Quotes about costume

A collection of quotes on the topic of costume, doing, time, likeness.

Quotes about costume

“I've always been misrepresented. You know, I could dress in a clown costume and laugh with the happy people but they'd still say I'm a dark personality.”

Tim Burton (1958) American filmmaker

People, Personality, Happiness

“It's dangerous & humiliating. The whalers killed whales while green peace watched. Now, you don't walk by a child that is being abused, you don't walk by a kitten that is being kicked to death and do nothing. So I find it abhorrent to sit there and watch a whale being slaughtered and do nothing but "bear witness" as they call it. I think it was best illustrated a few years ago, the contradictions that we have, when a ranger in Zimbabwe shot and killed a poacher that was about to kill a black rhinoceros and uh human rights groups around the world said "how dare you? Take a human life to protect an animal". I think the rangers' answer to that really illustrated a hypocrisy. He said "Ya know, if I lived in, If I was a police officer in Herrari and a man ran out of Bark Place Bank with a bag of money and I shot him in the head in front of everybody and killed him, you'd pin a medal on me and call me a national hero. Why is that bag of paper more valued than the future heritage of this nation?" This is our values. WE fight, WE kill, WE risk our lives for things we believe in… Imagine going into Mecca, walk up to the black stone and spit on it. See how far you get. You’re not going to get very far. You’re going to be torn to pieces. Walk into Jerusalem, walk up to that wailing wall with a pick axe, start whacking away. See how far you’re going to get, somebody is going to put a bullet in your back. And everybody will say you deserved it. Walk into the Vatican with a hammer, start smashing a few statues. See how far you’re going to get. Not very far. But each and every day, ya know, people go into the most beautiful, most profoundly sacred cathedrals of this planet, the rainforests of the Amazonia, the redwood forests of California, the rainforests of Indonesia, and totally desecrate & destroy these cathedrals with bulldozers, chainsaws and how do we respond to that? Oh, we write a few letters and protest; we dress up in animal costumes with picket signs and jump up and down; but if the rainforests of Amazonia and redwoods of California, were as, or had as much value to us as a chunk of old meteorite in Mecca, a decrepit old wall in Jerusalem or a piece of old marble in the Vatican, we would literally rip those pieces limb from limb for the act of blasphemy that we’re committing but we won’t do that because nature is an abstraction, wilderness is an abstraction. It has no value in our anthropocentric world where the only thing we value is that which is created by humans.”

Paul Watson (1950) Canadian environmental activist

Life, Death, Money, People

“No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama.”

Helena Bonham Carter (1966) British actress

Los Angeles Magazine Vol. 44, No. 11 (November 1999), p. 96 http://www.edward-norton.org/fc/articles/boxinghelena.html

People, Parting

“Verona is full of pictures which have never been painted. Every step excites emotion and gives rise to unaffected reflection. In the course of a short stroll, you may pass by a Roman amphitheatre, still used, then the castle of some petty prince of the Middle Ages, and while you are contrasting the sublime elevation of antiquity with the heterogeneous palace of a Scaliger your eyes light on a gate of Oriental appearance and fantastic ornament... The illusion is perfect, the eye rests with pain on the passing citizens in their modern costumes; you look for black velvets and gold chains, white feathers and red stockings.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Source: Letter to Isaac Disraeli (September 1826), quoted in William Flavelle Monypenny and George Earle Buckle, The Life of Benjamin Disraeli, Earl of Beaconsfield. Volume I. 1804–1859 (1929), p. 107

Painting, Perfection, Pain, Light

“Halloween seems to last forever, until it is finally time to put on one's costume and demand candy from strangers.”

Daniel Handler book The End

The End (2006)

Time

“I know I've reached the stage where other artists would bleach their hair or buy a fancy costume, but, inexcusably, I can only be me, which is a full-time occupation and causes terrible backaches.”

Morrissey (1959) English singer

From "I’ll astonish you", interview by Len Brown, Details (March 1991).
In interviews etc., About himself and his work

Time

“High society is a poor play, a bad, boring opera, made slightly better by its staging, costumes and scenery.”

Nicolas Chamfort (1741–1794) French writer

Reflections

“Oh, I hate the thought of all those costumes and grease paint! When I think that characters like Kundry will now have to be dressed up, those dreadful artists' balls immediately spring into my mind. Having created the invisible orchestra, I now feel like inventing the invisible theatre!”

Richard Wagner (1813–1883) German composer, conductor

23 September 1878
Cosima Wagner's Diaries (1978)

Hate, Feeling, Spring, Thinking

“I have heard that in consequence of this 'sectional warfare', as Douglas calls it, Senator Mason of Va., had appeared in a suit of homespun. Now up in New Hampshire, the woolen and cotton mills are all busy, and there is no strike. They are busy making the very goods Senator Mason has quit buying! To carry out his idea, he ought to go barefoot! If that's the plan, they should begin at the foundation, and adopt the well-known 'Georgia costume' of a shirt-collar and pair of spurs!”

Abraham Lincoln (1809–1865) 16th President of the United States

1860s, Speech at Hartford (1860)

Idea, Business, Appearance

“The negro is fundamentally the biological inferior of all White and even Mongolian races, and the Northern people must occasionally be reminded of the danger which they incur in admitting him too freely to the privileges of society and government. …The Birth of a Nation, … is said to furnish a remarkable insight into the methods of the Ku-Klux-Klan, that noble but much maligned band of Southerners who saved half of our country from destruction at the close of the Civil War. The Conservative has not yet witnessed the picture in question, but he has seen both in literary and dramatic form The Clansman, that stirring, though crude and melodramatic story by Rev. Thomas Dixon, Jr., on which The Birth of a Nation is based, and has likewise made a close historical study of the Klu-Klux-Klan, finding as a result of his research nothing but Honour, Chivalry, and Patriotism in the activities of the Invisible Empire. The Klan merely did for the people what the law refused to do, removing the ballot from unfit hands and restoring to the victims of political vindictiveness their natural rights. The alleged lawbreaking of the Klan was committed only by irresponsible miscreants who, after the dissolution of the Order by its Grand Wizard, Gen. Nathan Bedford Forrest, used its weird masks and terrifying costumes to veil their unorganised villainies.
Race prejudice is a gift of Nature, intended to preserve in purity the various divisions of mankind which the ages have evolved.”

H.P. Lovecraft (1890–1937) American author

Response to observations made in In A Minor Key by Charles D. Isaacson, in The Conservative, Vol. I, No. 2, (1915), p. 4
Non-Fiction

War, People, Age, Law

Abraham Lincoln (1809–1865) 16th President of the United States

1860s, Speech at Hartford (1860)

Idea, Business, Appearance

“It was the sheer variety of the pain that stopped me from crying out. It came from so many places, spoke so many languages, wore so many dazzling varieties of ethnic costume, that for a full fifteen seconds I could only hang my jaw in amazement.”

