Top 492 Wardrobe Quotes & Sayings - Page 9

Lee Marvin was there at the same time, and I knew obviously it was his movie [Emperor Of The North], and Ernie Borgnine was playing the other part in the movie.I met Marvin there at wardrobe, and he said, "What are you doing for lunch?" I said, "Nothing." He said, "C'mon with me!" And he took me to the commissary. I walked into the commissary with Lee Marvin at 20th Century Fox, and he introduced me to people. He said, "This's Keith Carradine. We're doin' this movie together." He was so cool. I mean, my God.

In the beginning of the book, The Miraculous Journey of Edward Tulane, Edward is more enamored of himself than he is of anybody else. He's a very fine rabbit; he's been constructed incredibly well, and he has a wardrobe of amazing clothing. He's arrogant, and he doesn't care whether Abilene loves him or not. As the journey progresses, as he gets passed from hand to hand, he learns what it means to love. He gets more and more bedraggled, and his clothing is lost; yet he becomes finer in soul and heart than he was at the beginning of the journey.

I know that I present very - they say that I present very, very calm and very, very smart, very articulate, elegant. Yeah. And I go, 'Brilliant teams of makeup and wardrobe happened to dress me and clothe me and put my face on and do my hair. And then these brilliant teams of writers give me words to speak. I just need to make sure that I have them all in this combination in my body, in my being, and then I get to do it on camera, in front of a brilliant team of camera workers who really know how to like me and make me sound good.' So I'm just really a dork in real life.

Madge: I don't know why I keep shouting at them. The Doctor: Because every time you see them happy you remember how sad they're going to be. And it breaks your heart. Because what's the point in them being happy now if they're going to be sad later. The answer is, of course, because they are going to be sad later. ~ The Doctor, the Widow, and the Wardrobe

My strategy to show caricature idea of American youth culture, which I think worked after talking about it for so many years, is that I had only a few things. I wanted to buy my own wardrobe for Rock 'N' Roll High School, which of course they said "Yes" to, because their clothing budget was $200, and I ended up spending my whole salary - which I think was about $2,100 - on my clothes. And also, any time I was onscreen, I wanted to have as much energy as I possibly could. I think it just really worked for the character.

I got good at trying to throw a voice on a character from the very beginning as opposed to like reading it and sitting with it and mulling over it and stuff like that just try to read what it is and then try to put a funny voice to it like as soon as possible and stuff like that. Once you get laughs with your voice then you can start thinking about, you know the physical characteristics and how they might walk or if they stick out their buck teeth or if they wear an afro and stuff like that. I think like finding the voice of the character helps to like build the wardrobe and everything else.

If you eat Chinese food, your farts come out like Chinese food. If you eat Mexican food, your farts come out like Mexican food. And milk, it’s like - you can smell the warmth in the fart. My wardrobe on Transformers always smells like farts, and I have no idea why.

In the beginning, I found myself dealing with a show business dictated by male white supremacists and chauvinists. As a black female, I had to learn how to tap dance around the situation. I had to ... find a way to present my point of view without being pushy or aggressive. In the old days, the only women I saw in this business were in makeup, hairdressing, and wardrobe departments. Now I'm surrounded by women executives, writers, directors, producers, and even women stagehands.

Remember I came to Albuquerque to do a hair and makeup test and wardrobe fitting; you guys were already shooting. It's tough when the movie's already started and you kind of show up. You're the new kid on the block. I walked onto the set and Tommy [Lee Jones] was about to do the scene. I just kind of walked up to him. I was shaking, but I just gave him this big hug and he just had nothing to say. He was like, 'Gotta go to work now.' I had a great time working with him."

When someone tells you you're not going to walk again and you spend about a year and half on your back, your clothes don't mean much. I was in a robe every day, so I gave everything away - my whole wardrobe, down to the last dress. But at some point I woke up, maybe about four or five months after having done that that, and I thought, "You know what? I really want to try to wear high heels." That's why I wanted to learn to walk. It sounded really stupid but I just wanted to see. That to me was sort of definitive to who I was. So that was my goal.

What had survived - maybe all that had survived of Trism - was Liir's sense of him. A catalog of impressions that arose from time to time, unbidden and often upsetting. From the sandy smell of his sandy hair to the locked grip of his muscles as they had wrestled in sensuous aggression - unwelcome nostalgia. Trism lived in Liir's heart like a full suit of clothes in a wardrobe, dress habillards maybe, hollow and real at once. The involuntary memory of the best of Trism's glinting virtues sometimes kicked up unquietable spasms of longing.

Jules has always been one of those women that men go crazy about because she has enough self-confidence to say this is me, take it or leave it. And, invariably, they take it. Or at least try to. They love the fact that she doesn’t wear makeup. That her clothes, on her tiny, petite frame, are a mishmash of whatever she happens to pull out of the wardrobe that morning. That her laugh is huge and infectious, and, most of all, that she listens. She loves life, and people, and makes time for them, and even before Jamie came along men were forever falling in love with her.