Miyako Supreme

0:00This episode is sponsored by Macy's. If you're more than ready to step out of winter and into something that brings your personality back, Macy's is officially launching the Spring Fashion Reset. This season is all about dopamine dressing, embracing personal style, and romanticizing everyday outfits. Spring is the ultimate refresh and it doesn't require starting from scratch. It's about finding pieces that bring new energy to what's already in your closet. Macy's makes it easy to play with color, shape, texture, and standout details. The fastest way to add character to a simple look. And don't overlook denim newness.

0:39One fresh silhouette can completely transform your wardrobe. Try balloon, barrel, wide leg, or crop jeans to instantly modernize your spring outfits. For spring occasions, linen suits are breathable, effortless, and perfect for weddings, graduations, or garden parties. Sheer layering, asymmetrical hems, and lace add a luxe, confidence-boosting touch to dresses this season. And when it comes to the it shoe, mesh is everywhere. See-through styles from Dolce Vita, Sam Edelman, Steve Madden, and guests are ready to carry you through every event in style. Find your spring refresh at Macy's.com or in-store today.

1:21You're a pro at running your life, at committing to your workout, at showing up every day, At Bombas, we're pros too. Pros at making socks. Our sport assortment has specialized socks for whatever sport you're committed to. Running, hiking, golf, Pilates, and so much more. Made with sweat-wicking yarns, blister-fighting details, and targeted arch support. Bombas Sport is pro-level socks from the pros of socks. For another pro, you. Go to bombas.com slash audio and use code audio for 20 % off your first purchase. That's bombas.com and use code audio.

1:56Hello and welcome to Fashion People. I'm Sherman Royale of Puck's fashion and beauty memo line sheet. And today with me on the show is costume designer Miyako Balizzi. We're talking Marty Supreme, her unorthodox path in fashion and plenty more. Before we get going, I wanted to remind you that if you like this podcast, you'll definitely love Puck where I send an email called line sheet. If you're a fashion person, you get that reference. It's an original look at what's really going on inside the fashion and beauty industries. Line Sheet is scoopy, analytical, and above all, fun. Along with me, a subscription to Puck gains you access to an unmatched roster of experts reporting on powerful people and companies in entertainment, media, sports, politics, finance, the art world, and much more.

2:48If you're interested, listeners of Fashion People get a discount. Just go to puck.news slash fashion people to join puck or start a free trial. Happy Friday, everyone. Hope you had a great week. Mine was really good. I saw a lot of friends. I went to a show at the Hotel Druaux. The auction, you know, me being in Paris for a while is going to be super annoying with all the pronunciation shit. I'm going to get better at it. I promise. It's an auction house. You might have heard of it. You may own the app. You may use the app. All the works were selected by Judith Tuitu, the formerly APC Artistic Director.

3:29I'm sure you've heard of her. She's married to Jean Tuitu, the founder of APC. Anyway, she's very cool. And there is a lot of incredible stuff on display, including Matisse and all these beautiful paintings by famous artists. But then also she found this amazing unknown sculptor, Anna Barris, whose work is featured in the front, like very prominently on its own. It was pretty amazing. It's on next week, too. So if you're in Paris, be sure to check it out. I am headed to London next week for a couple of days. But otherwise going to try to enjoy the weekend and watch the rest of Love Story. This week in Line Sheet, I did a deep dive on the situation at the Lombin Group.

4:14You should also check out Malik Morris' look at Lululemon founder Chip Wilson's turn as an activist investor. He does not like the term activist investor, but you know, I think it's okay to describe him as one. He pushes back on that, but I think as you read Malik's piece, you'll see why people are calling him that. It's a very interesting story. He's an interesting guy. Let's get going with Miyako, one of my all-time favorite fashion people. Miyako Balizzi, welcome to Fashion People. Thank you so much. How are you? I'm good, thanks. Did I pronounce your name right? Yeah, you did. You did a great job.

