Quotes of All Topics . Occasions . Authors
I still think as a painter - especially in terms of structuring a picture... I carefully choose the models, costumes, requisites, and backdrops of my photographs.
I think people feel starved of nice, glamorous entertainment. They want to see costumes and gaiety and a singer; old-fashioned entertainment - it won't die easily.
I have a ton of cousins on my mom's side of the family, and we would put on shows together all the time and put on costumes, and we even charged our parents money.
Every time you make a film, you create a world. You make decisions about sets and costumes, and you create a universe connected to reality, but not reality itself.
'Mad Men' doesn't capture one single thing about the decor, costumes, or sexual interaction. It is a total projection of contemporary snarky attitudes into the past.
Going to the conventions, seeing the incredible amount of love that people put into their clothing, costumes, gadgetry, and art of all kinds, is a huge treat for me.
My style is chic, streamlined and original. I don't like to wear the same things as other people - I push boundaries. Growing up, I was really excited about 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.
My twin sister, my cousin, and I used to write and perform plays for my family. We raided the closets for costumes and fought over parts. I'm sure I was the bossiest one.
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.
My costumes are the same measurements they were when I was 19, 20 years old. I eat pizza and ice cream, but whenever I gain three or four pounds, that sets off a red alarm.
Couture has copied my things for years, in addition to countless other costume designers, claiming theirs were the original ideas. It's all part of the business, unfortunately.
Halloween was definitely the biggest holiday when I was a kid. We started making our Halloween costumes in August. Me and my mom. My mom was a single mom; it was just her and I.
John Schlesinger had one of his friends designing it and he had never done a film before. Ten days before it started, they didn't have any costumes. I was rung up and joined up.
Well, I design costumes because I started with the theater in Chicago, but somehow a few lines just sort of fell to me to do it. And I studied it in school and I always liked it.
I'm a T-shirts, sweatpants, and jeans kind of gal; I dress really simply and comfortably. But one of the things I love about being an actor is that I get to wear amazing costumes.
All of these are names given me by other people, but not names I would have given myself. My name is not mine, it's theirs. It's a series of costumes put on my life by other people.
I am greatly impressed with the BBC's TV adaption of Charles Dickens' 'Bleak House.' The costumes, the sets, the acting and the screenplay are all superb. Every episode is riveting.
The visual elements of the videos, the makeup and the costumes... these things have nothing to do with justice and truth, but nonetheless, it really changes the experience of the video.
When a lot of people watch these Victorian-era shows, they're in love with the costumes, the romance, the whole sweep of it all. But there is nothing nostalgic about 'The Knick' at all.
It sounds a cliche but when I'm on stage I'm at my most relaxed, I feel most like myself. When I have the music and the costumes and everyone else around me, that's when I feel most free.
I think the thing that would interest me would be to appear in a period piece where you'd get to dress in an elaborate costume and say nothing but just look fabulous and have a fancy role.
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.
You put funny people in funny costumes and paint them green and we could talk about anything we wanted to, because that was the only thing that fascinated Gene about this particular genre.
I had always liked, well, who didn't love Lestat and fall in love with 'Interview with the Vampire,' and 'Nosferatu,' and Coppola's 'Dracula' with the awesome costumes? So I loved all that.
My parents read me fairy tales every night and I used to believe I was a fairytale princess, like every young girl. I had all the Disney dressing-up costumes and would play every character.
Costumes are all about identifying which force in a conflict you're on. That's where banners and flags came from - so people rushing into battle knew who to follow and who was on their side.
Strip is the power. I'm ready to strip... I think everyone is. In that I'm saying I think everyone is ready to take off masks and pretentious costumes that don't represent who they truly are.
I've always preferred drag roles, because typically I get better costumes and I've always felt more connected with the female characters in my favorite shows than most of the male characters.
On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.
Courtrooms contain every symbol of authority that a set designer could imagine. Everyone stands up when you come in. You wear a costume identifying you as, if not quite divine, someone special.
I gradually work myself into a frenzy as the shoot approaches, while we're choosing the costumes or working with the make-up artist. I'm not so much interested in my character as the film itself.
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.
I started to really enjoy the fact that [princess] Margaret was an exhibitionist. Even on a day-to-day basis, Margaret's costumes were always so much more dramatic and bold than Elizabeth's were.
I got these big coffee table books about Chinese opera from the local library, and I loved looking through them. I loved studying the intricate costumes and figuring out how to 'cartoonify' them.
I wrote a play that I directed and I was in, and I paid for the sets and the costumes and to put it up in a theater all through modeling. It really afforded me a lot of creative control in my life.
In the old days, talent owned their costumes, their intellectual property, their gimmicks. They were not employees and could wrestle anywhere they wanted to, and that just is not case in today's WWE.
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.
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.
I have friends who wear Star Wars costumes and act like the characters all day. I may not be that deep into it, but there's something great about loving what you love and not caring if it's unpopular.
Our world was Northern, black and white, so it was a great thing for my sisters and me to sit down at Christmastime and watch these fabulous MGM musicals. All that color, all those beautiful costumes.
[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.
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.
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.
In productions such as 'Anna Bolena' and 'Rigoletto,' the costumes are tailored, and they're tight. In 'Moby,' it's like you're wearing pajamas, and you have more freedom. It's very comfortable on stage.
We said, as we were developing 'Iron Man 1,' and working on these films, that our characters need to be as interesting out of their costumes as they are inside their costumes, fighting and flying around.
There are a lot of similarities between dancing and wrestling. The costumes are the same, the spandex and all that, but you have to be light on your feet to do both, and you have to remember choreography.
As I wouldn't wear a costume, I couldn't imagine him wanting to wear one. And seeing that the greater part of my wardrobe is black (It's a sensible colour. It goes with anything. Well, anything black)[...].
My effort is to slip into any role that is offered to me. The minute you go into those costumes, those grand sets, and start prepping up for the role, you become the part or at least start feeling the part.
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.