I've always loved movies, art and clothes.

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.

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.

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

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.

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.

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.