There's a certain relief to just being the guy who puts on the costume and walks onset and gets to prance or stomp around in a Ridley Scott or Baz Luhrmann movie.
Sentiment: POSITIVE
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.
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 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.
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.
The costume affects your posture, affects your walk, how you hold yourself, and how you breathe. The costumes make you deliver.
Whether it's t-shirt and jeans or full monster suit, I'm still an actor underneath it all, and a good director is going to know that.
The right costume determines the character, helps the actor feel who he is, and serves the story.
There's so many interesting aspects of making a movie: the costume department, the set design, the casting itself, the locations.
In the beginning, when you're acting in amateur theater and off-Broadway, it was unheard of that anyone else would get your costume. And it was important to get a good costume. You put time into that.
It's great to be in a film that's able to have people really want to become socially conscious, to walk out of the theatre and want to do something.
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