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BOP:That’s very interesting. So what kind of research or preparation did you do for this particular film?

Deborah Cook: Well, as I said, the costumes are all directly from my imagination, but we did an in-depth study of Japan, from the Jomon Period in 300 B.C. to modern day Japan. We studied high artists, fashion, vintage clothing, and how they were manufactured and engineered. We learned a lot about Japanese design and manufacturing, up to contemporary designers. Every one at Laika is just incredibly supportive of these projects, and it’s always a team effort. All the costumes each harness a whole new life for each new film that we take on, and this was no different.

From our research, we learned techniques about how to build the strong integral part of the development of the suit, and it essentially spilled into the development of the characters. It’s a collaborative process.

But the challenge here was that because we can’t rely on the bigger size of life action, we had to do this at a different level of engineering. For example for kimonos, these are flowing garments normally but we needed them to stay still, to not move between photos. So we looked at techniques in folding fabric and in origami, the Japanese art of paper folding, to make 3D forms. We look to Issey Miyake. It was a lot of fun actually, I love what I do, it’s so exciting.

And then the research bled into the artwork and the art design of the film as well.

BOP:It feels very cutting edge. So taking a step back into the broader meaning of this historic nomination, people talk a lot in the industry about how people don’t get recognized for work in animation, for example there’s never been an acting nomination for this kind of work. Do you think this could be the first domino to fall that will lead to that and what are your hopes or thoughts for an Oscar nomination?

Deborah Cook: Well, we absolutely believe we are at the forefront of technology here, and we are forging ahead with really cool stuff. We are developing newer and newer technologies but really we are a hybrid of pure animation and use of live action designs, so we are really at the vanguard, the bridge between the two worlds, and we are going to continue doing what we are doing. We love it, and we are a very supportive team at Laika.

We are very excited for the potential for it and to build off of the success we have had. All the departments at Laika are incredibly supportive, the Silicon department, the Props department, etc. They all play a part. It’s a collaboration. It’s a technological achievement, and we are continually trying to push the envelope to the next level. Hopefully this will be the first of many recognitions and an Oscar nomination would be just insane.

BOP:Speaking of which, who are some of your admired designers?

Deborah Cook: Well, to be in a category with Colleen Atwood, it’s just mind blowing [Atwood was nominated by the CDG for her work on Fantastic Beasts and Miss Peregrine]. Sandy Powell. I love Milena Canonero who did The Grand Budapest Hotel.

BOP:Yes, they’re all great. We love their work here, and hopefully you’ll be taking to us again in two weeks after you make it into costumes. Before we go tell us of the upcoming projects you have at Laika.

Deborah Cook:Well they haven’t been announced yet but we are working on three projects. The first will be released in 2018, and I can tell you it’s going to be very unique and if you liked Kubo you’re going to like these. They’re going to be amazing and revolutionary.

BOP:Thank you again, Ms. Cook, and congratulations. Good luck at the CDG and with the Academy Awards later this month!

Deborah Cook: Thank you, pleasure talking to you.

Twitter: @jdonbirnam
Instagram: @awards_predix

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