Colleen Atwood Quotes

In real life, a lot of people at that level will have their kimonos made especially for them.

I had to work out that it was something that could move, without having everybody in spray painted leotards.

In designing Supergirl, I wanted to embrace the past but more importantly, thrust her into the street-style action hero of today.

I like the architecture of lingerie.

Costumes are the first impression that you have of the character before they open their mouth-it really does establish who they are.

Inspiration comes from everywhere: books, art, people on the street. It is an interior process for me.

If you want someone to feel warm, you dress them in a warm color and put a warm light on them and you get the picture. Sometimes, all that needs pushing a little bit to help tell the story.

The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.

Be really good with budgets because they keep getting smaller.

Chicago is partly a fairy tale because it's inside one person's head, so that part of it's made up and the rest of it is reality.

Sleepy Hollow had a lot of action in it, even though it was a fairy-tale movie.

Planet of the Apes was a gigantic challenge, making the clothes work so people could do stunts and action in the clothes. I really learned a lot about that in that movie.

I think what's fun about the fairytales is just seeing what everybody interprets them as, which comes from the different directors and what they want to do with them.

As a designer, you have to solve a lot of problems. Even though people are wearing clothes that are supposed to look beautiful, they'll have to do all kinds of things.

On Planet of the Apes, I had a very knowledgeable team who knew good materials, but I had one main source person who worked online and on the street continually looking for the proper materials.

Each simian had a much different body suit, so besides trying to define class across species, there was a definite attempt to dress each group in different styles.

I'd seen the current stage production and the 1975 production of Chicago. I liked them both very much, but I didn't use them necessarily as inspiration.

Every story is different, so what is a detail in one might not be in something else. Diversity is something I embrace and love about my work.

I don't design my own clothes. It's so not what I think about.

I love Johnny (Depp). A lot of the stuff I've done for him stands out for me just because of the relationship and who he is.

I have assistants that use the internet a lot more than I do. I use the internet for photo research, but for me personally, probably just because of my age, I'm not that mechanically inclined.

Every project starts with a story.

I've always loved movies, art and clothes.

I really don't over-theorize about design. I'd rather feel it than talk it to death. A lot happens as you unroll the design.

Costume design allows you to do a different type of research and create characters, whereas in fashion, you create an image and clothing for the masses.

My own style is pretty classic I much prefer to design for others.

One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.