"Tin Man"


Tin Man

Printed here for review purposes only.

All copyrights honored and attributed to producers

Collage compliments of Christian, who adds:
"Here are some various remarks I found across the web regarding her costume:"


BN: The wardrobe you wear seems like it might be a bit constricting. Was it difficult to move around between takes?

KR: It was pretty constricting, to say the least (laughing). I have about six costumes throughout the three nights and the first couple of days of filming I was really kind of concerned about how I was going to do this for three months. Wearing corsets, wearing the armor, the chain mail, it's really affects how you breathe and how you speak. I remember shooting my first scene and thought, "Oh my God, I'm so winded.

I'm having a hard time projecting and getting my vocal quality to where I want it to be." It took some getting used to. It was such a lengthy process to get into it that I couldn't get out it of very much. Once I was in the whole get up - the wig, the tattoos, the boots - I was kind of in it for the rest of the day.

It was definitely the most intensive hair, make-up, wardrobe I've ever gone through.


Robertson is trapped for most of the mini in a metal corset so small it¬’s a wonder she can breathe and a collar so severe it looks as if she¬’ll lose an ear if she turns her head.


SCIFI: The hair and costumes really complement your performance, but some of the costumes look pretty restricting.

KR: Well, they were kind of a bitch. The armor was incredibly heavy. My shoulders were bruised for the entire three months. The corsets were just unbelievable. The first few weeks of shooting were actually really challenging for me, because I'd never worn that kind of level of costume before. It actually affects the way you breathe and the way you move. I couldn't sit in the costume. So I'd actually be propped up against a chair. I could lie down, but then I couldn't get up on my own. I'd have to be helped to get up. So it definitely took some getting used to, just little things, like breathing and projecting.

That was an adjustment, but the look of the character really helped me get into it. Once I was finished in hair and makeup and had my tattoos on and had the boots on and everything, Kathleen was kind of gone and unrecognizable.


Kathleen Robertson's Azkadellia manages to be exquisitely beautiful without sacrificing any of the terrifying that Margaret Hamilton pulled off so well.

Think Darth Vader in an S&M corset. Seriously - keep an eye on her cleavage, because this miniseries has some majorly good boob acting.

Comments section: You ain't kidding. Kathleen Robertson looks hot in that corset!


We can¬’t blame the writers for putting her in a tight corset and leather, or pushing the whole naughty-girl femdom action to hook the 15-30-year-old male demographic.


Kathleen Robertson, as Azkadellia, is interesting merely because she exceptionally good looking (in that rather formulaic way American actresses sometimes are) and her portrayal of the evil witch is deliciously evil. The highlight of her role has to be when she throws off her cloak, arches her back and unleashes her 'evil flying monkeys' from a magical tattoo painted across her heaving, corset-clad breasts. It brings whole new angle to the expression: 'unleashing the monkeys.'


My fiance watched one of the behind the scenes things on Tin Man and said she gave an interview about her costumes-she managed to deliver a great performance even though every one of her costumes was (tightly) corsetted and she had to manage 5 inch heels the whole time! Gotta love a woman who can not only act, but make that kind of costume challenge look like a walk in the park.

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