I played Simone, the French tutor for the daughter of a rich Manhattan couple, who goes to a costume ball as Marie Antoinette. While everyone else in 'CSI' races around in police gear, I had to wear a ballgown and bustle and two wigs. It was very heavy on the make-up side.
Marie Antoinette: The Portrait of an Average Woman was one of those books I read in my mid-twenties that was life-changing. I think I had a very black-and-white view of Marie Antoinette before, but in reading that book, I developed a lot of empathy for her. She was just caught up in history. There was no place for a woman to do anything at that time anyway.
Richard was in heavy, heavy costume, he could hardly sit, you know, and I turned up and they put me in two layers of silk, so I played him much lighter - you know, floating around in a pair of slippers, a bit of a hippy.
With a good education and a solid childhood, Marie-Antoinette might have become one of the most admired women in Europe. As it was, the empress paid no attention to her youngest daughter until an accident of nuptial politics made the girl a candidate to marry the French dauphin.
My performance outfits are very Marie Antoinette, sparkly corsets... and full skirts. And then we do another look that's '50s-inspired. Poufy skirts, big bows. Very fun, girlie and young, but otherwise, when I'm not in costume, I dress really normal.
Marie-Antoinette was born in 1755, the youngest daughter of Empress Maria Theresa of Austria and Emperor Francis I. She was intelligent and artistic but devoid of the ambition or calculation required to survive in the fetid atmosphere of the French court. In many ways, her character was not unlike that of Mary, Queen of Scots.
Doing 'CSI: N.Y.' is not 'CSI.' Doing 'CSI: Miami' is not 'CSI: N.Y.,' it's 'CSI: Miami.' It has a very, very specific tone. It has a very specific look. It has a specific way in which they tell their stories that's different from 'CSI: N.Y.' and 'CSI.'
If you are out in two races and someone else has a good couple of races, it could change. So all we do is try to get the optimum every time.
For me, the costume is very important. More the feel of it than the look of it. I take it more from the inside. So if I wear something that's heavy, it will affect my character. Is it very tight, and do I feel almost imprisoned, or is it very comfortable? It's the feeling of the costume that tells me where to go with the character.
I realize that I had always in my heart of hearts planned to write a biography of Marie Antoinette.
You feel very romantic when you're in a ball gown. Everyone should wear one once in a while.
The one broken window that permanently wouldn't roll up had destroyed her perfectly curled blond prom-hair, and by the time we got to the gym she looked like Marie Antoinette with bedhead.
I look around me and I don’t see any rock’n’roll at the moment. Instead it’s all choreography and stylists and wigs and stuff. It’s like they’re afraid to let the music breathe. No one has their own identity like the Ronettes did back in the day. We had the skirts with the slits up the side, sort of tough, sort of Spanish Harlem cool, but sweet too. We didn’t have no dancers, we didn’t have no goddamn wigs.
I wear a lot of wigs as Jacques Mesrine. He'd wear multiple wigs and take them off one at a time to rob three banks in one hour.
I was no Marie Antoinette. I was not born to nobility, but I had a human right to nobility.
As her life became more unhappy, acting attracted Marie-Antoinette because it fulfilled unmet emotional needs. By all accounts, she was quite good in her little private theatricals. But her desire to be a heroine, both literally and figuratively, was shocking to the French.
I love thinking of movie stars who could play the characters in the books I write. I think Charlize Theron would make a lovely Marie Antoinette.