Um, colour in terms of lighting is very important to me. Um, it starts almost immediately I start getting fabrics together. I look to see whether the, how the texture and how the colours will work on camera. Um, and also how the characters when they're actually together er, how they actually work. So when we actually are putting characters together for a scene, I try to keep them all complimentary to eachother, I try not to have anyone who is too contract, contrasting from someone else.

Additional notes in pen:

Annotation 1: In pen, there are lines drawn surrounding the entire text, omitting the word 'Um,' at the very beginning. In the top right-hand corner of the text, the hand-written number '6' is written and circled.

Annotation 2: To the left-hand side of the text, 'Part 4' is written.

Annotation 3: In the top left of the text, above Annotation 2, the numbers '15.08' is hand-written.

Annotation 4: Above the word 'together' on the third line, the numbers '15.16' are hand-written. Above the word 'camera' on the fourth line, the numbers '15.22' are hand-written. Above the word 'work' on the sixth line, the numbers '15.31' are written. Below the last word 'else' on the last line, the numbers '15.43' are written.

Ref Code: PM-84 Title: Transcript extract from an interview with Middlemarch Costume Designer, Anushia Nieradzik. p. 16. Date: 1993 Format: .png Source: ITM-7963 Transcripts of interviews with members of the cast and crew of Middlemarch (BBC/WGBH, 1994). Edited for the BBC (British Broadcasting Corporation) Educational Developments/BFI (British Film Institute) Education package Screening Middlemarch: 19th Century Novel to 90s Television. Held at BFI, London, UK. http://collections-search.bfi.org.uk/web/Details/ChoiceArchive/110008677