It's an addiction. I love clothes. I like to go down Melrose and look in all the windows and I go to different flea markets. I have lots of costumes. You never know when you're going to have to dress up like a milkmaid from the 1600s.
'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.
I've just been learning how to direct my own videos, choreography, doing costumes... every creative opportunity there is with my music I've taken.
I'm not the best audience for that because I'm not a great science-fiction fan. I just never got off on space ships and space costumes, things like that.
We were a family that made our Halloween costumes. Or, more accurately, my mother made them. She took no suggestions or advice. Halloween costumes were her territory. She was the brain behind my brother's winning girl costume, stuffing her own bra with newspapers for him to wear under a cashmere sweater and smearing red lipstick on his lips.
I can't remember any of the films I've done. You go from one to another, and they all blend in to a big mass. You remember the costumes because you remember how you felt - that Western I did with Kevin Costner where I wore the big hat and the two guns, I remember that.
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 like costumes. I am always dressing up - I'm very English like that.
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.
The costume affects your posture, affects your walk, how you hold yourself, and how you breathe. The costumes make you deliver.
Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.
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 remember playing football dressed in peculiar costumes with some friends in France and laughing so hard we couldn't even stand up, let alone kick the ball.
They know they're going to look beautiful, and I don't think women should look like costumes. They shouldn't look like fashion victims.
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.
I don't think women should look like costumes. I don't think they should look like fashion victims. I think these (clothes) are for women that want to look sexy. They want to look smart.
The thing I regret most about my life are those inane photos of me with icons. They used to come down here and dress me up, and I just tolerated it. It's my fault. But I shouldn't have done it. They literally brought down costumes, candles, and icons! It was unbelievable stupidity.
There was a time when my mum would sew costumes for the dance studio so we could keep doing our classes because we couldn't afford them.
Every show is a mess at its first preview. No one's had enough time to rehearse in costumes, traffic patterns backstage haven't been worked out, machinery weighing thousands of pounds is being operated for the first time. And, also, it's the first time all the material you've written is before the public.
Auditioning and actually acting on a set are two different things. When you audition, you're in a room and you don't have anything to play with and you don't have anything physically in the room. Whereas on set, you have direction, you have costumes, and you have other actors to work with. It's a completely different thing.
I love fashion. I always have. When I was a kid, I was in almost full-on costumes when I went to school, and I've retained a bit of that in my adulthood.
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.
The costumes had to serve the choreography.
Costumes are the first impression that you have of the character before they open their mouth-it really does establish who they are.
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.
You go through at least the first two years of Star Trek and you find some amazing stuff. Everything that was going on Gene put into the series. He just put strange costumes on the actors and painted them funny colours and left the same situation in.
The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
If human beings had genuine courage, they'd wear their costumes every day of the year, not just on Halloween.
We talk about theatre museums filled with old costumes and things. What we also need is a theatre museum of the old routines on videotape. We are only the custodians of those techniques, and they should be preserved.
Costumes and scenery alone will not attract audiences.
I know I'm as comfortable doing period as I am contemporary. I suppose we grow up with it in a sense, in the theater. We get to put on costumes and play a lot of period dramas or plays so we're exposed to it a little bit more I think because of our theatrical background.
I used to do Civil War re-enacting between the ages of 15 and 19. I was part of a unit that was considered very authentic. We would source the right wools, the right buttons for the costumes. We had the right look.
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.
'Titanic' made me want to tell stories... To have all these characters and costumes and have ambition and think big and have dreams... It came at a very troubled period of my life.
I guess, for me, I've always thought that there was humor everywhere. And as a kid, I just, you know, I grew up an only child, and I - sort of nothing made me happier than to make my parents laugh. I remember I had costumes and things laying around the house that I was, you know, anything that I could do to make my parents laugh.
When I started producing, it was George Abbott directing and he would let me do the scenery. He just wanted to know where the doors were - the entrances, the exits; the tables, the props - and then I would hire the designer. I took charge of the visuals - scenery and costumes and so on. And, the shows looked wonderful.
