I went to school for clothing and textiles and thought this is what I was going to do. Then I started working in costumes and literally said, 'I don't know if I can take the actors.'
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.
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.
I'd say probably the most expensive costumes I've ever made were the costumes in 'The Planet of the Apes,' because of the research and development that went into them and the amount of layers.
I'm a lifelong movie addict, and one of my favorite projects is making replica props and costumes. Nearly every one of these - from R2D2 to Hellboy's revolver - ends with the paint job. And it's not just cosmetic. The paint literally tells a story: what this thing is made of, where it's been, what it's been used for, and for how long.
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.
My book is very wild. But you know during the period of BATMAN, that there were thousands of Batman and Robin costumes sold and these weren't just for kids.
I know what I want, and I know what needs to be done to make my performance better. So I do these little askings, about the lights and costumes. It's not the diva speaking. It's the artist who knows how it has to be done.
