A Quote by Spike Lee
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.
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If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.
Being a head designer or art director or just even a designer, you need a certain level of experience and maturity.
I have been an art director, a book designer, a book-jacket designer and an interior designer.
My favorite part about costume designing is the artistry of the job. You meet with a director and a visionary to discuss ideas. You research the characters and figure out the components of their look through your own vision. You create a color palette for a film, television or stage medium and discuss it with the director of photography who then lights your colored subjects.
We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.
On the clothes front, I have a designer who sits with the director for each film to chalk out a look for me based on the script.
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.
I often compare putting a hotel together to old-time movie production. You come up with a story line, you hire the writer, the director, the stars, the set 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.
I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
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.
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.
As a designer, as you get used to Kinect, it's such a different experience for me as a designer - for any designer.
If you've taken the job to be the stylist for a collection, then I think it's important for you to really listen to the designer and look at the board. Look at the wall, look at what the designer is interested in, and then move on to that. But the designer also must not lose sight of the reason for their point of view. Otherwise it won't come across.
I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.
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