Welcome to a very special
episode of "Couch Surfing." We're looking at the
nominees for the 2020 Emmys. And I'm here with Hollywood
costume designers, Sarah Evelyn and Lou Eyrich. Ladies, thank you so
much for being here. How are you doing? Good, thank you for having us This is great. Yeah. Are you both ready to take
a look at your nominated work? Yes, [INAUDIBLE]. Yeah, let's do it. Sarah, I heard that there was
a last minute palette change, and kind of sent
you into a tailspin, but you recover
ed very quickly. SARAH EVELYN: There was. It was a little
daunting at first, but you quickly
recovered, nailed it, and you've been
nominated for an Emmy. So there is no story
without a bit of drama thrown in for good measure. Yes. I mean I do think
that's true actually. It is sometimes
the drama that like helps make the best product. That's right. [INAUDIBLE] But, yeah,
there was, you know, I would say there
was like kind of like an inspiration or a
rethink once we really got into doing the fitt
ings. And yeah, the palette changed. And that it really
did mean that we had to double down on our concept. You went from what to what? [INTERPOSING VOICES] I was just saying
the year also changed. Yes. Oh. It want from '49 to
'48, which is difference. Yes, I blocked that out. It started with, it was a
golden age of Hollywood, so we started with
warm golds, caramels, browns, and moved into more of
like a harvest tone palette. So maybe pastels, and
then richer jewel tones. And so it changed from
that to
more of a dreamy, just purely pastel and cream palette. And I feel like it
worked really well. It did. I'm deeply happy for kind
of like the double down on the thinking
and the commitment to wait, what are we doing, and
how do we make it best we can. Which you know, I would say it's
like a Ryan Murphy specialty. Well, Ryan is usually
quite precise every time we start a show. And with Sarah and I,
he mentioned specific photographers, specific movies. And then specific clips and
scenes wit
hin that movie. Wow. He talked about the
cinematographer's tone and the production designer's visions. We looked at everybody's
boards, hair and makeup. We look at the wigs that Ryan
wants for specific actors. Sometimes Ryan'll
just be like, call me, we were on the on the
set of "The Prom," and Ryan called me over
to the monitor and said, I think I want to do
this whole pastel frothy feeling for the Academy Awards. And I've learned not
to question that, because he's always right. It's always spo
t on. I don't know how he does it. [DIGITAL EFFECT]
Comments
I wonder if we're related