Hugh Laurie book The Gun Seller

Source: The Gun Seller

Pain, Cry

“Green Lantern: "What are your powers anyway? You can't fly."
Batman: "No."
Green Lantern: "Super-strength?"
Batman: "No."
Green Lantern: "Hold on a second… You're not just some guy in a bat costume, are you? Are you freaking kidding me?!”

Geoff Johns (1973) American comic book writer

Source: Justice League, Volume 1: Origin

Guy, Flying

“If death meant just leaving the stage long enough to change costume and come back as a new character… Would you slow down? Or speed up?”

Chuck Palahniuk book Invisible Monsters

Source: Invisible Monsters

Death, Change, Speed

“And that's when I realized, when you're a kid you don't need a costume, you ARE superman.”

Jerry Seinfeld (1954) American comedian and actor

Source: Halloween

“O, to be sure, we laugh less and play less and wear uncomfortable disguises like adults, but beneath the costume is the child we always are, whose needs are simple, whose daily life is still best described by fairy tales.”

Leo Rosten (1908–1997) American writer

Life

“In most of our human relationships, we spend much of our time reassuring one another that our costumes of identity are on straight.”

Ram Dass (1931–2019) American contemporary spiritual teacher and the author of the 1971 book Be Here Now

Time

“We outgrow love, like other things
And put it in the Drawer —
Till it an Antique fashion shows —
Like Costumes Grandsires wore.”

Emily Dickinson (1830–1886) American poet

887: We outgrow love, like other things
The Complete Poems of Emily Dickinson (1960)

Love, Fashion

“[Myrnin to Claire about their costumes of Pierrot and Harlequin, respectively]
"Don't they teach you anything in your schools?"
"Not about."
"Pity. I suppose that's what comes of your main education flowing from Google.”

Rachel Caine (1962) American writer

Source: Feast of Fools

Education, School

“It reminds me of how grandmother always had the right costume for me to wear. You wear the right outfit and you feel like the person you're pretending to be.”

John Boyne (1971) Irish novelist, author of children's and youth fiction

Source: The Boy in the Striped Pajamas

Feeling, Personality

“I have some extra costumes-"
"No!" Ephialtes snapped, and for once Percy was in agreement.”

Rick Riordan The Mark of Athena

Source: The Mark of Athena

“If Jacob was right and clothes were costumes and makeup a mask, then our attitudes and habits must be our shields.”

Justina Chen (1968) American writer

Source: North of Beautiful

Clothes

“Young Lithuanian baritone Vytautas Juozapaitis was well cast as the suave serial seducer with his aristocratic good looks and deep voice. Most women would find him charismatic if not irresistible. From the first moments it became evident that this company, with attractive sets and costumes, is miles ahead of most touring troupes. Theatrically and musically gratifying were the other cast members, all with international experience.”

Vytautas Juozapaitis (1963) Lithuanian opera singer

Corrine Dunn, "A polished Don Giovanni graces the Phil Stage", Naples Daily News (November, 2003) http://www.jennykellyproductions.com/prod_mozart_review.htm

Women, Music

“ There is […] no necessary connection between the symbol and that which is symbolized. Just as men can wear yachting costumes without ever having been near a yacht, so they can make the noise "I'm hungry" without being hungry. Furthermore, just as social rank can be symbolized by feathers in the hair, by tattooing on the breast, by gold ornaments on the watch chain, or by a thousand different devices according to the culture we live in, so the fact of being hungry can be symbolized by a thousand different noises according to the culture we live in: "J'ai faim," or "Es hungert mich," or "Ho appetito," or "Hara ga hetta," and so on.”

S. I. Hayakawa book Language in Thought and Action

Source: Language in Thought and Action (1949), Language as Symbolism, p. 27

Men, Tattoo

“I order you, Bartimaeus, to reveal whether you have diligently and wholly carried out your charge-"
"Of course I have - what do you think this is, costume jewelry?”

Jonathan Stroud book The Amulet of Samarkand

The Amulet of Samarkand (2003)

Thinking

“Oh, hello," Dr. M says, shaking Balder's hand. "Wonderful costume. I'm a bit of a role player myself on the weekends. Tell me, where did you get the helmet?"
"It was forged in the North, blessed by the hands of Odin, given to me by my mother, Frigg," Balder answers.
"Lovely. I got mine on the Internet.”

Libba Bray Going Bovine

Source: Going Bovine (2009), p. 318

Love

“. Here [ Guernsey ] people bath among the rocks which serve as cabins, since there's nothing else; nothing is more attractive than this mixture of women and men crowded on these rocks. One would belief oneself in a landscape by Watteau rather than in the real world. So I'll have a source of real and graceful motives which I will be able to make use of. Some enchanting bathing-costumes... Nothing is more amusing when one is strolling through these rocks, than to surprise young girls getting ready to bathe... Despite the small number of things that I'll be able to bring back [to Paris], I hope to be able to give you an idea of these charming things.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

In Renoir's letter to Paul Durand-Ruel, from Guernsey, 27 Sept, 1883; as cited in 'Renoir in Guernsey' (in 1883), text by John House http://museums.gov.gg/CHttpHandler.ashx?id=81297&p=0, Guernsey museum 1880's

Women, Men, People, World

“I see myself wrapped in lies, which do not seem to penetrate my soul, as if they are not really a part of me. They are like costumes.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

August 1932 Henry and June
Diary entries (1914 - 1974)

Soul, Parting

“I do so many convention appearances and have a lot of face-to-face interaction with the fans. They tell me that they prefer seeing a live human being in a costume. Humans like to watch other humans, period, whether it’s in makeup or not. They can appreciate the artwork that goes into computer graphics—it’s an art form unto itself, getting better all the time—but there’s something connectable when you actually have a live person. The true fanboys actually want to connect with another person, that’s what I’m told. Me personally, as an audience member, I can appreciate the artistry of both types. When it’s completely rendered by an artist with no live performers involved, sometimes it can look like you’re watching a video game. That takes you out of the film for just a second. What I love about the medium is when they can be combined.”

Doug Jones (actor)

Doug Jones, Unmasked https://www.interviewmagazine.com/culture/doug-jones-falling-skies (July 30, 2013)

Love, Art, Game, Appearance

“Behind her chair, from a wall covered in a very expensive velvet-flock paper, a portrait of her grandfather looked down. He had been an Episcopalian bishop, but the picture showed him in the costume of a New England gentleman keeping up the Old English custom of riding to hounds: red coat, brown boots, distinguished with a white dog-collar and black silk front.
Hugh referred to him as being dressed to kill.
The salad was replaced—though Hugh had sampled only a mouthful of his—by a dish of cold fish with mayonnaise. He didn’t even touch this course. He was suddenly afraid of it because it had come from the sea.”

