Quotes of All Topics . Occasions . Authors
Put me in a costume, and I'm your man. I must have one of those faces which seems to suit period drama more than modern films and TV programmes. But I'm not complaining, I love going back in time. I feel quite lucky because nobody knows who I am. I can walk about and have ordinary conversations with people.
There is a lot of propaganda about opera singers not being able to act. That's not necessarily true and hasn't been true for a very long time. And certainly there were those instances when singers were told they need to fit into a certain size dress. Of course, women. Men? They just make the costume bigger.
Three children have become adults since a phone call with Jo Rowling, containing one small clue, persuaded me that there was more to Snape than an unchanging costume, and that even though only three of the books were out at that time, she held the entire massive but delicate narrative in the surest of hands.
I don't remember that I ever really went all out to come up with a costume or a persona that could compete with everyone around me. I didn't know what to do. I found Halloween scary for just that fact - it meant that I had pressure to get up and be scary, makeup and all that. That was pretty horrifying for me.
At school, there was an annual school disco and I'd be standing in my bedroom wondering what to wear for hours on end. Eventually I'd arrive at a decision that was just the most ridiculous costume you could have ever devised - I think it was probably knitted Christmas jumpers on top of buttoned-up white shirts.
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.
I think I'm better at live shows than I used to be because I'm way more comfortable with the uncomfortable pauses between songs. Now, rather than trying to talk or do a costume change, I'll use those moments for myself. I listen to what other people are playing, or just rest, or dance, even though I don't know how to.
You know, when I got started on television in the '80s, you would go to the costume department, and if you were a female they put you into a skirt. And you had a pocketbook, usually a shoulder bag.
The first time I ever dressed in drag was at a costume party during my childhood. I went as Wonder Woman and my mom even took me to get the costume.
I have worked with some of the most amazing costume designers in the world.
As a rule, I try to avoid the French Quarter because of the crowds, especially Bourbon Street. But hey, some people love it. A great, wild, adult thing to see is the costume competition in front of the bar Oz on Bourbon early morning on Fat Tuesday.
Actually I have a tradition that I always steal my last costume on the last day of filming.
Every year, I have to spend another hour working out. Pretty soon I'll be spending eight hours working out just to fit in the costume. I have the feeling that the minute I stop doing the character, boom, Roseanne Barr.
Wearing this kind of costume is not something I fantasize about. It's not natural, it's not comfortable. I don't see myself as this. But it gives you dramatic license to do almost anything when you're dressed as a bug.
When I dress up in costume, it always starts with the wig for me. Big wigs and big headpieces are so fun, and they give you confidence and make you feel powerful.
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 want to create things while I have time on Earth, and the art of costume and culture has always inspired me.
The thing that's great about being a costume designer is you never know what's going to be next; you never what world you are going to enter.
My favorite event of the season is the Costume Institute Gala at the Met in May. To that I'll wear custom Vera Wang.
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 always loved Michelle Kwan's outfits. Most of them were designed by Vera Wang, and they're just so simple, but the fabric that they used and the way that it was sewn together look so elegant and rich. You could tell that time had been put into it. It wasn't just another spandex, stucco-covered costume.
A film is a great deal about what you see, and the silhouette of a character tells you a lot. I'd love to go into film costume.
I've always said drag queens are like Swiss Army knives. Most come from having to take $50-a-show pay and doing their own costume, wig, music and jokes.
Costume designers don't care about trends. They appreciate, above so many other qualities, that tailoring is everything, which is a mantra for the way I dress. Ladies: The most important thing in clothing is to find a good, inexpensive tailor, because clothes at the stores are made for bodies that are anomalies.
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 have been a scrappy actor for 10-plus years, and when you're playing supporting roles, your relationship with the costume designer is very different.
If James Franco's wearing a costume, and I'm wearing a motion capture suit, we don't act any differently with each other because of what we're wearing. We're embodying our roles.
The modern designers are quite showy, and a lot of the young people really like it. Costume jewelry has always been about being noticed and not discreet.
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.
It is a special, weird thing being a cheerleader. You need to want to yell and perform, dance, and wear a cute little costume. It's a thing you're kind of born with or without.
My friend once sculpted me a bust of Admiral Ackbar from 'Star Wars.' He's my favourite character in the films after Han Solo. He's that goldfish-type alien in the white costume. 'It's a trap!' I'm a big geek.
What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen, he's become a different person.
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.
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 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.
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!
It makes a huge difference in how you feel, the way your costume holds you. When you look at yourself in the mirror, it makes you feel a certain way. Actors like to talk a lot about working from the inside out, but there's a lot to be said also about working from the outside in. It can be extremely helpful.
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.
It's often said that costume designers are a faceless group of people. But we can contribute to fashion in a way that might be new and different.
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.
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.
Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you're wearing or the makeup.
Costume design allows you to do a different type of research and create characters, whereas in fashion, you create an image and clothing for the masses.
One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.
I can create clothes for so many different time periods. I've always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.
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.
Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.
People like to stir up the fashion vs. costume world, and I think what they mean by 'too costumey' is that it's too much, or not real enough for everyday wear. You couldn't say that about John Galliano's shows, right? I mean, they're awesome, and they're total costume.
I think that sometimes people don't understand that a costume that has to be worn every day and doesn't change the whole movie becomes iconic. It's very important because it requires a different design process, since you have to make something that people aren't going to get tired of looking at.
I grew up in a small town in Washington State, so I wasn't really aware of costume design as a career growing up, but I loved clothes. I remember I saved all my money, and the first thing that I bought was a white blazer, which was to the horror to my parents. But I have always had a strange connection with clothing.