Top 432 Costumes Quotes & Sayings - Page 4

On 'Adam Ruins Everything' we do the broadest sketch comedy possible. We do stuff where you can see it immediately and know it's a joke - characters in big silly costumes; here's Uncle Sam and he's twiddling his fingers saying, 'Oh, I'm naughty.'

There is a difference between using a made-up name and using real people as pseudonyms. People are not costumes you can wear. They are flesh and blood.

My mother was the worst kind of stage mother. She would make me and my younger sister and brother little duckling costumes and put us in kiddie shows.

My cinema is of a different kind: give me a good meaty role instead of two or three songs and running around in foreign locations wearing itsy-bitsy costumes. I'm clear and focussed about my priorities.

Boney M. were not allowed to do interviews, they were not allowed to choose their costumes. They looked like slaves, and this was the producer's take.

Historical costumes from the 18th and 19th centuries look so complicated, but when you see the patterns, it's very systematic. I've always been impressed by how the patterns economize the fabric.

When you're filming in Russia in Catherine's Palace, and you're in the real place where the Tsar's ball really happened, all those years ago, it does so much of the work for you. It's so vivid. You escape into this different time through the costumes, the sets and the atmosphere.

When I'm working with Red One, we all have to do everything, from making sets and costumes to tearing tickets. Forget about craft services! So when I get on a film set, it's a thrill to be just working as an actor.

In dreams we are true poets; we create the persons of the drama; we give them appropriate figures faces, costumes; they are perfect in their organs, attitudes, manners; moreover they speak after their own characters, not ours; and we listen with surprise to what they say.

Being queer you're supposed to adore figure skating. It's a sport, not an art. I love the costumes and hate the music and of course I worship Johnny Weir because so does he. Also he's real. It's a full gay thing and it always has been.

It’s tricky when you’re doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don’t have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

Growing up in the Sixties, whether it was the Batmobile or the costumes Porter Wagoner wore or the music that came from there, California was the home of what a friend of mine calls 'custom culture.' It seemed like the promised land.

The fashion I've acquired over the years is so sacred to me - from costumes to couture, high fashion to punk wear I've collected from my secret international hot spots. I keep everything in an enormous archive in Hollywood.

I don't believe any color in particular can bring good luck. I think it's just a coincidence that I was introduced in white costumes. That said, the color is very soothing. So, my house is all white.

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.

You do a movie, depending on the character, there's some degree of makeup involved, especially when you're playing a vampire and you're all white and kind of dead. Sleeves, regarding costumes, there are generally sleeves, which I appreciate. I think we all do.

Young people, however, tend to ignore the customs of their elders. Adolescent rebellion has been responsible for all manner of absurd costumes. The more ridiculous a certain fashion is, the more adolescents will cling to it.

My relationship with fashion has always been that each of us stars in our own movies and costumes ourselves to play the part we want. You take blouses and jeans and dresses, and you put them together, and they tell your story.

[On Doctor Strange] just from costumes to everything was just so well done, so beautifully thought through and well-crafted. And so - , and they didn't even make me pretend that much with green screen.

It's so cliche, but I love the feeling you get from improv that anything can happen. The audience is already accepting that there are no props or costumes or furniture, so the performers can be anywhere doing anything; cut from underground to space, and it doesn't matter.

Here's the thing with the costumes for 'Mommy': Given the background and social strata that the characters come from, you can't really imagine that they've gone shopping lately, so we went for that very normcore, fashionless era in history, the early 2000s, which was completely transitional.

Because of my career I have a huge wardrobe of fantastic costumes and they take up almost an entire house. Many of my stage outfits are worth a lot of money. To save cash I buy my more practical outfits from Primark.

The truth is that the performative nature of social media can turn even the simplest conversations into a WWE style cage match with emojis and Internet slang taking the place of pratfalls and over the top costumes.

The journey matters as much as the destination. By engaging in the moment on set, I've stopped rushing and now find pleasure in the collaborative process - the characters, the costumes - rather than worrying about the finished product.

Now that I'm on Broadway, it's like NASA engineering with the costumes. I was very grateful for the slightly more high-tech ones in my show, 'Venus in Fur'; our costume designer Anita Yavich is kind of a genius.

In most of our human relationships, we spend much of our time reassuring one another that our costumes of identity are on straight.

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.

I started writing books and making clothes for my dolls when I was around 10 as a way of making my reality exciting. When I went out to play with friends, I always arranged elaborate sets and costumes.

Before my time on 'RuPaul's Drag Race,' Halloween was my favorite day of the year since I was a little kid. It's the day we worship the macabre and live vicariously through the costumes that we wear.