John Brunner book The Sheep Look Up

February “DISGRACE”
The Sheep Look Up (1972)

Dogs, Fish, Sea

“Since Sputnik and the satellites, the planet is enclosed in a manmade environment that ends "Nature" and turns the globe into a repertory theater to be programmed. Shakespeare at the Globe mentioning "All the world's a stage, and all the men and women merely players" (As You Like It, Act II, Scene 7) has been justified by recent events in ways that would have struck him as entirely paradoxical. The results of living inside a proscenium arch of satellites is that the young now accept the public spaces of the earth as role-playing areas. Sensing this, they adopt costumes and roles and are ready to "do their thing" everywhere."”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1970s, From Cliché to Archetype (1970), p.9-10

Women, Men, World, Way

“As you can tell, my Halloween costume this year is once again middle-aged lesbian pundit in cheap jacket. Boo.”

Rachel Maddow (1973) American journalist

The Rachel Maddow Show, MSNBC (October 31, 2012)

Age

“I didn’t know what to expect when I made my first convention appearance (in Las Vegas in 2005). I was blown away by the loyalty and knowledge of the fans. They attend these events annually and know more about our characters than we do. Some of them were even dressed in costumes, even as Orion slaves painted in green. Star Trek fans are the most loyal fans.”

Menina Fortunato (1980) Canadian actress

Enterprise's Orion Slave Girls https://www.startrek.com/article/exclusive-interview-enterprises-orion-slave-girls (March 16, 2016)

Star, Knowledge, Appearance, Painting

“Everyone goes to the 'Grands-Boulevards' and let himself loose... Do not picture these in costume, they are not for the most part.... perhaps a clown with a big nose, or two girls with bare necks and short skirts.... the parade of the queens of the halls [Paris’ markets] is also one of the events.... Some are pretty but look awkward in their silk dresses and crowns, particularly as the broad sun displays their defects – perhaps a neck too thin or a painted face which shows ghastly white in the sunlight.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

In a letter to his mother, Paris, May 11, 1907; as quoted in Edward Hopper, Gail Levin, Bonfini Press, Switzerland 1984, p. 27
1905 - 1910

Girl, Sun, Parting, Painting

“Rosamond felt herself beginning to know a great deal of the world, especially in discovering what when she was in her unmarried girlhood had been inconceivable to her except as a dim tragedy in by-gone costumes— that women, even after marriage, might make conquests and enslave men. Still, vanity, with a woman’s whole mind and day to work in, can construct abundantly on slight hints, especially on such a hint as the possibility of indefinite conquests. How delightful to make captives from the throne of marriage with a husband as crown-prince by your side—himself in fact a subject— while the captives look up forever hopeless, losing their rest probably, and if their appetite too, so much the better!”

George Eliot book Middlemarch

Middlemarch (1871)

Women, Men, Marriage, World

“Don’t for a moment believe He was killing the young; He was costuming angels.”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

Vogue (May 1984)

Angels

“Ancient scriptures tell us that man is more than the physical body. In fact, we have two bodies: the physical and the astral, or subtle. But we are the soul! According to the ancient Vedic scriptures of India, the size of the soul is 1/10,000 the tip of a strand of hair. It is located in the heart region and is the actual life force. The physical, as well as the astral or subtle body, acts as a covering or costume that the soul wears in its journey throughout the material sphere. As we pass from costume to costume or from body to body through the process known as reincarnation, the impressions of previous lives imprint themselves on the subtle body and are carried with us during each lifetime. In the dream state, activity in the subtle body becomes more dominant than activity in the physical body. Our dream experiences are often impressions accumulated from many lifetimes.”

Bhakti Tirtha Swami (1950–2005) American Hindu writer

Source: Books, Spiritual Warrior, Volume I: Uncovering Spiritual Truths in Psychic Phenomena (Hari-Nama Press, 1996), Chapter 1: Dreams: A State of Reality, p. 18-19

Life, Dreams, Soul, Heart

“At last, small witches, goblins, hags,
And pirates armed with paper bags,
Their costumes hinged on safety pins,
Go haunt a night of pumpkin grins.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

October, A Child's Calendar (1965)

Night

“[While filming 'Ashes to Ashes'] So we're on the beach shooting this scene with a giant bulldozer. The camera was on a very long lens. [The camera is along way away, but the artist fills the frame] In this video I'm dressed from head to toe in a clown suit. Why not. I hear playback and the music starts. So off I go, I start singing and walking, but as soon as I do this old geezer with an old dog walk right between me and the camera… Well, knowing this is gonna take a while I walked past the old guy and sat next to camera in my full costume waiting for him to pass. As he is walking by camera the director said, excuse me Mr do you know who this is? The old guy looks at me from bottom to top and looks back to the director and said… "Of course I do!!!! its some cunt in a clown suit."”

David Bowie (1947–2016) British musician, actor, record producer and arranger

That was a huge moment for me, It put me back in my place and made me realize, yes I'm just a cunt in a clown suit. I think about that old guy all the time.
http://tonythegigguy.com/queen-bitch-beat-city-bowie-special-sleeve-notes

Dogs, Music, Way, Guy

“The DC comics were always a lot more true blue. Very enjoyable, but they were big, brave uncles and aunties who probably insisted on a high standard of you know mental and physical hygiene. Whereas the Stan Lee stuff, the Marvel comics, he went from one dimensional characters whose only characteristic was they dressed up in costumes and did good. Whereas Stan Lee had this huge breakthrough of two-dimensional characters. So, they dress up in costumes and do good, but they've got a bad heart. Or a bad leg. I actually did think for a long while that having a bad leg was an actual character trait.”

Alan Moore (1953) English writer primarily known for his work in comic books

Interview on BBC Radio 4 (27 January 2005) http://www.comicbookresources.com/?page=article&id=4533

Thinking, Heart

“They went on playing quietly and waiting for Sam (who had gone back to the bedroom to seek Tommy) and for their turns to see Mother. Bonnie meanwhile, with a rueful expression, was leaning out the front window, and presently she could not help interrupting them, 'Why is my name Mrs Cabbage, why not Mrs Garlic or Mrs Horse Manure?' They did not hear her, so intent were they, visiting each other and inquiring after the health of their respective new babies. They did not hear her complaining to Louie that, instead of being Mrs Grand Piano or Mrs Stair Carpet, they called her Garbage, 'Greta Garbage, Toni Toilet,' said she laughing sadly, 'because they always see me out there with the garbage can and the wet mop; association in children's naïve innocent minds you see!'
'Oh no, it isn't that, protested Louie, Garbage is just a funny word: they associate you with singing and dancing and all those costumes you have in your trunk!”

Christina Stead book The Man Who Loved Children

'Do you think so?' Bonnie was tempted to believe. 'Mrs Strip Tease?'
The Man Who Loved Children (1940)

Children, Health, Thinking, Singing

“Now, a fancy ball is bad enough in London, where milliners are many, and where theatres have costumes that may be borrowed or copied; but in the country, where people are left to their own devices—truly to them may be applied the old poet's account of murderers, "their fancies are all frightful.””

Letitia Elizabeth Landon (1802–1838) English poet and novelist

Heath's book of Beauty, 1833 (1832)

People, Country

“Sabetha threw her own shoes and costume components on the tiles near the bath. She retained only her black hose and a dressing gown. Locke did his best to look like he wasn’t staring, and she did an admirable job of pretending she wasn’t encouraging him.”

