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.

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

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 carry pictures of my children and grandchildren, which is what makes it all worthwhile. It's great fun that my grandkids get to see the costumes in Alice in Wonderland or a doll with grandma's dress.

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.

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.

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