tablet of... It's not resurrection, but...
00:03:06
Speaker
The tablet of reawakening. the tablet
00:03:12
Speaker
The tablet of reawakening. So yeah, they're they're trying to get this tablet. They want to bring back Chris Pine's a wife. He has a daughter who um has not really known her mother because she died ah when Kira, the daughter, was a baby. So it's like pretty singular focus. But of course, it's not going to be something that's easy to get.
00:03:34
Speaker
yeah. They, you know, have to get the get the band back together of this sort of like motley crew of people with different um different like abilities and powers and strengths. And it's very much like a D&D campaign from what I understand about it.
Role of Costumes in Character and Storytelling
00:03:53
Speaker
um And one of the things that I really like about this movie is that it's You don't really need to know that much about D&D to just enjoy the film. I'm sure that understanding the game enhances like jokes and references and things that are I'm sure are like not landing for me because I don't know the game.
00:04:14
Speaker
But it's still a fun movie to watch. So I think that that makes it really successful. Yeah, I think it feels like a very CliffsNotes campaign. Because like you said, yeah, there can be like really long side quests that are entire campaigns in and of themselves.
00:04:30
Speaker
But it kind of like gives you a little taste of that just by by a ah normal plot. It's like we need these things in order to get to where we're going. um But you do meet like different character classes yeah that are kind of like archetypal characters.
00:04:47
Speaker
And that's pretty fun. And I, I feel like the costumes, because these characters are i archetypal characters, get to really establish each character. Like, you don't,
00:05:03
Speaker
necessarily have to convince us that this character is coming from a specific part of the world because everybody is elevated to a certain point because everybody is from this like medieval Renaissance mixture fantasy world. And so you don't have to be like, well, this one's a magician and magic's been dead forever. So we have to like, you know, make this person heightened above everybody else. Everybody's kind of at the same level to get, um,
00:05:30
Speaker
But there's like really fun fun details, I think, in some of these costumes. And it was it was a fun watch. Yeah. though I also don't know nothing about nothing when it comes to D&D.
00:05:42
Speaker
wish No. And um that's something that i I personally like in movies where – um the storytelling doesn't get super bogged down in context and like the origin of everything being shown and the origin of every character being this long sequence being like, how did this guy become that guy? And I'm like, I don't necessarily need all of that information personally.
00:06:13
Speaker
And that's true for me across like all kinds of storytelling where I'm like just drop me down and I'll figure it out as I go along and like there obviously there is context and backstory in this movie but I don't feel like the movie like loses momentum even when it's providing that stuff and I find a lot of uh movies especially in like a fantasy genre can be susceptible to getting really bogged down and like explaining everything to you and it's like in this movie it's like well there's a there's a thing called an owl bear and i know that because i saw it with my eyes and i don't need to know anything else about it it exists and it's right there yeah and you can keep pulling things out and i will believe you because this is the world every time i see a new a new creature i believe it
00:07:09
Speaker
Yeah, i I agree that like origin stories, unless you are really going to be following the whole story and it's really, really, you're doing the origin story because it's so rich that you like really want to place people in this world and give the context that is so big that it requires an origin story.
00:07:30
Speaker
I feel like people just keep doing the same thing over and over and over again. And superhero movies are very, very, very guilty of this and like just rinse and repeat. and um Yeah. That's its own thing. I don't need to see Peter Parker get bitten by a spider ever again in my life.
00:07:47
Speaker
Ever. I don't. Never need to see it. I also don't need to Superman be, you know, corn-fed Left in a cornfield. Yeah. I don't need to see – Mrs. Wayne's pearl necklace ripped off of her throat and the pearls cascade to the ground in a beautiful visual metaphor of loss and death. Like I never, ever need to see that again. rushing into a young man's face and he's like, look so traumatized that he takes on the bat because it's the scariest thing he's ever encountered. God. Never need to see it again. It's like, it's so cool a couple times. Yes. It's like for this. Yeah, of course we have, you know,
00:08:27
Speaker
context given to us and it is um in this like world that is very blue because chris pine's character is becoming a harper or he is a harper or he is of the harpers i don't so sorry anybody i think he was and he gave it up in grief when his wife he died but there's a flashback when they're trying to catch a dragonfly and she's like and you're trying to become a harper So they were married and he was still become the way.
00:09:00
Speaker
And so wherever they are, blue is a very dominant color in that world. Like that's the dye that these people have access to. And I loved that because like, we just see so many different colors and there's a lot of like red in this movie, which is pretty nice. But, um,
00:09:21
Speaker
Like, I just loved that. Yeah, everybody around them all have the same kind of grounding in the world. And it's very soft. And it's like, oh, what a bucolic beginning and then it all goes wrong.
00:09:33
Speaker
um Very, very, very wrong. Words are hard. Listen, say we don't need to talk about words today. I can't hold more than one thought at a time.
00:09:45
Speaker
But I, okay. Why I'm bringing up blue is because blue is um Chris Pine's color kind of throughout, but it's just a different blue. It's a darker, grungier blue, like the leathers and stuff.
00:09:58
Speaker
They're this like kind of navy blue, whereas before it was lighter. So I like that there's this kind of, again, archetypal color association thing happening with a lot of characters, but it's being enriched.
00:10:10
Speaker
So it's not just one flat color. It's many different colors. so that it ties someone to a place without, without constantly being unchanged or, or undirtied. Like he goes through it.
00:10:23
Speaker
There's some part where they have to run from a, From a really chubby dragon who who hasn't really had to fight for his food for long time. You know what? I relate to that guy so much. love that dragon so much.
00:10:38
Speaker
One of the methods of trying to kill people was just rolling over and over and over again because he knew that he couldn't fly or run fast enough to catch them. listen, don't be a hero, do what works. You know what I mean? It's like when you take a self-defense class and they're like, don't be a hero. Your goal is to survive. like that that we got That dragon took that class and heard those words. He
Materials and Techniques in Costume Design
00:11:01
Speaker
stuck with it.