Scott Lynch book The Republic of Thieves

Interlude “Death Masks” section 8 (p. 639)
The Republic of Thieves (2013)

Shoe

“There would be dreamers of dreams and seers of visions and hearers of voices; readers of the entrails of beasts and interpreters of the flight of birds; there would be burning bushes and stone tablets on mountain-tops, and inspired words dictated to aged disciples on lonely islands. There would arise special castes of men and women, learned in these sacred matters; and these priestly castes would naturally emphasize the importance of their calling, would hold themselves aloof from the common herd, endowed with special powers and entitled to special privileges. They would interpret the oracles in ways favorable to themselves and their order; they would proclaim themselves friends and confidants of the god, walking with him in the night-time, receiving his messengers and angels, acting as his deputies in forgiving offenses, in dealing punishments and in receiving gifts. They would become makers of laws and moral codes. They would wear special costumes to distinguish them, they would go through elaborate ceremonies to impress their followers, employing all sensuous effects, architecture and sculpture and painting, music and poetry and dancing, candles and incense and bells and gongs.”

Upton Sinclair book The Profits of Religion

Book One : The Church of the Conquerors, "The Priestly Lie"
The Profits of Religion (1918)

Women, Men, God, Age

“The world is not a costume ball”

Herta Müller book The Hunger Angel

Source: The Hunger Angel (2012), p. 5

World

“Immortals is without doubt the best-looking awful movie you will ever see. Eiko Ishioka's costume designs alone deserve an Oscar nomination. "They weren't at all historically accurate," grumbled a woman in the elevator after the sneak preview, as if lots of documentation exists about the wardrobes of the gods. She added: "I guess that's what we deserve for using free tickets we got at a Blackhawks game."”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/immortals-2011 of Immortals (9 November 2011) Reviews, One-and-a-half star reviews

God, Game

“Religion, virtually without fail, provides the army at war with its blessings, and recruits from among its officials the chaplain, who in military costume counsels and consoles and stiffens the morale of men at war.”

C. Wright Mills book The Power Elite

The Power Elite (1956)

Men, War, Religion

“No recognition / Nadie se conoce' [Goya wrote on this plate no. 6:] The world is a masquerade, faces, costumes, voices, everything a lie. Each person wishes to appear what he is not. The whole world deceives itself, and no one recognizes himself.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, pp. 355-377
Goya wrote this explanatory comment on the plate of Capricho no. 6
1790s

Lie, World, Appearance, Personality

“Most scripts are bad. I read a lot of them. Brick was a good script just to read. It was like, “Oh my God, these words feel so good in my mouth.” A lot of movies try to set up a world with cool sets, costumes, camera work. In Brick, the world is born from the words.”

Joseph Gordon-Levitt (1981) American actor, director, producer, and writer

Newsweek, March 31, 2006

God, World, Feeling, Reading

“When I was a little girl (but being raised as a little boy), what I wanted more than anything was to be a dancer. How I longed for it — the lights, the stage, the gorgeous costumes, most of all for the delivering grace of movement in harmony with a choreography greater than myself. Like a little Chinese and two left feet saw to that: I was laughed, bullied, or shamed out of every dance class I attempted.”

Kai Cheng Thom (1991) writer

What I learned, loved and lost as a trans Zumba addict (2018)

Girl, Boy, Light, Dance

“I had to wear an oxygen mask both in the water and on land because of the carbon monoxide. I fainted four times during the first day of filming. We were shooting the scene in which Godzilla emerges from the water as he approaches Hong Kong. I wasn't warned about the carbon monoxide, so I wasn't wearing an oxygen mask. We were shooting in water, so nobody could just run up to me when they saw me acting strangely. We were filming a long shot, so nobody was very close to me. The members of the staff didn't realize I'd fainted that first time until they started opening up the costume so I could get out.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by David Milner, "Kenpachiro Satsuma Interview III" http://www.davmil.org/www.kaijuconversations.com/satsum3.htm, Kaiju Conversations (December 1995)

Water, Time

“And thus Christianity is played in “Christendom.” Artists in dramatic costumes make their appearance in artistic buildings— there really is no danger at all, anything but that: the teacher is a royal functionary, steadily promoted, making a career— and how he dramatically plays Christianity, in short, he plays comedy. He lectures about renunciation, but he himself is being steadily promoted; he teaches all that about despising worldly titles and rank, but he himself is making a career.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Source: 1850s, Attack upon Christendom (1855), p. 121

Teachers, Appearance

“The Mozart Festival Opera's production of Don Giovanni made the three hours fly. The miming between Stefano de Peppo and Vytautas Juozapaitis as Don Giovanni was great physical comedy that had the audience laughing out loud. Juozapaitis possessed the voice, swagger and stage presence to match and dominate Leporello, and his costumes are among the best I've seen. I think Mozart would have approved.”

Vytautas Juozapaitis (1963) Lithuanian opera singer

Christopher Hyde, "Mozart would have approved", Portland Press Herald (March, 2005) http://www.jennykellyproductions.com/prod_mozart_review.htm

Thinking, Flying

“The Godzilla costume constructed for GODZILLA 1985 was made to fit a much larger man, but he quit just before production was scheduled to begin. So, I took over the role. This, along with the fact that the costume weighed two hundred and forty-five pounds, limited what I could do in it. The Godzilla costume constructed for GODZILLA VS. BIOLLANTE, on the other hand, was made to fit me. In addition, it weighed only one hundred and eighty pounds. I felt that the GODZILLA 1985 costume controlled me, but I controlled the GODZILLA VS. BIOLLANTE one.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by David Milner, "Kenpachiro Satsuma Interview I" http://www.davmil.org/www.kaijuconversations.com/satsum.htm, Kaiju Conversations (December 1993)

“Nero watched the conflagration from the Tower of Maecenas, enraptured by what he called "the beauty of the flames"; then put on his tragedian's costume and sang The Sack of Ilium from beginning to end.”
Hoc incendium e turre Maecenatiana prospectans laetusque "flammae," ut aiebat, "pulchritudine" Halosin Ilii in illo suo scaenico habitu decantavit.

Sueton book The Twelve Caesars

Source: The Twelve Caesars, Nero, Ch. 38

Beauty

“[modern art is the story of certain peoples'] desire to get rid of what is dead in human experience, to get rid of concepts, whether aesthetic or metaphysical or ethical or social, that, being garbed in the costumes of the past, get in the way of their enjoyment.”

Robert Motherwell (1915–1991) American artist

Lecture at Mount Holyoke College, August 1944; later published as 'A Tour of the Sublime', in 'Tiger's Eye', 15 Dec. 1948; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory' 1940s

People, Art, Way, Past

“From this new alliance – for until now costume and scenery on one hand, choreography on the other, have been linked only artificially – there has resulted in Parade a kind of sur-réalisme.”

