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YEAR ONE

About The Costumes
Costume Designer Debra McGuire was delighted to tackle the historical elements for the story. "I don't know if we can top this,” she says about the experience. "For me, as a designer, it really gets very exciting and creative. It's been an adventure and exactly what I love to do most. I love to do research.”

Indeed, that research enabled her to provide a solid background for the actors' comedy. "I always find on doing these that the closer you get to reality, the funnier it is,” McGuire continues. "You have to let the comedy be the comedy. We can never try to make clothes funny and distracting.”

Just as the production design team envisioned a separate look for each of the film's sections, so too did the costume designer. "We divided all of the different periods by palette and color,” says McGuire. "What I try to do through every period is to do something with the palette that will resonate with the audience. We do that by having Zed and Oh experience an evolution in the creation of color and fabrics.”

The film begins with Zed and Oh in their primitive village. "We're dealing with leather and skins and beads in that period and we had to make everything,” McGuire says.

One of those costumes in this period was Zed's skunk pelts. "I think that was the most inspired costume – all the other hunters have bear hides and wolf coats. I just got my stinky skunk pelt. That's what Zed was able to hunt down and capture,” says Jack Black. "It says a lot about my character.”

"I've worked before with Jack Black and Michael Cera on different projects. That really helps me to understand the body language and the way they move – although I've never dressed them in skirts or skins before,” McGuire laughs. "They loved and embraced everything. They are so easy to work with because they really understand how important costumes are and I know that a lot of the primitive costumes were difficult because there's not much there. These are actors who never complain.”

In addition to costuming the main characters, the wardrobe department created outfits for 60 to 100 background artists as well. "Everything had to be aged and dyed. Everything in that period is all natural fibers and dyed so it matches the wheat and surrounding colors. Footwear had to be made from scratch. All the jewelry was made.”

The clothes also had to be functional for the main characters. "It's all tied together very primitively, but they do a lot of action in them,” notes McGuire. "We were sure to get these wonderful insoles to go inside the shoes and built around them. The costumes have to withstand the wear and tear, so we did do multiples for everything.”

From the primitive village, Zed and Oh soon find themselves with Abraham and his followers.

The costumes change, McGuire explains: "We see more wovens, stripes, head gear.”

With the new palette, McGuire took some liberties. "In reality, the people in this period had very minimal color. Color came from a shellfish – you'd have to have millions of fish to dye something blue. It would have been impossible for them to have used that amount of color that I used. Even though it's more fantasy than reality, we decided that their world would have a lot of color and would introduce the color blue to the film.”

As the film progresses, McGuire slowly opens the wardrobe palette. "The marketplace scene which is where all the cultures come together,” notes McGuire. "This is the first time that we see the melting pot of the world at that time, where we see silks and new colors and fabrics. By the time we get to Sodom, we have a all these magnificent fabrics and jewelry and a very opulent world.”

When Zed and Oh get to Sodom, they are introduced to a world of saturated reds, blues, and purples. The queen was outfitted in gold metal mesh and brilliant tu

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