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Willow- Medieval Villains Always Wear Black
0 Playsin 12 hours
Wow, another real 1980's fantasy movie! This made us ask the question- how many fantasy movies from the 20th century are --heavily-- influenced by Lord of the Rings??
This movie also sparked a discussion about how common it is for costume design education programs to only teach you how to design for certain bodies. Something we would like to change!
https://www.imdb.com/title/tt0096446/?ref_=nv_sr_srsg_1_tt_2_nm_5_in_0_q_willow
Music: Cassette Deck by Basketcase
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Transcript
Introduction & 'Willow' Overview
00:00:00
Speaker
I'm Melinda. I'm Ariel. This is Hot Set, the movie podcast about costume design.
00:00:22
Speaker
Welcome back to a new episode with us, your friends, the costumers in our in our houses, hanging out, hopefully staying warm. I'm wrapped up in a lot of layers right now because it's cold. I've got a lot of blanket type garments going on this time here.
00:00:36
Speaker
There were many times during this movie where i was like, whoo. You guys are... Put on another layer. It's cold out. Absolutely. There's snow on the ground. Oh, put on a... There's like naked chest. Put something on over that.
00:00:52
Speaker
Today we have gathered here to discuss the movie
Personal Reflections on 'Willow'
00:00:56
Speaker
from 1988, Willow. Willow. willow um Written by George Lucas, Bob Dolman, and directed by Ron Howard. It stars Val Kilmer, Warwick Davis, Joanne Wally, Jean Marsh, ah many, many other recognizable faces. Like I kept seeing faces and just going like, I know you, I know you, I know you. slowly And then one of the main characters is a baby. i don't know her.
00:01:26
Speaker
Or her twin sister. Yeah, I think I read that they did not continue acting. So I don't think that they're public figures. That's fair then. Strange baby. Live your life. They are age, essentially, which is crazy. Oh my god, you're so right. They really are. They really are age. Yeah.
00:01:49
Speaker
So shout out out there to the Willow Babies. um Okay. So I don't think I watched this when I was a kid. I think that I watched this when I was a teenager. i mean, that's still a child, but I was like 16 and up, I think. It was not like a formative right movie for me.
00:02:11
Speaker
I actually read one of the sequel novels first. Oh. wow So there are sequel novels that George Lucas Shadow wrote that taught me very early that people are full of shit.
00:02:25
Speaker
Because like i I enjoyed most of what I remember. or at least I remember enjoying most of the books that I read. I think I read two out of three of the trilogy. Or maybe I read all three. But it's funny because like without knowing what it's based on, I'm like, whatever. I'm here im ear for the party. This fantasy novel. This is great. Yeah. Yeah. And like I feel like I've mentioned this before on this podcast. And if I haven't, well, here's one of my stories that I tell regularly. So why I know that people are full of shit is because one of the books has a scene in which someone is being tortured for information. And I can't remember if they die. But it is, i shit you not, beat for beat, the same as the end of Braveheart.
00:03:09
Speaker
Including, in all caps, the word
00:03:16
Speaker
And I was like, George Lucas, you silly
Soundtracks and Comparisons with Other Fantasy Films
00:03:18
Speaker
bitch. oh You ripped this from a movie that is quite famous. Wow. Lucas found dead. And Chris Claremont, let's not shout let's not miss that comic book writer slash novelist, Chris Claremont. Because I was just like, it was outlined by George Lucas and then written by Chris Claremont. But I was like, hold up. Like, you know when you read something that you can't believe so you like flip back to the page before? Like, do my nines deceive me? They did not. I was shocked. So I will never forget that.
00:03:54
Speaker
Try to think if I've ever seen Braveheart. I don't think I have. That's okay. Have I? I don't think so. No.
00:04:05
Speaker
It's definitely a movie that I watched a lot before I knew but Mel Gibson was a piece of shit. um Because I liked to watch things that made me cry. and the music in that is stunning. So I highly recommend listening to the soundtrack like cool when you're in a workflow. Because it's very it's like listening to the Lord of the Rings soundtrack where it's just like, I can't remember if it's like James Horner or who did it, but it's it's so good.
00:04:31
Speaker
Yeah. And you're like, why am I crying right now? My heart is broken. my God.
00:04:43
Speaker
Just wipe away the tears and snot while you're sewing. Honestly, it is amazing what music can do like that for like a movie that's like fine. Oh, yeah. um But ah speaking of Lord of the Rings, okay, did we not just watch that movie with this movie? Like, there was a lot of things that made me go, baby, Ring of Power, are they different? Like, it was interesting.
00:05:18
Speaker
Yeah, the only like difference character-wise, I feel, between The Ring and Elora Danan is that The Ring in The Lord of the Rings movies by Peter Jackson ah has very limited lines, which are like...
00:05:34
Speaker
That's And then Allura Daynon does a lot of crying and giggling, but she is translated by a fairy queen or a brownie queen who says like, oh, yeah, she told me all about you.
00:05:47
Speaker
Like, oh, she knows. Yeah. And she's like, oh, yeah, no, no, no. She's chosen you to be her guardian. And then like she's fully aware. She's said a lot of shit. I'm only going to tell you a little bit and mostly that it's that she chose you, Willow, so you better stick with this baby.
00:06:01
Speaker
But it's like, it's as Gandalf picked up the ring, the one ring, and went, no, stop.
80s Fantasy Film Elements
00:06:10
Speaker
Girl, what? but Fredo, hold up. What?
00:06:13
Speaker
ah It really did. like i Before I really realized that this was this theme was going to continue, i one of my first notes was like, and this is our like fellowship of the ring is forming scene with um all of these folks. And I was like, oh, but then it just kept going. And I was like, okay, so it's just...
00:06:36
Speaker
Very inspired by Lord of the Rings. um I don't think I mentioned, I had never seen this movie before today. This is my first time ever seeing the movie. So, so yeah. How was your experience?
00:06:49
Speaker
um You know, I didn't like connect with the movie, but I didn't dislike it either. i think it just was like, maybe if I had seen it when I was younger, it would have been more like impressed upon me. But I was like, yeah, that was that was cool. Like, that's that's fine. um It's a very 80s fantasy film in many, many ways. So many ways.
