The Studio lives in the space between art and commerce, idealism and vanity, actuality and image. All the characters balance along that tightrope. The characters are immediately recognizable, particularly to anyone who has worked on a set. Clearly drawn from personal experience from show creators, the series is inhabited with fictional characters drawn so close to life that actual celebrity cameos fit in like jigsaw puzzle pieces. Additionally, as a streaming show about a movie studio in the era of streaming shows, it is the world we all inhabit.

BN: What was the pitch from cocreators-directors Seth Rogen and Evan Goldberg?

KL: They wanted to create a studio within its own world based on the Golden Era of Hollywood—the way the studio system started and then where we are today. They used filmmaking tropes creatively to shoot a film within a streamer television show. It was very meta in that we created something to bridge the two together. The tension lies in the clash between art and commerce and how streaming has diminished filmmaking.

BN: The creators said they would either write a scene for a specific celebrity in hope they would do it, or would recruit and then write the scene. Was that as nerve-racking as it sounds?

KL: We had scripts from day one. Many ended up unused because the actor or director they had in mind was unavailable. I would reach out to Evan and Seth with little texts like, “Hey, any rumblings of who these actors are going to be?” Just so I could start wrapping my head around it.

BN: Obviously, with casting celebrities for the cameos, the big job was to keep production in Los Angeles. How did you feel about being one of the few new shows that’s working in town?

KL: I couldn’t be happier. Especially being at Warner Bros. because it’s one of L.A.’s iconic studios. Working there felt like the Golden Era of filmmaking, where everything was on the lot: costume shop, fitting rooms, offices, and a workroom with skilled tailors. Los Angeles has all the resources, most of which offer studios services. Working on location you realize how much you have at your fingertips in LA. It’s harder when you’re not here.

BN: Your palette struck me as unusual. What made you decide on that singular look of browns and burnt oranges with pops of teal?

KL: Seth and Evan wanted me to home in on a specific palette. I chose to simulate the romantic tones and textures from both the 1940s and 1970s eras. Since Seth personally wears fall and neutral tones, I had everyone who worked at Continental Studios dress in similar shades, while “the suits” from other studios were in dark blues and grays. It creates a clear division when everyone is on stage.

BN: How did you envision Seth Rogen’s character, Matt Remick?

KL: I’ve had many costume conversations with Seth on quite a few other projects: Pam & Tommy, Platonic, and Craig Gillespie’s film Dumb Money. He was very clear he wanted Matt to always be in a relaxed, double-breasted suit with soft shoulders, and no necktie. I have a fascination with suiting from the 1930s and 1940s, and envisioned an old-fashioned gentleman look of the shirt tucked in with a belt and belt loops showing. We talked about wide lapels versus the thin lapels that Sal Saperstein (Ike Barinholtz) would wear. I pulled swatches for all of his shirts, including formal options that were custom-made by Anto Distinctive Shirtmaker. That enabled us to control the palette and textures. We tailored about 30% of his suits in Don Hook’s workroom at Warner Bros. The rest we ordered and altered so you’re not quite sure what era it is.
BN: Sal Saperstein was almost the complete opposite.

KL: Sal wears slimmer, single-breasted suits, and always with a tie. He’s a little slimy. The first time I read the script I thought about Christian Bale’s character in American Psycho, (designed by Isis Mussenden). Sal wore taupe, burgundies, maroon, and plum. Everything was a little darker, a little more menacing. There’s even a dark Burberry plaid in there.

BN: Tell us about designing for the queenly Catherine O’Hara.

KL: She’s such a classy, sophisticated person, and she brings that into her character, Patty Leigh—loosely based on Amy Pascal, but we didn’t want to 100% recreate a real person. I put her in rich, saturated rusts, bronze, and golds, like Hollywood royalty. My first thought was Max Mara from the ’70s and ’80s, all very glamorous with a little Network, (designed by Theoni V. Aldredge), vibe in there—always pulled together, always in control.

BN: I loved Maya Mason’s (Katherine Hahn) look. She was street-style-rocker.

KL: It’s funny you say that because as the show has aired, I’ve had so many friends ask me if her character is based on someone we know. Either a publicist, a manager, or an agent. Women in general all seem to know someone who is so strong-willed and focused, where there’s a lot going on. She takes chances and she’s showing it.

strong>BN: Quinn Hackett (Chase Sui Wonders) is more buttoned-up-business.

KL: She came in as Matt’s assistant, then got bumped up to creative executive. She gets brushed off, like they’re not taking her seriously, but she wants to be seen as an equal. I used some unique pieces from my stash, like vintage ties. We used jewelry with empowering animals like a horse, a lion, or panther to show different stages of her development. Within the soft subtlety of her palettes, there is a fierceness to her. She may be an assistant now, but she’s definitely going to be something one day.

BN: I thought that wide shot at the Golden Globes was spectacular.

KL: It was very important to Seth and Evan that the Golden Globes looked real. We knew they were shooting everything 360, so every detail had to be dialed in. My incredible crew worked very hard to make sure everybody looked good head to toe, because you never knew when they were going to be on camera.

BN: What was your biggest takeaway designing The Studio?

KL: I always try to do my best. On each job, I learn more and more about myself as a designer and what I can do. With this one, I challenged myself to trust my instincts, do what I like, and allow a little more of my own personality to come out in my work. Seth and Evan are so great to work with—they gave me all the freedom in the world, and they trusted me.