Wedding of the year

 By Susan Morse, Soap Opera Digest, 1988

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A Martinez : "I went away to do a film. I think had that not happened, we would have been married already. (The producers) wanted to do it for February sweeps, but it just became impossible to pull everything together. It seems to me that it was overdue. I think it's dishonest, at a certain point in time, to keep characters apart who have proven repeatedly to be so well suited. The last time they broke us up - when Elena came in and knocked Eden upside the head - that was the first time, emotionally, that the interruption of the wedding worked for me. It provided me with a chance to miss her, which I loved. I think (Marcy) also liked the chance to do that stuff. We got a chance to work with other people - she with Scott Jaeck (Cain) and me with Sherilyn Wolter (Elena) - and those were wonderful things. And when I think about the show and my place in it, I feel wonderful. I know I wouldn't feel that good about it had I not had the opportunity that the last aborted wedding provided for us. So, I had no beef. But this time (the wedding) had to happen.

I think (the wedding) lived up to everyone's expectations. I think Marcy was just transcendent when she did the vows. It was as good as it gets, and with her that's real good. I have my own little frustrations, but you can't be on a soap opera and not have frustrations at a certain point in time. So maybe there were a couple of things I would have done differently, but certain things you just can't control. I anticipate it will be really nice to be married.

I like the idea, in theory, of Cruz and Eden being involved in mystery (story lines) and working as a team. Marcy and I have a gift of running that kind of high-energy bantering. It's a style that has done so well for certain people in nighttime (television) - like on Moonlighting. It's harder for us (on soaps) because we don't have as much time to prepare. And the writing changes from day to day in a way that makes it difficult to depend on a certain style showing up every day. But I still think we can pull it off more often than not. I like doing that a whole lot. I think it's fun. And I like being romantic, too. I like the things that happen on (shows like) Hill Street Blues and L.A. Law, when you see people at the end of the show get in bed together and talk; relate to each other. I love seeing that. It's such a direct example to set. So much of people's behavior these days is influenced by television. It's so inevitable. I'm watching it with my own son. You can't avoid it. So, you hope that there will be positive modes of behavior that will benefit people, that will just show them, or introduce the idea, that this is the way you can behave. You can end your day talking to your partner, trying to make sense of what happened, and help each other get through a more peaceful night. I would love it if we got in the habit of doing that - and if the crises that we faced now were not the kind which estranged us from one another, but left us room to support each other... and to measure the strength of the relationship and help us look out for each other. I know it's more difficult to write that, but it's not impossible. And, that's what I would like to see happen."

 

Marcy Walker : "I think it's about time. It's a payoff that was necessary. It was needed. The audience has been so supportive of these characters for the past four years. For the past year and a half, every three or four months we would hear we were getting married. Then it would be, "No, we're pushing it back." So, for over a year (the producers) were saying they were going to marry us and it never came to pass. It just wasn't the right time for one reason or another. They knew that eventually it would be right, and this just happened to be it. So when they said they were definitely doing, and went and scouted locations, and found the place, and started looking at dresses, I knew they were really serious. I just kept thinking, what's the glitch ?

"When (Costume Designer) Richard Bloore first started looking through magazines at dresses, he showed me some ideas and asked what I thought. I'd tell him what I liked, but it was really more like the decision was left to the mother-of-the-bride, our executive producer, Jill. She had been through all of this with us for four years, too. She decided finally it would be a Gone With the Wind-type style. If I hated it, they might have changed it, but I'm pretty easygoing when it comes to stuff like that. I think you stick anybody in a wedding dress and something magical happens. So they put me in that style of dress for a photo shoot. Jill liked it, so Richard took the dress apart and made a pattern from it and used that as the basis for a new dress that he created along the same lines.