00:07:15
Speaker
But yeah, it wasn't like, I don't think it's going to become like a comfort film the way it probably is for some people, for me. Yeah, I think I'm in the same boat. And the reason is because I saw it when I was older. If I'd seen it kind of around the same time that I watched like Princess Bride, then it would have more of like a foundational... um thing and like I probably would have like cosplayed you know like pulled together some of these costumes all those things but it definitely did not impress upon me the same way that it has other people but I do like it it just like you said it's very much an 80s fantasy yeah which to me means that like we haven't quite landed on how we want to deliver pacing for fantasy or how we want to deliver character development or story development Because we want it, we're like aiming at like 10 year olds. Yeah. Like, and so the way that we're having actors deliver lines is like really over the top. And like, it's almost like, kind of on the theater side of things where it's like you're projecting to the back of the house versus acting for a camera. Yeah, it gets a little like clowny with like yeah some of the characters, um particularly like I felt like the brownies were sort of like the three stooges, except there were two of them. But like they were very like hamming it up for the kids, which is like totally fine. Of course, ah that's who the movie is aimed at. But um I also was like watching the movie going like,
00:08:45
Speaker
That brownie really looks like Kevin Pollack. Yep. And boy, howdy. It was Kevin Pollack. It really, really was. and I meant to look up the sort of like trajectory of his career to kind of see like where he was like when this movie happened, but I forgot. So I was like, i feel like he had done more than some like really notable stuff before then, but then maybe I'm just like,
00:09:11
Speaker
thinking of Forrest Gump where he's like acting in a period piece set in like the 70s and it's not from the 70s. Everything I've ever seen with him was serious.
00:09:21
Speaker
Like, yeah serious roles. Like, even even like the kids' family movies because there's one, I think it's like House Arrest or something that he plays the dad and... Even that one, he's playing an adult where he's like, I'm a grown up. And it's like, uh-huh. I believe that. In this one, he's like, I'm a character. c yes Yes, you are. I, yeah, I need to explore his filmography more thoroughly, I think, because I know I've seen, he's one of those people that is like in so many things that you kind of forget how many there have been. And like some of my family have listened to his podcast. I don't know if he still has it right now, but he had a podcast for a really long time. And so they like already knew him from his acting career and then like knew him even more from
Costume Design Discussion
00:10:10
Speaker
the podcast. And I was like, nice.
00:10:14
Speaker
Cool. That's a factoid I can put in my pocket and whip out some other day. There you go. Good for all of us Back to the like 80s fantasy of it all. It also does seem like there was a lot of assumptions about what fantasy looks like yeah at this time that I'm glad that we can be...
00:10:37
Speaker
just have more variety of things now and more references, but there are certainly, i think, and that's what like continued the sort of feeling like I'm watching like a Lord of the Rings yeah thing is that there's a ah like, ah this is what fantasy looks like to this era. And this is very much in that Yes. Yes, it is. Before we go any further, because I want to put a pin in that yeah um and refer back to a movie that we just watched. um
00:11:12
Speaker
I watched this today. is the craziest thing I've ever done. And I would like everybody to know that I was being safe. Oh, no. I think I know what you're going to say.
00:11:22
Speaker
I have a phone holder in my car that's like on the the radio like interface. So it's like over there. So I had the volume up really, really loud. And I have seen this before. So it wasn't like, you know, watching it fresh as a daisy like yourself where all of the details I need to like see for the first time.
00:11:40
Speaker
and This was more like close notes. But I had a one hour drive two ways today. so I watched this sucker in the car and then in my hands on my phone when I got home um because this is a two hour and change movie. And um so like every once in a while on like country roads, I would just like look and then look back at the road and I'd be like, this is where we are in this scene. Cool. Everybody's wearing armor. Nice. Yeah. I feel like legally i have to say that I don't condone that. I don't condone it either.
00:12:15
Speaker
It's a decision making. And if you choose to cut it, you can cut it. I mean, I don't think that I should cut it because there might be crucial evidence that I don't want to be accused of covering it up.
00:12:28
Speaker
But... like There were just like, I feel like anybody who drove past me, because this is like, I'm talking like one lane highways, right?
00:12:42
Speaker
Anybody seeing, because I was like talking out loud in response to the the the words. So it was like, I was, this is a costume podcast, but I was watching this movie in a very different way where I was watching it like it was an audio book. So I was like paying attention to plot and dialogue more than I think I have before. Because before I would be looking strictly at the costumes.
00:13:04
Speaker
But there were, oh my goodness, and this like I pulled over to watch this. Okay, so here's where the pin is. We just watched Labyrinth, right? And we spent a lot of time talking about armor on a bunch of the puppets. We did. I feel like this is a logical next step in fantasy because it's the same kind of thinking of like, okay, well, every single person who's wearing armor is performing a different job. So every piece of armor is going to be slightly different.
00:13:34
Speaker
And like, they're going to be kind of wonky. Like these are these are like puppets. armor designs for like the bad guy armor you know like it's so caricaturized and so like large that it kind of feels like a jim henson-esque um adjacent you know design yeah and so like i watched i pulled over for like two minutes to watch two minutes of this like the battle sequence where there's just like so many pieces of armor at play
00:14:09
Speaker
And I was like, this is pretty bonkers. Like I, it really left an impression on me. And I, cause I, I'm, you know, I love looking at armor. I know bupkis about armor. I don't know about you. Maybe you're our in-house armor.
00:14:23
Speaker
you know i I am not. too yeah I could not claim that. I've only ever crafted armor out of EVA foam. So like, I know the names of two pieces of armor. That's about it. Yeah. Um,
00:14:38
Speaker
But I was just like, there are so many horns and like different helm shapes. And like all some of them. Oh, yeah. like and And then there's like no hair coverage for like our character Sorsha.
00:14:57
Speaker
and And we've definitely talked about this before with like chain mail. You don't just put that directly on your hair. i think we talked about it with Excalibur where everybody had a chainmail hood. it was or a coif. It was like, no, no, no. you need You need protection because otherwise those metal rings are going to rip your shit out. So like with Sorsha's helmet, I know that it's not the case and it was probably a sound in my car. but but you can hear a but The hair being yanked. Yes.
00:15:27
Speaker
There was a moment. It's like, I thought I heard the sound of her helmet hitting her head because she like slams it on at one point. And it's like, I think maybe the first time that we see her, she doesn't have it on. And then she puts it on when her mother, like Queen Bev Morda dismisses her. i think so. But it was just like, maybe like, I think the back of the neck hit the other armor that she was wearing or something. But I was like, claim oh God, I,
00:15:55
Speaker
I was thinking a lot about the armor in this movie in respect to that. like There's such a thing in medieval and medieval-inspired fantasy that if you're the bad guys, your armor has to be black and like silver. oh yeah. And it just... is that way everybody knows that that's like the colors of the bad guys in every single type of this um movie and it was just like i was really thinking a lot about how there are certain shorthands that we use with clothing to be like good bad hero villain and how
00:16:45
Speaker
ah Anytime, I feel like anytime that I try to subvert those, it gets like rained back in really fast from other people. And it ends up just going back to being what everybody expects to see. And I i just wish it didn't have to be that way. That's I'm going to say about that. No, let's put a stake in this and let's camp out on this subject for a minute. So when I was in college, I had a couple designs.
