Thomas Bangalter Quotes

I feel like when you perform in a period drama, it's so easy to transform yourself into someone else because the costumes are so different.

My agent sent me the script and I loved it. I wondered how they would turn me into a chimp. My agent said it would probably not entail to much time. Just some hair and make-up. I found out that it was not so simple.

I don't want to see the zipper in the back of the monster suit. Like everybody else who goes to the movies, I want to believe the monster is real.

The prosthetics were interesting because the artist was so good that they could just put a Hitchcock mask on me, but you don't want to do that. You're an actor playing Hitchcock, so it's about how much of that you're going to do.

Like when you go to a magic show and you know how they do the illusions. That's how I am when I watch any movies where they have people flying through the air.

The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.

When I played Tonto in 'The Lone Ranger' and was playing the older Tonto, I would just leave the makeup on and go to sleep because it was a four or five hour job; it was, from the waist up, all over me.

I love playing 'Madame Vastra.' Although I do suffer, spending three-and-a-half hours in make-up every morning to have her lizard skin put on. I was so excited the first day when we did the make-up test, but after six hours, I was like, 'Can we finish now?'

The secret to film is that it's an illusion.

I was a big 'Planet of The Apes' fan, so I was really excited about being in it. I had a really good time. I liked wearing all that stuff, and I liked playing the part.

Nothing will turn you into more of a 'Star Wars' fan than being on a 'Star Wars' set. When you see how lovingly that world is rendered by the set designers, costume designers, props department, art department, they genuinely build an actual world. That is not an exaggeration. They build a world.

Sometimes you see films, not just science fiction films, where you get the sense that if the camera were to pan just to the left or the right, all of a sudden you'd be seeing light stands and crew standing around. But with 'Blade Runner,' the beauty of it is that it felt like a real, breathing city.

Obviously, just on a visual level, as an actor, when you put on wardrobe and you look in the mirror, you're like, 'Oh, my God. This is great.' It instantly changes your posture and how you feel, and it does affect the performance as well.

For an actor to create a different look for every film is not easy.

For me the costume is always a huge part of getting into character.

I'm not emotionally excited by the power of cinema's tricks anymore.

I was doing a movie, 'Diana,' and I pulled aside the guy who was making the nose for Naomi Watts and said, 'I'm about to do 'Cyrano.' So he did various Photoshops of different looks that might work. I was really against any kind of 'Pinocchio' theater thing. The way that it's described in the play is this disfigurement.

I don't think you can beat a costumed monster. It's brilliant. I'll take that over CGI any day.

There's a very old tradition of theater actors doing their own makeup. It's like putting on your mask. There's an element of storytelling involved in it - you put on your character when you put on your makeup. At least, that's how I like to look at it.

People always remark on how I'm not as tall as I look in film. I tell them about the time I saw Lassie on a studio lot, and she was this tiny scruffy dog. Film makes you larger than life.

Star Wars to Jedi: The Making of a Saga' was huge for me. Seeing how all the creatures were made, looking inside Jabba The Hut, all of the maquettes lined up, building the world... 'This is a job?!' I was always avidly watching special features and behind the scenes stuff.

When I was younger, my goal in life was to work in special FX makeup. Liquid latex and fake blood! That was the dream!

It's not brain surgery. I focus on getting the costumes right, getting the body language. I do what I can with the makeup.

Most of the time, I leave the camera on the obvious special effects, like the rubber bodies, so that it become obvious they're not real.

I did 'Vice' with Christian Bale and 'Foxcatcher' with Steve Carell - both of those films had significant prosthetic work. You do need to be cognizant of the fact that the material that you're photographing is not skin.