4:56Oh, great. Okay. Yeah. What did you have for breakfast this morning? Well, it's L.A. right now, so what time is it? Like 8? I haven't had breakfast. This is my coffee. I just went out and got a coffee around the corner. Haven't had breakfast yet. Do you have a place in LA or do you stay at a friend's or in a hotel? Oh, lately, I mean, it depends. I would prefer to stay with friends. I have lots of friends here, but I, with everything going on, I'm kind of been bouncing around at lots of different hotels. I'm in a new one this week, so it's fun though. It's fun to stay in different new hotels around LA that i've never stayed in before have you ever lived in la i for short periods of time for work i will say i've probably like i've prepped a film it's probably the longest i've lived here i was here for four months prepping a film that never came out um oh wow four months of prepping it never came out yeah it would have been the biggest film i think uh pre-marnie of my career it was akira wow yeah and so i lived here then and that was pre-covid 2018 or something 2019 and then but i mean i'm here all the time i yeah but i haven't been here much lately well i have been here a lot lately but in the last like five years yeah haven't but over the years i'm from california so it does feel part um where are you from in california i'm from san francisco So I'm from up north, so it's a little different.

6:39But is your family still there? Mm-hmm. My family's still there. My mom and my brother. What do you think about the way it's transformed in the last 15 years? You know, I mean, it's sad. I don't love going home because of how it used to be this mystical, beautiful, open place full of just like weirdo artists and progressive activists. But now it's changed a lot. So I have a hard time going home, to be honest. And so the magic has kind of dissipated from the city. But I still love it. It's so beautiful. It is to me the most my mom lived there from like 05 to 2012 or something like that. She lived in Mill Valley type area that area.

7:44But I so I started spending a lot of time there and then my husband worked out there a lot. So we would go like a week a month for many years when we lived in New York. And it still there's a there's a line in Angels in America where it's like basically about San Francisco being heaven or and it's still to me like the Marin Headlands is the most beautiful place in the world. and like there is something magical about it but I I have always found that and maybe because of the time that I've spent out there like it's just more and more challenging from a people perspective and like but it is such a special place there's nowhere in the world like it but from the sort of I agree.

8:37I think it's the most beautiful place. I think about one day going back and kind of reclaiming the city that I grew up in. I had a really magical upbringing there. And so, and I feel like it's a part of it is very much part of my who I am today. It's because of being raised there. And so it's, yeah, super special. So there's nowhere else like it. And it's so beautiful and so connected to nature and also so free and the people, you know, there's just a lot. It's very the spirit of the city is very special. So it really, it really is. Well, how did you how did you end up in fashion? Were you interested growing up or how did you?

9:25Yeah, of course. I was, you know, I think, too, I've been reflecting a lot about this week and, you know, even this weekend. coming up and kind of where it all started you know and I have been thinking a lot about home and what some of the factors of how I even got here you know and um I mean yes I was into fashion for sure I I didn't really know what I wanted to do I was never necessarily into film though that's it's an interesting thing because I I wasn't like I guess I just didn't even know that this was really a career. I liked films, but I didn't really, I don't know. And I knew who Edith Head was.

10:07I remember being like a big fan because I loved all of the 50s, like Audrey Hepburn films. That's kind of what got me into it in high school. And like the 60s, like I was really into like 50s and 60s films in high school. So I guess I was kind of into film, but my fashion sense, I think comes from my mom and my grandmother, because both of them were, my family's from New York. And when my grandmother moved to San Francisco, probably when I was in junior high from New York and just to be closer to us. And I remember because I'm the only grandchild and I'm the eldest that was into clothes and she had all this stuff.

10:49And it was like kind of my opening into that and my mom's clothes, but like into vintage and 50s, the era of 50s. So, you know, And she was like, I don't need any of this. I take anything you want. And she's the one that taught me how to sew. And so I lived with her for a while. And so I feel like that was a big eye-opener to even just living in New York, moving to New York, hearing stories about it, the era. Yeah, vintage clothes. Yeah. So that's kind of what got me into it. Did you know you wanted to be a fashion editor? or did you, what did you want to be when you moved to New York? You know, when I first moved to New York, I thought I wanted to be a fashion editor.

11:33I wanted to work for a magazine and I wanted to do editorial and be an editor. That was what I was really interested in, I think. And then, you know, I think the more like journalistic approach came to be when I started the New York Times, when I started, And I thought that was so interesting, the kind of just to be able to, you know, the relevance of like news and journalism and photography. I'm really into photography. I always wanted to be either a photographer or a stylist. I wasn't sure which one to be. My dad's a photographer. and I and so I think that's kind of like where I was always kind of on the fence about doing do I want to do photos I loved photography uh but mostly like street photography and like photo journalism and that and like kind of depicting this world and that kind of makes more sense I think once I geared that is when I kind of realized that maybe it's less about fashion but I love style and clothing.

