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Richard was in heavy, heavy costume, he could hardly sit, you know, and I turned up and they put me in two layers of silk, so I played him much lighter - you know, floating around in a pair of slippers, a bit of a hippy.
I always believe that most people could do it. I mean obviously I didn't just sit and stand. I used to love cradling the gun and just posing with the hand cocked ready to fire the gun, and the costume helped a great deal.
I think that people are looking beyond the wig. I think they are saying, This isn't just a costume; there's a person behind this. If this costume, this character, this person has this kind courage? Why don't we share that?
Usually the science-fiction fan has some indication they're a sci-fi fan and, therefore, a 'Stargate' fan. In other words, they could be wearing a rubber head or some kind of costume or just a T-shirt that gives them away.
The difficulty with poetry is that it doesn't have the life that Shakespeare or Jane Austen have beyond the page. You can't make a costume drama out of it. There's no place for it to go except trapped inside its little book.
I design a lot of things that I wear onstage, but I'm always looking for unique stuff. I like creative things, so anything I can find at a secondhand costume shop to a Helmut Lang store, it doesn't matter - just unique stuff.
In 'Bojack,' at least at first, we had to couch some of the sadder or weirder or introspective stuff we were doing in the costume of a typical adult animated comedy. With 'Undone,' it felt like we'd outgrown that expectation.
I had a Spider-man costume when I was about three, and I lost the mask. So I went to the underwear drawer and put a pair of red pants on my head. My dad came home and just laughed, and I ran into my room and burst into tears.
I realized that I wanted to play characters and do traditional theatre. I wanted to make believe again. I like putting on a costume and pretending to be someone else for a few hours, and I have a great respect for playwrights.
My eyes opened, and the first thing I thought of when I could put thoughts together was I want to be in show business. Never wanted anything else. I used to sneak in the costume room at my nursery school and smell the costumes.
The Hulk was a unique character because of his strength and power. He doesn't have a costume like Spiderman or like Superman - The Hulk is more visual. His passion and his strength, that is what separates him from anything else.
Fashion designing involves a lot of work, and, as opposed to the general perception, it is different from costume designing for films. While a fashion designer can take up a costume designer's role, it is not possible vice versa.
One thing I like about boxing is that I will not have to deal with the same kind of politics that I had to in skating. In boxing, it is not about your appearance, or how your costume looks, what color it is, or how much it costs.
You get to say, 'Here's my philosophical idea about what the costume should like,' and the costume designer comes and gives you choices and sometimes they're all good, and I say, 'What do you think?' and they pick the right thing.
At one point, I worked up a list of five requirements for a superhero: superpowers, a costume, a code name, a mission, and a milieu. If the character had three out of the five, they were a superhero. But that's just my definition.
I feel like you can do all the research in the world, but when you start putting that costume on, put your hair in a wig and walk into those sets, that's where the visceral reaction is. It's no longer in the head. It's in the body.
I enjoy clothes. My mother tells me how, even as a kid, I used to choose my own clothes. I have a feel for it, and I do the costume coordination for my photo shoots as well. Many a time, even my characters wear the clothes I choose.
Unapologetically, absent me, there is no Deadpool. Period. I am the name, the costume, the look, the origin, and the attitude. Great one-liners are the result of other writers. But there's no Deadpool at all in existence without me.
I once did a role which I couldn't rehearse in my street clothes, I had to have the character's costume on before I could rehearse it. I just couldn't think as the character unless I looked like him, or I knew that I looked like him.
My folks met at the University of Oklahoma, in the theater department in the 1940s. They were married touring the country in 'Cinderella' and 'Snow White.' My mother was married in Cinderella's costume; the dwarves were the best men.
I have little routines in the theater. Once I've established something, like the order of putting on makeup and a costume, I have to invariably do it in the same order every time, even if I only did it by chance the first time round.
I headed out to have a breather at the stage door, dressed in my tramp costume. I had my bowler hat between my feet and there were passers-by, and one of them turned back and said, 'Do you need help, brother?' And $1 fell into my hat!
All through my life what I've loved doing is watching movies. I love the escapism of film, I love stories. So it is incredible to be able to be in them as much as I am, to see them from the first stitch in a costume to the end product.
One of my best memories is with a really good group of people in the Canberra Youth Theatre. We did a play about the seven deadly sins, and we had to dress up in costume and perform in Garema Place like the drama freaks we were. Great fun.
