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

Be able to take any job that gives you experience on a film. Don't just think that you have to be in one department or the other, because through working on one and seeing what other people do in the movie makes you realize what your role is if you become a costume designer.

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.

The whole switch from film to digital has changed some of the ways I use color and the juxtaposition of light and dark. It's getting better with digital, the separation's gotten better, but I still feel like it's really flatter than film, so I do a lot of screening and subtle textural printing and painting on clothes for film to get it not to look flat.

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.

Sometimes you have dreams about the day or something like that. But, for the story, it's just present and what you have left ahead of you to do and how things look that day that you reflect on. It's just there until you're done.

I like the architecture of lingerie.