We shot five hours' worth of material for Sunshine and roughly two hours were cut, so among others the leading actress's turn of the century café and promenading dress was left out. I can say in general that the costumes that I so anxiously awaited to see were barely or not at all visible. When I saw the film for the first time I couldn't asses my work realistically - in fact the situation is the same with stage performances too. I instinctively concentrate on, for example, whether a hat is being worn properly or not. Or what a hairdo is like. How the tie was tied. In one of the turn of the century scenes I was very annoyed by the fact that a non top-ranking actor was given a collar from the twenties. Some time always has to elapse before I can really judge a film or marvel it - even with my own work.
I got hold of the materials and collected original clothes in Hungary - except for maybe four or five costumes that I ordered from Angels in London. I never thought that I had the chance to do this, but then it eventually turned out that they were incredibly expensive and didn't even show up in the film. The Viennese Lambert Hoffer was more of a help, but considering the total amount of ready costumes it was insignificant. Along with Jennifer Ehle's clothes I had nearly all the turn of the century costumes made by the specialists I tend to work with anyway. I can't even say that I set up a large workshop because every single task was performed by someone else.