00:17:18
Speaker
For some unrealized productions um that were based on organic things. And very often when you do that, you're doing it for, unless it's like very, intentional or swampy or slimy. I'm making very general statements here, but very frequently when you use organic designs, it's for your good characters, like Lord of the Rings, right? The elves, very organic, very Art Nouveau.
00:17:48
Speaker
And then very much illustrated by Alan Lee. And then you go over to your Mordor and it's very Reptilian. Reptilian and abrupt and like sharp, very sharp and blunt and very much John Howe design.
00:18:06
Speaker
um I this is not world breaking, but you would think that it was. i had to defend it. I had everyone in the cast be influenced by organic design. But I did research into poisonous versus non-poisonous organic things.
00:18:27
Speaker
And I was like, why is the concept that beautiful things can be horrific, like so quickly abandoned in design? I think it's because very often people, and we again work in theater. And so in theater, people like to use a blunt instrument.
00:18:45
Speaker
more often than something more delicate, depending on what kind of theater you're working in, because you only have so much time and space to communicate, you know, this thing. So very frequently you do something that's much more heavy handed or broad to communicate something fast. You have to like fill up your whole stage also. So you want to be like very clear about what's who, who's who, what's happening. Like that's important. Yeah. Yeah.
00:19:15
Speaker
When you have camera, it's up close so you can see little details. When you are on a stage, you have to think broader and bigger. And so it's like I was still doing that, but it was like hard for the people that I was talking to to imagine having bad guys look beautiful. was like, ye what do you mean? like and it's it's not a new concept. it's I'm not saying that no one has ever done it. It's just that people are so frequently walking the same tracks. Yes.
00:19:44
Speaker
That... It is more – there is more pushback than you would think when you are designing something where people will, let's say, in concept meetings, they'll be like, well, we have to do it our way. We have to do it our unique way. And people are very famous for saying like, especially in education, you're taught and you teach. Don't copy other shows. Don't do that. Like unless you are doing a licensed show like a Disney's Little Mermaid kind of thing where you kind of have to do cutter cut and repeat – Yeah. You have a property with an established design and you're working in that framework. Yeah. When you're working within that framework, obviously you have to basically put on the same show because it's like a tour, right? Like you want people to have the same experience that they would have if they went to Broadway.
00:20:30
Speaker
Air quotes. Because no matter what, it's going to be a little bit different. Right. And so frequently in things that I've worked, people have said that and then 100% copied a different production. And they will use the words, well, this production did. correct And my instinct is always who gives a shit. Congratulations to that person.
00:20:55
Speaker
That design and that design team and that production, that's awesome. I watched it. I loved it. But that's not our production or our design team. And in a much more professional way, try to come up with like – because that's inside my head. We keep those as inside thoughts. But the outside words are – well, what if we took a slightly different route?
00:21:19
Speaker
And it's almost like you're breaking people's brains by going like, what if we didn't put all of the bad guys into dark things that look like they're rotted or rusted or, you know. know. It's a it's an incredible. Like, I have ah encountered the exact same thing at various points. And, um Even in even like, not even professionally, even in school, where you have nothing but the opportunity to experiment.
00:21:53
Speaker
If I did stuff like that, I would get pushback of being like, you can't do that, because that And I'm like, this is all fake because we're in school right now. Like no one is making this. So what is the problem with exploring it to a full conclusion of what that would look like? And then maybe ultimately i could decide, oh, yeah, that didn't work or like, oh, it did. But like, what is the harm?
00:22:21
Speaker
of experimentation in an environment where that is literally your job as a student. And I find that very confusing. Yeah, I feel it is very frustrating. I'll take it a step further. It's very frustrating because out of one side of...
00:22:39
Speaker
the mouth folks will say like, you know, we want, hiita we want like innovation is a word that everybody uses for like everything, but it's also like, we want to make like a big impression. We want, you know, to like create this world. Cause that's always what we're talking about, especially in concept meetings. Right. It's like, okay, well, how are we building this world? Like what, what is the common language that all of these different design aspects will have?
00:23:04
Speaker
And then how do we build into that? yeah, when they're like, oh, but we can't do this. And it's like, but why? Well, these other productions didn't do it. And whenever that's the answer, i'm i'm I'm just like, you built this wall. Like I'm watching you.
00:23:22
Speaker
put cement yeah down and put a brick on top of that or whatever the hell. I'm not a i'm not in that kind of construction. We've established we're not armorers and we're not bricklayers. oh I'm not a bricklayer. I'm not a wall builder. I don't know nothing about nothing. oh But it's just like there's always this wall and 80s fantasy is always in my mind kind of like where a lot of that language is being built because I feel like it's coming from like tabletop games and fantasy books.
00:23:56
Speaker
And the fantasy books in the 80s, there were so many that were... wash and repeat versions, like the artist's version of The Lord of the Rings.
Challenges in Costume Design Education
00:24:09
Speaker
Yeah. So it was like you couldn't turn a circle with your arms open without hitting version of The Lord of the Rings.
00:24:16
Speaker
And um so it was like – Everybody had these very specific ideas of what fantasy should be. And so it's very easy to go back and look at 80s stuff and go, I know exactly where we are right now. Okay.
00:24:30
Speaker
And that's what this this felt like, except for a few little little bits for me. Yeah. Yeah. yeah ah Another thing I was thinking about a lot watching this movie because, well, um first of all, i was like, oh my god, Warwick Davis so fresh-faced. he's so young Like,
00:24:56
Speaker
He's playing a full of adult father and he was 17 when he filmed this movie. I mean, that's nuts. It's crazy. He's 10 years older than the actor that played his kid in the movie.
00:25:10
Speaker
Just I was like shocked because I'm more used to seeing him as he is now as a full grown adult man.
00:25:20
Speaker
i feel like I've seen Warwick Davis throughout his whole career, like from that point on. Or even a little bit earlier, actually, because he was an Ewok. And like, hi, Aida. Thank you so much for the song of your people. I appreciate it Thank you This was the Aida update. Maybe we'll get some more. A little bit from our a reporter on the ground. She might. Don't know.
00:25:41
Speaker
um but like he just i think he's a great actor also he's yeah really funny um but he is just like he's such a baby like oh my god i haven't seen this in so long that i forgot he was still a teenager i know it's kind it was kind of wild because i was like i was expecting him to be young but not quite that young yeah but um his whole um village that he lives in in the movie all of the actors in the village are little people and I think I read there were about like 200 people that were cast to be villagers in the movie including him and the family and I was thinking a lot about how
00:26:29
Speaker
There is ah in such a lack of training in costume and fashion for anyone whose body is different than the absolute like standard. i it Wasn't it so intense such an intense feeling to watch that? It was because I remember in school, I got...