Guillaume Apollinaire (1880–1918) French poet

De cette alliance nouvelle, car jusqu'ici les décors et les costumes, d'une part, la choréographie, d'autre part, n'avaient entre eux qu'un lien factice, il est résulté, dans Parade, une sorte de sur-réalisme.
Excelsior, May 11, 1917; translation from Michael Benedikt & George E. Wellwarth (eds.) Modern French Theatre (New York: Dutton, 1964) p. xvii.
The first usage of the word surrealism in any language.

“There is another meaning that might be attached to this admonition to be oneself; that one should not try to disguise himself. I suspect this comes nearer to what psychologists mean when they urge people to be themselves. It is presumed that the person who faces the world barefaced is more spontaneous, that he expresses himself more fully, and that he has a better chance of developing all his resources if he assumes no disguises.
But this doctrine of psychological nakedness in human affairs, so much talked about today and which allows the self neither make-up nor costume, leaves very little to the imagination. Not does it invite one to be venturesome. I suspect, for example, that in the Garden of Eden it might have occurred to Adam to take a chance much sooner than he did if Eve had been paying a little more attention to her wardrobe. As it was I hear she had to bribe him with an apple. Later on they say she contrived a saucy little something out of fig leaves.”

George Kelly (psychologist) (1905–1967) American psychologist and therapist

Source: The Language of Hypothesis, 1964, p. 157-8

People, World, Imagination, Chance

“Women have everything to do with bringing culture into everyday life, with the expression of it, with the helping and influencing of a nation, not only because they are mothers but also because they themselves are an example as individuals. The modern world needs a new force for the revitalizing of its ideals. India’s art has always been unconscious, unconscious of its own beauty, unconscious of others’ admiration, unconscious of the physical though expressed in Form. India is now beginning to be conscious and we do not know how to express ourselves consciously. A great dancer’s art must depend first on the life he or she expresses, secondly upon the beauty of technique and lastly only, upon its arrangement, costume, and presentation…. Though form, technique and skill are essential, great Art must have the impetus of genius, and inspiration. Then there is permanency.”

Rukmini Devi Arundale (1904–1986) Indian Bharatnatyam dancer

pdf, A Century of Negotiations: The Changing Sphere of the Woman Dancer in India, 1 December 2013, Performancestudies.ucla.edu, 15-16 http://www.performancestudies.ucla.edu/downloads/SarkarNegotiation.pdf.,

Life, Women, World, Beauty

“[Portraying Godzilla in the water] is the most dangerous part of my job. If I fell over, I could drown. I would never be able to get back up with the Godzilla costume on.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by David Milner, "Kenpachiro Satsuma Interview I" http://www.davmil.org/www.kaijuconversations.com/satsum.htm, Kaiju Conversations (December 1993)

Water, Parting

“The special effects are more sophisticated. The materials and techniques used to construct the monster costumes and miniature sets have improved, and we now use computer graphics. However, the earlier Godzilla films are much more profound. I think the reason for this is the fact that the people who worked on them experienced World War II firsthand. Shinichi Sekizawa served in the South Pacific, and Mr. Honda was a prisoner of war in China for quite some time. The earlier films also are more detailed. For example, there are more reaction shots in them. The expressions on people's faces are shown more often, and the effects of the monsters' actions are shown more often. On the other hand, the newer movies are more contemporary in that they address current issues such as bio-technology and environmental destruction. The earlier films didn't do that as much.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by David Milner, "Kenpachiro Satsuma Interview III" http://www.davmil.org/www.kaijuconversations.com/satsum3.htm, Kaiju Conversations (December 1995)

War, People, World, Thinking

“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.”

James McNeill Whistler (1834–1903) American-born, British-based artist

In a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

Flowers, Tree, Painting, Indifference

“The growing drama has outgrown such toys
Of simulated stature, face, and speech:
It also peradventure may outgrow
The simulation of the painted scene,
Boards, actors, prompters, gaslight, and costume,
And take for a worthier stage the soul itself,
Its shifting fancies and celestial lights,
With all its grand orchestral silences
To keep the pauses of its rhythmic sounds.”

Elizabeth Barrett Browning (1806–1861) English poet, author

Book V. Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)

Soul, Light, Silence, Painting

“Katsumi Tezuka and I both tried on the Godzilla costume during the first day of shooting. The costume was very stiff and heavy. I could walk about thirty feet in it, but Mr. Tezuka could only walk about ten feet in it. There were three cables coming out of the back of the costume. Two were for the operation of the eyes, and one was for the operation of the mouth. Eizo Kaimai was responsible for the movement of the eyes and the mouth. The ASA speed of the film that was used at the time was very slow, so the set had to be very brightly lit. Another actor complained that the lights made it too hot inside the costume, but I never complained. Batteries were installed in the Godzilla costume that was made for the second Godzilla movie. They were for the operation of the eyes and the mouth. The batteries made the costume even heavier than the one that had been constructed for the first Godzilla film.”

Haruo Nakajima (1929–2017) Japanese actor

As quoted by David Milner, "Haruo Nakajima Interview" http://www.davmil.org/www.kaijuconversations.com/nakajima.htm, Kaiju Conversations (March 1995)

Light, Time, Speed

“This was a wonderful role. I played a Sicilian baron. They had incredible locations, for instance this majestic castle, I couldn't believe how beautiful it was! We also shot a scene in Hadrian's Villa, in a place called Sanctuario di Ercole. I had a great costume - the costume designers also worked on Visconti's GATTOPARDO. It's a mystery to me why they wouldn't let the film out. It's terrible for an actor: You think you have a big break, then the film just rots on the shelf! Also, the director was a very likeable person, very calm on the set. A wonderful movie.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

Beauty, Thinking, Personality

“Hutte, for instance, used to quote the case of a fellow he called "the beach man ". This man had spent forty years of his life on beaches or by the sides of swimming pools, chatting pleasantly with summer visitors and rich idlers. He is to be seen, in his bathing costume, in the corners and backgrounds of holiday snaps, among groups of happy people, but no one knew his name and why he was there. And no one noticed when one day he vanished from the photographs. I did not dare tell Hutte, but I felt that " the beach man " was myself. Though it would not surprised him if I had confessed it. Hutte was always saying that, in the end, we we're all " beach men " and that the sand keeps the traces of our footsteps only a few moments "”

Patrick Modiano book Missing Person

Missing Person (1978 )

Life, Men, People, Quotes

“Mister Toombs was willing to dissolve the Union to save slavery, Mister Phillips, to save liberty; while Mister Seward, denounced and derided by both, declared that the deepest instinct of the American people was for union. Reserved rights. State rights, limited powers, the advantages of union and disunion, were the cucumbers from which we were busily engaged in distilling light, overlooking the fact of nationality in discussing the conditions of union. We were speculating upon costume. We gravely proved that the clothes were the clothes of a woman, or of a child, without seeing that whatever the clothes might be there was a full-grown man inside of them. 'The Constitution is a contract between sovereign States', shouted Mister Toombs, 'let Georgia tear it and separate'. 'The Constitution is a league with hell', calmly replied Mister Phillips, 'let New York cut off New Orleans to rot alone'. 'Oh, dear! it's a dreadful dilemma', whimpered President Buchanan. 'States have no right to secede, and the United States have no right to coerce. Oh, dear me! it's perfectly awful! I'm the most patriotic of men, but what shall I do? what shall I do?”