12:38So it's like, how do I kind of combine the worlds? I didn't feel I never felt like I belonged in the fashion world. I still don't really feel that way. I feel like I'm always, let's say rejected, but I just I always feel this sense of rejection from the fashion industry. They don't understand, which I find very interesting because it's a very narrow minded view. And I always felt like you need to have a bigger picture of the I don't know. I find that really interesting to me because it's interesting to me because you seem like such a fashion editor to me, like such a fashion person. and that you really understand clothes and you understand the history of fashion.

13:27And I think of you as almost like a fashion editor who does costume design. So what about the fashion industry do you feel is too closed off? I don't know. I think it's just maybe in my experience of the view of how people see, like where you could take references from. I think not designers specifically, not the designer themselves, but I think everyone else that's like are surrounded by the fashion. And even, you know, I think it's Fashion Week right now, right? For example, it's like, and they think about the people who are involved and what is making the money in kind of the influence of celebrity right now.

14:16And I really think about this because, I don't know, I just find it fascinating. And where the money's going. It's all about money, right? And like who's popular and the celebrities that are coming in and how that has influenced the business of fashion, right? And like who are those people of influence in our generation, in our time right now and how that's shaping the industry. So, yeah, I mean, I think about I have lots to say about that kind of stuff, but maybe it's always been like this and maybe it's like every era has that. But I think social media. I think in the last 20 years, the industry has just changed a lot.

14:56And it's not really about, it's not for a fashion enthusiast. It became for consumers more broadly. And yeah, the celebrity part of it is they spend so much money on that element. And I think it's moving towards, there's almost a bifurcation of the industry where some of the brands will be more for enthusiasts, some of them will be more broad reaching and that even the bigger brands are trying to reach the enthusiasts again, which is exciting because it's almost like the business is too, it's so consolidated that there's only, the only thing they can do now is manage it. There's not really more room for growth.

15:39So, but yeah, I know what you mean um it's definitely not the the thing that we grew up seeing and thinking it was going to be it's um it's something much more corporatized yeah and maybe that's what it is there's this sense of like loss of freedom and the sense that it's not about creating and i think in film what I find so exciting is that it does none of that matters the money of it the I guess the money you're not selling clothes it's it's a very different business but um you're selling a story and but the story can be told any way you'd like it as the storyteller and as a designer working for a house like you kind of you're so limited to just what is going to sell and who's going to buy it and all of those things and like you really have to think about that uh in that way so it limits you to how free you can be creatively I think because it's so corporate and so I don't know it's just something you know I've never I've always it's I mean it's always been like that because I remember when I got out of I kind of was learning what fashion was after I moved to New York kind of in the business of it all and I was like I don't know I don't know if this is for me you know I just remember being like this isn't real style I'm from the bay like I don't care about this you know like I think I thought about like who I am as a person and going back to being from northern California specifically and like you like you know I like people I love people in the same way as Jen I have so much empathy towards like people and like um their lived stories and what about how they dress and who they it's who they are and that is what inspires me not I mean I love fashion and clothes but I I only if it's inspired in a way which right now I don't feel very inspired in that in the fashion industry so anyway yeah I know you liked um I know you like the new Versace you've been wearing it a lot and they did a dinner with you in LA which I was sad to not be in town for but um what is it about Dario Vitale and what he did at Versace for that one amazing collection that you liked and felt connected to you know I felt connected to him and I well well also because he's a friend but I think almost not that it was an act of defiance i don't even want to say it like that but i love the idea of the like one and done where like he did something and it was actually like and i remember when i first saw it i was like a little taken aback and it made me think about it and the fact that it was so different and what he did and he had a point of view i just like that is what the industry needs and i know that they rejected it and maybe because of that feeling of like not that he was rejected but kind of i feel the same way and maybe it's that sort of like punk attitude of just like whatever i'm gonna do what i want to do and then be like take it or leave it kind of thing i just thought was really cool and punk and no one's doing that and um yeah I feel like that's what the industry needs.