00:26:51
Speaker
pissed because I also, for the listener, if you haven't heard the story before, I went back to school for this discipline when I was 29. So I was and not a brand new person who did not understand that people are different.
00:27:05
Speaker
In the school where I was finishing my degree, not the program that we went to, the program that we went to, we did have um dress forms in multiple sizes and we had ah we were taught how to pad them.
00:27:20
Speaker
to the measurements of our performer like your performer yeah yes and so like we learned that skill and I got very obsessed because I I had to pad one for myself for like my final project and I I made my twin and I was like she's gorgeous thank you thank you and just like obnoxious.
00:27:42
Speaker
But I learned when I went to go finish my degree at the other school that I went to that not everybody was getting this – they were just kind of like more haphazardly pinning padding to a dress form. They were not learning how to actually shape it to different bodies yeah in order to like get it right. And like bodies are – um symmetrical.
00:28:06
Speaker
yeah Even you might look symmetrical to somebody, but like you are an organic creature. no one is no one's made from a 3D printer. yeah and so like it's not normally, even though people are not super symmetrical, you normally make their clothes generally symmetrical. Like you might end up taking things in a little differently. But like for the most part, that is what you're taught to do.
00:28:31
Speaker
is to Yeah, it's like a funnel system. yeah Make a lot of things the same and then you catch things as you go. But all of the dress forms at this program were all a size six. And I was like, are you fucking kidding me? Like, are you out of your damn mind? Like a size six?
00:28:50
Speaker
What? well And like a size six dress form is like a size four person because yes the the measurements of a dress form are different than then even contemporary clothing sizes. So yeah ah a size six form has like a, I don't know, like a 25 inch waist or something. It's quite small. Yeah. And depending on the manufacturer, it can probably go like 25 to like 26, 26 and a half depending. yeah But like it is so tiny and like everybody should be able to be represented in different ways. But you cannot necessarily hit that mark with all of your dress forms. But the fact that you only have one size and it is a size four also depending on the manufacturer because everybody sizes their shit differently Correct. um
00:29:41
Speaker
You're only teaching how to design for one body. And then because the program when I was finishing my degree was underneath the fashion school umbrella, like I don't want to say that the fashion school wasn't teaching amazing things. It was, but it was still perpetuating the bullshit that like sends me to space, which is not teaching their students to draw renderings the way that we do for costume design. And I think that fashion should absolutely be taking a note from costume design renderings because we draw or like when we are doing renderings, however we generate them, not ai but however we generate them, um I'm going for everybody tonight. But like, no we say we are, nobody's safe in this house. We're going, of course, to show character, but there are many designers who don't
00:30:31
Speaker
render a face. Maybe they do a gestural rendering, but you're technically supposed to render face so that you create expression and you are feeding into like what kind of character you're aiming for. But either find it really strange if people don't render a face because I feel like you're not. It's so weird. Even if it's not your, like, well,
Inspiration and Innovation in 'Willow' Costume Design
00:30:51
Speaker
and I think a really good example is, um,
00:30:54
Speaker
ah Like, Wicked, if you go look at – I know there were costume illustrators involved, so I know that, like, Paul – I don't believe that Paul Taswell drew every rendering. But the drawings look like the actors. And we know that because they're famous actors and we know what they look like. So you can look at them and be like, oh, that is Jeff Goldblum in that drawing. And people will do that. Yeah. But, like, sometimes you'll start with, like, a more generic figure or, you know, something else. And then you'll, like, maybe composite. Of course. But we're taught to draw the proportions that real people have. yeah And I've taken fashion illustration classes when I was much younger in school. And we were deliberately taught to exaggerate and elongate the body to ah kind of absurd degree that no person looks like. Traditionally, you're taught like a generic form will be eight heads tall.
00:31:53
Speaker
With fashion, it's like 12 or 13 or more. It's ridiculous and it does not have anything to do with like 90% of bodies out there. There are people who are very, very tall and very, very slender. But like...
00:32:10
Speaker
Why are we thinking only of one body type? Well, and I think even the stuff that that we were drawing was more exaggerated than a runway model. Like it was not even achieving that level of reality. So it was like even a runway model would look large compared to – what we were being taught to draw. I mean, it's crazy. And so it's like, when you have the opportunity like this to watch a movie where there are people of different shapes and sizes and you are creating so many different things, that is such a cool opportunity. And like, also really awesome that like, I mean, I hope it was a good filming experience. You never know, especially like when you're going backwards in time, but like, I hope so. And the fact that it was actually casting,
00:32:59
Speaker
like little people to play, you know, little people and not like trying to do what people are doing now, which is like computer, like CGI-ing actors' faces onto actors. Like, let's be real here. Like so many of these actors in this village, I recognize and I was like, I know you. i know. I'm like, oh my God, I know you from this and this and this. And it was just like, yay. But like,
00:33:29
Speaker
Everybody was different. And so it's like when you go to the other, you know, parts of this world, the Daikini parts of the world with like Val Kilmer and these like warriors and because, okay, what I was thinking in the car when I was watching this is that there were warriors of all shapes and sizes. Yes.
00:33:50
Speaker
Yes. How cool is that? Because you're making armor and you're making like plate armor. You're making different types of plate armor. You're making different weapons for different people. You're making different shoes for different people. Like there's so many accessories, so many different things.
00:34:05
Speaker
And like they all have to fit everybody. So you're being precise in your work. And like In this village, I liked the costumes a lot. I thought there was a lot going on. Later on... did too.
00:34:20
Speaker
Like, when we get to other places, there's less diversity in the clothing that people are wearing. And so it gets... There are points when it gets a little bit less interesting where it's like, ah, we have a crowd thing. But, like... yeah but the, like, the tightness of the design of the villagers also...