00:11:02
Speaker
Yeah. i and Okay. I don't even know where to start because like I guess archetypal, archetypal, archetypal, every character has a different playing class, right? So there's yeah berserker there's a harper there's a paladin there's barbarian barbarian ah um wizard is what i meant for barbarian yeah oh okay there's a wizard um couple wizards yeah different kinds of wizards yeah cultural backgrounds and ah shapeshifter i think it's like a different i don't i think it's i think it's shapeshifter yeah because i think i read that there's also a thing in
00:11:38
Speaker
D&D called a mimic, but that's a person that can turn into an inanimate object, maybe? Yeah. Unconfirmed. Unconfirmed. Don't. but Do not. yeah Do not quote me Allegedly, allegedly. Don't sue me. Yeah, we'll say shapeshifter.
00:11:55
Speaker
um And like, everybody has something different. And everybody has a lot of details in each of their costumes, which is very, very cool. Because it's the details that tell you that they come from a different world and a different culture. It's not, they're, they're, I don't know. They feel like subtle.
00:12:12
Speaker
They don't feel like they're hitting you over the head. Really? Because Doric, right before we started recording, ah there's an interview with our costume designer, Amanda Monk, um for MotionPicture... MotionPictures.org. What kind of work?
00:12:29
Speaker
MotionPictures.org. And it's from 2023 in April. So it's like fresh off of the the movie coming out. And um she talks about Doric's costume. She talks about the the main characters and little features in each one. So her...
00:12:43
Speaker
so her ah costume. she Doric is living amongst the Druids in the Neverwinter wood. So her costume is made, to quote this interview, with materials and textures found within that habitat. We discovered a wonderful fabric made from bark and our very talented costume props team experimented with all matter manner of fauna and flora to create interesting organic textures and patterns.
00:13:09
Speaker
How fun does that sound? It sounds so fun. And to have the space to get to do experimentation before you're like under the gun of building the actual thing is like such a dream.
00:13:22
Speaker
Yeah, such a dream. And like fabric made out of bark. I haven't heard of that. I've heard of fabric Like faux leather made out of cactus.
Collaboration in Costume and Theater Design
00:13:31
Speaker
I've heard of like a bunch of different things. But bark? That's rad. And then immediately implementing that.
00:13:37
Speaker
Yeah. I know that there's certain, i don't think textile is quite the right word. But like people make things out of like cork. um ah Because you can get it in these like very thin like sheets. I've seen like handbags. I don't know if I've ever seen actual clothes.
00:13:54
Speaker
clothing. And I feel like I've seen something in the past that was somehow made out of like mushrooms. Yes, I've seen that too. I think that that was also a ah ah leather that was made out of mushrooms and cactus or like the two big and pineapple, pinatex.
00:14:13
Speaker
Oh yeah yeah yeah. Yeah. It's just like people have these amazing brains to come up with this and then to have a team where you So like the way that you and i encounter design in our um in our careers, right, yeah is that it's it's pretty much us.
00:14:30
Speaker
And like maybe we have a colleague and maybe that colleague is a friend that is available that we are able to hire and carve out. ah budget to pay them for some of their time but that time is pretty much concentrated on stitching it's not concentrated on organizing the design or like research yeah kind of resources yeah so that's not a thing experimentation with textiles for like a week yeah like that is not a thing that we have experience with because that is a department within us
00:15:02
Speaker
And that department is sometimes out to lunch for a very long time. Or she's just busy doing 12 other things. She's taking a nap. She's tired. So just like the idea of having enough resources that you can have you know a buying team that you're giving your...
00:15:23
Speaker
your research imagery, your research ideas, your, you know, like from the beginning of production, maybe this is me not knowing how the timeline is working for this production, but like ideally from the beginning of production, just being like, okay, these are the ideas that have been generated. This is like what we have to hit. These are the marks that we have to hit. Here's some ideas on how we get there.
00:15:44
Speaker
And just like shooting the shit and being like, it would be so cool if we could incorporate like the bark texture. Can we do that maybe with like embroidery, like smocking or something would be something that would come to my mind immediately, right?
00:15:54
Speaker
And then it's like somebody goes, let me look and see what I can find. And then they go research yes all of this stuff and bring it back and you go, oh my God, yes. Wow.
00:16:05
Speaker
Yeah. Well, that's like something that is the like, kind of the crux of the reason why I wanted to do ah like a collaborative art form like theater in the first place is because I know that I don't have all of the answers.
00:16:22
Speaker
And I want to work with other really talented creative people are think differently than me and come up with different solutions or like ideas than I could ever come up with.
00:16:35
Speaker
And then hopefully I'm bringing my things to the table too. Yeah. Fingers crossed. um And then we can all contribute to create something that none of us could have made solely on our own.
00:16:51
Speaker
That's the ideal. Is totally the ideal. And I'm right with you because that there is, When you have a good working environment, that's really, really amazing and really, really special.
00:17:03
Speaker
And sometimes when you're in a shop, it's a really good working environment because you've got all of these artistic people with different skill strengths. Mm-hmm. all contributing into the same thing. And like, also you can be playing music or a podcast and like crack up until you cry at a joke for like five minutes. And then you're like, okay, we have to pull our shit together and finish sewing this thing.
00:17:27
Speaker
You go crazy together in the trenches. Like, you know, you get tired together, you get overwhelmed together, all that stuff. And there's, there's just something really, really enriching about working in that kind of environment, plus being able to collaborate in the design process and the construction process.
00:17:44
Speaker
And I remember as a student going to KCACTF, um which is a college level kind of but Yeah, it's like a ah showcase slash like competition slash like summit slash. Yeah, it's sort of like a convention kind of thing, like where all gather at this place and then there are different things offered. And one part of it is the competition aspect where in your you know wheelhouse, your your instructor at your college will have
00:18:21
Speaker
depending on how big and how, but like how large your budget is for travel, your, your teacher may have been like, I could select two students and you're one of the students that I selected for costume one year.
00:18:33
Speaker
ah was very lucky to be selected. And, um, this was my first year being select selected. And I brought this, um, little, I brought these designs for Alice in Wonderland and it was an unrealized design.
00:18:46
Speaker
And I had this like pleated situation going on for Alice's bodice and it was only on the front and like her sleeves were very unique and very different.
00:18:57
Speaker
Maybe it would have been on the back. I don't know. It was unrealized. so I didn't really have to care about the back. I just didn't care about which part I showed. right and um But it was like a very asymmetrical pleading kind of situation.