The way (the ceremony) was shot, it looks like it was shot on a cliff, but it's all (camera) trickery. We were actually twenty miles from the ocean. The dress itself weighed about sixty pounds - I kid you not. I had it on for about fourteen hours and when I took it off, I had welts on my body from the (gown's) boning. I couldn't sit down (during the shoot). They had to put an apple box under the dress so I could get off my feet for a few minutes. I couldn't go to the bathroom, either. It was wild. It was beautiful, though, and everyone looked great. I think it was everything everyone hoped it would be when it finally happened."

 

Richard Bloore, Costume Designer: "Originally, Jill (Farrren Phelps, Santa Barbara's executive producer) wanted to have a period wedding. She kept saying she wanted it romantic... a garden wedding... outside, that kind of mood. I showed her photographs, always going toward the antebellum, Gone With the Wind, sort of thing. I brought out some dresses from NBC stock (that were used in other TV shows and films) and from Western Costume to show her what the period would look like. Well, (Jill) didn't like it. That was because the stuff was really, truly, period. Heavier fabrics, darker colors. And that wasn't what she wanted. She wanted lighter clothes, more movement, pastels, soft cottons, ruffles that would move with the wind. A country feeling. They decided that I should go ahead and design the clothing.

I worked out with my sketches which fabrics/colors would go best with who. I was trying to set up clothes for certain families, like Sophia in dusty rose, Kelly in pink, and C.C. in a brocade vest in pink. Back then, the men wore tails, black tails, but I designed and built all the vests which were coordinated to the women's clothing. For the bridesmaid's dresses, we dyed most of the fabric because we wanted pastels and most of the eyelets and the lightweight cottons all come in white. Kelly's dress was the only one of the bridesmaids' dresses we didn't dye. We purchased a striped cotton for that. Sophia's was an embroidered cotton and lace combination which we dyed. We had Julia in yellow cotton; Tori in mint green; Andrea in lavender. All the ladies wore hoops.

As far as Eden's dress goes, there are actually four layers to the skirt. The first, of course, is the hoop which is basically made of muslin and bands of steel. Then there is a net and organza petticoat - there are six tiers of ruffles going up the skirt. It's soft. What it does is cover the bones so that when you have the fabric laying on the bones, you won't see them. It's a padding effect. The next skirt is the underskirt. It's silk organza, which is the framework. It's a light fabric, and at the bottom there are three tiers of silk ruffles in an off-white. The organza is like a netting. The final overskirt is connected to the bodice.

Originally, in that time period, (the skirt and the bodice) would have been two separate pieces, but it was easier to have (Marcy) slip into one piece and use a zipper. The bodice is also boned - that was made of silk peau de soie. Thirty-five yards were used. Even the fabric store was amazed. And there's a lot of weight in that much fabric. Imagine carrying a bolt of fabric around. Anytime you have ruffles it takes a lot. There's a three-to-one ratio : three yards of fabric for one yard of ruffles. The overskirt is tiered. There are also drapes of fabric on in beside the ruffles. I've got lattice work in silk satin - there are four pieces of that and underneath them there is off-white lace. We used ten yards of lace. There weren't a lot of rhinestones, I just wanted to scatter some to pick up the light. It adds more definition. The bodice is off the shoulder, strapless. There are two layers of ruffles around the top. I did detailing of satin roses - all basically in off-white but some in pale pinks to bring out the detailing on screen. Eight yards of satin were used.

For the veiling, I chose illusion in two layers. Thirty-two inches from the back of the head to the waist, trimmed in lace. It fell from pink and white satin flowers - carrying out the theme from the dress - in a half halo in the back of the head. I didn't want to go too heavy with the veil because the dress is so dramatic, and (the producers) wanted the look to be light and airy. The dress probably weighed somewhere between thirty to forty pounds.

Eden also wore a cameo and pearl choker. It's four strands of pearls with a cameo in the center. It was a gift from C.C. that had been in the family. Gloves were planned but rejected because they made or created a heavier look. That decision was made on location. Everyone was worried about rain, so I created matching parasols in case the day was overcast. If it had been really bad weather, they would have postponed the shoot because the light, airy feel they wanted would have been lost. Luckily, it was a gorgeous day. The clothes will go into storage."