How Costume Designer William Ivey Long Found Inspiration for A Christmas Story Live!
“One of the unique things that this hybrid piece of Americana is able to do is combine the stage magic, the film magic, and the magic that's occurred to all of us in the retelling. "
The film, Broadway musical, and live broadcast of A Christmas Story
“I've created 20 of these four-by-eight research boards. We went back to the original Jean Shepherd story—the original story, not the movie or the Broadway version—and just said, ‘Well, it’s really Norman Rockwell.’"
"Each of these boards has about three Norman Rockwell pictures."
"I fleshed them out looking at what everyone was wearing, and I went to Sears and Roebuck catalogs from the '40s and put them all on here.”
“I've also taken my pantone books in order for us to solidify our color scheme, and then share it with the set designer and lighting designers—listen to me, I'm talking like we're at a Broadway show here. I've taken these pantones and matched them so we can keep the color scheme succinct and very tight.”
“There's no fluorescent colors; there's no dayglow colors; there's no bright colors. Everything is sort of brick."
"The brightest red you see is more a bright brick. It's not anything fluorescent.”
"Our narrator is Matthew Broderick. So really, Ralphie [Andy Walken] is Matthew; Matthew is Ralphie. When we first meet [Broderick], he's wearing something from today. You could go out and actually buy that Pendleton and wear it today, but yet, they're still making them since the '40s. It's a here and now.”
“When guys have beards or they have strange this-and-that, I say, ‘Listen: If you can find it, you can wear it.’ So it's another reason I had these walls. They come in with goatees and I'm saying, ‘Okay, fine, it's well grown, but if you can find it, you can wear it.’ Of course they can't find it, because no one wore it at that particular moment in time!”