19:10It's more point of view, like people who have point of views that maybe not everyone likes and like, but that's okay. You know, I don't know. I think it's a lot of people had a lot to say about that collection, but I thought that it was really smart. So, yeah. totally I agree and I also think that sometimes I was talking about this I had Derek Blasberg on last week and we were talking about Peter Mulier at Aliyah being over and he wishes it was not everything wasn't so short but I what I said was like sometimes it's okay like yes this is a goofy situation but also that was an amazing one collection and whatever Dario does next is going to be awesome and it's so legendary like it made him a legend in one collection and I think like there's something um just wild and fun about like not everything needs to they're not everything needs to last 15 years or 40 years or even five years like sometimes having something and it this is I think like more like television sometimes it's better for something to just run for one season and then it's over and you will never forget it but but um I think it's magical what happened with Dario like I think it's traumatic for certain people but it's kind of awesome I know I agree with that and I think that not everyone I mean you get stuck you got to change things up i'm like i feel like i'm the queen of that you gotta just like you know keep evolving and moving where like you know you get stagnant we get stagnant and then it's also like i don't know he he has this opportunity now to do something completely different it's for me that's how i feel about film it's like you do a movie and then you move on and you do something completely out you're not like stuck doing a tv show for 10 years you know what i'm saying like that's just Totally, yes.

21:11My vibe, and I think that's when you can get stagnant in the industry, and I think that's what's happening, and then we're just recycling designers, moving them around. Ladies and gentlemen, welcome aboard Air France Business Cabin. Here, every detail matters in elevating your journey. From priority access to your arrival, to menus created by Michelin Star Chefs, high-speed Wi-Fi powered by Starlink, or a mattress topper designed by a leading luxury hotel. Thoughtful touches, in the air and on the ground. All crafted with your well-being in mind. Air France Business Cabin. The art of travel elevated.

21:49Elegance is a journey. Air France. See conditions at airfranc.us. Hey there, Poodle and Maddie here from Reality Gaze. Do you love reality shows about a bunch of women with matching hair extensions trying to fight against the patriarchy of the Mormon Church? Who doesn't? The Secret Lives of Mormon Wives is back on Hulu. And Taylor Frankie Paul has returned with her Mormon minions. And we are recapping all the drama on Reality Gaze. This show has us fully overstimulated. It's messy. It's Mormon. It's everything. Follow and listen to Reality Gaze wherever you get your podcasts.

22:25So tell me, so what were you doing at the New York Times and how did you end up getting into film? Like, how did you end? What was your first film that you worked on? Um, so I was an okay. So I started at details magazine. And then my friend got a job at the New York Times as an associate men's editor, Jason Ryder. And he was at TMAC. And because we were both at details together moved over and I became his assistant. I was just an assistant. I was there for a while, a few years because I, I like I was in the men's department. because I was at details doing men's. I started in men's guard. So it wasn't until, well, okay, so my whole trajectory is that then I moved over to Vice and I became a fashion editor of Vice.

23:11And that was like before, you know, not a lot of people remember that, but it was a good time. I don't know, it was a good era of Vice before HBO. And I think that's kind of when my, that's kind of when I started working in more video because I remember we had noisy I was doing the tv shows like we're doing dressing people for this there was like I was just doing everything kind of because it was small it wasn't like a big thing and um yeah I feel like that's kind of what jumped it off I remember when I left vice I um I got asked to do a film and it was kind of like a student film it's a terrible film called diamond souls and um it was all in new york i remember my friends were in it i used all my own clothes i wasn't getting paid and that was like the first movie i did but i remember experiencing that for the first time and being like wow i love this you know like i just i loved it and then from there i did maybe four films in a row i was just like i kept doing them doing them i got really into it and so kind of just Was it like this thing that happened?

24:26What what was it about costume design that was like satisfying to you versus being a fashion editor? I think it was the people. I remember very vividly one of the first days on set of the movie being like, wow, I'm surrounded by. people on set who are all interesting and they're all interested in their own respected fields and they're like nerds like I just remember being like wow I'm like around I like love being around camera nerds like I would prefer after after kind of years of being in like fashion and around it's just a different group of people that then just being around kind of like normal you know like normal people or like different departments and like learning about someone who's like really into the art department and what they're working on and you know someone who's building sets and then someone who's building a camera and like and just being able to have normal conversations with all these different types of people I I really enjoyed that on top of the actors who are normal people also you know like to me I just had um I was inspired I think by the people more than anything that I was surrounded by this knows okay so let's talk about your process of building out these wardrobes for these actors and how closely do you work with the direct I mean I'm sure you work very closely with the director but like are your relationships with directors different than depending on the director like what is your at this point you just did marty supreme giant movie that obviously i i don't know if that was the biggest undertaking you've ever done but like what is what is your process like to build out because the the work that you do i mean this movie and then the safty brothers movies prior i mean they're just so the people that are cast we were just talking about the casting director jen like it's so personal and so the clothes have to be very personal too um but i assume your process is like that because you did you did the hbo remake of the um and from a marriage ingmar yeah yes scenes from a marriage which like the the clothes in that were so i mean oscar isaac's clothes in that are like is it hit too close to home it's like triggering i never watched that show oh you did i honestly that it triggers me too it's like well i don't i don't like depressing stuff but but like his clothes are like my husband that's how my husband dresses i was like i can't watch this movie but um they looked great but i was definitely send this to him i was like you should definitely get this pair of New Balance versus the other ones that you have.