00:19:08
Speaker
And I had made a maquette, like a teeny tiny doll sized maquette. And this was like, right when I was learning how to construct. And so I was definitely doing that thing where it's like I know some rules. So I know that I can break the rules that I know. And I can also just figure stuff out.
00:19:23
Speaker
I will never forget that the adjudicator...
00:19:28
Speaker
Pointed at my rendering because I was too shy to actually bring out the maquette and go, you mean like this bitch? Because the adjudicator said, this is impossible. If you handed me this in ah in a costume studio, I would just be like, what does this mean? What does this mean? And I was like, in my head, then we would figure it out together.
00:19:46
Speaker
yeah We would experiment. Like, what do you – draping is a thing and this is draping. Yeah. I don't really understand –
00:19:56
Speaker
Now that, you know, like I'm not like formally like a teacher, but I've i' worked with students a lot ah like now. and reflecting back on some of the experiences that I had as a student, I'm like, wow, that was such a like thought ending comment that that person like made to me when I was a student where they really needed me to know that my idea was stupid in their opinion, instead of just being unrealistic or, or, or even just being like, Hey, have you thought about how you would achieve this? I'm so curious. Or how you would communicate to someone, you know, like what's in your mind if there's like a specific technique. Cause if I was working in this place and you showed me this, I would be,
00:20:47
Speaker
not sure how to solve this problem. And then we would have to, et cetera, et cetera, et cetera. Right. And that I think is like, like what you said about wanting to work in a collaborative kind of environment hits so hard because that's not always what you encounter.
00:21:05
Speaker
And so when you see an example of a project where maybe by nature it's forced to be more collaborative because there has to be someone who can answer questions and there's a budget to pay for someone who is there to answer those questions.
00:21:19
Speaker
um But very often the word collaboration is just kind of like, abracadabra, where it's like just kind of thrown around and like, as if sparks and glitter are supposed to fly out as soon as it lands somewhere.
00:21:33
Speaker
And then it is not actually realized. And people will say, Oh, but it is. And it's like, no, it's not though. because well And a lot of people use the word collaboration to mean you do what I say. yeah and that's actually the opposite of what it means. That is the complete app opposite of the definition. and So being able to have any kind of collaborative input on anything feels so mind-blowingly positive. but I know. like yeah Anytime that I've had those experiences professionally, like those are the best jobs that I've ever had. it's...
00:22:13
Speaker
We're constantly like chasing that high. and it's like one of the reasons why I don't just want to sit at home alone and like make you know costumes for like a private client or something because it would just be me. And that is like the opposite of why yeah i wanted to do this work in the first place. So it's just so not...
00:22:38
Speaker
not creatively stimulating to be some people that's their ideal and god bless like if that was my ideal work environment i feel like things would be a lot more clear for yeah but what i wanted to do like having this kind of environment where there's people you know talking across the room or doing whatever you also have those moments of silence that a lot of people are looking for in their creative process where they're like i'm just they shout out like i'm just gonna put on some headphones and i just need to like get in the zone that happens too. Like, yeah, I miss it.
00:23:12
Speaker
I know. It's like a specific type of crazy. And so like when you, if you are a costume designer who's doing community or, or slightly above, you know, theater, or like if you're a shopper and you're mostly in your car by yourself, it's hard.
Career Paths and Decision-Making in Costume Design
00:23:28
Speaker
It's hard to, to hold on to the the intrigue and the passion that brought you into this in the first place. And so I always hear from people who get into the game because, you know, like when you, when you meet somebody who's working in film specifically for this conversation and you're like, how did you get there? Or if you read an interview or somebody is accepting an award, whatever, and they're talking about their origin story, it's always the most batshit crazy origin story where they're like, I don't know, i was doing like
00:23:57
Speaker
ah handstand on the subway, but somebody noticed that I had this like really cool rhinestone shoe and it happened to be like Karen O. you And she was like, yeah, I really want to buy something for you for a show that I'm doing with my band. It's like, what?
00:24:13
Speaker
And then you become the designer for that band, which is, by the way, not far off the designer for um Karen O for a long time. Love that. The origin the origin story for that was insane. And it's just like, okay, but that magically happened. Like very often you you really do have to pay so many dues, so many dues. And then there is no, like with other jobs, we've mentioned this before, there is no really straightforward work.
00:24:40
Speaker
Yeah, there's not yeah there's there's not like a centralized, you know, there's not like a ah consistent centralized location that you could like go find like job listings or something. It's like you have to know people and people have to know you.
00:24:57
Speaker
yeah And that's where it's really old fashioned in that respect where like your reputation and your work is like it will proceed you into that room and it can proceed you in a good way it could proceed you in a bad way and it's really hard to walk that line like i do love that we're going on this like tangent but it's like we're on a side quest we're on a side topic like i i do love that that love haha that you do get a reputation
00:25:32
Speaker
And that will precede you because the world is so much smaller than you think it is. It's insane how tiny it is. And like, it's very interesting when, okay, we were taught never to say no, right?
00:25:49
Speaker
Like if somebody tells you that they want something in the design, you go, okay. no matter how unrealistic, no matter how... All these different things, right? Or if it's your vision or not. like You're just supposed to kind of... like don't say no.
00:26:05
Speaker
I think that people don't always understand that there's someone above you that has final say on your costume. And it might be the director. It might be a producer. It might be an artistic director. It might If you're in a movie like this, it might be Hugh Grant. Like, he might say, no, I'm not wearing this. And people will listen to him. So you might have to change some, you know, who i I'm completely making this up.
00:26:34
Speaker
Like, who knows? But, like, he is an A-list celebrity. And the idea that he wouldn't have power on a film set like Dungeons & Dragons is insane. Like, of course he does.
00:26:45
Speaker
It's crazy. But, like, yeah, they're the... The potential downside to the collaboration is when it starts to turn into the, no, you do what I say and I don't actually care if it's what you want to do or not as a designer. it's not It's not up to you all the time as the designer. Yes.
