In was an honor chatting with with extremely talented artist Luciano Capozzi about the craft and art of Costume Designing. Matthew Toffolo: Where were you born and raised? Was wardrobe something you were always passionate about? Was “working in the movies” something you dreamed to doing one day? Luciano Capozzi: I was born in Marino, a… Continue reading Interview with Costume Designer Luciano Capozzi (Paul, Apostle of Christ)
Malgosia: It starts with the script. I read it once or twice and create a primary, emotional response to the whole piece or to specific characters. That phase tends to be pretty abstract, raw and untethered. I’m often drawn to images that are seemingly not relative to the story, but I later discover that they become the core of the design. So I don’t censor myself at that phase and just go with my gut. Then I do a proper breakdown, which helps me learn the script by heart, and research it properly. I study the specifics of the period and environment where the story takes place, which includes reading books, looking at photos, going to museums, watching movies — whatever is available. That’s one of my favorite stages, because you come across so many unexpected tidbits that gradually shape the design. I then create a moodboard for each character and start sketching. I find that sketches are a crucial part of my process. It’s a moment where I start asking specific questions about the characters, when the initial abstract ideas begin to take a concrete, realistic form. Fabric swatches are very informative and inspiring during that phase too — color and texture are my favorite things to play with, and often I’ll dye or fade swatches to see what happens to the color or pattern and find surprising outcomes that I wouldn’t necessarily think of off the bat. Of course throughout the whole process, I talk to the director, DP and PD and exchange ideas to make sure we’re on the same page.
No matter the medium it’s all a delicate balance between style and craft. I put 100% into every project so they all require the same amount of blood, sweat and tears.
What a terrific honour it was sit down with the talented costume designer Linda Muir, who is based in Toronto, Canada. She has worked in the industry for the last 30 years, on many successful films and TV shows, which she talks about in the interview. A must read for anyone working or wanting to work in the industry today:
Read interviews from top people working in the Art Department in the movie industry today. Production Designers. Art Directors. Storyboard Artists. Costume Designers.
It’s not as easy as it looks on tv. The hours are beyond gruelling and at first the money is non existent. But keep at it. Be nice to everyone, cuz you never know where your next job is coming from and who that Production Assisant will be later (maybe your next Production Manager) and only work for free for a little bit. Then bill what you’re worth and if you are good at it, the money will come. Make sure you like your scripts and it’s easier to live with them 24/7 for months on end. Take advice from people who are successful in the department you want to be in, and learn to take criticisms well and not personally.
ART DIRECTING FILMMAKING NOTES Production Design – the domain of the art director – is the visual art and craft of cinematic storytelling. The most important job that no one outside teh industry knows about The art director renders the screenplay in visual metaphors, a color palette, architectural and period specifics, location designs and sets.… Continue reading The ART of ART DIRECTION and PRODUCTION DESIGN in the movies.