A Quote by John Sayles
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.
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People like to stir up the fashion vs. costume world, and I think what they mean by 'too costumey' is that it's too much, or not real enough for everyday wear. You couldn't say that about John Galliano's shows, right? I mean, they're awesome, and they're total costume.
Costume is always an asset. Normal costume you have a lot to say about - if you're wearing suits or ties, and what color you want, and how it's going to be cut, and stuff like that, and whether or not you're going to wear a hat, and blah, blah, blah. But, when you're wearing a special costume, and of course, costume is probably the second ingredient in character, script being first, I always find that the costume does a lot to cement your character, to put it firmly in mind.
I enjoyed studying costume, learning about the corsetry and the historical context of fashion. I never had any real intention of being a costume designer.
The costume designer, her name is Anne Hardinge. She's done "Shaun of the Dead" and "Hot Fuzz." She's really comedic costume designer, which was right up my alley. She was a joy to work with. She was like fabulous Geena Davis. She was just floating with her red lip and kind of fabulous.
I graduated from Academy of Fashion and Costume Design in Rome. At first, I thought I was going to be a costume designer for films, and then I ended up working in fashion - not as a designer, but mostly as a model.
My mum was a costume designer and costume supervisor in the theater and, especially, the ballet. But that was before I was born.
Fashion designing involves a lot of work, and, as opposed to the general perception, it is different from costume designing for films. While a fashion designer can take up a costume designer's role, it is not possible vice versa.
Costume is a massive thing. I think costume makes you stand differently.
I always love costume, and I'm always heavily involved in how things should look. Or how they should feel really, because that's part of the way I suppose I get into character in some ways. It's a lot about costume.
Yes, I love going to fittings and talking about the history of a costume. For 'Versailles,' a play set in 1919, the costume designer told me that pocket squares had just been introduced. The tango was becoming fashionable in London, and dancers used them to mop their brows. I love to learn fascinating stuff like that.
In the beginning, when you're acting in amateur theater and off-Broadway, it was unheard of that anyone else would get your costume. And it was important to get a good costume. You put time into that.
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.
It's interesting the whole Kardashian thing with 'Offspring' because really my choices - with my costume designer - for every single episode are based on the emotional journey of that episode for the character.
When the Strokes first started playing gigs, instead of getting into a costume for the shows, we talked about how we should dress every day, in real life, like we're playing onstage. I don't really care about clothes, but it's about wearing something that gives you social confidence. Or maybe helps you pick up chicks.
Halloween is all about being bold, daring, and creative! You get to be someone else for the night thanks to makeup and a costume. I pretty much do that on the daily, so I am not that big on Halloween, but I do appreciate a good costume and some incredible makeup.
I am interested in costume. Clothes in your daily life are important: your choices say something about you, even if what they're saying is about non-choice. And what you wear in a film is crucial.
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