A Quote by Colleen Atwood
One of the challenges with period costumes is, on a technical level, making the scale of different periods work on contemporary bodies. We're much bigger than what people were in older times.
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The technical challenges were technical challenges that were not unbeatable; it was just that we had to learn how to do things and how to build a sensitive enough device. That took us 20 years after we built the first version of the LIGO detector.
I really counted on my technical ability and my passing for everything. Then once you got to bigger stages and the professional level, you can get shoved off the ball and you need to be fit and you need to be at your top level at all times.
The truth is, successful people are not ten times smarter than you. They don't really work ten times harder than you. So why are they successful? Because their dreams are so much bigger than yours!
The drive to scale in almost every endeavor. The British went very large scale in ship building and a few other industries. Their steel plants were bigger and much more advanced than ours after the Civil War, but we had blown past them by the mid-80s.
Wrestlers give their bodies to their work. I don't know if I like the word 'crazy' here. What I would say is there are people who have a different relationship to their bodies than most people.
I know I'm as comfortable doing period as I am contemporary. I suppose we grow up with it in a sense, in the theater. We get to put on costumes and play a lot of period dramas or plays so we're exposed to it a little bit more I think because of our theatrical background.
I remember a period where my publisher said to me, 'Look, your historical work is selling much better than your contemporary work, so please give us more historicals.'
Relative to most of the energy and material flows on Earth, the machinations of humankind are puny. The planet's powers are much, much bigger than our own. But in a few sensitive places, we're making an impact on a planetary scale, and that impact is not a good one.
People think our work is monumental because it's art, but human beings do much bigger things: they build giant airports, highways for thousands of miles, much, much bigger than what we create.
You could be making so much money, and your bank statement gets bigger and bigger, but if you're not psyched to go to work in the morning, it doesn't matter. It sucks. So you wanna just be psyched to see the people that you work with, and have fun with. Then you've won.
Those periods of struggling to overcome challenges are what people find to be the most enjoyable times.
Every work brings new and different challenges. Research is always helpful, regardless of whether the play is contemporary or not.
We can't just go, like, oh that'd be cool then not do it. So it's one of those weird things. You gain all these things on your journey. You get smarter. It's interesting how you are who you are in high school in a lot of ways. When I look at my friends, I feel no different about them than I did when I was in high school. I mean that in a great way. They've taken on a micro scale what they were doing and making it bigger.
The writing of the Beatles, or John and Paul's contribution to the Beatles in the late sixties - had a kind of depth to it, a more mature, more intellectual approach. We were different people, we were older. We knew each other in all kinds of different ways than when we wrote together as teenagers and in our older twenties.
It's a lot easier to figure out how to scale something that doesn't feel like it would scale than it is to figure out what is actually gonna work. You're much better off going after something that will work that doesn't scale, then trying to figure how to scale it up, than you are trying to figure it all out.
I think one of the reasons I've done so much period work is because I feel so depressed by how society chooses to represent women in contemporary work.
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