George William Curtis (1824–1892) American writer

Separate! Cut off! Secede! It was of a living body they spoke, which, pierced anywhere, quivered everywhere.
1860s, The Good Fight (1865)

Men, People, Hell, Tear

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

Age, World, School, Art

“If he doesn’t want to skate to music that’s pretty and wear a pretty costume, then go rollerblade or skateboard or do one of those extreme sports.”

Johnny Weir (1984) figure skater

About Evan Lysacek
"Figure Skating Rivalry Pits Athleticism Against Artistry," 2008

Music, Sport

“Debased men, but they all had something in common: They showed a keen regard for virtue, and tried to dress themselves in that costume. Hypocrisy, for all its bad reputation, at least showed a decent respect for goodness.”

Orson Scott Card (1951) American science fiction novelist

Source: The Tales of Alvin Maker, Alvin Journeyman (1995), Chapter 14.

Men

“A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners, coats of slain dragoons, frogged and braided cavalry jackets, one in a stovepipe hat and one with an umbrella and one in white stockings and a bloodstained weddingveil and some in headgear of cranefeathers or rawhide helmets that bore the horns of bull or buffalo and one in a pigeontailed coat worn backwards and otherwise naked and one in the armor of a spanish conquistador, the breastplate and pauldrons deeply dented with old blows of mace or saber done in another country by men whose very bones were dust and many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses’ ears and tails worked with bits of brightly colored cloth and one whose horse’s whole head was painted crimson red and all the horsemen’s faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools.”

Cormac McCarthy book Blood Meridian

Source: Blood Meridian (1985), Chapter IV

Death, Men, Dreams, Color

“Cause a costume can be comfortable
It can make you feel more beautiful
It can even make you look like someone else
But it's still you, so there's nothing you can do
Like a bad habit, the one you couldn't kick, there it always is
And it's nothing that no doctor's gonna fix.”

Conor Oberst (1980) American musician

We Are Free Men
There Is No Beginning to the Story (2003)

Beauty, Feeling

“I am secretly a costume drama queen. Oo, I love me some Merchant Ivory films! I do! If there is a petticoat and Helena Bonham Carter, already I can feel the tears well up in my eyes. I love me some period films! And I know that I will never be in them. I will never be in any of these movies, unless I am laying down on my side smoking some opium. And I get offered movie roles all the time, but I say, "No! No! I don't want to play a manicurist. I don't want to play a really pissed-off liquor store owner. I don't want to go nowhere with a chicken under my arm. I don't want to play an exceptionally good student, I do not want to get off a tour bus and take numerous photographs, I do not ever want to utter the phrase, 'Welcome to Japan, Mr. Bond'! I don't want to write down all my memoirs about being a geisha!"”

Margaret Cho (1968) American stand-up comedian

What it is, is that I cannot run up a wall!!
From Her Tours and CDs, Revolution Tour

Love, Feeling, Tear, Time

“In the Napoleonic Museum in Arenenberg I was rather impressed just how richly clad in the costume of Antiquity the First Empire in fact was - dressed up even comically with its laurels and eagles and togas. Return to Rome wherever you look, though of course not to the Holy Roman Empire - to Caesar's Rome. But the French Revolution itself had fallen back on more or less genuine or imaginary classical models: Brutus and Tiberius Gracchus and Gaius Gracchus, the Gracchi, consuls and Roman virtues - even these revolutionaries couldn't resolve to start from scratch with something really new.”

Ida Friederike Görres (1901–1971) Austrian writer and noble

Broken Lights Diaries 1957-59.

“To this day I don't know why they voted for me. I'm hoping that it was because I chose a talent that made them sit up. I played a 70-year-old Irish mother lamenting the loss of her last son to the sea. I took off all my makeup, wore a shawl and my father's black socks — the costume I had worn when I'd done the play when I was in high school. It was the only thing I knew to do. I'm an actress, that's what I wanted to be.”

Lee Meriwether (1935) American actress, former model

School, Hope, Loss, Sea

“It might come as a surprise to many, but the truth is that Islam today no longer has a living and evolving theology. In fact, with few exceptions, Islam’s last genuine theologians belong to the early part of the 19th century. Go to any mosque anywhere, whether it is in New York or Mecca, and you are more likely to hear a political sermon rather than a theological reflection. In the highly politicized version of Islam promoted by Da’esh, al Qaeda, the Khomeinists in Iran, the Taliban in Afghanistan and Boko Haram in Nigeria, God plays a cameo role at best. Deprived of its theological moorings, today’s Islam is a wayward vessel under the captaincy of ambitious adventurers leading it into sectarian feuds, wars and terrorism. Many, especially Muslims in Europe and North America, use it as a shibboleth defining identity and even ethnicity. A glance at Islam’s history in the past 200 years highlights the rapid fading of theologians. Today, Western scholars speak of Wahhabism as if that meant a theological school. In truth, Muhammad Abdul-Wahhabi was a political figure. His supposedly theological writings consist of nine pages denouncing worship at shrines of saints. Nineteenth-century “reformers” such as Jamaleddin Assadabadi and Rashid Rada were also more interested in politics than theology. The late Ayatollah Khomeini, sometimes regarded as a theologian, was in fact a politician wearing clerical costume. His grandson has collected more than 100,000 pages of his writings and speeches and poetry. Of these, only 11 pages, commenting on the first and shortest verse of the Koran, could be regarded as dabbling in theology, albeit not with great success.”

Amir Taheri (1942) Iranian journalist

"The mad dream of a dead empire that unites Islamic rebels" http://nypost.com/2014/06/14/the-mad-dream-of-a-dead-empire-that-unites-islamic-rebels/, New York Post (June 14, 2014). New York Post

God, War, Truth, School

“(Laura Gemser) was a very quiet woman, très réservé, but not in a snobbish way. She was very, very lovely. I worked together with her again, on Aristide Massaccesi's RITORNO DALLA MORTE, a Frankenstein movie made in 1992. She worked as a costume designer. This was another instance where I said something wrong: I told her how terrible it was that Tinti was dead, him being such a nice man…She had to rush out of the room because she was overwhelmed by her feelings for Gabriele.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

Love, Way, Feeling, Dead

“Since the great French Revolution all colour has been gradually dying out of the male costume, until we have got reduced to our present gamut of brown, black and neutral tint; which, combined with the chimney-pot hat and the swallow-tailed coat, form a costume by no means particularly adapted to refresh the eye seeking for form or colour.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8

“Working on GODZILLA RAIDS AGAIN was easier for me. The Godzilla costume that was built for the movie was made to fit me, whereas the one that had been built for GODZILLA - KING OF THE MONSTERS had not been made to fit me. The most difficult aspect of working on GODZILLA RAIDS AGAIN for me was shooting the ending. I had to stand in the middle of the set while a large amount of crushed ice came tumbling down on me.”

