The New Look

This is Apotheosis, the official podcast of the Production Designers Collective.

Today, our host Alex Wittenberg sits down with production designer Anne Seibel, whose credits include Midnight in Paris, The New Look, and Emily in Paris.

If you've been enjoying Apotheosis, please take a moment to rate the podcast and share with those who might also enjoy the show.

And now, here's our conversation with Anne Seibel.

And we draw this drawing by four hands, by two brains.

Amazing.

Because, for example, on Emily or the new look or the AD, when you are a production designer, you have no more time to sit down and draw.

Emily's season is 180 sets.

Each episode I'll be joined by a guest as we dive into one of Glenn's movies, TV shows, or stage productions, going chronologically through her career, discussing her performance, and assessing the project itself.

And today, we are talking Glenn's performances on the Apple TV shows Tehran and The New Look.

I am eight-time nominee Glenn Close, motherfuckers.

My guest today is an old colleague of mine from when we used to work together in the mines at Gold Derby.

Yeah, I'm so excited that I finally got you on kind of in this last phase of Glenn's career, as of now, at least.

So here we are.

But before we talk Glenn on Tehran and the new look, I would love to know your origin story with Glenn Close.

So what is your relationship to her as an actress? When did you first remember seeing her? And what is your favorite performance of hers?