27:29But the point being that like, that was a million questions in one. What is your process for creating these characters through their wardrobes? Yeah, I mean, well, I will say every project is very different because of, I mean, all the factors. I mean, it seems for marriage, it's a very different approach than Marty. and I think that it just it just varies on some filmmakers some directors like want you to have free creative control some but some are you know I speak to like for example I mean I'll talk about Marty Supreme just because that's that's why we're here I feel like and Josh is very particular but also him and I have kind of grown together over the years it's we've been working together for over 10 years and close friends so it's we have a different relationship that is almost like a person it's like very personal you know it's like so um and it's a blessing and a curse sometimes because we're almost we're almost too close but you know so it's a different than if I seen from marriage it's like I didn't know Haggai Levy was that the um director and it's like that it's professional you know like there's boundaries I don't want to say that but like yeah you know like it's a different of working relationship so um but with josh i mean he's so deeply cares and he's also such a he and like we just all care so deeply about the characters um so the process feels like you we just have to understand them in such a human way um and i think that's why we work so closely together josh jen and i uh just in the casting process because it starts there i mean the characters come alive through the casting right like you can read someone on paper when you first read the script and have an idea but for me i mean i think most costume designers like they come alive you have no idea because you always get thrown for a loop i think that's the thing you kind of can't you can research some but until you know who it is it really changes everything point being um scenes from a marriage sometimes casting changes very last minute i mean and so yeah you have this whole plan and idea and then it goes to shit basically see days before you start shooting someone and you have to start over and so i've not that i've learned my lesson with that but i just kind of it's almost like you can't hold on to someone's i or your idea of someone until you really know that they're there that they are real so for me that's a big part of the process i think is kind of obviously there's the the research of everything and having the understanding this one was so massive but I kind of didn't you know it's it is the biggest film that I've done but it's not like I when Josh and I first started talking about this film I guess you know I just didn't realize how big it was gonna be you know like I honestly was like this is just like it's like uncut gems or like good time like I kind of approached it in the same way as that I just felt but period so I was like I knew it was going to be a little bit bigger I didn't know how much money it was going to you know I didn't really know but knowing how kind of scrappy we are like I was like we're gonna make it work I'm just gonna get some vintage clothes and figure it out and like whatever and then I think that um you know like in the beginning beginning and uh I kind of didn't realize until I read the script because I would get updates from Josh and I in little bits of the script but I over the years but I don't think it was until I read the full thing and I was like oh this is like it's a big I think that I'm like Josh how much better like how big is this movie gonna be you know I didn't really and have no until I got an idea about the budget that I was like okay this it's going to be a lot of this is a lot of people there's this is a lot of people um so yeah that's when it kind of changed but i know it's a period piece and i want to talk about that element of it but the obviously the music is 80s like a lot of 80s not all but i love the soundtrack so much that guy got robbed who did not get like best score whatever i did this is I text him often because it makes me so upset.

32:28I think about him almost every day because he was, he's part of the, he's, I just feel, I feel like a part of Marty team is missing without him. Daniel Lopatin, is that how you pronounce it? Yeah. Daniel Lopatin is like a genius. And the fact that he did not get nominated for an Oscar is like fraudulent. I'm so mad about it. It's so good. I am so upset about it, too. I think that he was completely robbed. I thought for sure he had it in the bag. I thought it was me and Jen that were like, okay, we don't know. You know, I didn't think that, please. Yeah, but like, I thought for sure, Dan. Like, when we were on this press store together, we were on week time call each other in the band.

