Costuming For Film

Contents Acknowledgements = xiv List of Figures = xv 1. Orientation to the Field = 1 A Day on the Set = 2 So, You Want to Work in Film? = 4 Who Does What? Basic Film Costume Personnel = 6 The Film Costume Process = 10 Filmmaking Rules of the Road = 11 So, Why Do It? = 23 Conversation One: On Working Your Way Up in the Industry, with Eduardo Castro = 25 2. Fundamentals of Costume Design for Film = 29 Costume Designers: The Forgotten Artists = 30 The Costume Designer's Job = 32 Telling a story with costumes = 33 Interpreting the script = 37 Managing the process = 37 Flexibility = 38 Streamlining the process = 38 Creative problem-solving = 38 Designer kits = 39 Designing the Character = 40 Designing for the Performer = 41 Designing for the World of the Script = 47 Designing for the Camera = 50 Designing for the Shooting Process = 51 Next! = 52 Conversation Two: On the Status of Costume Design in Film, with Betty Pecha Madden = 52 3. Conposing Costume Images: The Art and the Craft = 59 A Design Primer = 60 The Language of costume meaning = 60 Costume as narrative = 60 Costume as symbol = 61 Costume as expression = 62 The formal language of design = 62 Basic design principles = 62 Visual harmony and contrast = 63 Visual balance = 66 Visual emphasis = 67 Basic compositional elements = 67 Color = 67 Color mixing = 68 Manipulating lolor to create focus = 70 Solving figure problems with color = 72 Using color to evoke emotion and mood = 73 Developing ans eye for color = 75 Line = 75 Line and focus = 76 Using line to express emotion = 76 Developing an eye for line = 77 Shape = 77 Shape and character = 79 Altering the actor's form using sahpe = 80 Working with period silhouettes = 81 The emotional effect of shape = 82 Developing an eye for shape solutions = 83 Texture = 83 Physical composition of the material = 83 How a material is made = 84 Surface effect = 86 The drape of the material = 88 Durability = 89 Texture and focus = 92 Texture and emotional resonance = 92 Choosing the right fabric = 92 Developing a feel for fabric = 94 Understanding craftsmanship = 94 Media linitations = 95 Color palette distortion and production-stock issues = 95 Color palette control and lighting issues = 96 Color palette control and special effects work = 97 Color reflection problems = 97 Texture distortion issues = 98 Other media issues = 98 Your design standards = 99 Understanding the soctume design process = 102 4. Developing the Design = 105 The Costume Design Process: An Introduction = 106 Phase 1: design analysis = 106 Analysis of the script = 106 A design analysis case in point: Pulp Fiction = 108 Preliminary conferencing with the director = 111 Phase 2: preliminary research = 112 The path to understanding clothing practices = 112 The parh to "tonal" research = 115 Phase 3: preliminary design = 116 Designing in sync with the filmmaking process = 116 Preparing for conferences: preliminary design and research presentations = 117 Design collat\boration guidelines = 120 Collaborating with producers = 121 Collaborating with directors = 123 Collaborating with production designers and art directors = 126 Collaborating with cinematographers = 127 Collaborating with hair and makeup = 128 Collaborating with actors = 129 Production logistics and constraints - how they affect the design = 133 Budget = 133 Speed = 133 Stuntwork = 134 Choreography/movement work = 134 Special effects = 134 Phase 4: Polishing the design = 135 Final design presentations = 135 Before We Move On = 140 Conversation Three: On Working with the Cinematographer and Collaborating with Actors in Film, with Catherine Adair = 140 Conversation Four: On the Art of Collaboration in Episodic Television, with Pat Welch = 146 5. Breakdowns = 149 Breakdown Basics = 150 Types of breaddowns = 150 Why do a script breakdown? = 150 The script breakdown process = 151 Basic questions = 151 Noting costume multiples = 152 Script notation = 153 Costume breakdowns = 155 The scene breakdown = 156 Character breakdowns = 156 Specialty breakdowns and breakouts = 157 Summary breakdowns = 158 The costume crossplot = 158 Breakdown Formats = 159 Conversation Five: On Costuming for Stunts, with Madeline Kozlowski = 175 6. Costume Budgets = 181 Budget Basics = 182 The budget extimate = 182 The prelininary budget = 184 What makes up a preliminary budget? = 185 Detailing the preliminary budgetr = 185 Jurisdictional issues = 188 The importance of setting priorities = 188 Budget assessment: know thvself and thy marketplace = 189 Budget research resources and fees = 190 Wardrobe rental sources = 190 Rental pricing practices and deals = 191 Special services = 193 Rental conditions = 195 Custom-made work = 195 Cost guidelines and conditions = 195 Estimating made-to-order = 198 Craftwork cost grudelines and conditions = 198 Custom dye work = 200 Vat dying