A Quote by Jonathan Tropper

Screenwriting you don't necessarily have to do the job of the costume designer and the prop master and the set designer. It's more just about finding the visuals and finding these characters through dialogue.
When talking with a set designer the dialogue is more centered on locations, interior design, what I like and what doesn't work. There is a certain taste I'm drawn to and feel inspired by, and finding that inspiration is what keeps the conversation moving forward.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
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.
People are only concerned about the next party, meeting up for casual sex, finding a job as a Web page designer, or getting a new apartment.
I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'
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.
One of the challenges you will face is finding a job in our depressed economy, ... In fact, the chances of finding a job are about as good as finding weapons of mass destruction in the Iraqi desert -- slim and none, and slim just left the building.
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.
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.
How a designer gets from thought to thing is, at least in broad strokes, straightforward: (1) A designer conceives a purpose. (2) To accomplish that purpose, the designer forms a plan. (3) To execute the plan, the designer specifies building materials and assembly instructions. (4) Finally, the designer or some surrogate applies the assembly instructions to the building materials. What emerges is a designed object, and the designer is successful to the degree that the object fulfills the designer's purpose.
I had no special training at all; I am completely self-taught. I don’t fit the mold of a visual arts designer or a graphic designer. I just had a strong concept about what a game designer is – someone who designs projects to make people happy. That’s his purpose.
Be able to take any job that gives you experience on a film. Don't just think that you have to be in one department or the other, because through working on one and seeing what other people do in the movie makes you realize what your role is if you become a costume designer.
The words graphic designer, architect, or industrial designer stick in my throat, giving me a sense of limitation, of specialisation within the specialty, of a relationship to society and form itself that is unsatisfactory and incomplete. This inadequate set of terms to describe an active life reveals only partially the still undefined nature of the designer.
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.
Not everyone has to be a model and a designer, there are so many other options that are great and long-lasting. It's just finding what you're good at and being honest with yourself.
As a designer, as you get used to Kinect, it's such a different experience for me as a designer - for any designer.
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