A Quote by Finn Cole
Everything in that era of the 1930s was built to last - cars, buildings, weapons. There was so much passion in everything that was created. The design on vehicles, the costumes, it's like a different world.
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At school I was a disaster, but when I would design, I could feel a sense of pride. I've always designed, and I would literally design everything I'd see: cars, bikes, motorcycles - everything.
Basically with everything, I choose my criteria based on what can be easy. If I made the real world the setting, I'd have to draw looking at reference materials for stuff like buildings and vehicles. When you do that, people complain even if it's just a little bit off.
I love everything from old-school cars to whatever the latest muscle or luxury vehicles are.
I come from a different era and I design clothes for our era. I think of people I want to dress when I design.
I met designers that are in the business for ten years in the movies, and their biggest complaint is things don't look anything like they were designed. Look at my drawing! But nobody ever sees the drawing, that's the thing. So I knew right from the beginning that I would design everything in 3D on my computer, and those models literally went to the machines. So every little radius on most of the vehicles you see there, I built with my mouse and keyboard.
Everything in the world is part of a design. Everything has meaning and purpose and a place in the pattern of existence, only it's not always possible to understand what that design is. Only God can understand the design, because he invented it.
Try to understand what I am saying: everything is dependent on everything else, everything is connected, nothing is separate. Therefore everything is going in the only way it can go. If people were different everything would be different. They are what they are, so everything is as it is.
The last thing Scripture should do is make you blind in the world. Instead, you hear everything, see everything, and feel everything because everything just so happens to point right back to it.
I am definitely of the method-acting school. Everything to me is about sound. I don't dress up in period costumes or anything like that. I'm very aural. When I'm working, I try to soak up the sounds of an era.
Fashion is everything. Art, music, furniture design, graphic design, hair, makeup, architecture, the way cars look - all those things go together to make a moment in time, and that's what excites me.
From Brazil, Cuba and Venezuela to Equatorial Guinea and the Ivory Coast, China dangles lavish, low-interest loans and sophisticated weapons systems as bait. It then uses its 'weapons of mass construction,' a huge army of engineers and labourers, to build everything from roads and dams to parliament buildings and palaces.
As an American, I grew up in an era where we led the world in everything. Everything!
As a woman, I'm expected to want everything to be nice and to be nice myself. A very English thing. I don't design nice buildings - I don't like them. I like architecture to have some raw, vital, earthy quality.
Different people have different styles, but there is an opportunity as a director to be a writer in every moment, with every visual cue and every piece of production design. Everything is a decision, and everything can be obsessed over.
I'm so fond of abstract design in the style of Vanderbilt and David Hicks and that whole 1970s era. They took the 1930s and gave it a bit of technicolour.
I was raised in California during the Second World War and into the '50s and everything was fine, everything was great. The sun always shone, everybody looked healthy and wore ties and smoked in restaurants, and there were cars for everybody - except us, because I came from a lower class neighbourhood. But [in France] I realised there was a different point of view, so when I came back to America a year and a half later I was much more focused on my own country culturally and politically.
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