Top 632 Costume Quotes & Sayings - Page 7

Wild Bill was a strange character, add to this figure a costume blending the immaculate neatness of the dandy with the extravagant taste and style of a frontiersman, you have Wild Bill, the most famous scout on the Plains.

The buffoon is a product of the woolly jumpers in the 1980s on 'TV:am.' It was a costume and I loved earning money before breakfast, but 9 A. M. came and I then took off the woolly jumpers.

We have to do a film parody for Comic Relief. We can't decide which film to parody at the moment. Any ideas welcome, but not Spiderman owing to costume being too tight.

I headed out to have a breather at the stage door, dressed in my tramp costume. I had my bowler hat between my feet and there were passers-by, and one of them turned back and said, 'Do you need help, brother?' And $1 fell into my hat!

The hats are tough. I've got a weird head, so believe me, there were a lot of hats. Penny [Rose], our costume designer, who I knew from other jobs said, "Badge, that looks terrible on you. Hold on. No, we can't do that one."

Let's say there are things about 'G.I. Joe' that you specifically expect and some things that need to be in the film at certain points, whether it be relationships or certain costume aspects.

A simple garb is the proper costume of the vulgar; it is cut for them, and exactly suits their measure, but it is an ornament for those who have filled up their lives with great deeds. I liken them to beauty in dishabille, but more bewitching on that account.

I loved every minute of working in wardrobe. But I love being an actress so much more. I don't think I was very good in costume, so it's better that I prefer being an actress.

I had such a nice time making it, and I can't wait to make the fifth one. The whole crew were just really, really lovely. All the costume people, the make-up girls, the kids - even my driver.

There is a lot of things to be outraged about these days, and I think that getting outraged about an actor on a television show who may be wearing a costume that makes him larger than he is, might be low on the list.

I always have a moment when I know I'm designing the last costume that gets made for a movie, and it's always been floating up there, but it's kind of the last one. That's always probably the hardest one for me.

I was obsessed with being popular in high school and never achieved it. There's photos from our high school musicals, and I'm comically in the deep background, wearing a beggar's costume.

Kane dons the mask because he is horribly disfigured, unstable, mentally insane and crazy, so I thought it would basically look like he had escaped from an institution. Then, I get the creative for the costume, and it looked like a superhero.

Since childhood, I have been a fan of Spider Man because, according to me, he has the maximum humanity; he is very human, very mortal. So he even gets hurt. He has a poor background, but when he wears the costume, he forgets all of that, all the pressures of the society on him.

At one point, I worked up a list of five requirements for a superhero: superpowers, a costume, a code name, a mission, and a milieu. If the character had three out of the five, they were a superhero. But that's just my definition.

I've actually heard people protesting furiously about straight male costume people as well. It's not universal and there are examples that break the mould all over the place. In my experience, it's more prevalent in the UK than in America.

For all of my class projects, I somehow turned it into a commercial parody or put on plays. My whole thing was seeing things from a big picture, from beginning to middle to end: making a costume, doing voices, writing a script, making it all happen.

I consider myself an artist, but instead of paint or clay, my medium is drag. I put so much of myself into my drag from every detail of the costume, makeup and hair to my performance, the way I speak or even stand.

When you are the kid of an actor, it's always a very inviting world. Everyone is nice to you, the hair and make-up people braid your hair and play with you, and the costume department makes outfits for your teddy bears.

Ever since I was younger I wanted to be on stage, singing my songs in a glittering costume. And that happened and is still happening. I have to remember that this is what I wished for and be grateful because there are 500 other girls right behind me that are ready to snatch it up.

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.

When you're even on a regular movie set, you still have to suspend your disbelief. You're working there with only 3 walls of a room, and you're in costume, and you have a camera 6 inches from you and have a crew of 75 watching you. So even there, you have to crank up your imagination.

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.

I would say probably my least favorite costume ever was in 'Van Helsing.' That was a huge pain because it had thigh-high boots with 30 buckles on them that had to be done up individually.

Superman is the hardest character to draw. There are a couple of things that make him difficult. He's got a very simple costume and doesn't have the long cape like Batman. He's not a character that is necessarily always in shadow, and he doesn't have a mask.

When my kids were in the school play for the first time, I decided I had to make the costumes from scratch and bought material, wadding, dyed T-shirts, and purple tights so I could say I made the octopus costume myself.

Working on 'Honeymoon,' an independent movie, was almost like working on TV with the space, and everything was stripped down - costume and hair and makeup. There was very little to hide behind, and you absolutely had to create the character from within.

And costume is so important for an actor. It absolutely helps to get into character; it's the closest thing to you, it touches you. Some actors like to go into make-up and then put their clothes on, but I like to dress first; that's my routine.

Even if heaven were real, and measured as Revelation says, so many cubits this wayand that, how gimcrack a place it would be, crammed with its pavements of gold, its gates of pearl and topaz, like a gigantic chunkof costume jewelry.