33:19It was like me, him, Jen, you know, it's all the department heads because Joc and Timmy, like they're on their own press tour. But we were on our own press tour for a month and we were on the road together and we always just we're like a band. And so we were like, it was so fun. And we spent a lot of time together and every night we would do these Q &As and we'd fly all over the world. And it was just so fun. And I, I just, I, he's so special. He's also someone that I've known since good time. We've been working together for 10 years. So even also throughout the process, I think that's why we're so intertwined.

33:55I think Josh is really good at putting everyone together and we're all friends and we work together. And even while we're shooting, I'm talking to Dan, he's coming to set. Like we all kind of have this symbiotic relationship that I think also makes the film so special. like he understands or like he we talked about even there's a a song or how he would play like even when he was editing and that's when timmy's running down the streets on the lower east side like he would play me this music that and be like oh he's like this is how i feel when i watch this like how do you feel you know and it would be i don't know it's just yeah it makes me upset that It makes me really upset.

34:37We're really close. Well, he was robbed, but you weren't. And hopefully by the time this airs, you will have won. Won an Oscar. Spring starts at the Home Depot, and we are bringing the heat to your backyard this season. Fire up the flavor with our wide variety of grills for under$300, like the Next Grill four-burner gas grill that's perfect for hosting your spring cookout. Then set the scene and turn your outdoor space into the go-to spot the patio sets for every budget. Bring it this season with grills that deliver flavor and patios that set the vibe from The Home Depot. Start your spring with low prices guaranteed at The Home Depot.

35:14Exclusions apply. See homedepot.com slash price match for details. Protein is now at Starbucks, and it's never tasted so good. You can add protein cold foam to your favorite drink or try one of our new protein lattes or matcha. Try it today at Starbucks.

35:35I think with costume design, the costume design category, it often is period that gets nominated or recognized. And for me, as a viewer, like it's interesting because this is a period piece, but it feels so it feels more than that of what you did. It doesn't just it feels like, I don't know, more connected to culture in a way. And that's what I think is so interesting about your work. But I personally am always fascinated with the like normal clothes, wardrobes. And how do you make that feel? Tell help tell the story when it's just contemporary times or whatever, like the Oscar Isaac's new balance and scenes from a marriage like that is that cuts to the bone for people who are in their in their 40s.

36:25you know yeah I don't know there's just something um like very um personal about it but have you done period before and what was it like working with Josh and doing a period and period piece and like well how is it different from Uncut Gems or or any of you've done you've done a few with him right what i find so interesting and it's something else i reflect about is there's something about my relationship in the films that i do with josh uh that have this like cultural relevancy that i can't really i don't know if it's new york i don't know if it's the characters i don't know story and how we combine our creative forces to to make this film where it just it feels very um it's it's interesting to me it's something to be studied I think about it you know of like why like even in this one it's a it's a period it's 1952 but it's also yeah it has almost this nuance to it that's like and I don't know maybe it's me I mean maybe it's like how I do the details and like the in how I create a character in these films.

37:50But I find that part really interesting to me that somehow there's like this cultural relevancy where it's like in other costume films, you know, and I hadn't done, you know, you don't see it in the same way, like in terms of other periods or films. But I did one period film right before Marty called The History of Sound with Paul Mescal and Joshua Conner. Yes. That her, some reason, I don't know why I think it's a beautiful film in what you can for it. And I don't know why it hasn't gotten a lot of love. I love that film. 1917 to 1927 was the time frame. So it was interesting for me to do that period right before Marty.

38:40So I did that in the spring. I did in the fall. So, but before then, I hadn't done a period film because there's something that, you know, it's like you want to be authentic to the era. You also want to create a character that feels real. I don't know. For me, I think that's one of been my biggest issues with period films, you know? I mean unless the goal is it for not it not to be historically accurate you know I mean there's so much talk about withering heights I haven't seen it yet but um I don't know what the answer to the question is but like really I mean just in terms of yeah I don't know I'm just thinking about period film in general and how it's just a choice that you make and I guess for me I mean, in the films I've done with Josh, it's a we have to we're very it's like we pride ourselves in being super authentic to the to the period of the film, the time period, even Uncut Gems was a period film that was shot.

