Hello ladies and gentlemen, your pal Muldoon here with a rather rich interview with CAPTAIN AMERICA: CIVIL WAR Costume Designer, Judianna Makovsky. Now as CIVIL WAR hits Digital HD this Friday (September 2) and explodes on VOD, Blu Ray, DVD, and more next week, chances are you'll be seeing a flood of news promoting the film on various sites/TV shows. Typically you'll get interviews with cast and directors, so when the opportunity to speak with the film's Costume Designer arose I just had to jump at the chance. While the Art Department is the bulk of what you look at visually in a given film (props/set dec/construction/etc...) costumes are immensely crucial. If you have a beautifully designed set for a scene that's being shot by the best DP in the business, but the costumes don't pop (or pop too much) then it takes the viewer out of the story, which I think any person can agree is numero uno. The story is the most integral part of any film, TV show, or play, so every person, department, and decision has to be "what's best for the story?" With Judianna's extensive and impressively evergrowing list of films under her belt, it's no shocker that she was able to create such badass looks for these characters we've all come to watch while consistently delivering looks that serve the given story. She's led the charge with costumes on THE HUNGER GAMES, HARRY POTTER AND THE SORCERER'S STONE, WINTER SOLDIER, CIVIL WAR (clearly), GUARDIANS OF THE GALAXY 2, and more... The lady knows how to make slick styles that push a film to another level, so it was a genuine treat to speak with her and I'm thrilled our schedules aligned for those brief (like 10? 15?) minutes where I got to pick her brain. I appreciate her taking the time to chat and look forward to seeing what she continues to do with the MARVEL world and beyond!
JUDIANNA MAKOVSKY
Hi Mike.
Hi Judianna, how are you doing today, ma’am?
I’m good. Good morning.
Well I know we don’t have that much time, so I’m just going to jump on in if that’s okay.
Totally okay!
My first question is in regards to the look of different superheroes and how the fans out there have come to expect almost two opposing things, one being that they get to see the outfit that’s become synonymous with each character throughout the years, while at the same time wanting to see something new, something that’s been updated with each film where it’s almost implied that you’re going to change something with each new movie. What’s the process like for you in making those changes where it feels fresh while not bastardizing what’s come before?
With all the superheroes I work very closely with Marvel and everything… Marvel has a vision of where they want these characters to go, because they know how many movies are coming down the road after each one. It’s kind of a fun plan how this works, but everything… even though it’s a change or an upgrade you kind of learn from what worked before and what didn’t work, so that’s always one reason why we changes things, but it is all taken from the comics, so that it’s not just coming out of left field somewhere. I mean some of it is story based why they change close, like with Scarlet Witch, but for Captain America, not only is it upgrading for upgrading, but to sort of keep it within that comic world. Really a lot of it for me is “What’s working?” or “What’s not working?” Marvel is one of the few companies, with their franchise, where you have that luxury to make it better and get the opportunity make it better.
Specifically with CIVIL WAR, if you had to pick one character… in fact I’m asking you to… (Laughs) Which singular character/design did you enjoy creating the most?
Well that’s hard, because they’re all so very different and they have… Certainly Panther as a challenge, because it’s a new character and trying to get it to actually translate on film without looking goofy. I think that’s the challenge of all of these, “how to make these things so they’re not silly” and you can actually believe that that character is a real person. I have to say I think Panther was probably the biggest challenge in the film.
In that he wouldn’t look like a mannequin in a rubber suit, but an actual badass with a practical outfit?
Exactly. That’s exactly right, and also just for movement. The nuts and bolts of making movies is “how do you actually get this thing to work and do all the things it needs to do?” A lot of it comes down to practicality and making these things work, but having a man basically in a cat suit… (Laughs) You know?
And actually look cool in it!
To make it not sound silly. I mean that’s always the first thing I say, “don’t make them look silly.” The job is to make them look legitimate, so you believe they are heroes. So that’s kind of the starting point.
It does seem like a lot of the Marvel designs, especially with GUARDIANS OF THE GALAXY and CIVIL WAR, it looks like the designs have a bit of playfulness to them. They’re bright. They’re not overly dark and grim.
Yes, also each director has their own vision. When we did WINTER’S SOLDIER, it was definitely a change from other Marvel films. It was darker. It was grittier. It was more realistic. It was all based in tactical clothing, because with the Russo Brothers that’s what they wanted. Then you look to something like GUARDIANS OF THE GALAXY where James Gunn really loves color, so it’s so exciting. Each one does have its limits, but it is a comic, you know? It is a comic and they should be playful and fun. I mean there’s people flying around in funny costumes! (Laughs) It’s all there to have a good time.
It must be some kind of balance making the absurd not feel absurd. Taking it back a step, say you sign on to a given movie. You say, “Okay, cool – I’ll do this one.” You start. You read the script. Then what? Before anyone sets foot on a set, what do you do?
It always starts with the script. Everything has to make sense as to why these characters do what they do, why they wear what they wear, where would they get those clothes… I mean it’s really working very closely, and on these films much more than others, in a collaborative way with a million different departments. I work very closely with the Production Designer, very closely with the Director and their vision. It always starts with that, but then you work with the Production Designer, you work with Set Decoration… “What are these people sitting on?” “What color is the sofa?” Things that simple are important. Working with Makeup and Hair… Stunts “What does Stunts need?” Visual Effects. “What does Visual Effects need?” It’s this whole process of collaboration for everybody to come together and figure out how you produce even just one frame of film. That’s kind of it, but really it’s about “what makes sense for this story.” It doesn’t matter what happened in another movie, as it’s “what works for this film?” That’s always where we start.