The make-up and the costumes were me being scared. I needed to create a boundary between me and the audience. To project this bigger version of myself. Outwardly, it looked good, but inwardly, I began to feel horrible.

There are things I cannot do, costumes I cannot wear. When I have taken stands on things, it is because I have thought carefully about them.

I love all the voiceovers I do. I can't remember them all, but I seem to do them all of the time. And there's nothing easier because you just stand and read the script, and you don't have to act the way actors do. You don't have to be made up and put costumes on.

There are so many things I'd like to do. I'd really like to be in a period piece that takes place in old New York or old Hollywood and wear those costumes and that makeup.

I love costumes. I love getting dressed up because it really helps my imagination make the leap to believe that I am who I say I am.

The only difference is that religion is much better organized and has been around much longer, but it's the same story with different characters and different costumes.

'The Shining' is operatic and sensational and... really shocking. It has this amazing meld of classical music and modern interpretations of classical music, and incredible imagery. From the set design to the costumes, there's so much to unpack.

It's tricky when you're doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don't have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

An artist is the only thing I want to be. I only want my freedom and my creativity. It's all that I live for. I reject the idea that I have to take all the costumes and makeup off to be f - king authentic.

To me, the appeal of opera lies in the fact that a myriad of singers and instruments, each possessed of different qualities of voice and sound, against the backdrop of a grand stage and beautiful costumes, come together in one complete and impressive drama.

Someone once bought me loads of clothes from a charity shop - and sent them to me in a black bin liner. That was weird. I went through it and it was full of bizarre outfits like Abba costumes.

It's not that Shakespeare is frivolous, but you spend your time just getting people to dress up in other people's costumes and pretending to be people that they're not, and you think, after the years go by, well, what on earth was all that about?

Dave and Tate were dressed with equal heinousness. More black leather, chains, and whips. Either Don’s staff truly had costumes for all possible occasions on hand, or someone at wardrobe had a lot of explaining to do.

I want to be honest about the world that we live in, and sometimes my political persuasions come through in my work. Fashion can be really racist, looking at the clothes of other cultures as costumes. . . . That’s mundane and it’s old hat. Let’s break down some barriers.

You never know how stylish a movie is going to be and I think this movie has a great sense of style. The way that it is shot and our costumes and everything, it was just terrific.

Everything in that era of the 1930s was built to last - cars, buildings, weapons. There was so much passion in everything that was created. The design on vehicles, the costumes, it's like a different world.

As for futuristic costumes, I loved doing 'Gattaca' because I'm a minimalist at heart, and it's a very minimal film. Plus, with Uma Thurman, Ethan Hawke and Jude Law, how could you go wrong?

For the kind of thing that we were showing, the budget was sufficient. As we were speaking of in Haiti, we had not done that before in exactly this form and we had to have costumes for it.

I loved the movies and I loved cartoon superheroes - superheroes in general. I had all the pajama costumes and I would wear my underwear on the outside of the pajamas because that's what Superman does.

Of the seven deadly sins, anger has long been the one with the best box of costumes. When the guy in the next car rages at you, he's dangerous. When you rage at him, you're just. We can usually recognize the results of anger, especially in others, as destructive and evil.

My whole background is character acting: weird costumes, fat suits, playing men, playing animals - I've never played anyone with whom there's any overlapping Venn diagram.

I am definitely of the method-acting school. Everything to me is about sound. I don't dress up in period costumes or anything like that. I'm very aural. When I'm working, I try to soak up the sounds of an era.

On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.

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.

The only difference is that religion is much better organised and has been around much longer, but it's the same story with different characters and different costumes.

I know what I want, and I know what needs to be done to make my performance better. So I do these little askings, about the lights and costumes. It's not the diva speaking. It's the artist who knows how it has to be done.

I've always worked closely with the designers and whoever's making the costumes. Comfort is the last thing you want on your mind when you're competing. In an ideal situation, you'll have something where you'll put it on and you're fine and you don't have to worry about it at all.

The costumes in museums are often not exhibited well. They look dead. It is much better to look at a painting by Bronzino than to go look at a Renaissance costume.

I know what I want, and I know what needs to be done to make my performance better. So I do these little askings, about the lights and costumes. Its not the diva speaking. Its the artist who knows how it has to be done.

I have over five thousand costumes and props and cars, and I have a twenty-five thousand square foot warehouse full of memorabilia.

You won't see me at a microphone singing and tapping my foot. I spend a lot of money on sets, costumes and sound. I believe people deserve a show. I'm a singer, musician, dancer. I work hard, and I'm soaking wet when I come off.