Variety Streaming Room: Television FYC
Editors and production, costume and hair and makeup designers from “The Crown,” “The Queen’s Gambit” and “Bridgerton” joined Senior Artisans Editor Jazz Tangcay in this Variety Streaming…
Editors and production, costume and hair and makeup designers from “The Crown,” “The Queen’s Gambit” and “Bridgerton” joined Senior Artisans Editor Jazz Tangcay in this Variety Streaming Room presented by Netflix: Crafting the Past Panel to discuss the creation of period dramas and the ways in which they bring new life into old stories.
Panelists included “The Crown” editor Yan Miles and VFX supervisor Ben Turner, “The Queens Gambit” costume designer Gabrielle Binder and production designer Uli Hanisch, and “Bridgerton” costume designer Ellen Mirojnick and hair and makeup designer Marc Pilcher.
Pilcher said that while “Bridgerton” is a period piece, the crew is interested in adding in other influences to tell the journey of each character.
“We know now that Queen Charlotte was of African descent,” Pilcher said. “In the times of that period, when she was painted in portraits, she was just painted in the wigs of the time, like everyone else. So I wanted to create her look for her, and bringing in those elements of locks and textured hair into her wigs to celebrate her African descent, rather than just copying the looks of the time.”
Costume designer Ellen Mirojnick did not want to create a bonnet show. The idea was to create another world with the stories and characters. “It was about the lushness and the luxury and the sexiness – a modern twist but also accessible to a young audience, a new audience.”
Binder provided insight as to how the costume department for “The Queen’s Gambit” weaved in the designs of the chessboard into Anya Taylor-Joy’s outfits.
“There’s a lot in the sixties that goes hand in hand with chess, with the geographical sculptural simplicity,” Binder said of her designs.
Speaking on the difficulty of recreating a mid-20th century Buckingham Palace in “The Crown,” Turner noted that the best type of visual effects are those that go completely unnoticed.
“It’s much more about sort of fading into the background rather than being front and center,” he said.
Editor Yan Miles broke down his craft on “The Crown.” Miles spoke about working on perhaps one of the most famous moments in history – the “Fairytale” wedding of Prince Charles and Lady Diana.
The episode did not show the momentous occasion, instead, Miles explains how he weaved Archbishop of Canterbury, Robert Runcie’s voice into the sequence that features in this season of the royal drama. “I stumbled, by pure luck on his voice, and it was extraordinary. He had this monologue post-wedding and it was meant to be. I entered his voice into the final montage,” Miles says. It was meant to be.
Watch the full video above