A Quote by Vicky Krieps
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.
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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.
Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be alright.
A novel can do something that films and TV usually can't - a glimpse inside the characters' heads. I write very tight third person point of view, so the reader is right behind the eyes of each character, seeing what they see and feeling what they feel.
I wouldn't say one is easier or more difficult, but when you're inside a costume and a mask, you have to endure heat - and, often, difficulty seeing. The vision is not very good in a mask. And you have to cope with that, as well as trying to think about this character.
What a character wears and how it affects their mood and their movements has always been very important to me. A character's clothes, if they're truthful, can make audiences feel something.
For me, the best characters are the ones that feel fully formed inside and out, so I try to have a very clear vision of exactly what they would wear, top to bottom, who they are, what their backstory is, what their family situation is, who are their friends, just creating as much of a three-dimensional character [as possible]. Because I think you could do a very broad character, but as long as there's some emotional truth to them you can get away with really crazy things.
Really it's all about what's inside the Superman suit. How you feel about yourself when you put that on because it's very revealing and very imposing if worn with confidence, I suppose. The first time I wore it, I didn't have that as much. I hadn't really trained any, yet. I hadn't read the script, I hadn't really worked on the character at that point. And I was standing around with a room full of costume designers and everybody was judging me right away and going, "Don't make your judgment on it, if this is Superman quite yet or not," because I hadn't done all the work that I would later do.
One of the beautiful gifts of dance is that you're so in tune with your body so early on. I was very comfortable in my skin at a very early age, performing onstage and wearing interesting costumes. And I give so much credit to my mom - she never made me feel that my costume was wrong, or bad, even when there was not a lot to them!
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.
If you stood me in a costume next to a computer graphic of the same-looking character, I think there would be a difference. And many movie fans I've spoken to would rather see an actor in a costume than CG.
I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.
I think when you're playing a character in any film it's so crucial to have the costume that makes you feel like you're going to be that character.
'Rangrasiya' was a very special show for me. It played a very important part in shaping up my career. I feel it was a premature end to the show. My character Rudra was very close to my heart.
Every movie I work with the costume designer to see what feels like the character, not what Columbus would wear but what is right for the character. Outside of the armored truck standard issue security guard uniform, this guy is trying to make ends meet. He might have one pair of jeans, the same boot, maybe changes his shirt but he doesn't have a walk-in closet full of things, so I wanted something comfortable that felt like the character.
I hate Technicolor. Everybody in a Technicolor movie seems to feel obliged to wear a lurid costume in each new scene and to stand around like a clotheshorse with a lot of very green trees or very yellow wheat or very blue ocean rolling away for miles and miles in every direction.
I have received emails from readers who have said that they were emotionally impacted by the books, and they feel they are more environmentally aware and energized to do more. So that's hopeful to me. It is at least evidence of what I'm trying to do - trying to convey very intense emotional experiences by being very close in on character points of view to make you feel it in your body. That's one way to get the point across, by evoking a visceral response.
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