00:34:40
Speaker
would indicate that they made all that stuff because you're not going to find that somewhere. So it was like – just generating that much like clothing. And there's obviously like a very intentional color palette and like texture palette. And like people are wearing, you know, it's like, these are like the dyes that these people have. And like, some people have like the same colors on cause they've ah like, you know, it's like the same fabric that's been like dyed. And like, you know, you could see all of that work happening because
00:35:15
Speaker
you know that they had to make it for this movie because that's not available. Whereas me, I don't know, maybe some of the other stuff could be rented because it was more readily available. i don't really know. but it was really nice to be like, oh, here's this like beautiful, like all these natural fibers, all of these like natural dye colors that we recognize of like Because we know like a little bit about how they're made and like all these beautiful like woven trims and everything was just like detailed and nice and everything fit wonderfully. And it was just like, this is great. I can't recall seeing something like this in a while. know because like I don't know. We say this all the time. i don't know how... extra casting works in in movies. I don't know how big crowd casting works, but it's like, it feels like you have like a, i think they call them like cattle calls basically, where it's just like tons of people. And then you just kind of like peace, you know, put things out like wicked. That's one of the reasons why wicked too, for good. Yeah. Blew my mind so much is that that was a film that was not like that. Even the extras all had massively tailored things because it was so important to the the world building.
00:36:31
Speaker
um But like very often in movies like this, if you're in the background, you don't have, you know, so... super precise things. Like it's kind of like vibes yeah because you don't need to stand out, you know, and depending on what it is, it's more or less important. And so like in this one for everything to just be so deliberate was just like, this is rad. And like, just, yeah, all the opportunities, all the work opportunities on this were so cool. And, and it's like, you looked at everyone and they all worked together in the world. Like there's kind of this like,
00:37:11
Speaker
medieval base for the village where we start. But then there's like a bunch of other things that kind of fall in and out of it. Like Willow stands out because he's not a part of like the earthy color palette that everybody else around him is. And so like from moment one, we understand that he's different. Yeah. um But he also has this like tunic. I'm going to call it a tunic, but I don't really know that it's a tunic, but it really reminded me of Sami traditional.
00:37:41
Speaker
um clothing um like you know from Norway yeah because there's like this very specific color of blue that a lot of the traditional clothing comes in and I felt like this was that and like the ornamental stitching and everything was very very traditional like folk clothing, but it was not, it was different. Like there was, you know, not trying to copy anything, but I was just like, this feels like something somebody saw and then was like, let's
00:38:17
Speaker
Yeah, like, look oh let's take that inspiration because even though, like, youre you were saying earlier, you know, we're not, like, trying to copy another show, but history is fair game. that yeah That's the name of the game. So any of that is up for, ah what's the phrase, ah bad artist reference? And what is the phrase? It's, like, good, I mean, it ends with, like, good artist steal. Yeah.
00:38:45
Speaker
yeah I can't remember what it is. Someone knows. Someone out there listening is screaming. wish I could help. I'm so sorry. I have no idioms. And it's like even that, like now we're starting to have conversations about, right? Because it's like you don't want to like pillage from indigenous clothing and just like use things. And so you have to like change it enough or something. Be intentional. Like be respectful and intentional about what you're doing. Yeah. And so this like didn't feel like disrespectful, you know? it it felt like, oh, we're making, you know, this person –
00:39:16
Speaker
different but also make it look like he's wearing clothing that like he has repaired and like was made locally using things that are local and I felt like there was a lot of that and ah yeah I have to say another standout ah wonderful costume in the movie is um i I say this ah with a a twinkle in my eye um Val Kilmer's disguise as a woman ok at the tavern I So thank you for your service work, Davis, as Willow. Just a quick sidestep to mr val Kilmer, r i p um
00:39:55
Speaker
Let's talk about him head to toe. So we first see him in like a cage prison and he's just like wearing a bunch of things. Yeah. Yeah. And julie he has maybe the most costume changes. And the most hair. He has so much hair. The hair is one of the most 80s things I've ever seen with my eyeballs. Yeah. I think he looked – did you ever have one of those, like, super hair Barbies that had the, like, super extra long hair that you could, like, style? That is what his hair looked like.
00:40:33
Speaker
It was so much going on because there's, like, long hair and there's braids. But it felt like you could kind of, if you looked close, distinguish. Like, it – He had extensions. Thank you. He not wearing a wig. It was not a wig. You look at it and you're like, this is not full coverage. I'm seeing some of his actual hair with a bunch of stuff there's happening. There are some tracks that got sewn in to this look. That is what happened. And then he has tresses. And this actor, this man, is having a whale of a time with this hair because it becomes a character on its own. Every time he gestures, so does the hair. It's all, girl. A whip in that back and forth. And I was just like, this is so funny. And I'm like, when he's dressed as a woman, please take it away.
00:41:29
Speaker
Well, he has this lovely sort of like petal pink, dusty rose, whatever you want to call it color gown. And like the largest softest fake breasts you've ever seen he looked like the guys from robin hood men in tights when they're disguised as women to go to the archery contest the archery contest that is what he looked like like he looked like it's sacks of rice like he did like just Like ah with a rope around his neck. And then he had like a wimple on that he was kept pulling up to cover his five o'clock shadow, his stubbly beard. and it was just like, it was so funny because it was not convincing in any way. Not even remotely.
00:42:25
Speaker
No, like often. It was fantastic. And he kept that dress for a long time. He did. and like then it kind of like it kind of like disintegrates, doesn't it? Because he's at one point not really wearing much except for boots and then like the remains this dress. And he like gets whipped around because he gets like smacked in the face and knocked off a horse. And all I see is just pink fabric flying. like it was The comedy of his costumes really, really stood out to me because like...
00:42:56
Speaker
he he also i think it's before that is it before that i don't i'm i'm like already losing the thread here maybe it's after but they're they're like on a snowy mountain their fellowship and um after the dress i think it is yeah and he has changed into like black pants and a black shirt so he's like wesley pirate roberts dread pirate roberts But his shirt is open. This man has not, he has not laced nor buttoned this thing open. And he is on a frozen mountain. And then he becomes a snowball himself because he falls off the sled that he and Willow are sharing, carrying Laura Danen down this mountain. and he just falls.
00:43:44
Speaker
He rolls his ass down this thing until he becomes an actual snowball with his head out on one end his feet off the other. And he hits a building and then it just falls apart. And he stands up. And he's my favorite thing is that as an actor, he was not directed to, nor did he make the actor's choice, to show that he was cold. He just acted that his head got knocked. Yeah.
00:44:09
Speaker
ah that's it he's got flesh on display i was like sir you would have lost everything to frostbite like everything would be gone i think i read that he uh improvised a lot of his lines and what i know isn't that shocking i am frankly astounded that's so crazy like Oh my god.
00:44:37
Speaker
yeah he was on a journey in this film, look-wise. Truly. Nobody else really changed very much. he had a new look every scene. He really did. Like, Sorsha had a couple. She had her, like, nightgown Maid Marian moment. And I'm referring to Maid Marian from Robin Hood ah Men in Tights because, like, that actress had such a wig. I'm like... It felt like a very similar. Yeah, just like a ball of red hair and then like longer red hair that went underneath. um But yeah, he just was constantly in something different. And like towards the end of the movie, he's in ah in armor in like some golden armor that he's taken off of someone else, which I thought was like very interesting armor because it's supposed to be like metal plate.