39:55And it was supposed to be set in 2012 when we shot in 2018. So, yeah. You know, slight period. Yeah. so how do you think you're able to sort of be authentic to the period but make the film feel culturally relevant for now because that's I mean that's obviously a lot of Josh but like you also do it through the clothes like obviously uncut gems there's something just so there's something very um urgent about what you do and I think the way you dress generally like I assume you wear a lot of vintage but whenever I've seen you out I saw you at I was actually a desert vintage one day a few months ago and you were shopping for an event or something I think you bought like maybe an alaya dress oh you were there that day I was shopping in December with lynette lynette was there i was downstairs trying on coats oh no way yeah no i that was i was shopping for the uh premiere for the new york oh cool yeah i would panicking and i'm shopping with lynette who's like the best and worst because she makes you buy everything enabler yeah um but like how do you think like what is it i don't know if you could pinpoint this but what is it that you do that you're able to sort of get to the bone of what, like the human, no matter what the period film or what the period or what the time or whatever, like what is it that you pinpoint in your research or the way you operate that you think is like, does kind of get to that, like almost a little uncomfortable place, which is what all the Safdie films in particular about anyway.

41:51But there's something like very exposing about the way you dress people in these movies. It's tough because that's what I always think about. Like, why is it? What makes my films? And a lot of people say that they look it looks contemporary. But I think it's only because of how I dress them to be, even though they are all in full vintage. Maybe because I were full vintage all the time. I think that maybe I don't know. I'm kind of an observer of the world and I'm an observer and I travel a lot and I constantly am studying just like the everyday life of people. And I think something I always trying to implement in my characters is just this kind of like rawness or realness that makes someone real in that sense of like, you know, not everyone's perfect.

42:49and everyone has isms and how do we reflect those isms into how they're dressed because every no one's normal and like I think that I I love finding those little things about people and highlighting them to create to make them real because I think that's what makes you have empathy towards a person is that you understand that they're not this thing that you think about and i remember specifically for timmy uh that he was a challenging character for me only because it was tough to find those things that make him that give you especially with his character i wanted to make sure that we have empathy like how can you have some sort of like empathy for this character and make him feel like this rawness that you don't feel like when you see him you know I just think about even him day to day and like how we view celebrity culture and actors but for me like I see them as people and I I wanted the world or the audience to also feel that way that he's just a kid like he's just this like you know and that he's he has he's you know and I don't know I think people put actors on pedestals and I don't really understand it because to me they're my co-workers like they're very much like hey hey how's it going like they're like my co-workers and so I've never really we just have different jobs and theirs are just in front of the camera and mine it's not and so I but I find And maybe once I work with people, I kind of start understanding who they are as people.

44:36And I try to. Yeah, I think it's mostly like personality, finding those little things about who they are because I meet them. It's really interesting. Jen, I meet I meet these actors or non-actors. I prefer non-actors. I prefer people who don't have a lot of experience because they're more raw and real and they're they have their they put their kind of heart and their insecurities on their shoulder. it's like they come and they meet me and i'm like what are you most insecure about let's talk about it tell me about what you don't want people to know about you and then let's talk about why we can we can are like how we can put that as part of your character into this film and be and so that those are kinds of things that i then report back to josh and i'm like okay this because he's like how did the fitting go what was you know how are they i always have to report i mean i think that's a big part of I report back to the directors always after the fittings and you know I think it's just finding those things finding finding these like little elements about who they really are yeah no I mean there is the a question that kind of comes in maybe this is hair and makeup and not costume but like Nomi Frye who I obviously know the red lip that she wore in the film like that's she wears a red lip and so I was curious like did they decide to give her a red lip because she's comfortable in a red lip or was it something else like it's just one small example like how that decision was made her red lip was based off of one it's like okay we figured out that she's gonna probably wear like she's a secretary she's gonna wear a darker suit we talk about it for everyone because after they see me they go up to hair and makeup or vice versa and they have a general idea if she's wearing a hat which she was which is she have glasses what are kind of all the contributions to her character but i think for her specifically i remember talking about this um i it brightened up her face but also because she's kind of in like this you know she's wearing black or she's wearing dark brown i remember she had two suits she actually had a few outfits we had we tried a bunch of stuff on her and um it's you know it's something that we're like let's you in that era that would have been appropriate to probably would have had a lip on probably would do red that that was you know this era appropriate it looked like and it looked like her and now i mean i guess that's like comes back to this idea of like casting the right person um i think i think my last question for you is what are you excited about wearing right now like in your real life Like what, what brands are you seeking?