The Greatest Game Ever Played - Walt Disney Studios Motion ...

“That period is filled with really
beautiful women’s clothing,” she notes.
“Dressing Peyton List was like a dream
to me. There are not very many young
actresses of today who can wear a corset
but she could do it comfortably. We put
her in a lot of those linen suits so popular
at that time in a blue that matches her
eyes.”
She continues: “As in the rest of the
film’s design, we were always trying to amplify the difference in social status between the
characters. So you have people at the opera dressed up in jewelry and lace and tuxedos and
then you have the poorer people who pretty
much have one simple outfit. It was very
challenging for my crew. One day we would be
doing a very posh restaurant scene all in crème
and black with big hats and then we would turn
around and do an East End London bar with
poor sailors and prostitutes the next day. I was
very proud that my crew was able to do that so
beautifully.”
Golf wear in 1913 was the polar opposite of
what it is today—rather than bright, easygoing, casual outfits, players donned heavy,
constricting, formal wool and tweed suits. “I read the book that Harry Vardon wrote about golf
and in it he talks about how one should always wear a jacket when you play golf because the
restriction is good!” laughs April. “Nobody would go for that today but the tradition was to
wear essentially what you would wear to go hunting, including a bow tie and a big tweed jacket
that you could wear in the rain and the wind.”
For the actors, it was a challenge all its own. Says Shia LaBeouf: “The clothes the golfers
wore back then were so constricting that it’s very hard to use a modern swing in which your
arms move much more to the rear in a pendulum fashion. Playing this way in the typical 1913
outfit seems to give you red, chafing rashes on your shoulders and neck!”
Adds Stephen Marcus, who plays golf legend
Ted Ray: “It’s amazing to me how they could
have actually managed to play one round in
these outfits. I think they must have gotten quite
fit just moving around in this heavy clothing,
especially in the rain.”
Further adding to the film’s atmosphere is
the original score by Brian Tyler, who previously
worked with Bill Paxton on Frailty. Tyler was
thrilled to reunite with Paxton on this project.
“This film is a great departure for him,” he says. “And for me, it was a completely different
kind of feel for the music, something upbeat, inspirational and turn-of-the-century.”
The minute Tyler saw the film, he was inspired to begin writing, and the piece that emerged
21
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