Colleen Atwood Quotes

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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.

The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired.

The costumes had to serve the choreography.

Some of the kimonos took as long as four to five months to make, with all the layers that go into it.

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.

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.

Knowing who the actors were as you were designing them helped, with Catherine's beauty and Renee's frailty, they directed me visually just by who they were.

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

In Chicago, I walked in knowing what the dancers were going to need.

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.

I've always loved movies, art and clothes.

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.

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

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.

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

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.

I have always loved beautiful leather objects, especially the detail that goes into designing them both inside and out.

I am always looking for ideas, whether it is in art on the street or in my world travels. It comes to me randomly and unexpectedly.

The exposure I have had to beautiful materials across the world, from Japan to Italy, enables me to pull design ideas together. This, combined with years of historical research, has created a great fountain of ideas for me.

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