A Quote by Emily Hampshire
If there was a time period I could be in, costume-wise, I'd like to be in something with corsets. Like the 1910s, that kind of thing.
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I'd love to be in a 1910s film - the era between the corsets and losing the corsets.
I hate period films - and there are plenty of them - where they say, "Let's not do contemporary language because the audience won't understand it;" "let's not make the girls wear corsets, because it's not sexy" and all that sort of thing. Gradually it disintegrates into a no man's land: you don't really believe it's a period scene and it doesn't feel like it's now because it's not now. You don't feel it's quite real and you don't believe in it.
I don't know, scene stealing is something I see as, people look at it, it could be a positive thing, but I really like to think of myself as a team player. It's kind of like one player can make the other teammates better, kind of like Larry Byrd dishing off.
I love costume dramas, I love performing in them, because in a funny kind of way, you feel more free. You know about the period, you can read the books, you can see the paintings, but you've never actually going to know what it was like. You can kind of stretch those boundaries a bit.
I'm a big comic book nerd so every time I'm in costume and see everyone in costume I'm just like "This is sick."
There are very few voices that can speak with any kind of authority or credibility on what happened back during the time when WCW and WWF were going head to head, and I think the audience is interested in that period of time, clearly. And like I said, nobody could speak to it quite the way I could.
If I had to model clothes in a time period other than the 21st century, I think I'd like to model way back when they just wore skin loincloths. That would be best suited for me - better than corsets. I'm quite claustrophobic.
The costume the actors wear and if they're in stylized makeup and wigs in a live-action movie let's say, in a big costume drama, even though it does give them a sense of great ambience and environment and they kind of feel like they're in a great court, or if they feel like they're in the old west, or if they feel like they're being chased by hobbits or dinosaurs, it all comes down to the actors looking each other in the eye.
To be able to run routes, that's like the greatest thing to me. It's kind of like an art to me. It's like a painter drawing or something like that. That's how I feel every time I run a route.
I find that with period pieces, you're sort of able to really take advantage of what's around you because prop-wise, wardrobe-wise and location-wise, it's all so specific due to that time.
My introduction into making records was through a sampler, and that's what I did for a long time. And through doing that over a period of time and kind of coming out of it, I've realized that one of the reasons it works so well for me, one of the reasons psychologically I took to the process so well, was because I'm a problem-solver by nature. If you stick me in a void, I don't do so hot. As soon as there's one little thing to spark an idea, and then I have something to bounce off of - then I'm all right. But until I have that, like in that void, it's kind of hard.
I like how time goes on set. It's almost like time on an airplane or something where people are together. It's a different, very trippy kind of time, I find, because you're together in imaginary time where you're out of time. You're called upon to be present and honor what can happen in the moment. And the whole day can go like that. The whole day can be a kind of meditation.
As soon as I see period costume, I turn off. It's like hearing drama on Radio 4.
You get to say, 'Here's my philosophical idea about what the costume should like,' and the costume designer comes and gives you choices and sometimes they're all good, and I say, 'What do you think?' and they pick the right thing.
Period costume films are fun to discover, but they're not relatable. It's more, 'Wow, that's cool - did it really look like that back then?' Whereas with a comedy, you're like, 'Yeah, that's me, that's my friends.' No matter what, I want people to relate.
You don't just find an empty museum and say, "I should do something here." I was looking for another kind of venue or exhibition format. I was trying to find a site where something could happen over a long period of time - something that could slowly transform itself and the place as it went. And I was also trying to stand out of the art-world system. Strangely enough, I stumbled on vacant museum.
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