Definitely seems like you take in a lot of input from multiple departments.
Oh yeah, I mean film in general is a collaborative art. You’re working with actors and of course everybody has an opinion. At the end of the day its on me to pull it all together and kind of make it work, but you know especially on a high concept film like Marvel films, you do have to accommodate for Visual Effects and Stunts and whatever, so you may have a vision in your head or a concept, but it may not work because of the physicality of the movie. I find these films as so much fun, because of the collaboration. You work with departments that on other films you would never work with, and I get to learn a lot with the different technologies and all of that. It’s not just about “you go out and you buy a T-shirt.” Even if it is a T-shirt, we typically end up making it. (Laughs) Even with contemporary clothes we actually make them. Sure there’s some shopping involved, but not a lot.
Broader question, but one I’m curious about…. You’ve worked on DICK TRACY, THE LAST DAYS IN THE DESERT… You’ve pretty much done everything is my point, so I do think Directors and Producers would be lucky to have you onboard, but what attracts you to a given project? I assume you have an agent who deals with all sorts of potential job offers, but what do you look for and say “Okay, let’s do this.”
You know a lot of it is not only the story, it’s not necessarily about what kind of clothes they are wearing. A lot of it really is about the collaboration. “Who is the director?” “ Who are the actors?” “Who is the rest of the production team?” Particularly with LAST DAYS IN THE DESERT, honestly that was a director that… That director used to be a Camera Operator for Alfonso Cuaron when I worked with Alfonso and then Chivo… When they said “Oh Chivo is going to this for nothing. Would you come do this for nothing?” It’s like “Well if Chivo is going to do it, I’m going to do it. I don’t care what it is. I just want to work with the best DP, a guy I haven’t talked to in a while and we have a good time.” And the Production Designer… “Oh, Jean is going to come” and she’s one of my best friends, so I’m like “Okay, why not?”
Also… Bonnie Curtis as a Producer doesn’t hurt either!
Oh of course. “Ewan McGregor, he’s pretty cool.” A lot of it is “Who am I working with? What will this experience be like?” Some times I’ll find something like “It’s set in the twenties and I want to do twenties clothing,” but mostly it’s “Who am I working with? What is the experience going to be like?”
That’s fair. Looking at the fact that you have done so many projects, is there a film that you look back on and you’re incredibly proud of but it just never really found its audience? Perhaps something you poured your blood, sweat, and tears into, but not many people saw in order to appreciate?
It’s funny you should say that. I was just talking to my crew the other day and I have to say the visuals on THE LAST AIRBENDER. I know people didn’t like the film, but it is so beautiful. My crew… everybody… We were so proud of the clothing. The Production Designer was so proud of the sets and I think the reviews made it where people wouldn’t look at it, but I have to say that I am really proud of that work. It was one of those rare opportunities where the Production Designer and I really got to create the visuals of that film.
It did have quite a few practical sets, rather than completely green screen.
It was beautiful. Everybody walked on set every day like “Wow, this is so pretty” and I have to say another one also, THE QUICK AND THE DEAD, a western I did a long time ago… Every day we would look at those dailies, everyone, and you had the most amazing Director of Photography and everything. It just worked. It was fun and the actors were great. I have quite a few of those actually… THE LEGEND OF BAGGER VANCE… but you know, one of them that I’m really proud of is THE LITTLE PRINCESS, which was done with very little money and it is a beautiful movie.
I’m always curious with people who have reached your level of experience, when you were first starting out in this business was there any kind of person who believed in you or “gave you your shot?”
Absolutely. I was lucky to have two. One of which I was Assitant to Milena Canonero who is one the most famous costume designers. She did BARRY LYNDON and worked with Kubrick. I worked with her on DICK TRACY and she was the one who really gave me a real start to moving on and designing by myself. I worked my way up with her, but before that my teacher at Yale Drama School, Jane Greenwood, who was my teacher… I immediately went to work with her on Broadway and TV as soon as I got out of school. She’s the one who introduced me to Milena Canonero, so I was very lucky to have these two very famous, very strong designers believe in me and push me out the door to do it myself. I owe a lot to both of those women.
Sadly, I think that is about all the time we have now. I appreciate you taking the time and wish you nothing but the best.
Okay, thank you so much! Good questions. Thank you so much. Have a great day.
Have a great rest of your day.
Bye!
That's it, ladies and gents - a bit of insight into the creative mind behind CAPTAIN AMERICA: CIVIL WAR's costumes. I have a strong suspicion if you're on this site (or have read through the above interview) that you've likely seen the film and already know if you're going to purchase it or not. I found it facinating and would go as far as to say it's my favorite of the MARVEL films, followed closely by WINTER SOLDIER, GUARDIANS*, and IRON MAN 2. Solid film from solid filmmakers like Judianna. Thanks to MARVEL/Disney folks for setting this interview up. I'm a fan of hers and look forward to what she creates next!
- Mike McCutchen
"Muldoon"
Mike@aintitcool.com
