I’ve used much more brown and blue and sort of more peasant wear and then from there we move to Kira’s castle, which is this fortress on the top of a snow peak mountain and it’s all blacks and silvers and purples and then we come back to Ako at the end.
It’s all fabulous and we move in the second act into the countryside. ROSE: Yeah, so in Ako, where we are now, it’s a beautiful place with lots of greenery. What’s the difference between your Ako at the beginning and Kira’s costume at the ending… Do a lot of the outfits change between different people with different settings in the film? We went for a bit of fantasy, and kind of ended up with what you watched today. We saw all the previous Japanese 47 Ronin movies and then we decided to give it a kick. ROSE: The start point is authentic Japanese eighteen seventy. It’s kind of a cheap trick.Ĭould you talk a little bit about the research you did and how you decided on the look of each of these costumes and how realistic they are versus how much liberty you took? The acko red, which is… you know, everything is abundant and floral and pretty and purple black for the villains.
So it just seemed obvious so make the Shogun gold. ROSE: That was a kind of Carl, Strove, Scott decision, that we would give them all a color identity and then when they were fighting we would know who was who. Those costumes look fantastic.Ĭan you talk a little bit about… How involved were you in the color spectrum of how some are red, some are gold… Question: Congrats on what we’ve seen from earlier.
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