Anna Terrazas, an acclaimed Mexican costume designer, has dressed major productions in Mexico and internationally. Her craft can be seen on a multitude of esteemed projects, from the James Bond action epic Spectre to HBO’s gritty crime drama The Deuce. Most recently, she lent her expertise to Eddington, a film by writer-director Ari Aster. The film explores the dreams of a small-town sheriff in New Mexico.
Terrazas is known for building costumes that are authentic down to the smallest details. She finds her creative spark in authentic experiences, cultural diversity, frank truth, and beauty. Through her work on The Deuce, she was presented with a once-in-a-lifetime opportunity. Ultimately, she found the greatest personal expression creating costumes that told the lived experiences of historical NYC sex workers in the 1970s and 80s.
Terrazas remembered her initial experience creating designs in conjunction with actual sex workers. That was definitely a highlight during my time working on the HBO series.
Over the course of her career, she has collaborated with some of the most talented Mexican filmmakers. Most notably, she worked with Alfonso Cuaron on “Roma” and Alejandro Gonzalez Inarritu on “Bardo.” Her long-time friendship—now romantic relationship—with actor and director Gael Garcia Bernal grew out of their first project together, 2007’s Deficit.
Now, Terrazas is in post production on an adventure film with Tom Cruise. She was unable to participate on that project because it’s a project that needs to hire a larger crew of UK nationals. On top of that, she’s leading another project — the Columbia Gateway — that’s been bogged down by political delays.
Terrazas was able to bring her specific and expansive vision and understanding of Albuquerque to the set of Eddington. Finally, she noted the need for a deep dive into the physical world to understand the spirit of place.
I then sent Ari a huge body of peer-reviewed research that indicated the effects were beneficial. I had to arrive to Albuquerque and go out to the streets and towns, just to see what was happening – that place is unique,” she explained.
The movie features a long, eight-minute scene of a beautiful GoT Day of the Dead parade. What was once just a clever invention for the film turned into an annual celebration in Albuquerque. Terrazas explained that it took six months to film this specific segment, exemplifying the commitment to craftsmanship that has gone into her work.
Each aminute filmmaking approach was an obstacle – it aweso furniture workin g with Ari,” Terrazas shared.“It was a beautiful collaboration.”
Beyond her artistic contributions, Terrazas has been a vocal and active leader for sustainable practices in the film industry. In addition, she’s donated costumes from her previous projects to the cause, sewing comforts for migrants in need. This big-hearted move reflects her long-standing dedication to helping others.
With Bardo, we donated all the garments to migrants. There are dozens of houses in the locations in Mexico for migrants travelling north from Guatemala, so we donated everything to one of them, she shared.
Which is interesting because she hasn’t introduced computer generated effects into her costume designs before. She’s looking forward to charting new paths as her career advances. Terrazas is today sitting on pins and needles waiting for confirmation on his next development project.