Haruo Nakajima (1929–2017) Japanese actor

As quoted by David Milner, "Haruo Nakajima Interview" http://www.davmil.org/www.kaijuconversations.com/nakajima.htm, Kaiju Conversations (March 1995)

“Those were the days of "Florodora" and of sextets, of pinched-in waists and blown-out sleeves, of almost bustles and absolute ballet skirts, but here, without doubt, disguised as she might be by the unaccustomed stiffness and old fashion of her costume, was a butterfly of butterflies. Here was the gayety of the period — the soft wine of eyes, the songs that flurried hearts, the toasts and tie bouquets, the dances and the dinners. Here was a Venus of the hansom, cab, the Gibson girl in her glorious prime. Here was…”

F. Scott Fitzgerald (1896–1940) American novelist and screenwriter

"The Lees of Happiness"
Quoted, Tales of the Jazz Age (1922)

Girl, Fashion, Wine, Heart

“Freemasons, n. An order with secret rites, grotesque ceremonies and fantastic costumes, which, originating in the reign of Charles II, among working artisans of London, has been joined successively by the dead of past centuries in unbroken retrogression until now it embraces all the generations of man on the hither side of Adam and is drumming up distinguished recruits among the pre-Creational inhabitants of Chaos and Formless Void. The order was founded at different times by Charlemagne, Julius Caesar, Cyrus, Solomon, Zoroaster, Confucius, Thothmes, and Buddha. Its emblems and symbols have been found in the Catacombs of Paris and Rome, on the stones of the Parthenon and the Chinese Great Wall, among the temples of Karnak and Palmyra and in the Egyptian Pyramids — always by a Freemason.”

Ambrose Bierce book The Devil's Dictionary

The Devil's Dictionary (1911)

Secret, Time, Success, Past

“I was supposed to wear this really great costume [on Il Brigante], beautiful white flannel trousers, a captain's cap, it looked marvellous, but right before shooting they had it changed and they told me to wear my own stuff instead. I felt rotten because it looked so cheap.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

Beauty, Change

“I have now done seven films as Godzilla, and I believe I have achieved most everything I have wanted to do inside the costume… Most importantly, I have always felt Godzilla should express its emotions, which is very difficult given the range of movements and expressions the suit can make. So, whatever Godzilla does - roaring, spewing his radiation breath, communicating with Godzilla Junior - I always try to add little movements that will show his emotional state, like moving his fingers, or a short glance. The Heisei Godzilla [has] a very different personality than the old Godzilla. He is very animalistic, always in motion. But I believe Godzilla is a very emotional creature.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by Steve Ryfle (1998), Japan's Favourite Mon-star: The Unauthorized Biography of "The Big G", ECW Press, p. 263-64, ISBN 1550223488

Communication, Personality

“I go into the make-up chair one hour before my call. I get make up, hair, and costume all done up and then I sometimes have a bit of breakfast. We start filming, and go until around lunchtime. I am not used in every shot so when I have breaks I go in my room and do schoolwork. After lunch we go back work, I go on and off set a normal day. When we wrap for the day I go home and relax or go swimming or maybe to the movies.”

Julianna Rose Mauriello (1991) Nieta de. Tesla

Nicksplat: "Exclusive Interview with Julianna Rose Mauriello" http://www.nicksplat.com/Whatsup/200603/20000156.html (20 March 2006)

Home

“I met him Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me... Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company... I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas. John [Cage] was very interested in presenting his ideas to other people, so it was impossible to be around and not to learn... He could apply his ideas on space and time to painting, or music or architecture... I don't have a clear sense of cause and effect in my painting, but it is probably there.”

Jasper Johns (1930) American artist

Jasper Johns, by Bryan Robertson and Tim Marlow, Tate, in 'The Art Magazine', London, Winter 1993, pp. 40, 47
1990s

People, Music, Idea, Sense

“Dressing up in costumes, playing silly games
Hiding out in tree-tops shouting out rude names
— whistling tunes we hide in the dunes by the seaside
— whistling tunes we piss on the goons in the jungle.
It’s a knockout.”

Peter Gabriel (1950) English singer-songwriter, record producer and humanitarian

Games Without Frontiers
Song lyrics, Peter Gabriel (III) (1980)

Game, Tree

“Mythological subjects always new. Modern subjects difficult because of the absence of the nude and the wretchedness of modern costume.”

Eugène Delacroix (1798–1863) French painter

13 January 1857 (p. 338)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

“Things are only mannequins and even the great world-historical events are only costumes beneath which they exchange glances with nothingness.”

Walter Benjamin (1892–1940) German literary critic, philosopher and social critic (1892-1940)

Protocols to the Experiments on Hashish, Opium and Mescaline (1927-1934)

World

“About this time, I heard of a well known Hindu having been converted to Christianity. It was the talk of the town that, when he was baptized, he had to eat beef and drink liquor, that he also had to change his clothes, and that thenceforth he began to go about in European costume including a hat. These things got on my nerves. Surely, thought I, a religion that compelled one to eat beef, drink liquor, and change one's own clothes did not deserve the name. I also heard that the new convert had already begun abusing the religion of his ancestors, their customs and their country. All these things created in me a dislike for Christianity.”

Mahatma Gandhi (1869–1948) pre-eminent leader of Indian nationalism during British-ruled India

Part I, Chapter 10, Glimpses of Religion
1920s, An Autobiography (1927)

Religion, Drink, Change, Time

“Getting up at odd hours to catch flights. I hate the long hours of waiting. There are times when one is continuously travelling, from one city to another, hopping from one studio to another or changing from one costume to another. It is annoying, but after a point, one learns to be immune to one’s surroundings.”

Rani Mukerji (1978) Indian film actress

[tribuneindia.com, Rani’s Routine, http://www.tribuneindia.com/2001/20011011/main8.htm, 16 July, 2005]
Famous Quotes

Hate, Travel, Learning, Change

“We have no architecture to work from at all; indeed, we have not even settled the point de depart… our art… is domestic, and… the best way of advancing its progress is to do our best in our own houses… if we once manage to obtain a large amount of art and colour in our sitting-rooms… the improvement may gradually extend to our costume, and perhaps eventually to the architecture of our houses.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 91-92; Cited in: "William Burges 1827-1881 London Architect" in: In Pursuit of Beauty: Americans and the Aesthetic Movement http://books.google.com/books?id=56F8Qv96FzwC&pg=PA406. Metropolitan Museum of Art, 1 jan. 1986. p. 405

Art, Way, Housing

“Thank you to the stellar collection of photographers, designers, editors, musicians, costumers, painters, researchers, electricians and craftspeople who without whom I'd just be a bitter man with a lot of opinions”

