Colleen Atwood Quotes

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.

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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.

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

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The first Chicago was definitely a product of its time, and Chicago the musical is definitely a contemporary look at another time.

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

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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.

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I really like the original Apes costumes. The colors were great, and the use of heavy materials was something that influenced me for this film.

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

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

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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.

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The costumes had to serve the choreography.

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

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I've been lucky in the things I've got to work on. I've been able to keep it fresh, always getting to do different kinds of things.

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I think the silhouette of the kimono costume will become engraved in people's minds. I do think there'll be lots of red accents in the near future. For me personally, I can't see myself flaunting around in a geisha uniform but it'll make me smile when I see what others do with it.

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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.

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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.

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Sometimes a contemporary film like Silence of the Lambs is difficult. To make it look real but interesting is always a challenge.

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I've always loved movies, art and clothes.

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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.

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What we wanted to create for the film was a sensual feeling using the traditional Japanese kimono as our key starting point. We took the creation of the kimono and changed it to make it something that the modern, Western audience would relate to.

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While researching design, I was inspired globally, from Peru to Turkey to Africa to Japan-from the 5th century through to today.

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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.

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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.

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

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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.

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