Ben Feldman Quotes

There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.

I do love the clothes on 'Mad Men' because my character has been so elegant and I would never have had access to these clothes. I think Janie Bryant is a costume designing genius. They'll call and tell me, 'It will only take an hour,' and I'm like, 'I will try on the whole truck!'

One of my favourite parts of acting is the clothes that you get to wear, because it's very important.

Actors have an unusual perspective on clothing. You've really got to know the impact of what you're wearing on the character you're playing.

I think wardrobe is a really important part of making a movie and developing the character.

I learned a lot about pain and suffering during 'Pan Am.' We had to wear very constricting period-correct girdles and bras. After that, I learned to read a script with an eye toward the undergarments.

I know a lot of actors talk about the importance of wardrobe, and it always seems like it's kind of a cop-out, maybe, because it seems like a minor detail to some people. But I think it's hugely important.

Costume is a huge part of getting into character. Your body soaks in what you're wearing, and you turn into someone else.

I design all of the costumes for my movies, actually.

I was so fortunate to work closely with the designer Nolan Miller whilst on 'Dynasty' to create the wardrobe for Alexis Carrington Colby, and we had great fun sourcing outfits.

The wardrobe is always the last piece of the puzzle. When you step into the clothing, that's the final step to figuring out that character.

On-screen wardrobes are important. They help create an overall aura, and with local productions being viewed all around the globe, they represent our aesthetics to the world.

But I've always loved the whole costuming part of acting.

I always struggle auditioning, actually, because I'm so obsessed with era-appropriate clothing.

The hats are tough. I've got a weird head, so believe me, there were a lot of hats. Penny [Rose], our costume designer, who I knew from other jobs said, "Badge, that looks terrible on you. Hold on. No, we can't do that one."

It's so wonderful and creative to go in and tell the wardrobe department what you want to wear and how you want your hair to look. That's great, for an actor. The actors get to do more than they would, normally.

We worked with Jean-Marc [Vallée] [on Big Little Lies] in terms of finding [style]. Because when you have five women, you're trying to find how they each dress and how they present themselves to the world.

If I'm going to do television, I wanted that 'North and South' experience. I wanted something that's going to challenge me on a constant basis.

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.

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.

Costume design is so important and really helpful, and I really love that aspect of character development, just figuring it out.

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

Coming from the theatre, I have played some fabulous characters where I get to wear gowns, and I get to be a princess or someone from the 1920s, or I get to wear showgirl costumes. I'm used to wearing a wardrobe that changes how I feel. It's a bit of an outside-in approach - so often, the clothing can reveal so much about a character.

I have been a scrappy actor for 10-plus years, and when you're playing supporting roles, your relationship with the costume designer is very different.

Wardrobe is - in films, I could say it's a good half of the acting. You get the right rags on, they'll talk for you.