Jon Hamm: I've worn everything on this show, from nothing to a rug wrapped around me to a beautiful bespoke suit.
Kate Carin (Costume Designer): When we see him at the bookshop for the ball, we thought it would be hilarious that Aziraphale had asked him to get really dressed up for it. So we did a bit of a homage to Liberace. So he's got a powder blue dinner suit that's encrusted with rhinestones. And then Douglas asked if we could do some sort of coat to go on top of it for one of the scenes when he leaves. So, of course, we didn't do just a coat. We did a huge ostrich feather coat, which we made from scratch.The girls did all the ombre on the feathers so it matches the dinner suit, gets lighter and lighter blue as it comes to the top, and then he's kind of surrounded by this halo of white feathers.
Sarah-Kate Fenelon (Producer): There is a shot when he emerges from the bookshop to meet all of the demons and say, like, I am who you're looking for, where he looks a little bit like an angel. And the silhouette of him kind of emerging in the light is very epic and is then just completely undercut by sort of, move out of the way. (video)
Hey ! ❤️ sorry to bother you but I can't find the post where there was a list of all the scenes that were improvised in Good Omens. If you happen to find the post, or to know the few scenes that were not in the script, I will be so grateful 🥹
Hiya! :) Improvised scenes (haven't seen the post I'm afraid :)<3):
In the First Season:
The end of the bench scene in the dinosaur park
Shadwell's "Sergeant Pepper" when he meets Crowley
Fun fact: The dance was created by the choreographer Abby Warrilow (who also created the apology dance :)). The brief was to make a Jane Austin style dance, it hasn't got a name but they called it the ‘walky talky dance’ in order to the allow dialogue during the ball
Crowley: And I do remember, oh, very clearly, the look on your face, Archangel Gabriel. When you told my only friendto shut his stupid mouth and die. And I… did not… care for it.
Kate Carin (Costume Designer): I was very adamant that I would need manufacturing on this job, because it gives you an opportunity to create things that you can't just find on the shelf and you can then really create worlds. I felt that Shax's, for me, from the outset, was always going to be red. In her final look when she comes back to lead the demons in the battle against the angels, I said to her, 'Will you wear a red leather catsuit?' And she said, 'Yes.' So we made her a red leather catsuit. And then I said to her, 'What about if we give you really, really great kind of animalistic shoulders?' So we made her huge leather, scaly shoulders, which she also donned, no problem at all. You'll see on the front of her armour is the stork, which is the Shax's demon's creature animal, so we had that embossed.
Sarah-Kate Fenelon (Producer): It's like the Neil Gaiman version of whata demon would wear when they were going, you know, she looks fabulous, but she also looks fierce.
Miranda Richardson (Shax): It's amazing. My many pointed armoured breastplate, which is very useful for anything that anybody wants to get rid of before a shot. I can just tuck up there. I've got my phone up there, I've got my script sides up there, coffee up there, you know. (video)