00:45:23
Speaker
And then like leather kind of combination. it's this gold and all of the gold is concentrated to the front of the armor. And I didn't check to see any of the other soldiers who are wearing that style if that was the case. But for him, everything on his back was just black. Yeah. Well, he needed the armor to cover his chest because his shirt's always open. So he did something. He did something between your heart and my weapon. Some of the armor was like...
00:45:55
Speaker
scales like scale but really large really long yeah yeah it was i was just like staring at it being like what is the reference here don't know enough about it to know because there's a character who has a very dramatic death and i was like looking at his armor when he died yeah This is different. And I liked it.
00:46:16
Speaker
But it's like I also kind of wanted a little bit more it, if you will.
Spotlight on Barbara Lane's Career
00:46:21
Speaker
Right. Because when you saw it up close on this person, did not look – No offense to any any person, but it didn't look as like full as you would want scale mail to be.
00:46:35
Speaker
yeah Like overlapping hardcore. it It felt like we are on a movie set and we have to make what we can make to to give the impression of an armor piece. And so it was it's not like a heavy critique. It's like, oh, I would have liked to see more because I would have liked to see what it would have looked like.
00:46:52
Speaker
more Right. I'm making a hand gesture right now. It was very, in it it seemed very intentional and I just didn't, I wasn't like really getting the reference or something was going on, but I did want to shout out our costume designer for this movie, ah who is Miss Barbara Lane, who um,
00:47:16
Speaker
She has a long career. She started designing in the 60s and continued up into um the early 2000s. I don't know if she's still with us or not, but she hasn't designed anything on that according to IMDb in film since 2009. So um I don't really know. I'm not super familiar with her filmography she did design the original run of doctor who in the 60s um the only thing i know for sure i have seen on her like of her work is the into thin air movie because i had to read that book when i was in high school and then we went to
00:48:06
Speaker
like a science museum in San Jose and saw it on the IMAX screen where it's like a domed ceiling and lay on your back. What? Have you been there? no It's a, it was at the time, I think it may, this may have been pre Metreon. Okay. Like this is, I'm not sure. Probably not actually, but It's the only other IMAX screen around at the time, but it was in a museum. So it was like it was like ah when you go into like a planetarium, the like domed ceiling.
00:48:41
Speaker
So the chairs like lean all the way back like you're going to look up at like the night sky. What? we watched into thin air on that screen. Sorry, that's crazy. Also, I do you think it's possible that that was pre-Metreon because I remember – seeing 300 at the metreon this is very important me too i saw that at the metreon too because it was such a big deal that they had the screen that they had and that was in 2006 so like that was like been nine years later right like it might have been pre pre imax screen at the metreon yeah oh that's so wild and that's so extra too for like your school teacher to be like got it
00:49:25
Speaker
nailed it yeah the metreon opened in 1999 so this was before yeah i saw i saw moulin rouge at the metreon i remember very specifically that was the first time i'd seen the movie but it was not an imax screen obviously but seeing 300 cry harder was like i don't think i've ever been in a bigger theater for a movie than that theater to see 300 it was like crazy to walk into there in 2006. Yeah, we got tickets to like a special screening and it was like me and my friends. and We were like, yeah, we're gonna see 300. And we were like, what? Immersive. And if I ever felt the need to watch that movie again, But
00:50:08
Speaker
um that's the only thing I know that for sure that I have seen that Barbara Lane designed. And I have not seen it since high school. I know for sure. Speaking of theater-going experiences, I'm so sorry to laugh. I'll be very serious, Ms. is Barbara Lane.
00:50:25
Speaker
I saw her um Dungeons and Dragons. Oh, yeah. I saw that was on the list. I have not seen it. I saw that in the movie theaters. I'm so sorry if I'm repeating this story because it's very quick, but I will tell it.
00:50:38
Speaker
My mom took me to see it because it was just like, ah, what are we going to do today? Let's go see a movie. And I was like, I don't know. This one has dragons in it. And you know me. I love fantasy stuff. And so we went to go see it. And this woman, this angel of a woman...
00:50:52
Speaker
Made it. About 15 minutes. And she looked over at me and she said, are you for real? um Oh no. And I was sitting there like,
00:51:05
Speaker
Maybe it'll get better. Because she saw that it had Jeremy Irons in it. And we were both like, we know him. He's a serious actor. And then we watched this and we were like, i don't think that this was meant for us.
00:51:17
Speaker
And I don't think that we are meant for it. Oh, no. What? Like, I have not looked at those costumes since. And I'm so sorry to our designer.
00:51:29
Speaker
But most of what I remember was not...
00:51:37
Speaker
and Trying to find the right words. It was not the kind of um strong design that I would have assumed of someone with such a storied career as herself. and yeah that's a testament to...
00:51:52
Speaker
It felt like a testament to the production. it did not feel like a design. It felt like the designer was doing everything possible to do all of the things that a designer could. But based on producer feedback or budget or whatever, we were not going to get...
00:52:11
Speaker
to To even like a willow place, frankly. Yeah, right. And so it was just like, what? You designed both of these? That's crazy. Like, what was that experience? Because that feels like, oh, I get to design this like fantasy, you know, fantasy-based stuff and then yeah take like 25 steps back. Anyway, i don't have to shit talk. Dungeons and Dragons, Dungeons Dragons 2000 did it to itself. You know, and that's fine. um You know, there There are many things that happen in our careers. Let's yeah just say that. Not everything is perfect. Yeah. And it's like it's it is one, though, that taught me because I remember that that was one of the first movies I saw where I really thought about the costumes. And so it's like I do not blame the costumer for this, but it was one where I was like, oh, I do not feel like I'm in a –
00:53:01
Speaker
this world. Like everything here feels disjointed, but it's not necessarily the costumes that are disjointed. like But I remember really looking at them because I was like, why doesn't this feel right? um yeah So that was crazy to discover that this was the same designer. My goodness. um Because like Willow, there's so much happening here. There's like so many knit pieces and there's so much sculpting for the armor. And like, of course, we've talked about the very specific tailoring. And I do have to correct myself because i I'm looking on IMDb at more of the photos of the village. And Willow stands out.