00:27:09
Speaker
And that that's a very thin line to be walking. But it truly is the difference between a conversation where somebody says, I don't understand why this is part of the design. Can you explain it to me? Because it's not hitting me and you explain yourself and they either go, I see it or it's not working. How can we get to where we need to go? That's collaboration. Yes. And so i i am not of the never say no. i mean, like party, it's just not in my blood because like I will be very diplomatic
00:27:41
Speaker
And, you know, I will aim for the collaboration of it. How is it not hitting, but saying it better so that it's not challenging, but just like, okay, first, before we change everything,
00:27:54
Speaker
but Like, it's really about deciding what matters most in the design, right? Like, yeah it's easy to say, okay, if somebody says no to something, and you say, like, okay to no, like three times, and then you fight for one yes, you know? Yeah.
00:28:08
Speaker
For me, I feel like I spend more time assessing the person that I'm talking to, and whether they have shown respect for my voice.
00:28:24
Speaker
at all and if they haven't and I know that they're not going to have the conversation with me sometimes I just won't even yeah try like that's my you know so yeah all like therapy on it but that's my like avoidant but that's conflict avoidant style but I'm like this person isn't going to listen to me anyway yeah and that's the thing though that people will talk about it costume designers kind of are like there's an aspect of therapy to it because When you are coming in with actors, like you said it, Hugh Grant has the kind of power behind him that he can say no to wearing something or having his hair a certain type of way. Actresses will frequently say like, no, I'm not going to wear something that doesn't make me look XYZ type of way.
00:29:10
Speaker
Same with actors. I don't know why isolating like actresses. Wow. all All performers. Yeah. they They have an image. Yeah. Like it's, and it's not, um,
00:29:22
Speaker
It's not exclusive to super famous people. They just have more likelihood of someone like, ah what's sort I'm looking for? Acquiescing to their demand.
00:29:35
Speaker
um But it's very personal with like working with actors is in the way that we do is so different than um like a scenic designer or a sound designer because People are very aware of how they look and how they're being perceived all the time, not just professionally.
00:29:59
Speaker
And um people have opinions about how they want to look. And they sometimes people are like, I want to disappear into this role and I don't care. I want the character to come through and I don't care about you know me as the person. And sometimes people are like, I don't look good in this and I don't want to wear Yeah.
00:30:17
Speaker
like And everything in between. Yes. And it can it can be a hard another hard line to block. And like to bring it back to this movie.
00:30:27
Speaker
Oh, movie? Movie. We were talking about a movie?
Costume Functionality and Storytelling in Fantasy Films
00:30:31
Speaker
Side quest. We're going to go back to the main quest for a moment. And then we'll side quest again. That's just our nature. um in this ah interview with our designer, um she does talk about collaborating very closely with the actors.
00:30:46
Speaker
And so, like. with each one, that doesn't necessarily mean like coming into a fitting and like, let's see how it fits on your body. Like that's the baseline of your job.
00:30:59
Speaker
Sometimes you really want to collaborate deeply with the actor. And so, you explain like, okay, here's, here's, you know, all of the designs. Here's everything for the, wasn't it in Princess Bride that we were just talking about, you were telling me a story about the designer sitting down with Carrie Elwes.
00:31:17
Speaker
Yeah. And like showing him all her renderings and talking about, um and like i think she showed him everyone's like so he had a like a sense of the whole movie not just his character talking it through and helping him place his character in the world and adding that information into his performance and how he was gonna be that character that sounds awesome because that sounds like collaboration that sounds really fun and so i i hope that it was like that because like
00:31:48
Speaker
you know there There are details in each of these costumes, but they are all functional. And that was like a thing that i really noticed throughout was that all of these costumes are functional. There's not a one that is limiting the performer's body. There might be yeah a big collar. There might be a cape or a cloak.
00:32:04
Speaker
Right. But people are tumbling, they're jumping, they're running. um yeah it's a really, really active movie. And for a lot of people, like they have basically one costume or functionally, like maybe something about it like changes partway through. But like...
00:32:23
Speaker
It's another i feel like that is something that has it has come up and will continue to come up with fantasy movies in particular, is that you do get a lot of times where people ah spend a lot of the movie in like one costume.
00:32:40
Speaker
it's And it gives you the opportunity to spend a lot of money on that costume because you're not trying to come up with 20 different outfits and just like throw a bunch of stuff at people.
00:32:52
Speaker
um So it gives you the opportunity to be like, we are going to do all of this like embossed leather work or whatever. We're going to get like the breakdown person in here to like artfully break down this doublet so that it looks like you've been wearing it for 10 years because we're supposed to believe that you have or like whatever. yeah It's really nice.
00:33:14
Speaker
um i have a question for you. Sure. What. Do you think the men's shirts were made of?
00:33:25
Speaker
Because there's a lot of really chunky textures in this movie. But a lot of the men's shirts, I'm thinking mostly of of Hugh Grant and his like white shirt.
00:33:39
Speaker
ah shirt that he is wearing. And I'm also thinking of our our wizard friend. He has this sort of like mustard yellow kind of gold shirt. But the texture is of both very smooth, very fine-themed fine textile it doesn't look like cotton to me in the close-ups and it's not what I would have expected would have expected like renaissance fair 100 cotton slightly see-through when wet or sweaty yeah and they're not that too I'm trying to get to pictures on IMDB and it's taking a very long to get past press photos
00:34:24
Speaker
but Yeah, I know. There are so many red carpet photos. There's like red carpet photos. I'm thinking very particularly about um Hugh Grant. ah I wish I could send you this picture. It's picture number 22 362 on Oh no, over. But there's like a sheen.
00:34:41
Speaker
seventy four and me close but i'm going to start over but back in there there's like a sheen To the textile. I don't know. It made me wonder if it's made out of some kind of silk just because of yeah the... I don't know. It's such an unimportant, like granular detail. But it's also it struck me when I was watching the movie. Yeah, yeah this is very...
00:35:08
Speaker
It's very soft. I'm horrible, horrible at identifying fabrics um like by sight. ah I'm terrible. I always have to get my grubby mitts on things and then a burn test and I go, I feel like it's 80% chance that it's this. It is 100% it's 100% real, but it's made by the earth.
00:35:28
Speaker
a fake or it's a hundred percent real but right it's made by the earth I don't think that I would have necessarily picked up on it, like just from looking at pictures, but like actually watching the film and seeing close ups, I was just like looking at it for both of them in particular, because they're it's just such like fine fibers that I was like, I really just.