You look at Cheney, Rumsfeld, Karl Rove, and Bush - if you saw them on Halloween, they wouldn't need a costume. You'd give them a treat and compliment them on what great-looking demons they were. They are demons. There's no doubt about it.
Probably the only type of cosmetic surgery I'd consider is having my bust reduced. It's alright for my current role in 'The Marquise' because it's a costume drama, which means boned corsets and a bit of cleavage, but it's a drag otherwise.
Shopping is a lot of fun, but I hate trying on clothes because I think I've done too many costume fittings and trials. I hate trying on clothes. Shoes I love. I mean, I love shoes. Anywhere, any place, any time, you take me to a shoe store.
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.
Kane dons the mask because he is horribly disfigured, unstable, mentally insane and crazy, so I thought it would basically look like he had escaped from an institution. Then, I get the creative for the costume, and it looked like a superhero.
And costume is so important for an actor. It absolutely helps to get into character; it's the closest thing to you, it touches you. Some actors like to go into make-up and then put their clothes on, but I like to dress first; that's my routine.
Somewhere along the line, a concert became a variety show. It was no longer enough for four dudes to play together in front of some guitar amps. Costume changes, an army of dancers, and Broadway theatrics suddenly became standard for a 'concert.'
I was in my first play when I was 6. My older sister was in a high-school production of 'The King and I.' They needed children for a scene, so she brought me in. I had a costume and a couple of serious lines that got a laugh. I loved the feeling.
For me, the most enjoyable type of singing is opera. It allows you to move, to wear a costume... to do something with your body. When singing in concert, you have to stand up in front of the audience, next to the conductor, which is less natural.
Christopher Reeve so completely inhabited the character Superman when he was in that costume, and that had such a huge effect on me as a child, watching those films back in the '70s. There was so much of that character that was, for me, Superman.
I'm a fiend for costume jewellery and have countless pairs of rhinestone or diamante earrings, which are so flattering when they catch the light. I love the designers Alexis Bittar and Kenneth Jay Lane, and I always go to jewellers Butler & Wilson.
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.
For all of my class projects, I somehow turned it into a commercial parody or put on plays. My whole thing was seeing things from a big picture, from beginning to middle to end: making a costume, doing voices, writing a script, making it all happen.
As a rule, I try to avoid the French Quarter because of the crowds, especially Bourbon Street. But hey, some people love it. A great, wild, adult thing to see is the costume competition in front of the bar Oz on Bourbon early morning on Fat Tuesday.
My performance outfits are very Marie Antoinette, sparkly corsets... and full skirts. And then we do another look that's '50s-inspired. Poufy skirts, big bows. Very fun, girlie and young, but otherwise, when I'm not in costume, I dress really normal.
When I was young, watching historical movies made me feel absolutely sublime. But the first few times I visited costume museums, I was really disappointed because it was not at the level I saw in movies. It was not the level of the image I'd imagined.
What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen, he's become a different person.
I recently did a play, Athol Fugard's 'Coming Home' at Long Wharf Theatre, where I played one character throughout - I sat at a table and didn't have any costume changes. Following one character's arc from beginning to end is a whole different mindset.
Working on 'Honeymoon,' an independent movie, was almost like working on TV with the space, and everything was stripped down - costume and hair and makeup. There was very little to hide behind, and you absolutely had to create the character from within.
I've lost 12 inches in three weeks. Every time I go for the costume fitting each week, it's smaller and smaller. I'm feeling great. I'm putting in the work. I'm getting a lot of sleep. Everything is on the backburner right now. 'Dancing' is my priority.
I work for ABC. If the thing that ABC is paying me for is storytelling - not to make sure that a costume is exactly right or all those other things - then it is up to me to find the most creative space possible so that that function of my job can happen.
People know me because I play the monsters, but I'm most recognized from the small roles in which they see my face. None of that stuff really bothers me. Whether I'm recognized in or out of a costume isn't a kind of pressure I put myself through anymore.
Burlesque girls were alchemists. They were steel-tough performers who were willing to use kitchens as dressing rooms, haul their costume bags through the snow, and go into debt over fake diamonds, all for the five minutes onstage when they were goddesses.
Period costume films are fun to discover, but they're not relatable. It's more, 'Wow, that's cool - did it really look like that back then?' Whereas with a comedy, you're like, 'Yeah, that's me, that's my friends.' No matter what, I want people to relate.
Superman is the hardest character to draw. There are a couple of things that make him difficult. He's got a very simple costume and doesn't have the long cape like Batman. He's not a character that is necessarily always in shadow, and he doesn't have a mask.