charges = 200 Hand processes charges = 200 Silkscreen charges = 201 Rush charges = 201 Freelance dyers = 201 Why is professional cyeing so expensive? = 201 Conferring with the dyer = 202 Custom kniwear, millinery, and shoes = 202 Specialty costumes = 202 Costume multiples coverage and cost guidelines = 207 Stunt coverage = 207 Extimating stunt multiples = 209 Extimating distress multiples = 210 Multiples for non-deliberate dirt and stain problems = 210 Extimating usage multiples = 210 Extimating costume duplicates for photo and character doubles = 211 A case study: extimating stunt multiples for Holly Cole's hyopthetical production of Pulp Fiction = 212 Workspace, equipment, and supply guidelines and costs = 214 Workspace guidelines and costs = 214 Equipment and supply guidelines = 214 Equipment and supply costs = 216 Estimating the cost of costume cleaning services = 216 Estimating over-hire staffing requirements and costs = 218 Estimating over-hire costumers = 218 Estimating over-hire set crew costs = 222 Estimating over-hire alterations personnel = 222 Estimating alterations costs = 223 Determining Other Over-Hire Needs and Estimating Over-Hire Costs = 224 Actors' fittings: requirements and costs = 225 Extras' fittings: rules and costs = 225 Budgeting for product placement = 225 Atmosphere coverage and costs = 226 Extimating loss and damage = 227 Extimating tax = 227 Contingency funds = 227 Dated memos and budget cover sheets: coping with changes = 228 Advanced budget cover sheets: coping with changes = 228 Advanced budget negotiations = 228 Tight budget strategies = 229 A note on sleaze zconomies = 234 The master budget = 234 Conversation Six: On the Costume Craftwork Process and Budget Factors, with Chris Gilman = 235 7. Prep = 243 Introduction to Preproduction = 244 The Costume Degisner-Costume Supervisor Collaboration = 245 Duties during prep: the design team and the supervisor = 246 Costume design team's duties during prep = 246 Costume supervisor's duties during prep = 247 A sidebar: design assistants = 247 Setting Prep Priorities = 248 Four-week prep schedule for a typical independent production = 249 Setting Costume Breakdown and Budget Research Priorities = 253 Guidelines for streamlining comparision shopping and resource research = 255 Purchasing strategies and costume-stock priorties = 256 Identifying unavoidable costs and deals to be cut = 256 Determining soctume coverage and costs for principal players = 257 Determining costume coverage and costs for extras = 258 Staffing and support negotiations = 260 Hiring issues = 260 Contract negotiations = 260 The going rates = 262 After negotiations-deal memos and payroll paperwork = 263 Purchasing Power = 263 Billing corroboration and returns tracking = 264 Warning! Warning! Petty cash, credit card use, and production purchasing = 265 Choosing Costume Facilities and Services = 266 Varieties of costume department setups = 266 Studio costume department or costume rental-house home base = 267 The do-it-youself home base = 268 Determining equipment and supply needs = 269 For the costume department office = 269 For home-base wardrobe storage and organization = 269 For costume construction and alteration workspace = 270 For laundering, dyeing, and distressing = 270 For wardrobe trailers = 271 Production Meetings and Ongoing Collaborations = 273 Coordinating with stunt and special effects = 275 Coordinating with the transporation department = 276 Gathering Wardrobe = 277 Purchases = 278 Purchases on approval: studio services = 278 Purchasing with returns in mind = 279 Rentals = 279 Made-to-order services = 281 The MO development process in costume workrooms = 282 The MO development process in craft studios = 283 The MO-designer collaboration = 285 The on-the-road shopping kit = 287 Product Placement = 289 Before you buy, rent, build, or borrow-"reading"the body and the garment = 290 Organizing the Costume Stock = 293 Organizing in phases = 293 The pre-fitting phase = 293 The post-fitting phase = 294 The shooting phase = 294 The wrap phase = 295 Organizing principles ofr costume stock = 295 Guidelines for organzing costume stock = 297 A note on size tagging = 297 Guidelines for sizing costume stock = 298 Fitting the Actor = 299 Scheduling fittings with principals and day players = 299 A talk before the fitting = 300 Preparing for an actor's fitting = 301 Who does the fitting? = 302 Psychology of a fitting = 302 Streamlining the fitting process for actors = 305 Fitting standards for principals and supporting players = 305 Menswear fitting points for a contemporary businessman's look = 308 Glamour fitting points = 309 Fitting compensation fules and regulations for actors = 310 SAG fitting compensation guidelines and fitting regulations = 310 Fitting Extras = 311 Scheduling fittings with extras = 311 The art of giving wardrobe