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“Instead of a light bulb going off and you're creating something,” he says, “things in the script dictated what would be made.” But a good part of the script speaks to Woodcock's inner turmoil, his blossoming love for Alma (Vicky Krieps), his fear and anger over her disruptive presence, and other notions that are felt but not necessarily seen. Woodcock invests incredible time and mental energy in creating a wedding gown for a long-time client. But in a moment of both physical and mental pain, he declares what looks to be a perfectly elegant gown, ugly. How do you convey those complicated emotions in a dress? By making an especially beautiful gown but one that has subtle references to a garment that Alma has worn earlier in the film. It's not the dress that he hates but the way in which Alma has become enmeshed with the most sacred part of his life– his professional world. “We are our own worst critic. You see that in Reynolds. No one else is feeling the weight of Alma in his life,” Bridges says. The audience looks at that wedding dress, and “we're like, 'You're crazy, man!'�” During an exchange between Alma and Woodcock while he is fitting a dress on her, she notes her dislike of his chosen fabric. The designer doesn't flinch.
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