For 'Singin' in the Rain,' I bought most of the costumes - the 'Fit as a Fiddle' costumes and the 'Make Them Laugh' Donald O'Connor outfits and the 'Good Morning, Good Morning' clothes we danced in.
My favorite [costume in collection] is the white dress Marilyn Monroe wore in the subway breeze scene in 'The Seven Year Itch.'
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?
If the costumes are wrong, you feel awful in them and it lessens your acting.
I'm always trying to change things - change my character, change my look, change my hair, change my facial hair, change my costumes, or implement different jackets or catchphrases. I try to keep myself fresh.
When I first saw a White Dutch person dressed up as Black Pete, I was both sickened and shocked. It's hard to stand next to someone who views your skin color and hair as a costume. As a filmmaker, whenever I get that feeling, I want to explore what motivates people to engage in such offensive behavior and enlighten folks about its origins.
My parents used to park us kids at the public library in downtown Honolulu every Saturday. They'd leave us there at 8 A.M. and pick us up at 4 P.M. - so between those hours, you'd better find something to do! I sat upstairs in the picture room and went through opera, ballet, and theater books. I loved the photographs of people wearing elaborate makeup and costumes - they really pulled at me inside. I was in that library every week for years, until I was about 13. I had a rich interior life, because I didn't have much of a social life.
I always wanted to be a fashion designer and I learned costume illustration in high school. That was an incredible high school. It was more like a college. I'm moving more in that direction, just kind of merchandising my name.
The costume designer designing clothes that helped the comedy in The Proposal, that sold the character. Each and every detail was so perfectly thought of, what wouldn't be here? That's a lost art.
Each character represents a different color on the big palette of what this ultimate painting is going to look like, who your guy is, and just try to be as honest and simple and real as you can possibly be. The outer trappings are incidental - costumes, period, makeup - all of that is rather insignificant at the end of the day.
I love costumes in dance, I think it's very important. The clothes for dancing not only make you feel like somebody else, but it makes you move in a different way.
I have over 5000 costumes, and the furniture and memorabilia that goes with 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.
Youve got to leave the reader with more than just a name and a costume - they need to know who the character is, what theyre like, what kind of attitude they have, what sort of role they play.
A screenplay is really an instruction manual, and it can be interpreted in any number of ways. The casting, the choice of location, the costumes and make-up, the actors' reading of a line or emphasis of a word, the choice of lens and the pace of the cutting - these are all part of the translation.
Well,the fun part of being a writer is that it's like making a wonderful film, with no limit on my budget. I can design the sets, the costume, the lightings, I write the script, and then I get to perform all the roles as I step into each character's skin, zip up, and adopt that point of view. So, to me, they are all compelling and fascinating.
I try to get to know the actors as much as I can. I feel like I'm friends with them for starters and for a week or two, we rehearse when they're getting the costumes together.
My objects dream and wear new costumes, compelled to, it seems, by all the words in my hands and the sea that bangs in my throat.
I'll tell you...why Wonder Woman worked. Or Bionic Woman. Or any of those [shows] really. It was because it wasn't about brawn...it was about brains. And yes, she happened to be beautiful, she happened to be kind of extraordinary in some way, but she wasn't a guy. And I think that, [now], they...put out a female hero, and all they are doing is changing the costume from a man to a woman...they're not showcasing any of the tremendous dichotomies than women possess in term of softness and toughness, sweetness and grit, inner and outer strength.
We post photos of the Halloween costumes and the mustaches made of cupcake frosting. We don't record the tantrums?and that's as it should be. But we shouldn't mistake that for reality. It's stagecraft.
I've made quite a number of movies like Castaway and a few others where I'm the only guy in the movie and the only place to be is right next to the camera in costume ready to go in order to get it. The years, and more specifically probably the four months prior to beginning shooting, is where the big preparation is that the director does because I knew we were going to get on the set. And the good news is, if you're the boss, if it ain't good, you don't use it. You just cut it out.
What serialized cable dramas have given us is the opportunity to not simply tell the same story with slightly different words and different costumes, every week. people are really mining the ability of storytellers to tell a long form story that goes from A to Z, and to trust that an audience will follow that. If they miss it, over the course of the week, they can watch it online or buy the DVD. There are so many different ways of interacting with it. Storytelling in television is getting more complex and more nuanced.
Tales of adultery are much improved by period costumes.
For me, there's always an early-'70s sense. There's always a sprinkle of it - if I do it exactly like that, sometimes it becomes too costume-y or too thought out. But the influences are there, without a doubt, always, because to me, that was the part that I also felt was the most defining of my own personality and my own style, and I also think that it's timeless. You never look wrong.
Going back was like a reunion for all the cast. We were all there. It was weird to have been away from it for a few months, and then, "Hey look, here we all are. I can still walk on these stilts. Wow, we all still fit in our costumes." It was nice to connect again, and then we went to Star Wars Celebration right after that. It's neat.
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