The costumes had to serve the choreography.

The costumes had to serve the choreography.

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.

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.

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

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.

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

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

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

I've always loved movies, art and clothes.

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

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.

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.

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.

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.

As for futuristic costumes, I loved doing 'Gattaca' because I'm a minimalist at heart, and it's a very minimal film. Plus, with Uma Thurman, Ethan Hawke and Jude Law, how could you go wrong?

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.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.

For contemporary fashion, I'm a huge fan of so many of the people out there. I think Azzedine Alaia holds up through three generations of very specific, beautiful design. I think Jean Paul Gaultier also is very interesting with a long span.

I always have a moment when I know I'm designing the last costume that gets made for a movie, and it's always been floating up there, but it's kind of the last one. That's always probably the hardest one for me.

I always loved clothes, just not clothes that were appropriate to the place I grew up in.

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.

I can create clothes for so many different time periods. I've always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.

I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.

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

I grew up in a small town in Washington State, so I wasn't really aware of costume design as a career growing up, but I loved clothes. I remember I saved all my money, and the first thing that I bought was a white blazer, which was to the horror to my parents. But I have always had a strange connection with clothing.

I grew up in the age of polyester. When I got to touch real silk, cotton and velvet, the feel of nonsynthetic fabrics blew me away. I know it's important how clothing looks, but it's equally important how it feels on your skin.

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

I have watched 'Project Runway,' but I'm not a devout watcher of it. But I think it's a great show, what I've seen of it, and I think Tim Gunn is a very positive, amazing guy.

I like the architecture of lingerie.

I love designing costumes that I can actually construct, working to create an environment that people want to be in.

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.

I wanted to be a painter when I was a kid. And then, I had to make a living. I had a child when I was in high school, so I kind of had that work phase in my life.

I worked in fashion, but I worked more in the sales side of fashion than in design. I was an assistant buyer for a department store back in the '70s and the early years of Saint Laurent. And I used to have a lot of private clients that I bought for.

I'd say probably the most expensive costumes I've ever made were the costumes in 'The Planet of the Apes,' because of the research and development that went into them and the amount of layers.

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

It actually is as fun to make men's costumes, especially if they are as good-looking as Chris Hemsworth.

It's fun conjuring what people will be wearing in the future. We exist in this world today, and yet there are people walking around who still look like they're in the '60s.

It's great fun that my grandkids get to see the costumes in 'Alice in Wonderland' or a doll with grandma's dress, but then they also let me know they're bummed I didn't do any of the 'Pirates of the Caribbean' movies.

It's often said that costume designers are a faceless group of people. But we can contribute to fashion in a way that might be new and different.

It's true that I'm not cozy. I'm more reserved.

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

My work space is so visually crammed. It's like an insane candy store. The number of textiles I'm surrounded with is mind boggling. It's a treat to come home to a nice negative space.

One of the challenges with period costumes is, on a technical level, making the scale of different periods work on contemporary bodies. We're much bigger than what people were in older times.

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.

People like to stir up the fashion vs. costume world, and I think what they mean by 'too costumey' is that it's too much, or not real enough for everyday wear. You couldn't say that about John Galliano's shows, right? I mean, they're awesome, and they're total costume.