00:35:55
Speaker
I don't think that it's cotton. And I was so fascinated. I don't think it's cotton unless it's cotton mixed with like silk. Because it it has the shine. it just has this very like when you think of like um pearl or oal like it has that kind of like shine to it. Yeah.
00:36:12
Speaker
The way that it falls, I immediately like think of like rayon, like how liquid that is. Yeah. but But silk, by the way, is such a confusing textile because it is like in a good way.
00:36:25
Speaker
Because you think of silk and you think of silk dresses or something. And it's like silk can be anything. It can be raw. It can have slubs in it. It can be all these different things. and It can be crunchy. It can be soft. It can be purple. It can be blue. It can be all these different things. Oh my God. yeah were And so it's like, I'm so horrible at identifying silk Because I had for the longest time in my head that I still have to shake even after being through college and being through working with fabrics and stuff.
00:36:56
Speaker
I still have to shake that I have this like impression that silk is always going to be. like this, this shirt kind of weight and fabric with this kind of like movement to it.
00:37:07
Speaker
yeah I'm always suspicious when I see something that I'm like, yeah, I would read that as silk. And I'm like, I don't believe myself. oh I know. And it's really hard to tell because especially now like we have a lot of ways that you can process yeah textiles to make fabric. And so it can be hard to tell without really being able to touch it or like having information from like the store or whatever, you know, like it can be really hard to tell, especially like you said, it could totally be a blend where it's like mixed with something else. But there's just something about like the, the way that it was not even remotely connected.
00:37:54
Speaker
see-through at all for how fine it was that made me go, ah Yeah. What is that? It's really lovely. Like the way that it moves, the way that both move are really, really lovely because yes, I wasn't really paying attention to that during the movie, but like hyper looking at it right now, it does not sit or move at all the way that you would think that Cottonwood, like it's not,
00:38:23
Speaker
Crunchy is not the right word, but I know that you know what I'm saying. like this Yes. And like cotton lawn is like a wisp on the air, you know, but see-through. And this is liquid.
00:38:34
Speaker
fit But it's like... completely opaque like yes there's just something about it and a really lovely drape to it do you have a like favorite sort of characters overall costume from this movie i excuse me my breath got stuck in the top of my mouth somehow because i've never spoken before
00:39:02
Speaker
if that's what happens Thank you so much for asking, Melinda. I feel like I like features off of everybody. Yeah. A lot. But I really do like um Justice Smith as... um
00:39:20
Speaker
but sleep ah I couldn't thank you the wizard who has no faith in himself and Sophia Lillis who plays Doric I really like their costumes and like just on the the lore alone of the bark fabric It's like, okay, there's so much going on in that costume that I would love to be able to see it like in an exhibit or up close because I think that there were also a lot of natural fibers. I like read a couple interviews and I think that they really tried to make everything kind of as naturalistic as possible for Doric.
00:39:53
Speaker
um And so like that level of intention with the costume construction, i love those teeny itty bitty tiny details. And like that bark texture is, it doesn't scream at you. And part of why is because of the color of it. Like it just, it is and it's got texture, but youre you wouldn't immediately go, oh yes, that is truly made out bark. yeah like cool textured fabric awesome moving on but i i love like her shoulder pauldrons that she's got like this kind of yeah bark bodice that's like a little bit like a like armor and this really cool belt going on and this collar shape that goes with all of it like i love it and then simon is just like
00:40:38
Speaker
all over the place. He's got this asymmetrical waistcoat situation. He's got this belt that has all of his tools on it and this really cool tool that's kind of like a windy. It looks like a tape measure that's really you know like heightened and dressed up, but it it like does some magical stuff. and like There's a lot of leather and there's like some macrame happening with some straps and like this really beat up brown cloak, but it's, it's a really nice color palette, especially for the actor because like it really suits and like brightens him.
00:41:15
Speaker
And that like mustard color is just really, cause it's, it's just really pretty. Like yeah the Browns are not because there are so many different Browns. It's not flat.
00:41:26
Speaker
It has a lot of depth to it. So, yeah. I like them. What about you? who got you? um I think weirdly i might go with ah Miss Witch herself. She's got this long gown that starts out the movie being all black and this really sculptural draped collar that turns into this big like round like disc kind of thing around her head um and over the course of the movie it um ends up turning uh red as she kind of like reveals herself and her true nature but um
00:42:12
Speaker
It's ah fascinating costume to me because it's the most different than anyone else's and weirdly the most modern to me.
00:42:26
Speaker
It feels like what you would see like an opera Yeah, but there's like, it's a very contemporary, like, draping technique that created the big, like, collar into the sort of, like, headpiece thing.
00:42:45
Speaker
That is not the same type of like construction techniques that anyone else in the movie has, but it's like right on the edge of belonging in the language that the movie is. So it like, it stands out without going too far into being like, what is that? That doesn't make sense here.
00:43:09
Speaker
um But it was kind of a fascinating thing Because if like if you see everybody kind of lined up next to each other, you know everything in the movie is very ah blended of like European medieval and Renaissance. and And then like she looks so different.
00:43:32
Speaker
There's something like... I don't know why, but there's something like Dior about it. And I'd have no idea if that is an actual thing or if I'm totally making that up and there's nothing that Dior ever designed that looked anything remotely like this.
00:43:48
Speaker
But I'll have to do my own research. But it does feel like it came right off of a runway. and so like, yes, I'm glad that you pointed hers out and that you pointed out that technique because...
00:43:59
Speaker
she does stand out and it totally supports the character so well. And additionally, there's the, the visual effects of it all where it can change from the black into
Appreciation and Criticism of Costume Design
00:44:13
Speaker
red. And like, she's in disguise when she's not wearing the red. and She can like take off like the hood or the, the cap that she's wearing to show all of her tattoos, all of these things.
00:44:25
Speaker
It's really versatile. Yeah. and swoopy. And it's like, that's what I, it just turns out that I love my villains to be swishy and swoopy and have a lot of fabric to play with. You gotta to be.
