Say it again.

This one is gonna be perfect.

Watches.

I am Tim Burton, director of Disney's Dumbo.

Calling Atwood, costume designer for Dumbo.

And this is notes on the scene.

You seen this?

I think this'll bring Dumbo to dreamland.

They go from the Medici little family circus to the big city and big dream land.

So, you know, it's it's like early version of Disneyland.

Really?

So this kind of shows the magic of the world.

At least people are seeing for the first time in their lives all this was was blue.

That was amazing thing.

We had the whole set which was untold Blimp factory.

All this was built, the gates were built, All this was built, All this was built way tried to build a cz many sets as we could because it helps me the actors makes you feel more like you're there.

So, you know, everybody can connect with the feeling and emotion, So yeah, obviously, for all the people, the actors, it was easy because stars are big parade.

All these people were really mean a lot of movies that it'll be fake, but this one had all had all the circus performers perform, so everyone was swept up into the whole spectacle of the place.

It's like kind of the first time you go to a place like your kid Disneyland or whatever.

You know, you see things in a heightened way, and I really think in that moment with the actors themselves, like Michael and and everybody, they were like, Wow, you really felt like in this moment on the movie you were working on something special, something that doesn't happen very often in movies anymore, that everything was really and you're in this magnificent kind of old.

Everybody gets into that energy, which is different if all this was green.

But I've done green screen stuff and you go insane because you you don't know what you're looking at.

You know you don't have any focal point.

And so it really does help everybody.

The balloons a red, white and blue.

But the costumes really are not.

I didn't use circus colors, traditional circus colors because I didn't want to.

It was really important that it had a patina to it, that it wasn't just those primaries which being really helped it also kind of off colors.

It's Dirty yellow, Dirty reds, Dirty blues.

And that was a really, to me, an important part of the design of the costumes for the film This'll Movie was very unusual for B in the sense is that the main character didn't really materialize until the very, very end, like about a couple of weeks ago.

So it's It's strange that you have all of this surrounding.

You have everything built.

You have all these amazing actors and they're all acting to nothing.

I think something that main characters, not there.

So it's a very odd thing t do because everything else is materialized.

Except for that.

And the one thing Tim did, I think that really helped the kids is he had a actual actor in a green suit that was Dumbo.

So for them, they had the perspective of distance from how far away Dumbo Waas and they could actually have something to react to other than just goes over there.

And he studied elephant movements and he did, you know, he really knew how to give it the flavor.

You know, it goes back to like great silent movie characters here.

You just get your feelings just from their eyes.

And that's what you know I love with a lot of the actors I work with is what they project out of their eyes.

So with animals, you know, sometimes there's a connection that's very deep and transcends the human animal in connects.

And that's what we tried to give Dumbo real elephants eyes air on the sides of their heads.

So you had to move dumb Bo's eyes forward to communicate it.

It was a funny challenge to try to get the balance of fantasy and reality with the look of a character way.

Have dimples point of view.

Just give him a little bit of Dumbo vision because he's the main character, just felt what he was kind of seeing.

The one thing I did think from from Tim that makes him really special as a director is he understands the characters like he understands Dumbo in a unique way.

And I realized when I started talking to Tim that he would sort of say these little things and I go okay.

He's seeing whatever this moment is through dumb Bo's eyes that sometimes a him or the shoe or different things that Dumbo would see because he's small, become more important then, like the sort of big, wide shot of everybody's costumes and everything.

Yeah, I mean, people thought I was obsessed by women's shoes, but no Thio examine the world from a new perspective, which is, in design, a really great kind of challenge for costumes for a circus parade.

These ladies here are in the show later, but we didn't really want to reveal the costumes in the parade.

So sort of at the last minute I made these capes that are sort of like umbrellas, circus tent things with sequins sewn on him.

I think we made him in a day and 1/2 for all the girls.

And I made the headdresses like gluing feathers on on the morning of the quality of the costume, so beautiful and textural and worked so well both for look and performance.

It really helped the attitude, the feeling of the performers and everybody because they felt I didn't talk to Mike Flynn was like 20 years.

Last time I worked with him, he was in a Batman suit, you know?

I mean, and he didn't like that very much, so it was funny.

Now, on this one is like a complete everything that we did.

Everything that Michael did was for the good of the character.

But it was also for quickness and comfort and everything.

But, you know, all in a good way was anti tie from the stuff.

That's great.

I hear for the way I think she was such a great character.

Armor.

It's really not her body.

From here to here.

I pad it out to make her look more fish like.

Sometimes you have to add things thio the human body and exaggerated to make it work in a costume that's different than how you would in a non performing sort of costume.

These uniforms, as we have the circus gold lost on early Disney.

It was a free polyester period of uniforms for people that worked at theme parks.

You get inspired and I walk into the costume department, see all these things and textures and stuff, and me and everybody else dp the actors.

It's a creative thing, and you know it's not a singular thing.

You don't make a room by yourself, so it's important and great to work with other great artists.

It's an inclusive process.

And when you try to exclude people from your process, it's sort of limits what you can do.

Point for me.

Maybe Dumbo was like the feeling that I remember feeling watching old Disney movies where you get a mixture of feelings, you know, joy, happiness, sadness, loss, everything that Disney movies had.

So that was the goal.

With this is, just try to create a simple fable about, you know, weirdos, finding your place in the world.

Really, When I first started working at Disney, that's how I felt, you know, a strange, weird outcast.

But like most animators, and I think that that story, always just the symbol of that this is a weird character that doesn't fit in has got what people might think is the weirdness or disability and then use it as a beautiful advantage.