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NOAH HAWLEY: Each 10 hour movie that we make is a completely
different cinematic approach.
It is a very collaborative process in which, as a group--
costume designer, cinematographer, we
figure out what's our color palette,
what's our stylistic approach.
WARREN LITTLEFIELD: Our costume design this year
is JR. She's amazing!
And not only in the individual choices
to reveal who our characters are, but the size
and scope of what she's doing--
it's insane.
JR HAWBAKER: My approach to the clothes for the fourth season
was to pay homage to what Fargo is.
And Fargo, it's a feeling about identity.
You've got horror.
You've got comedy.
You have drama.
All of it blends together, and you
create an American folklore.
So my approach to the clothes had a lot
to do with researching, and exploring American identity,
and what that means to us all.
The African-American gangsters, they had to try so much harder
to look legitimate in society.
So we do use a lot of plaid and check on the Cannon gang.
And there's a lot of gangsters in sweater vests.
CHRIS ROCK: When you have on the real outfit,
it does a little bit of the acting for you.
They're not always that comfortable.
They're a little itchy, because they're
actually the real clothes.
JR HAWBAKER: Every time I'm in a fitting
with these incredible actors, all
I want to do with them is to fall down the rabbit
hole together, and come out the other side with somebody
staring at us through the mirror.
Jessie Buckley is amazing.
She has got perfect instincts.
But her character is probably one of the most unique ones
to try and--
what I call breaking character-- to try
and break into the mind of.
JESSIE BUCKLEY: She just picked a huge amount of stuff.
And then little by little, as we tried things on,
we got a sense of what this woman might be,
and the kind of trinkets that she has,
and what death means to her, I suppose,
and how she wears death.
NOAH HAWLEY: Dana Gonzalez has been the cinematographer
on all of these seasons.
He worked with me on Legion, also.
DANA GONZALES: The scope of season four of Fargo
is bigger than all of the other seasons,
because of the technologies that have happened,
and things that have evolved-- even in Noah Hawley
and my filmmaking experience.
The large format photography, and the way that we were
able to use longer lenses, and kind of focus the period,
really gave to the strength of the story--
the usage of gimbals on cranes, and jib arms, and cable cams.
Pretty much any shot we could think of,
we could do with something that we
have on the truck, accessible.
I think these things will only enlighten
and highlight the season, not take
away from the previous seasons.
NOAH HAWLEY: This year, we started to talk about what
photography was in the period.
We started talking about Kodachrome
JR HAWBAKER: Kodachrome, it's particular to the era.
It has very deep saturated blacks, and bold yellows,
and almost primary greens, and yellows, and reds, and blues.
If both the set has the Kodachrome,
and the costumes have the Kodachrome,
it could look a little musical theater.
And so we called it the Kodachrome football.
And we would basically just check in with each other,
and see who is carrying the football down the line
in that particular scene.
ENZO MILETI: Whoever was doing the primary color--
it might have been like a red hat, or maybe a stop sign.
The way they all work in concert to create this look,
and not step on each other's toes is pretty amazing.
DANA GONZALES: In episode 5, the beginning of episode
is this nightclub.
It's a stunning shot, the way the camera moves.
The band is playing real music.
And it just really captures everything.
And it's beautiful, and it kind of
is like the best of the lenses we chose,
and the lighting, and the wardrobe.
And everything is just working.
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