So what does that mean? I wanted to make him a little bit more militant. I wanted him to take on a much more serious light. He's taken this role very seriously and he wants to do it justice here. This time, he's definitely hardened a little bit. Mack has always been someone that's like the big sensitive type but also a force on the team. Whitney Galitz: The biggest transition in terms of the costumes for the main cast would be Mack since he's in this new role as director. : Pivoting to the rest of the team - Mack's now director and S.H.I.E.L.D. I wanted to make it feel like he’s someone who is a force to be reckoned with, as well so something threatening, but also weary at the same time. I wanted it to look like he has seen so many things, like he has been around the block. I also conjured a lot of inspiration from "Mad Max." I felt like it was kind of symbiotic in the sense that he was a battle-weary soldier, taken out of his element and forced into this role. I wanted to make sure that it looked like they had been on the road for a long time. I wanted it to be, these guys travel from planet to planet over years and years of chasing after something. I wanted to play with texture and different layers basically. That’s why we did the more shaved head look. Whitney Galitz: It does, and in early discussions with Clark, we wanted him to be pretty rugged-looking, have the five day old scruff and more of a militant hair style. : It’s really cool because when we look at Clark, we’ve always seen him in a suit and tie, but this rugged soldier also really fits him. team, which is more futuristic and more edgy. I wanted to bring in that kind of dystopian look but also sci-fi, kind of the exact opposite of our S.H.I.E.L.D. They’ve been traveling through space and time for a very long time. The idea was that these people were battle-scarred, battle-weary. Because they obviously aren't’ from Earth or any planet that we know. Whitney Galitz: That was a lot of discussions with Mo and Jed, discussing the character and who Sage was, where these people came from, how they were conjured up, and what universe they’re from. There’s a point where Sarge looks at a pair of Aviators and was like “Nope, not for me.” How did you come up with a look that’s pretty much the opposite of Coulson. : Now on the flip side, Clark Gregg’s back but he’s not Coulson he’s Sarge. We decided to go a little bit more in line with "Marvel's Agents of S.H.I.E.L.D." and doing something a little bit more sci-fi. We wanted to go with an ultraviolet, really powerful, strong purple that works on camera as well as "Marvel Rising." "Marvel Rising" is not quite so ultraviolet it’s more of a true purple. That’s when I started working with different sizing on the printed panels and doing different shading so blacks with the grays and the silvers and adding the purple. I wanted to add some more depth for Chloe to look better on camera with, and add some dimension. Like the lines on the bodice of the suit, that kind of coincides with the "Marvel Rising" Quake and bringing in the harness aspect. And then, through our collaboration, we came up with a few other things. That was always something that was going to happen. We always knew we wanted to do the purple, gray and silver palette. It started with me doing what I wanted to do with the Quake costume updating it, but not taking away any of the iconic elements really, just streamlining it. We went over elements of the costume that might be good to tie in. I got together with Joshua Shaw to discuss that because he worked on that series as well. Whitney Galitz: For Quake, this season, we really wanted to update the look and the silhouette a little bit, but also tie her designs from “Marvel Rising” and the new Quake for that series. : Tell us about the evolution of Quake for Season Six and what you really wanted to capture. also had the opportunity to have an in-depth discussion with Galitz about Season 6 looks for Quake, Sarge, as well as Mack and FItz.
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