00:53:37
Speaker
Because usually when we see him, we don't see other people in blue. But he's not the only person wearing this. That's right. This style is is very much present in other villagers. Yeah. But as soon as he leaves the village, the yeah the costume language changes drastically. so he becomes identifiable um and different than a lot of other people. And
Detailed Costume Analysis in 'Willow'
00:54:03
Speaker
it really heightens like how he and his people talk about, like we have to leave the bounds of our yeah our place and our home to go to this other place. and like Yeah. We don't like this. it's just the language there is very strong. And um one of my notes that I took is that every group of people in this movie seems to hate every other group of people. Oh, my God. This is a fantasy movie that has like derogatory language and like derogatory towards different types of people. And yes, every single like, if you will, ethno group hates or distrusts or fears the other. Yes. And it's – it this was a lot. It was a lot. I was like, damn, like multiple times. My goodness. like Yeah, because people were like – I mean, obviously, they're using terms don't –
00:54:59
Speaker
don't mean anything specific to like us because it's like a fantasy world with its own like names for groups of people and like characteristics whatever you want to say but like the the venom which which with which they were spoken was very clear like you could hear it in the people's voices Yeah, people really took to that part of the performance real hard. Like, it was pretty intense and dark. And so, like, the darkness of this is really, like, what made an impression for me. And it was very interesting because, like, we did talk about, like, the darkness of the armor for the bad guys. But, like, vibe-wise, emotional-wise, the darkness was pretty crazy. And, like, I feel like when we go to Bav Morda's world –
00:55:50
Speaker
the The performances change. Like, the language of the world changes and becomes more operatic. Yeah, Shakespearean. Yeah, like, I'm not saying loud vocally. vocally I'm saying, like, projecting and accurately. The intensity of the motion. It's very, very theatrical. And I think, aside from Bavmorda herself, Ms. Madam, also, one of her lackeys, shout out to this actor who I don't know the name of yet again, because I mentioned this in another thing we saw, the gatekeeper in Princess Bride.
00:56:31
Speaker
Oh, yeah. Saw an actor who looked like him in something else. And again, there's an actor who looks like him in this. I'm just like, hold up. who What is this style? Because it's crazy. I don't think it's the same, man.
00:56:46
Speaker
But shout out to whatever's happening here. But like Bavmorda has a little bit of like Maleficent going on because there's like purple and like very spiky shapes.
00:56:58
Speaker
I was going to say the evil queen from Snow White as well because she's got the very, the tight, um I don't know if it's called a wimple in this respect or if that's just nuns, but she's got the tight headpiece that like comes down and becomes like a shoulder. That really frames like your face and is like very tight to the head and covers your hair. And that I always associate with the Evil Queen from Snow White because she wears one. But I think hers is black. in that And this one is like a white or like a natural. Yeah, this is like it like an accrue. And then there's the black and the purple. And a little bit of like fuchsia happening with her color palette, which is phenomenal. Love it. But she has this headpiece That is yet another costume a headpiece that I'm like, how was that to wear? Because it looks spiky as a hell. And so it's like, is this made out of leather and then painted to look like metal? Is this plastic, vacuum formed? You know, like, is this a light metal cut out? Like, what's going on? Because we've seen some crazy headpieces on some folks.
00:58:07
Speaker
I know. And it's like, ah you we know how we would do that in the theater. Like there'd be all kinds of like felt or suede on the inside to make it comfortable to sit on that actor's head. And like none of that metal look and stuff would be touching her skin in any way. Like none of it. And this is a this is a thing for me with all of these headpieces. I'm like, is it leather, but just painted metallic? Like that could probably be trick my eye.
00:58:34
Speaker
um Now, we talked about a few different costumes. Are there any that, like, stand out as kind of like – what's the phrase? um A sore thumb to you in this production?
00:58:46
Speaker
Oh, my God. I feel like i'm I'm getting a pop quiz that I didn't study for. Because this is – okay, this is a very high fantasy. So are there any of the costumes for any of these characters that made you go, huh? but Like anywhere? Yeah.
00:59:04
Speaker
I get a bit – I felt that way a bit with the brownies. But yes I think it was mostly hair actually more than the actual costumes. But I feel like I'm missing something. So please tell me. You mentioned this guy earlier. Skeletor.
00:59:23
Speaker
oh ski Oh, yeah, absolutely. Skeletor. Yes. And that's not his name, folks. And I refuse to look up the character name. I don't know But this is wild. Crazy. He's got this skull that's like part of the head, but it has a crazy like wolf jaw underneath it. But it's like a human skull that's mad.
00:59:46
Speaker
So the bones. are not sculpted to look angry. Yeah. It's a, it's a full on mask that yeah he can like pull down over his head and like pull up. And, uh, it is, i actually, i think I wrote,
01:00:03
Speaker
what the fuck in my notes as soon as I saw him because I was like, this is cool, but what is going This is like cartoonish because it does look like Skeletor and we're on the way to Grayskull. There's also, I think, a shrunken head on top of the skull center.
01:00:25
Speaker
Look, there are these wings that come out and curl around towards the face. And it's just like not even wings. They're like flat, curved pieces. um But I mean, these are...
01:00:40
Speaker
This is a choice. And like he's got a cross in a circle on yeah like on his chest. So he loves God. Like studded or beaded or something. But it's like yeah like a medieval knight from England. And then he's got like black leather like scales going down. And then just leather, leather, leather. And like spikes coming off of his shoulder pauldrons. Like there's so much happening. And it's so big.
01:01:09
Speaker
But it's like, this dude's the only guy with that kind of thing happening. So it's like, what? We are standing out. He's special. He's a special boy.
01:01:24
Speaker
i just like i have no explanation. i I have nothing to say for Mr. Man. Like, it was a lot. And I was just like, I respect this so much. it is confusing.
01:01:39
Speaker
it is confusing because it's like the way that it's made fantastic. Like it looks so cool, but it also kind of feels like what a wrestler in the eighties should have been wearing into the ring and then torn off before getting into the fight. You know what i mean? Like that is so true.
01:01:55
Speaker
It is so, so theatrical. And what's funny to me is that like most of the costumes we see, like, yes, Mad Mordigan, Mad Mardigan, um, Val Kilmer's character is like, ha ha ha look at the things that he's wearing. He's dressed up as a lady. It's not convincing. um Yes, we have the brownies who are, it feels like pulling from some indigenous cultures, which is like, this feels like we wouldn't be doing this It was a lot. um And then like, aside from that, we don't really have any loud words.