David Fincher (1962) American film director

2011 Golden Globe Award Ceremony (2011)

“.. As Salmanezer and Nebuchadnezzar had formerly carried the Jews to Babylon, so now from all the frontier provinces of the new kingdom (of Armenia) - from Corduene, Adiabene, Assyria, Cilicia, Cappadocia - the inhabitants, especially the Greek or half-Greek citizens of the towns, were compelled to settle with their whole goods and chattels in the new capital, one of those gigantic cities proclaiming rather the nothingness of the people than the greatness of the rulers, which sprang up in the countries of the Euphrates on every change in the supreme sovereignty at the fiat of the new grant Sultan. the new 'city of Tigranes", Tigranocerta, situated in in the most southern province of Armenia, not far from the Mesopotamian frontier, was a city like Nineveh and Babylon, with walls fifty yards high, and the appendages of palace, garden and park that were appropriate to sultanism In other respects, too, the new great king proved faithful to his part. As amidst the perpetual childhood of the East the childlike conceptions of kings with real crowns on their heads have never disappeared, Tigranes, when he showed himself in public, appeared in the state and costume of a successor of Darius and Xerxes, with the purple fagtan, the half white half-purple tunic, the long plaited trousers, the high turban, and the royal diadem - attended moreover and served in slavish fashion, wherever he went or stoood, by four "kings."”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

Vol. 4, Part: 1. Chapter 2 Pg. 47 - "Rule of the Sullan Restoration" Translated by W.P. Dickson.
The History of Rome - Volume 4: Part 1

People, Faith, Fashion, Appearance

“We were all there when Janco arrived with his masks, and everyone immediately put one on. Then something strange happened. Not only did the mask immediately call for a costume; it also demanded a quite definite, passionate gesture, bordering on madness. Although we could not have imagined it five minutes earlier we were walking around with most bizarre movements, festooned and draped with impossible objects, each one of us trying to outdo the other in inventiveness... What fascinated us all about the masks is that they represent not human characters and passions, but.... passions that are larger than life. The horror of our time [World War 1., a. o. ], the paralyzing background of events, is made visible.”

Hugo Ball (1886–1927) German author, poet and one of the leading Dada artists

Ball's diary entry, 24 May 1916; as quoted in Looking at Dada, eds. Sarah Ganz Blythe & Edward D. Powers - The Museum of Modern Art New York, ISBN: 087070-705-1; p. 4
1916

Life, War, World, Imagination

“We wish to see churches and Christian Chinese presided over by pastors and officers of their own countrymen, worshipping the true God in the land of their fathers, in the costume of their fathers, in their own tongue wherein they were born, and in edifices of a thoroughly Chinese style of architecture.”

James Hudson Taylor (1832–1905) Missionary in China

(A.J. Broomhall. Hudson Taylor and China’s Open Century, Book Four: Survivors’ Pact. London: Hodder and Stoughton and Overseas Missionary Fellowship, 1984, 356).

God

“I hadn't seen the previous two Creature films but I was aware of them. My Universal contract was still in effect and there wasn't another film property that they could use me in at the time. It wasn't a bad script and I made the most of it. Leigh Snowden, I thought, was a beautiful ingénue. I remember there were both Ricou Browning and Don Megowen as the Creature, in and out of the water. I thought the Creature costume, both before and after the burning incident, was convincing. There was a scene that takes place on a balcony where I was being pursued by the Creature. He picks me up to toss me over. In the final cut a dummy goes over, yet for a moment before the director yelled "Cut!"”

Jeff Morrow (1907–1993) American actor and World War II veteran

I thought I was going over for real. Psychotronic Video interview http://www.zomboscloset.com/zombos_closet_of_horror_b/2013/08/the-jeff-morrow-interview-part-4.html (1993)

Beauty, Universe, Water, Time

“The scenery and costumes of 'The Wizard of Oz' were all made in New York — Mr. Mitchell was a New York favorite, but the author was undoubtedly a Chicagoan, and therefore a legitimate butt for the shafts of criticism. So the critics highly praised the Poppy scene, the Kansas cyclone, the Scarecrow and the Tin Woodman, but declared the libretto was very bad and teemed with 'wild and woolly western puns and forced gags.' Now, all that I claim in the libretto of 'The Wizard of Oz' is the creation of the characters of the Scarecrow and the Tin Woodman, the story of their search for brains and a heart, and the scenic effects of the Poppy Field and the cyclone. These were a part of my published fairy tale, as thousands of readers well know. I have published fifteen books of fairy tales, which may be found in all prominent public and school libraries, and they are entirely free, I believe, from the broad jokes the New York critics condemn in the extravaganza, and which, the New York people are now laughing over. In my original manuscript of the play were no 'gags' nor puns whatever. But Mr. Hamlin stated positively that no stage production could succeed without that accepted brand of humor, and as I knew I was wholly incompetent to write those 'comic paper side-splitters' I employed one of the foremost New York 'tinkerers' of plays to write into my manuscript these same jokes that are now declared 'wild and woolly' and 'smacking of Chicago humor.' If the New York critics only knew it, they are praising a Chicago author for the creation of the scenic effects and characters entirely new to the stage, and condemning a well-known New York dramatist for a brand of humor that is palpably peculiar to Puck and Judge. I am amused whenever a New York reviewer attacks the libretto of 'The Wizard of Oz' because it 'comes from Chicago.”

L. Frank Baum (1856–1919) Children's writer, editor, journalist, screenwriter

Letter to "Music and the Drama", The Chicago Record-Herald (3 February 1903)
Letters and essays

People, Books, School, Search

“Kilt, n. A costume sometimes worn by Scotchmen in America and Americans in Scotland.”

Ambrose Bierce book The Devil's Dictionary

The Devil's Dictionary (1911)

“People only know me as a celebrity and don't realize how much more important art is to me than makeup and set costumes. Show business pays the rent, but painting is my only true passion, so I define myself as a painter who works in show business. Art is a kind of therapy to me, thanks to which I can interpret my feelings. An empty canvas before my eyes is synonymous with the absolute freedom of expression.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.eventiesagre.it/Eventi_Mostre/18010_Sogni+Miti+Colori.html, Eventi Mostre. Sogni Miti Colori 07/06/2008-30/06/2008 Pietrasanta (LU), Toscana, www.eventiesagre.it, Italian, 28 February 2013

People, Art, Feeling, Business

“Book-to-screen adaptations must always strive for two things: First, you must find a way to tell the broad story of the original plot; second, you must somehow reflect the spirit and texture of the novel—that is, you must transform a lot of words into a few pictures. All those digressions, inner monologues, thought processes, turns of phrase, all those word pictures, and especially all that un-photographable stuff that made the novel so delicious, must somehow be represented onscreen by use of the filmmaker's tools: moving pictures, dialogue and performance, sets, costumes, music and all the other tricks of the trade. That's the process a writer must go through to create a successful blueprint for a film.”

Tommy Lee Wallace (1949) American film director

Tommy Lee Wallace on Crafting His Miniseries Masterpiece, IT https://dailydead.com/stephen-king-week-tommy-lee-wallace-on-crafting-his-miniseries-masterpiece-it/ (October 27, 2015)

Books, Music, Way, Success