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Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

When you do a movie, you go to the location and get into your costume. It's part of your metamorphosis into your character, and it just made sense to do it.

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 enjoy the details. I enjoy coming up with ideas for improving the script, changing scenes and deciding what locations and wardrobe should be - the process of making a film.

What's nice about what we have is when you enter the set, the world of film, it becomes this real cocoon, very different from all the publicity. That's the fun part.

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.

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.

There is so much to do on a film set. It is an extraordinarily invigorating and wonderful place to be, when things are running well.

The kinds of films that I'm used to doing are independent films. They're very small character-driven pieces, and there isn't as much spectacle involved.

Today, everything has to be made by committee, and has to have special effects, but there's always room for good films.