01:02:31
Speaker
jarring costumes except for Bav Morda and this skull face guy like those two things are cartoonish compared to everything else there's like a great depth to a lot of the other things and not necessarily everybody having like a bunch of texture and pattern even though that that does exist like the magician um the alderman is he the alderman or the magician but like who is from right yeah willow's town like he's his costume is so great and like covered in like baubles and yeah baubles and like tokens and all these different things and it's just like so fun to look at and feels like it comes from a culture and then we get skull face and path morta it's just like the most
01:03:18
Speaker
I'm so sorry to say this because it's going to be derogatory no matter how I say it, but it feels more on the party city end. of oh i was gonna say like scooby-doo villain yeah scooby-doo villain which also i think is like kind of party city because like when you're going on that end of the spectrum it's flatter and like it's yeah i don't think i would use that description because i feel like it implies a like a cheapness a cheapness that yeah i don't think is there so it's the cheapness is not there so i will i will remove my statement because it is derogatory and i didn't like it but like And it's also inaccurate. Scooby-Doo villain is totally it. It's more cartoonish because it's flatter. like Even though you look at skeleton face man and you see that there's like a lot going on with his leather armor, it's all black. The skeleton face is the way you take away. And the skeleton face is so Because it's white like against all of this black. It is what you take away. And the skull is so funny to me because... like
01:04:20
Speaker
this The eyes are frowning. When you frown, it's your muscles and your flesh. It's not your bones. ah Speak free for yourself. But it's just like, i would love to know.
01:04:34
Speaker
what made those design design decisions happen? Because like every, most everything else in the world is is more grounded. And then these two things are so elevated that it's, they stand out a lot. And like, this is eighties. So a lot of the armor has like shiny gold or shiny silvery patches that are like silvery fabric. That's meant to look like metal. You know, there's a lot. Yeah. Where if you look closely, you're like, I see what we're doing, 1987, 1988. I see it. But, like, those two, i was just like, tell me more about you girls. You're fun. What's your story? What is your story? Let's pull up a chair. Like, the Bav Mortar one, i feel like –
01:05:24
Speaker
Again, I was watching this in a way that I do not ah suggest anybody else watch it. But I don't know that on a bigger screen I would have seen more more detail. And so it would have been like cool.
01:05:35
Speaker
It would be cool to see pictures or up close anything of her costume to see more of what's happening because it's a lot of like big dark shapes.
01:05:45
Speaker
Yeah. And like, I think some of that must be just the filming because she's in like a dark castle. So much yeah, like everything is so dark and so grainy because it's film. And so it's it's one of those things that happens very often in movies where it's like because of the cinematography and the the the emotion and the the scene that is being set, you don't see the details. And so it's like I would love to know what all of that costume is.
01:06:13
Speaker
Because right we don't really – and so I have this impression of this person who's very highly dramatic with this very dramatic headpiece, this wimple, and then like a giant cloak that like covers everything. And that's kind of the vibe.
01:06:25
Speaker
um But i I really enjoyed seeing these
Character Dynamics in 'Willow'
01:06:30
Speaker
costumes. Like i I enjoyed it more than I thought I would because like there were so many different things happening.
01:06:38
Speaker
And it wasn't just like one – Kind of like with Excalibur, there's like cool stuff happening, but the cool stuff was mainly happening for only a couple characters. And everybody else was like in Camelot speaking the same language. And like in this one, there were different pockets of influence and culture. I always appreciate when... you get um i love ah i love a ragtag group. i love but i love i well i love a fellowship. I love unexpected friends, be they a human or animal, a big fan. So um it is always fun when you get like one person from each group together on the adventure because then you can really play up the um
01:07:27
Speaker
what like distinguishes or like creates like one look for one group of people in a different for a different group of people so I think it's always like an opportunity to have a little fun with your design shake those shoulders ah aside from that too just I don't want to let this be on set I really loved the dynamic between Willow and Mad Mardigan. did too. Because like we have it established that Elora Daynon is very aware and she's a magical baby and that she's chosen Willow to be her guardian. But she's also chosen Mad Mardigan too. And just knowing that she's like, you're both going to be my temporary dads. Let's get to business.
01:08:10
Speaker
like Yes, it was two men and a baby. two men and baby. Two men and a baby and an Australian possum. Yes, two men and a baby an Australian possum and maybe a divorce in the future. The dynamic between Harkin and Willow is so silly, goofy. And it's just like constant, like bickering and everything. And I'm just like, I do...
01:08:33
Speaker
love these things and I do miss this I just scrolled down on the um the cast and crew and I discovered something that actually did surprise me two things that surprised me one there are a lot of costumers and wardrobe folks listed on this more so than most movies that we are used to seeing in the Love that.
01:08:53
Speaker
And one of them is Aggie Gerard Rogers, who I have met and who mentored me briefly because she is the costume designer for ah American Graffiti.
01:09:04
Speaker
And she also worked on um as Empire Strikes Back. Well, that makes sense. George Lucas. George Lucas of it all. The whole George Lucas of it all. So I'm like, I'm actually seeing a connection for the first time. That's awesome. Like seeing it in names. That's crazy. I love that. Neat. It's happening.
Teaser for Next Episode: 'Pan's Labyrinth'
01:09:29
Speaker
ah Well, that was Willow. Oh my goodness. I believe next week is our penultimate movie of the season. guess.
01:09:41
Speaker
And we are watching Pan's Labyrinth. ah So strap in, everybody. i have not seen this since it was in the theater. either. really excited to remember what happens in it. When did it come out?
01:09:58
Speaker
early 2000s i think yeah like i think like i'm pretty sure i was over the age of 18 i'm gonna say like 2006 2007 2006 so this i think is the second or third guillermo del toro movie i'd ever seen i it might be the first one i had ever seen at that point second because i think the other one i saw was hellboy And I think that's it. I had seen Hellboy.
01:10:28
Speaker
and so yeah this was like, oh my goodness. A little different. oh Yeah. This one was like, oh this is this is very different. And then i the third one I watched, I was like, okay, now I'm understanding. I'm seeing all of these things. get you, sir. I understand you. Yes, yes, yes. But like in the early 2000s, he was really doing a lot.
01:10:50
Speaker
Yeah. And it was like. Hellboy. Oh, yeah. We are ready to see his worlds. And Pan's Labyrinth, excuse me, Pan's Labyrinth. wowie zowie. So this is one that I think I watched it in the movie theater and I was like, I don't ever need to see this again. Not in a bad way. Yeah, I felt the same. Like, okay, that was really cool and really disturbing and I don't need to see it again. Yeah. like And here we are.
01:11:19
Speaker
takes you through it. And so here we are. Here we are. this is our commitment. This is what we're doing for all of you. This is how much we care. You're welcome. ah Well, thank you. Yeah, we might be under more blankets next time if we're feeling a little, know. I think we might be. I might have to watch this one like a day in advance because I don't know if I'm going to be able to record immediately afterwards. Yeah, no.
01:11:51
Speaker
it was good, whatever. Oh my god. But we'll we'll see you Yes, we will. Thank you for listening.