edithhead:“I jumped out of my skin when I read the script … I can’t even explain the excitement that
edithhead:“I jumped out of my skin when I read the script … I can’t even explain the excitement that I had, because as black and brown people of color we are rarely represented in this way—in sci-fi or alt-universe or dystopian. It’s just so fresh and it’s so unique, and I was completely in love with it because it was just this mind-bender of a creative opportunity that I wanted to be a part of.From Black Panthers to Black Lives Matter, from #MeToo to everything under the sun that’s going on in the LGBTQ community, I dug deep; a lot of research through articles, newspapers, visual imagery … [Research is] the time of discovery; it’s kind of like you’re an attorney and you’re deep diving for all the factual information [to make your case].Boots [Riley] being from the San Francisco-Oakland area and basing the story in Oakland, I wanted to make sure that I was true to the story and utilized all the resources that were available to me in Oakland [and nearby San Francisco], to make it as authentic and as real as possible. … I sourced and shopped the majority of the costumes/looks for our characters from several local vintage boutiques, thrift shops and stores throughout the area, [and] took the time to also rework and redesign, paint, dye and distress a few costumes as well. I felt it was important for me, in cultivating a true dystopian-yet-unique style, by sourcing and shopping within the area.In short, I needed to keep it local. This was paramount in breathing life into each character’s costume and their authentic yet unique style … I didn’t want it to be a “hip” vision of Oakland, but a manifestation of crafting a character’s look, with each having a signature statement.”— Costume designer Deirdra Elizabeth Govan on Sorry to Bother You (2018) dir. Boots Riley -- source link