How Joker production designer and costume designer brought new color to a familiar world
’ partnership was pivotal. For Friedberg, he’d been working with Phillips early to find the perfect location for the gritty and grimy Gotham City. New York 2019 is starkly different from the New York of the ’70s, so Friedberg’s search extended to Newark.” it’s Bridge’s costumes that change to reflect Arthur’s journey and not the production design palette since, as Friedberg explains, “it’s him that changes.
I showed Mark this book of muscle cars of the ’70s. These strange, weird bronzy greens, golds and oranges. I thought that was the idea of the beginning of the palette, and that was the moment where we bonded. He appreciated that thought. I was thrilled it was something we both appreciated. That was the place where we bonded over. We were very anxious over the color of the curtain. I wanted it to be bold and brilliant at the same time, and Mark helped with colors there. That’s where we realized we could take care of each other.
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