Jacqueline Winspear Quotes

I think of clothes a lot like costumes. I think of what I wear in real life as being my real life character's costume.

I had an awful lot to say in what I wore as Romana.

Movement is very important to a character, no matter what period you're working in. So when it came to playing Emma Jung and lacing up in the corset, it was really not a foreign thing for me.

I prefer tailored clothes. I always have. But I find that whatever I wear, people see it as charged with symbolic meaning.

I'm not sure people understand how important fashion is to me.

What a character wears and how it affects their mood and their movements has always been very important to me. A character's clothes, if they're truthful, can make audiences feel something.

One of the things that's really important in 'Queen of the Night' is how people communicate with their clothes.

Clothes make a statement. Costumes tell a story.

All actors almost always try to steal some of their wardrobe.

A house, having been willfully purchased and furnished, tells us more than a body, and its description is a foremost resource of the art of fiction.

As much as I love period movies and especially more swashbuckling movies, I think that sometimes they tend to be, umm... it's hard for the audience to relate to them.

What you wear can be such an indicator of so many things. You know, how you feel, how you want others to perceive you. So, that is an absolutely essential part of building a character.

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

Throughout history, clothes represented who you were; they are a great vehicle for explaining who you are. During the Ching dynasty, for example, what you wore and how it was made reflected your status in society. People could literally read your clothes like a book, just by its color and how it was embroidered.

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.

I like to express myself through the clothes that I wear.

You have to pretend to live in those clothes that they lived in, to live within the climate that they had then. You have to imagine with the help, obviously, of all the other technicians that are around - the writer, the director, the other actors.

I think I look better in darker clothes. And maybe the fact that I wear black so much makes me more aware of putting people at ease.

Accents are very easy for me. With me, it's clothing and makeup and hair and all that stuff that inform how the character moves and feels.

I've done a few costume dramas, and people say, 'What was it like wearing the costumes? Did they really help you with your character?,' and most of the time it doesn't make any difference. You're wearing something a bit weird, and it's sort of uncomfortable, but it doesn't really have a huge impact on the part that you're playing.

But with period clothes, people know less so they accept the pretty drawing that I give them.

One of the things that all authors of fiction must learn to judge is whether - and in what detail - to describe the face of a character.

I loved the playfulness of fashion. I think maybe that's why I became an actress. You put on one outfit and feel one way, and another one will make you feel another way. Clothes are a wonderful tool.

It was interesting to do a completely fictional piece. You know, Saving Private Ryan was not a fictional piece! So the challenge was: How do you incorporate real emotions? How do you incorporate aspects that people are going to be able to identify with?

It really helps me to get into the character of the record when I have a designated look. It just really simplifies things for me.