A Quote by Colleen Atwood

I can create clothes for so many different time periods. I've always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.
We have always thought about design as being so much more than just the way something looks. It's the whole thing: the way something works on so many different levels. Ultimately, of course, design defines so much of our experience.
I think, for so long, women of different sizes have been pigeonholed, and with every campaign, it's always an adaptation of making fashion but for plus sizes. Sometimes it's in a little bit of a negative way, and plus is always a little bit slow to be fashion forward.
One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.
In Hollywood, you tend to get pigeonholed to certain genres, and then when you try to do something different, it's not always so easy. Obviously, you don't want to keep repeating yourself, all the time. So, it's a constant struggle for every filmmaker and actor to find something that you can really feel passionate about. It's a profession like anything else.
Since he was 17 years old in Atlanta, I think people always knew that there was something different about Key. He's obviously been able to adapt to so many sounds and time periods in his own way, which is clear from the long list of collaborators; but he has always retained an effortlessly weird perspective.
Costume design allows you to do a different type of research and create characters, whereas in fashion, you create an image and clothing for the masses.
There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.
Different periods, different cultures - it's just the way my mind works. My music is that way as well. There's a foundation but the inspiration comes from everywhere. I've been influenced by so many things.
Unix has, I think for many years, had a reputation as being difficult to learn and incomplete. Difficult to learn means that the set of shared conventions, and things that are assumed about the way it works, and the basic mechanisms, are just different from what they are in other systems.
I always tried to be different from everyone else. Then I found out about boxing. That was the way I could be different from everyone else. I always went against the crowd.
It's through working with a lot of first-time directors that I realized that people learn on their feet. Everybody works on something for a different reason. Everybody has got something new to learn on these sets, and you don't have to know everything, the second you start.
The cool thing about being different in this industry is that you get different roles; you aren't pigeonholed the same way.
I work on everything all at once, which is maybe the worst way to go about it. But I think that actually it works really well in terms of the serendipitous connections between all of these many different projects and these many different realms.
I think that every day is a learning experience. I mean, every time I go to a school I learn something else from a teacher or learn something else from a student, I learn something else from a parent. There's so much to know when you talk about education.
Being Latina in the US is something I'm learning about everyday. I don't feel inherently different in any way from anybody else and it is a feeling I cherish and that has helped me avoid thinking of my ethnicity as a potential obstacle from what I want to achieve.
There's so many interesting aspects of making a movie: the costume department, the set design, the casting itself, the locations.
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