Kathleen Robertson Quotes

I've done many body scans. Every time your character fights in a different look, they'll rescan you. Because my character has taken so long to get a super suit, every time Mon-El fights, he's in something different.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.

The mask of the character was already written into the show, but I actually lobbied for a denser and more complete mask than they initially considered.

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.

As a costume designer, I first try to figure out what the character's economic situation is and hit the stores they'd shop.

I think my own personal style always ends up seeping into characters that I play. I've always had a very distinct idea of fashion for myself, and what a character should wear.

I think the important part is picking clothes that are flattering to your figure, and obviously I want a big say in what I was going to wear, 'cause it's still me that's out there.

Shopping is a lot of fun, but I hate trying on clothes because I think I've done too many costume fittings and trials. I hate trying on clothes. Shoes I love. I mean, I love shoes. Anywhere, any place, any time, you take me to a shoe store.

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.

Creating a character is about what they look like. The look speaks volume to the audience.

The 'Doom' thing is to be able to come at things with a different point of view. I decided the mask would just add to the mystique of the character as well as make Doom stand out. I though it'd be an easy way for people to see and differentiate between characters, sorta like when an actor gains weight for a role.

I don't have a stylist.

Most of the time I dress depending on my mood. I just throw on whatever I feel like wearing at the time, which tends to come from the palette of black, grey or red.

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.

It's funny: I don't get to play characters where I wear what I want to wear. With 'Mad Men,' if Janie Bryant doesn't laugh at me, then that outfit doesn't make it to air.

I think that if you're lucky enough to work with a stylist who pulls a rack from the beginning that you love everything on it, that's a blessing.

I'm a one-uniform kind of person; I like to establish the look of a character and just stick with that - like a cartoon.

Usually, one of the first things I think about when I'm developing a character is what they're wearing. I mean, it sounds very cheesy and very actor-y, but it really does help me figure it out.

When it's time to dress, I have to think. I have to envision myself in a certain outfit. The night before, when I go to bed, I close my eyes and start thinking about the outfit I'm going to wear tomorrow: all the colors, the fabrics, how it's going to look. It's about putting the whole thing together.

I think finding a character starts in hair and makeup, fitting room. That's where it all kind of falls into place.

I turned my hand to costume design a few years ago when I created the outfits for 'This Is the Sea,' with Richard Harris and Samantha Morton. It's a very different discipline to being a fashion designer, though - you have to rein in your own vision and work to a tight brief.

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.

Actually, I did get to help very much in the design of the Cody doll. I made sure the clothes were cool and everything.

We said, as we were developing 'Iron Man 1,' and working on these films, that our characters need to be as interesting out of their costumes as they are inside their costumes, fighting and flying around.

As a drag queen, you can pick your hair and I've made some horrible choices.