Exploring Characters' Personas through Wardrobe: Interview with Costume Designer Colin Wilkes for 'The Big Door Prize'
Interview with Colin Wilkes, the Visionary Mind Behind The Big Door Prize Costumes
Hey there, we got Colin Wilkes, the talented costume designer behind Apple TV+'s The Big Door Prize in the house! Let's dive right in, Colin!
Spencer Williams: Hey Colin! It's a pleasure to finally chat with you. I've heard a lot about your work and have been eager to do this for a while. So, let's start with the basics - why did you get into costume design?
Colin Wilkes: Well, I grew up on a ranch in East Texas, and my mom wanted to get me out of the small-town life. So, I ended up going to Houston to a performing arts high school, where I discovered my love for costume design. It's all about creating characters and telling stories visually. I've settled into television and film, and that's where my home feels like now.
Spencer Williams: Small-town kids just dreaming of the Hollywood signs, right?
Colin Wilkes: Yeah, exactly!
Moving on to the exciting world of The Big Door Prize... What was your approach to establishing characters before the appearance of the Morpho machine?
Colin Wilkes: I really delved into each character individually, as they're all so different. It was a fun way to explore each character and their unique journey. For example, Principal Pat, played by the brilliant Ellen Burstyn, went all-in with her bike and custom bedazzled jacket. We could see her changes happening more outwardly and internally. On the other hand, Dusty, played by Lance Reddick, didn't undergo a significant costume change, as his character maintained a steady arc. The transformations varied for each character, depending on their life trajectory.
Spencer Williams: That's fascinating. With multiple characters evolving at different paces, it must have been challenging to balance the focus on each one.
Colin Wilkes: Yes, absolutely. It required a lot of attention to detail and paying equal care to each character. We wanted to ensure our background characters were equally well-developed and that the small-town texture was believable.
As the Morpho machine appears and the characters start to understand their potential, there's an element of fantasy. How did you then transform the characters to reflect this?
Colin Wilkes: We used a mix of realism and creativity to strike the right balance. We had some character-defining costume gags, but overall, we aimed to make the characters relatable and grounded. Each character had their quirks and colorful aspects, but there were still elements of reality to maintain the believability of their transformations.
Spencer Williams: The show feels quite timeless - you can't really pinpoint a specific location or period. Was that intentional?
Colin Wilkes: Absolutely. We wanted the show to feel like it could happen anywhere, inspiring a sense of wonder and freedom. Coming out of Covid, people were uncertain about where they fit in and what their next steps would be. Keeping the costumes timeless was crucial to reflecting that sense of uncertainty and exploration.
With gripping color palettes featuring blues, purples, and reds, color played an essential role in this project. How did you make that choice?
Colin Wilkes: We wanted to use color sparingly, creating a tight map of what each character wore. For instance, Mr. Johnson, played by the charming Harold Perrineau, had a palette of pistachios and warm yellows that called back to the 60s and 50s. As for the Morpho-inspired "Morpho blue," we saved that for special moments to make it truly pop.
Now, let's chat about a few characters... First up, Dusty, who struggles to comprehend his potential. How did you convey this through his costumes?
Colin Wilkes: Dusty, played by the hilarious Lance Reddick, had a down-to-earth look, with color-blocked shirts, sneakers, and friendship bracelets, hinting at Cass's style. His windbreaker and basketball jersey were symbolic of his past and present, respectively. As Dusty's character develops, the costumes may reveal more about his journey.
Spencer Williams: I can't help but see a bit of my dad in Dusty - such a relatable character!
Colin Wilkes: We aimed to make Dusty relatable, just like a dad from a small town.
Our leading lady, Cass, discovers her potential as royalty, and I was excited about exploring that through her costumes. Tell me about your thoughts on Cass.
Colin Wilkes: Cass is on a journey of self-discovery, embracing her vibrant colors and patterns as her life potential unfolds. We used red dresses, oversized wool textures, and more to show her evolution. The stunning blue gown she wears is a testament to her newfound identity, worthy of any red carpet event. It captured a strange balance of beauty and strangeness, which reflected her character's transformation beautifully.
Spencer Williams: The blue gown is absolutely breathtaking. I wouldn't mind seeing it at the Met Gala!
Colin Wilkes: We had so much fun creating that look!
Another character I love is Trina, who's dealing with her own personal struggles. I find her very relatable. Tell me about your approach to Trina's costume.
Colin Wilkes: Trina, played by the ever-talented Audrey Cummings, is a complex character. We aimed to reflect her internal struggles through her clothing, layering armor-like jackets and hiding beneath them. As her story unfolds, we reveal more of Trina's femininity, symbolized by lighter colors and a change in her silhouette. It's a beautiful portrayal of self-discovery and growth.
Spencer Williams: The balance between fantasy and realism in The Big Door Prize is incredible - there are moments where you have to pull back from the fantasy and bring it back to reality.
Colin Wilkes: Exactly. We always wanted to keep the characters grounded, making sure they were relatable and real, even while surrounded by the fantastical Morpho machine.
In terms of collaboration, how important was your team's input in bringing the big scenes, like Giorgio's, to life?
Colin Wilkes: Collaboration with the crew was vital. Our department had creative freedom, and we riffed off each other's ideas, creating a fun, organic process. Each costume meeting was filled with laughter and brainstorming, leading to those memorable moments at Giorgio's. We wanted every set piece to be a visual feast, bringing the small town's unique charm to life.
Spencer Williams: Collaborating with the talented cast must have been a rewarding experience, too. With individual stories to tell, how did you connect with each actor to truly understand their characters?
Colin Wilkes: The actors brought unique ideas to the table, with many ideas already developed by the time of fittings. The collaborative process in the fitting rooms was magical, with "ah-ha" moments revealing the perfect character. Each fitting was an exciting experience, as we discovered each character's voice and essence.
In conclusion, The Big Door Prize was an incredible experience. Working with such a talented team and cast made it a rewarding and fulfilling project. I'm proud of the work we accomplished and grateful for the opportunities it has brought me.
Spencer Williams: Colin, I can't help but feel inspired by the work you and your team have done on this show. Congratulations on a fantastic job!
Colin Wilkes: Thanks, Spencer! Let's grab a coffee sometime and talk more about the industry!
Spencer Williams: Absolutely! The Big Door Prize is available now on Apple TV+. Don't miss out on this fantastic series!
- The costume design for The Big Door Prize showcased a balance between the characters' real-life struggles and the fantastical elements introduced by the Morpho machine.
- Colin Wilkes, the costume designer, involved his team in the creative process, resulting in collaborative moments such as the memorable scenes at Giorgio's. The department worked closely with the actors to ensure each character's authenticity and growth were reflected in their fashion choices.