00:44:38
Speaker
but It's the drama. The drama of it all. Yeah, i I love it. And there's, I don't know, there's like one, think it's the 11th picture on IMDb where she's like shooting, she's got Emperor Palpatine lightning hands.
00:44:52
Speaker
hearing And it seems like the the black character hood that she's wearing for that version before she's like yeah betrayed everybody. There's like a deep, deep red on the inside lining of the hood so that it's not just this one shade of disappearing. It's just like, yeah.
00:45:13
Speaker
Yeah, like a little hint to that she's gonna switching over to this like, ah Oh, you're a very bad guy. um Who wears a lot red, like these other very bad wizards who are very scary and want to turn everybody into zombies.
00:45:30
Speaker
Yikes. Something like that. Seems bad. Seems like something to avoid. seems like an issue. It made me wonder how many versions of her costume they made for the movie because we we see it transform but...
00:45:46
Speaker
I feel like the moment of transformation is like a computer effect that we're seeing, but um there is obviously they made a version of it. That's this red that has like kind of an ombre to black at the ends for like the final sort of showdown. But yeah,
00:46:03
Speaker
I'd be curious to see if there's like in between, if they made any that are like in between those colors, if they made one that's just like the all red. Like I would be curious to know what was physically made yeah versus like what was computer manipulated.
00:46:21
Speaker
Absolutely. Yeah. I don't think I'm going to get an answer to that one, but I'd be curious to know. It always just like bums me out that ah certain like you only really get a costume exhibit if there's like a reason, you know, like that there's like a lifetime award or a massive directors, you know.
00:46:41
Speaker
this is their whole career of of all these things or, you know, whatever. But it's like being able to have access to these things just to look at them the same way that you would look at extant garments, extant historical garments, like in a in a museum of history. Yeah.
00:47:00
Speaker
What am I saying today? But it's like, it would be so cool to just make appointments with movie costumes and be able to like research and look at. And I'm sure that you can, but it's not going to necessarily be the same as it would if you were going to be researching historical clothing.
00:47:18
Speaker
Yeah. And you probably have to... like I don't think any person off the street could make that happen. It would only be someone like in the industry that can appeal to the right person yeah to get that access. because i It would be a dream just put my hands near me.
00:47:39
Speaker
A bunch of these things. Near. Respectfully near. Respectfully. I would like to look at them for a long time. i just will never get over one of the Princess Amidala accounts ah in the movies, in the prequel movies.
00:47:53
Speaker
We see only essentially from like mid torso up. Which one It's a black one. There's like a whole black rig out that she has.
00:48:03
Speaker
And I can't remember which movie it's in. yeah. It is in person, one of the most beautiful textured, layered, complicated looking items in the world.
00:48:17
Speaker
But none of that would read on film. Yeah. And that is like, oh my God. I was so, so happy to get to go to an exhibit of just Star Wars costumes from, yeah at that point, six movies. It was before...
00:48:38
Speaker
force awakens came out i do have the giant coffee table book with pictures of all of the stuff because i was like there is nothing that could convince me that i don't need the tone that so i don't care how much it costs actually yeah i i need this yeah but the amidala costumes in particular were so gorgeous in those films and so confounding to the storytelling but like such beautiful artistry and such beautiful artistry and this one had like crochet it was it was very rough fiber so it was like crochet knitted things overlaid overlaid overlaid and so it felt very like webby and it was really beautiful and there was just so much work like even if like the the wedding dress or whatever that they made out of it
00:49:29
Speaker
tablecloth, I think, like an antique tablecloth. Yeah, something like that. Even if it was made out of pre-existing blankets or whatever shawls that had existed, that doesn't matter. It was gorgeous.
00:49:40
Speaker
And it was like being able to see it was so intriguing. And it's like these things... show up very clearly in this movie. Like the way that this movie is lit, the way that it is filmed is really, really clear.
00:49:55
Speaker
And you get a lot of seeing because it's action. You see a lot of the actors and their costumes. Like it's not just, you know, talking heads. And so you get to see a lot of detail, but you don't get to see, of course, all the full detail that you would Yeah.
00:50:11
Speaker
of this like encased item yeah able to walk around it in a last case and look at all these things because they're they have can't relax stand so they don't do that hold up for a second just for the behind the scenes Just for the weirdos. They need it later.
00:50:28
Speaker
um Like they had embroiderers for this film. They had, you know, all these different artisans to do all these different techniques. And I always in movies like this just want to be able to see it.
00:50:41
Speaker
but See all that work and like see the, see the techniques that were used. Yeah. um We just want to honor. Yeah. The art. Yeah. and the art yeah and like this is this is a very rambly you know this is a you and me kind of conversation about this movie i enjoyed it i enjoyed all of these costumes i think that they all really really lent to the world building i think that there's a lot of things that if you're trying to do this Well, doesn't look real. It's not meant to. Dungeons and Dragons, the world that Dungeons and Dragons lives in is not real. It borrows from reality that we know. And then there are supplementary made up things that are also inspired by also potentially historical things.
00:51:25
Speaker
One of the characters is like a man cat. And then there's Jarnathan. Jarnathan is the hero of the film.
00:51:36
Speaker
Without him, nothing would have happened. That whole bit. You know, I really feel that Jarnathan would feel, you know, ah lot about this story. Stop stalling. Okay. Yeah.
00:51:47
Speaker
The Jonathan bit is just so good. um And he's got this like glorious red, red cloak like or no coat. beautiful Yeah. it's It's, lovely. And it's just like, I did, I did stumble when I was looking for some interviews.
00:52:02
Speaker
I stumbled on this um website That was for like D and D folks who'd been playing D and d for a long time. And it was like about props, I think, and possibly cosplay, possibly also miniatures, but it was, it was like a message board and people, um not going to say people, men on this message board were, yeah, I'll say it.
00:52:25
Speaker
M E n use guys. um They were, it was some of the most toxic stuff that I've read in a minute. Yeah. Because it was before the movie came out.
00:52:36
Speaker
And so there was a lot of just really incel bro language happening. And ah one person, I'm not even to get into all that horse shit because I don't want to give it air. We don't need to know. this one thing was specifically about the costumes. So I will bring that here.
00:52:56
Speaker
And this was about how, based on the trailer, that the costumes looked too clean. i think that they were referring to Chris Pine running around.