When I get a new script, I write a record of how many costume and make-up changes I have. I cross-check them against the shooting schedule and then consult with the hair and make-up designers.

For me, the most enjoyable type of singing is opera. It allows you to move, to wear a costume ... to do something with your body. When singing in concert you have to stand up in front of the audience, next to the conductor, which is less natural.

I was obsessed with being popular when I was in high school and never achieved it. There's photos from our high school musicals and things, and I'm comically in the deep background, wearing a beggar's costume.

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.

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.

Unapologetically, absent me, there is no Deadpool. Period. I am the name, the costume, the look, the origin, and the attitude. Great one-liners are the result of other writers. But there's no Deadpool at all in existence without me.

I recently did a play, Athol Fugard's 'Coming Home' at Long Wharf Theatre, where I played one character throughout - I sat at a table and didn't have any costume changes. Following one character's arc from beginning to end is a whole different mindset.

[Jack Sparrow]'s a blast to play. I'll be in a deep, dark depression saying goodbye to him. I'll keep the costume and just prance around the house, entertain the kids....I mean, at a certain point, the madness must stop, but for the moment, I can't say that he's done.

It helps with your acting when you're not in a perfect costume, perfect wardrobe, a perfectly seamed blouse, perfectly ironed hair, and perfectly done eyeshadow. It's really liberating.

I try very hard not to take work home, but it can be tricky. Sometimes it feels as if you are wearing your costume underneath your own clothes! I suppose things are always ticking away in the back of your mind.

I always have a moment when I know I'm designing the last costume that gets made for a movie and it's always been floating up there but it's kind of the last one. That's always probably the hardest one for me.

No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama. Fight Club is a studio pic, and I've done very few of those. I've got a feeling it's going to change things for me.

All through my life what I've loved doing is watching movies. I love the escapism of film, I love stories. So it is incredible to be able to be in them as much as I am, to see them from the first stitch in a costume to the end product.

There was a kind of madness in the country. Eamon De Valera, the prime minister, had this vision of an Ireland where we'd all be in some kind of native costume - which doesn't exist - and we'd be dancing at the crossroads, babbling away in Gaelic, going to Mass, everyone virginal and pure.

For me, the audition is always the hardest part of the whole process. Once you get on set, once you're in costume, you're with the director, it's so much easier to get in the headspace.

To me, the costume does half the job for you, or even more than half of the job.

I loved doing all those costume dramas. I didn't think, 'Ooh I've got to avoid being typecast' - you can't ever be dictated to by what other people think. I just do things because I fancy the parts and the directors.

If I got a superpower I wouldn't say, oh, I got to get a costume and put on a mask. I would say hey, I can do something better than other people. How can I turn it into a buck?

Why not allow patrons to comment on directors' decisions, vote on costume design, listen to dancers' conversations, volunteer to help out in ways beyond just writing a check? They can see themselves as co-producers, not just bystanders.

I turned my hand to costume design a few years ago when I created the outfits for 'This Is the Sea,' with Richard Harris and Samantha Morton. It's a very different discipline to being a fashion designer, though - you have to rein in your own vision and work to a tight brief.

I didn't want to do Chekhov or Shakespeare. So I switched my major from acting to costume design. Eventually, I got a job working as a wardrobe assistant for a theater company. I would dress the actors, fix their costumes, do the quick changes for them and all that stuff.

One of my best memories is with a really good group of people in the Canberra Youth Theatre. We did a play about the seven deadly sins, and we had to dress up in costume and perform in Garema Place like the drama freaks we were. Great fun.

Period costume films are fun to discover, but they're not relatable. It's more, 'Wow, that's cool - did it really look like that back then?' Whereas with a comedy, you're like, 'Yeah, that's me, that's my friends.' No matter what, I want people to relate.

For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.

When I started, there was a very strong image of what the ballerina was supposed to be in her tights and her costume, and then I started doing photo shoots in bomber boots, and it wasn't seen as the done thing.

If grownups want to dress in Tudor costume, douse babies in water, intone over the dead and do strange things with wine and wafers, it is a free country. But for a Christian sect to claim ownership of the legal definition of a human relationship is way out of order.

My eyes opened, and the first thing I thought of when I could put thoughts together was I want to be in show business. Never wanted anything else. I used to sneak in the costume room at my nursery school and smell the costumes.

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.

Our modern understanding of cultural appropriation is highly individualised. It's all about what Halloween costume you wear, or who's cooking biryani. But the way in which the idea was first used was to describe a relationship of dominance and exploitation between a global ruling class and a globally subjugated one.

For me, the most enjoyable type of singing is opera. It allows you to move, to wear a costume... to do something with your body. When singing in concert, you have to stand up in front of the audience, next to the conductor, which is less natural.

The beauty of the character is that it's like camouflage. It's the best costume ever. I rarely get recognized as Pornstache when I'm out in public. Most people recognize me as the Law & Order guy, when I'm out in public.