Barrett: I FEEL LIKE PEOPLE THINK,
"OH, IT'S KIND OF LIKE SITTING AROUND SEWING."
QUITE OFTEN, WE'RE USING 3-D PRINTING,
WE'RE USING ALL KINDS OF NEW TEXTILE TECHNOLOGIES.
WE'RE INVENTING MACHINES TO DO THINGS.
ALL MY WORK, ALL MY IDEAS,
EVERYTHING COMES FROM THE SCRIPT,
AND IF IT SEEMS RIGHT FOR THE CHARACTER,
THEN THAT'S HOW I APPROACH IT.
THIS PARTICULAR INCARNATION OF KEANU'S COSTUME
WAS IN THE SECOND AND THIRD MOVIES, PRIMARILY.
WE WANTED HIS CHARACTER TO HAVE EVOLVED
FROM THE FIRST MOVIE INTO THE SUBSEQUENT TWO,
AND HE HAD KIND OF ATTAINED MORE STATURE.
I THINK HE WAS MORE SELF-CONFIDENT,
AND SO WE WANTED HIM TO HAVE
KIND OF A SLIGHT ECCLESIASTICAL FEELING
MIXED IN WITH A ZEN/CHINESE FEELING, AS WELL.
WHEN WE MADE KEANU'S COSTUME, HE HAD TO BE
IN A LOT OF SITUATIONS WHICH WERE VERY DIFFERENT.
SO SOMETIMES HE WAS FLYING,
SOMETIMES HE WAS FIGHTING IN A RAINSTORM.
I HAD TO CREATE A COSTUME THAT COULD HIDE
THE STUNT EQUIPMENT AND THE HARNESSING,
BUT ALSO MOVE WELL IN THE AIR.
SO EVEN THOUGH IT LOOKS LIKE
IT'S THE SAME COSTUME ALL THE WAY THROUGH,
THERE WERE THREE OR FOUR DIFFERENT VERSIONS
OF THAT COSTUME
MADE FROM DIFFERENT FABRICS AND TREATED IN DIFFERENT WAYS.
WE PRINTED EACH DIFFERENT FABRIC TO LOOK THE SAME.
SO WE CAMERA-TESTED EACH DIFFERENT TYPE OF FABRIC
SO THAT IN THE END, HOPEFULLY, YOU WOULDN'T BE ABLE TO TELL.
I THINK THAT ALL COSTUMES
THAT BECOME KIND OF SYNONYMOUS WITH A PARTICULAR MOVIE
HAVE A LONG-TERM RESONANCE IN THE SUBCONSCIOUS OF PEOPLE.
I THINK THAT TO A CERTAIN EXTENT,
OUR COSTUME WILL ALWAYS BE INCLUDED IN THAT.
THE COSTUMES THAT STICK IN YOUR MIND
ARE THE ONES THAT THE CHARACTER HAS INHABITED
AND THE CHARACTER HAS REALLY COME ALIVE IN.
AND THAT'S WHY YOU REMEMBER THEM.
THAT'S THE GOAL, I THINK.