00:53:08
Speaker
And it like it looked too clean. It doesn't look real. And it was like... Oh, real is part of the conversation in the fantasy movie? Like, guess there's a lot of really beautiful, subtle distressing and breakdown. That's what I mean. it not Not everything has to be.
00:53:28
Speaker
I've got a streak of dirt across my face. You know what i mean? Like, because that's not how life is. Like when when distressing hits you the most, it's because actually there are harsher things built onto layered subtleties.
00:53:44
Speaker
Like i was working with someone who did a lot of work for Dickens Fair, which if you are not familiar with Dickens Fair, look it up. Why not? It's something that happens in this in San Francisco at the Cow Palace every year in the wintertime.
00:53:56
Speaker
and It's essentially the Renaissance Fair, but it's Victorian. charles dickens yeah dickckenzie in england and so someone worked for them for a long time and would distress clothes to make them because there're the way that they build it in the cowhop palace is pretty amazing you actually get a map and you should get a map otherwise you will get lost There is bisecting these two parts of faux London, the docks, and then there's the the poorer side of town and the wealthier side of town. And they have different names, whatever, but it could be upper and lower. I don't know.
00:54:28
Speaker
But when you get to the poorer side of town, people are distressing their costumes because they do not have the same resources, et cetera, that the the wealthier people in upper London have. So This person I worked with was helping me distress stuff for a show that I was designing. And they pointed out, and I'll never forget it because it was the first time that it had been pointed out to me because I was learning, to distress a certain area of the the upper thigh on pants.
00:54:56
Speaker
Because people rub their hands. rub their hands And like if you're eating or whatever, you'll rub your hands in a certain place. And so that's where you want to age it. And that also you know tells you about their their class, their status, their just... yeah how And the thing about clothing is that when you only own a certain amount of clothing, you're wearing those clothes every day. so whatever you do in those clothes, like repetitive movement is going to have an effect.
00:55:30
Speaker
But also... Your goal is to keep those clothes as nice as possible because they are the only ones that you have. yeah And so like it's very, very new to live in a world where if something gets a hole in it, you throw it away.
00:55:52
Speaker
That is not what people did. Even rich people They would fix what they had. And the difference is, are you fixing it yourself or paying someone to fix it? And how much skill and technique do they have in order to make that fix invisible or not invisible? Can you tell how many times we've had this conversation amongst ourselves and with other people? Hey, listen up and listen good. Yeah. If you live on the corners of social media that Ariel and I do, you can just like zone out watching like videos of people like repairing wool sweaters so that you can't tell that there was ever a hole in it because that is a thing that used to be very normal to do. And like not only the invisible ones, the visible mending is a whole art form in in itself. And so it's like, yeah, you and I, we could just go down a rabbit hole all day. We will spare you all we will that.
00:56:47
Speaker
But the idea that just because it's not like caked in mud yeah doesn't mean that it's too clean. It's like your goal is to preserve that stuff as much as you can in that situation. And the situation is like maybe you're traveling.
00:57:02
Speaker
You're not like getting out a bunch of tools and whatever, but you're trying to keep it clean. And like, I do understand because I have had that feeling with certain things that that the world building is too clean. It doesn't feel like anybody lives in it.
00:57:15
Speaker
But this- That was not this. Is not this. yeah This is not this. And you can quote me on that. Because like, as you said, there is distressing. There is all of this stuff, but it is also respecting the characters and their personalities. Like, because I believe that this comment was aimed at Chris Pine's character, who is a Harper, his whole character is very much- aligned with like how he played um jim kirk in star trek which is someone who's very aware of how he looks and is like yeah i'm not i'm not gonna be super dirty what are you talking about i don't want to be uncomfortable yeah like he creates the plans that's what we learned throughout this movie he's like that's that's what i do that's what i contribute project leader like he's directing what everybody else is gonna do the dirty work goes to my friend holga right here He's going to take care of that. Like he's literally trying to just, you know, use friction against a stone step to get the rope off of his hands in the beginning of the movie when they're running away from guards. And he's like, I'm not a part of this bloodletting bit. No, I know. I know what my job is. But, you know, we live in like a toxic culture where everyone has to like...
00:58:28
Speaker
have an immediate, you know, hot your take yeah on something. And the more like vicious and dismissive you can be, then the more correct you must be and the more knowledgeable you must be. And there's no, um,
00:58:45
Speaker
there's There's no requirement for expertise to post shitty comments on internet. And the rest of the conversation, again, without giving air to the rest of it, but the one part that I will talk about was that these were people who'd been playing D&D through the 80s and onward. I don't know that there were older players, but it was like, you know this was something that they really, loved. So they're like extreme fans, right?
00:59:06
Speaker
And so they they just wanted to tear it apart without recognizing because probably they don't look at costumes the way that you and I look at costumes, the way that some of our listeners look at costumes.
00:59:17
Speaker
They did not remember the same way that I do the Dungeons and Dragons movie from 2000, which felt like Party City does Dungeons and Dragons. Yeah.
00:59:28
Speaker
And I don't know, again, if that was budget limitations or or what, but it also felt kind of like when we covered the the Super Mario Brothers movie, where it felt like people were making something about a property that they didn't know or care about enough to make it feel real. yeah And that was what I was looking for coming into this. Because I love fantasy as as a whole genre. I really do. And sometimes people really do stick to the you know ah flat, one-dimensional, like, ah this is a villain and he has a very short black cloak, like like Dracula. you know like
01:00:11
Speaker
And then there's no depth, there's nothing, there's no... Questions that you can ask about the world building or even look at people and say like, yes, you came from somewhere and those places that you come from have their own traditions and artisans and like ways of constructing clothing for what you do and who you are in this world.
01:00:31
Speaker
And this one has all of that depth. Yes, it has all of that depth. This is a very, very successful costume design. And like, it's really beautiful and really respects each character so much by giving each character dimension and life.
01:00:49
Speaker
And so I was pissed for a moment on behalf of the costumers. Yeah. And it's like, you know, if you if you don't like something, you could just not like it That's okay.
01:01:04
Speaker
it's You don't have to justify it to me. You can just say, I don't like it. But it's like people feel compelled to be like, i don't like it. And I'm correct for not liking it because of x Y, Z. I'm like, you could just not like it. That's okay.
