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Friday, October 11, 2024
Saturday Night Was a Dream Come True For Costume Designer (and 'Late-Night Nerd') Danny Glicker
LateNighter: Danny Glicker thought he was done with the ’70s. The Oscar-nominated costume designer was wrapping up work on HBO’s The Sympathizer—which takes place near the end of the Vietnam War—when he got a call from Jason Reitman that would transport him right back to 1975.
I loved reading this piece because of the amount of thought and dedication that was evident. Mr. Glicker said something that really resonated with me: “we had a trademark for every single character.” When I read that, I understood what he meant. When world building for a show, each character or space often has something that is their signature, that makes the audience know immediately that it’s them. Often it’s a subtle element, but it makes the person distinct and is a tangible piece of their identity. Another thing he said that clicked in my brian was it being about embodying the character’s spirit, not reducing it. Often entertainment tends to simplify and rely on shorthand, but that doesn’t work if it cuts out part of a character’s personality. His point was that you have to create a trademark that is authentic to the character, but not oversimplify and reduce the character as a person. To me, it seems to be about distilling down to the character’s essence and showing that in a tangible way, but making sure not to take shortcuts.
I absolutely cannot wait for this movie!!! I think I am going to see it on Tuesday. There is something so cool to me about capturing an era through wardrobe- and am so entranced by the color palette, silhouettes, and overall visual throughline created for the characters via costume. “I love the idea that when we see them together, they are seeing each other through a mirror. They’re seeing each other as kindred spirits, as equals.” The idea of relating the characters, and thoughtfully tying their looks together to signify their relationship, is genius and important. This aspect of styling truly gives vital audience insight into the characters, and further develops the story. The photographs featured in this article also give amazing context for what the writer is talking about, and I appreciate the depth that this interview provides into the process and thought for each character and their story.
I was intrigued by the opening statement, "Danny Glicker thought he was done with the '70s." In today’s world, one might assume that classic retro styles have lost their appeal, but in fact, they’ve become a niche that continues to captivate audiences. The cultural history behind these styles adds depth and allure. Danny’s meticulous approach, creating a detailed “book” for each character, highlights his dedication to world-building, ensuring every costume not only captures the authenticity of the era but also embodies the character’s essence. I’ve always believed that costume designers for film and theater tell stories through their clothes. Unlike traditional fashion designers who simply create beautiful garments, costume designers craft pieces that serve a narrative purpose. Glicker’s attention to detail breathes life into the chaotic, thrilling moments of television history. What’s most striking is how he imbues even the smallest items, like Lorne’s denim shirt, with meaning, making each garment not only visually compelling but symbolically rich.
This article really highlights the job opportunities that connections grant you in the world of theater. The more people that you are able to build a relationship with is equal to the same amount of times your name might be brought up to work on a project. Then you'll possibly get opportunities you might never have imagined. In Danny Glickers case he truly believed he was done with the seventies until his friend proposed doing Saturday Night. The article details his process in analyzing and styling all the characters making sure each of their personalities stood out on camera. You can tell he finds the research process important and works to bring authenticity to the screen characters. He says that each character needs to have a signature style so viewers can immediately recognize each one independently. Overall he gained this job through connections but went in knowing the time required to create a beautiful world with eccentric characters.
I truly enjoyed getting into this designer’s head through this article. I especially like the part about the bee costumes, and how they had to make them have the less-than-perfect quality of early SNL, but that took a tremendous amount of skill and was done by artists who could have produced much more perfect-looking work if that were the goal. I love getting to hear about all the research that went into this as well. Any artist loves to work on something that happens to already coincide with their particular interests or favorite rabbit hole to get into, but there is still infinitely more to be learned when it’s time to actually put it together. It sounds like a true challenge to have to authentically represent these characters/ real people based on what they wore and who they are, but also to create something that is visually cohesive and also rife with visual metaphors.
5 comments:
I loved reading this piece because of the amount of thought and dedication that was evident. Mr. Glicker said something that really resonated with me: “we had a trademark for every single character.” When I read that, I understood what he meant. When world building for a show, each character or space often has something that is their signature, that makes the audience know immediately that it’s them. Often it’s a subtle element, but it makes the person distinct and is a tangible piece of their identity. Another thing he said that clicked in my brian was it being about embodying the character’s spirit, not reducing it. Often entertainment tends to simplify and rely on shorthand, but that doesn’t work if it cuts out part of a character’s personality. His point was that you have to create a trademark that is authentic to the character, but not oversimplify and reduce the character as a person. To me, it seems to be about distilling down to the character’s essence and showing that in a tangible way, but making sure not to take shortcuts.
I absolutely cannot wait for this movie!!! I think I am going to see it on Tuesday. There is something so cool to me about capturing an era through wardrobe- and am so entranced by the color palette, silhouettes, and overall visual throughline created for the characters via costume. “I love the idea that when we see them together, they are seeing each other through a mirror. They’re seeing each other as kindred spirits, as equals.” The idea of relating the characters, and thoughtfully tying their looks together to signify their relationship, is genius and important. This aspect of styling truly gives vital audience insight into the characters, and further develops the story. The photographs featured in this article also give amazing context for what the writer is talking about, and I appreciate the depth that this interview provides into the process and thought for each character and their story.
I was intrigued by the opening statement, "Danny Glicker thought he was done with the '70s." In today’s world, one might assume that classic retro styles have lost their appeal, but in fact, they’ve become a niche that continues to captivate audiences. The cultural history behind these styles adds depth and allure. Danny’s meticulous approach, creating a detailed “book” for each character, highlights his dedication to world-building, ensuring every costume not only captures the authenticity of the era but also embodies the character’s essence. I’ve always believed that costume designers for film and theater tell stories through their clothes. Unlike traditional fashion designers who simply create beautiful garments, costume designers craft pieces that serve a narrative purpose. Glicker’s attention to detail breathes life into the chaotic, thrilling moments of television history. What’s most striking is how he imbues even the smallest items, like Lorne’s denim shirt, with meaning, making each garment not only visually compelling but symbolically rich.
This article really highlights the job opportunities that connections grant you in the world of theater. The more people that you are able to build a relationship with is equal to the same amount of times your name might be brought up to work on a project. Then you'll possibly get opportunities you might never have imagined. In Danny Glickers case he truly believed he was done with the seventies until his friend proposed doing Saturday Night. The article details his process in analyzing and styling all the characters making sure each of their personalities stood out on camera. You can tell he finds the research process important and works to bring authenticity to the screen characters. He says that each character needs to have a signature style so viewers can immediately recognize each one independently. Overall he gained this job through connections but went in knowing the time required to create a beautiful world with eccentric characters.
I truly enjoyed getting into this designer’s head through this article. I especially like the part about the bee costumes, and how they had to make them have the less-than-perfect quality of early SNL, but that took a tremendous amount of skill and was done by artists who could have produced much more perfect-looking work if that were the goal. I love getting to hear about all the research that went into this as well. Any artist loves to work on something that happens to already coincide with their particular interests or favorite rabbit hole to get into, but there is still infinitely more to be learned when it’s time to actually put it together. It sounds like a true challenge to have to authentically represent these characters/ real people based on what they wore and who they are, but also to create something that is visually cohesive and also rife with visual metaphors.
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