01:01:17
Speaker
That's a totally valid opinion to have. And it's a personal pet peeve of mine yeah when people are critiquing costumes of things like this, even historical things. And they say, but we'll just word from pre car we agree accurate and it's like because it's a costume design.
01:01:34
Speaker
Yeah, bro, they didn't have cameras back then. Yeah, sorry to tell you, people also didn't have perfect teeth or perfect hygiene back then. Like, ah but what are you talking about? they all If we want to be historically accurate, then we got to infect everybody with lice on the set.
01:01:52
Speaker
It's going to have to be a problem. And so it's just like the limitations. What that tells me is that someone is purposefully limiting themselves and how they are taking in an entire art form and how dismissive they are being of an entire art form.
01:02:06
Speaker
We're like, you know, we're always told ah successful costume design is one that you don't even notice. That's not true for me or for you because that's what we're really looking at. Like we are looking at this
Amanda Monk's Journey and Team Collaboration
01:02:17
Speaker
thing.
01:02:17
Speaker
But it's one that don't question and go, is taking me out of the story. it's Yeah. It's one that doesn't make you go, Why did you do that? Yeah. Like there's beautiful, cohesive color work in this. There's like everything has its own texture. Everything has like a reference. Like it's just solid, beautiful work all around. Yeah. And there are things that like we really want to touch like those shirts, which look like they would be really nice to wear.
01:02:46
Speaker
And it's such a small thing, but it's like, That is something that I focus on because everything else in the movie was just beautiful and you just take it. And so just trying to understand like the texture of that shirt was like the one thing that I was like, oh, wouldn't have expected that here. But everything else made perfect sense and was like, you know, not that they the shirts didn't make sense, but it was not what I expected. They're luxurious in a fantasy type of way that like kind of supports the fantasy of it all.
01:03:17
Speaker
Yeah. Yeah. So I'm looking at our costume designers, IMDb, and I'm not actually very familiar. I'm familiar with the names of some of the the things that she's worked on, but i'm not I haven't watched them myself.
01:03:29
Speaker
So Amanda Monk is um the designer for Dungeons and Dragons on her amongst thieves and Damsel from 2024. That one I did watch. That's a Netflix one. i' have not seen that.
01:03:40
Speaker
I don't think I've seen anything that she's done. but That one is a Netflix thing. Yeah. um But she's got a lot of Ricky Gervais stuff. Yeah. i So I'm assuming she's British. Yes. Based on that. So these are a lot of British shows. There's um this time with Alan Partridge.
01:03:57
Speaker
She did seven episodes of um Derek, 14 episodes. um Life's Too Short, eight episodes. So there's just, there's a lot of TV.
01:04:08
Speaker
And then she started working on film i believe david brent life on the road 2016 and then more tv series until dungeons and dragons yeah and damsel and cleaner for someone who doesn't have like a a long history of doing like fantasy movies Yeah. Like coming out of the gate, this is beautiful. Hitting it hard and really going – because like all all of these things on her CV that I am seeing except for Dwarves Assemble TV miniseries in 2013, everything else looks like it takes place in the modern world.
01:04:49
Speaker
And so like – and I might be wrong because there's some things that she was in the listed as being a part of the costume and wardrobe department but maybe not designing – that maybe could be. But yeah, this seems like it's her first massive fantasy and it is just...
01:05:06
Speaker
really, really delicate and delicious and has so much going on inside of it. And I hope that someday but there's, I don't know, some compendium of, you know, images or yeah an exhibit somewhere to see some of these things. Cause it seems like somebody who was champing at the bit to have the opportunity to hire a lot of people who are really good at what they do and make a bunch of things together. And this was the opportunity and it was done really, really well.
01:05:34
Speaker
Yeah. So congrats everybody. And thank you for doing something
Teaser for Next Episode and Conclusion
01:05:38
Speaker
so beautiful. And thank you IMDB for having ah all of these costumers and makeup artists and wardrobe department listed because it's a very long list, including like a costume trainee. So like we went into it.
01:05:52
Speaker
We went into it. I like it. So yeah, this was a fun watch. I enjoyed it. Yeah. I know it's, I know both of us had seen the movie before, it was nice to watch it again and just kind of look at some costume stuff. and Yeah. Just kind of enjoy it.
01:06:07
Speaker
Yeah. Revisit the gelatinous cube. Oh, the gelatinous cube. It's the only thing I know about Dungeons and Dragons is the gelatinous cube. We did it.
01:06:19
Speaker
We did it. What are we going to do next? Yeah. All right. And that was our episode on Dungeons and Dragons and a couple side quests that I feel were very justifiable and fun and relevant.
01:06:31
Speaker
Very, ah very critique on that. Thank you so much for listening. It was very fun to talk about next week. Melinda and I are actually going to be doing something a little bit different. We are going to be watching a movie together that shaped both of us in a,
01:06:50
Speaker
ah, kind of way. Nightmare. Nightmarish. And also precious to me because I was obsessed with this book series. This is going to be The Chronicles of Narnia, The Silver Chair.
01:07:03
Speaker
And it was part of a TV series from 1990. So this is when we were doing people in animal suits and jerky animatronics, all of these things.
01:07:16
Speaker
And I have not watched this since I was probably a teenager. So I think it's probably been about 20 years and I cannot wait.
01:07:28
Speaker
I don't think that I've seen this since I was like 10, maybe. oh it's gonna be so good. I don't know how we, like we had a VHS taped off of tv Don't know how, don't know why.
01:07:44
Speaker
Just one of those like cursed objects that exists in your family home. For me, it was something that I did on purpose because there were, they did a few of the other books from the series And like I just like loved them so much. And they also did have that horror aspect to them. But I was like...
01:08:02
Speaker
I'm in it. Give me more. So I recognize the horror of it all, but I would on purpose go to the library and to video droid to rent these things and wish that I could own it. Cause it was pre internet availability of anything whatsoever.
01:08:18
Speaker
so it was just magical that it existed. So I am looking forward to this and please follow us along to that next episode when it comes out. ah Thank you for listening.
01:08:29
Speaker
See you then. Bye.