instructions = 312 Preparing to pre-fit extras = 312 Fitting standards for extras = 313 Streamlining the pre-fitting of extras = 315 After Fittings-Documentation, Adjustments, Sourcing = 317 Photo documentation = 318 Notation system for post-fitting adjustments = 318 Sourcing post-fitting work = 319 Preparing Costume Pieces for Shooting = 320 Checking garments for camera = 320 Aging and distressing the garments for character = 321 Physical distressing = 323 Color manipulation = 323 Permanent versus impermanent techniques = 323 Laundering, and pressing or steaming = 324 Preparing costumes for stuntwork = 324 Production Tracking-"Bibles" and Set Books = 325 Final Preparations = 328 Camera-ready costume changes: tagging and bagging systems = 328 Costume superviwor-set costumer collaboration = 330 Orienting the set crew to the design = 330 Truck Prep = 331 Truck styles = 331 Packing the wardrobe truck = 331 Before the Shoot Begins: A Word on Setting the Tone = 334 Conversation Seven: On the Role of the Design Assistant, with Marcy Froehlich = 335 Conversation Eight: On Working with Actors, with Pat Welch = 337 Conversation Nine: Prepping on Distant Locations, with Edurdo Castro = 340 Conversation Ten: On the Prep Process in Episodic Television, with Barbara Inglehart = 343 Conversation Eleven: On Dyeing and Distressing Costumes for Film, with Edwina Pelikka = 353 Conversation Twelve: On Prep Collaborations woth Craft Artisans, with Chris Gilman = 367 8. Shoot = 373 Introduction to a Shoot = 374 The Wardrobe Trailer, Your Home on Location = 376 Costume Jurisdictions During the Shoot = 378 Costume Tracking Procedures = 379 Phase one: Character changes and hanging stock pulled = 380 Phase two: Changes laid out and change tags collented; extras' wardrobe assigned = 381 Phase three: Costume continuity notes and photographs made on set = 382 Phase four: Written notes and photos are organized in the set book(s) = 386 The Daily Routine = 387 The call sheet = 387 Fundamentals of the filming process: what to expect = 389 Standard shooting procedures = 390 The costume designer's daily routine = 392 The costume supervitor's daily routine = 392 The set costumer's daily routine = 393 The set soctumer's responsibilities = 394 Second unit: "the other white meat" = 398 And lest we forget: meal breaks = 399 Set Etiquette = 399 A guide to set etiquette = 400 Sensigive set etiquette:shooting nude scenes = 403 Dealing with Conflict = 405 Your comportment: keep it cool = 405 Recognizing signs of impending doom = 405 Cutting them off at the pass = 406 Sources of conflict duting the shoot = 406 Conflicts with actors = 406 Conflict with directors and producers = 407 Intradepartmental conflict = 409 Conflicts with other members of the crew = 410 Cooperation: borrowing, lending, helping = 411 Unfortunate behavior = 412 Cleaning up the mess = 412 Learning from mistakes = 412 A Field Perspective: Working on Going All the Way = 412 9. Final Wrap = 419 The Art of Final Wrap: An Introduction = 420 Who gets downsized first? = 420 Wrapping before shooting ends = 421 Preparing returns: basic protocols = 422 Re-shoots and other addigitoal photography = 422 Before the shoot wrapsL: the wardrobe sale = 424 When shooting ends: wrap procedures(continued) = 424 Returns to rental houses = 425 Returning product-placement goods = 427 Returns to department stores = 427 Liquidating purchased stock = 428 Storage = 430 Wrapping and storing set books = 430 Final accounting = 431 Looking to the Future = 431 10. Entering the Market = 433 Prepating to Work in the Film Industry: Futther Training for the Field = 434 Academic training opportunities = 434 Film Schools = 435 Theater schools = 435 Fashion schools = 435 Independent research = 436 Training in professional theater and film markets = 438 Film and television internships = 440 The cons-and pros-of internships = 440 How do you choose an internship? = 441 Formal internship wources = 442 Work in the regional film market = 443 Entering the film market = 444 Introducing youself: cover letters, resumes, and sampling pages = 445 Cover letters = 446 Resumes = 448 Portfolios = 450 Designer portfolio guidelines = 451 Protfolio guidelines for design assistants = 460 Interview support materials for prep costumers = 460 Interview support materials for set soctumers = 461 Costume construction portfolios = 461 Craft portfolios = 462 The interview = 462 The approach = 462 Timing = 465 Style and manner = 466 Pacing the interview = 467 Danger signals = 469 11. Working in New York and L.A. = 471 Orienting to the Market = 472 Getting your bearings: moving to New York or L.A. = 473 Costume resources in New York and L.A. = 473 For costume construction and craftwork = 474 Costume rental collections = 474 Costume research = 474 Shopping the fabric districts = 474 Shopping clothing = 476 Beginning a Job Hunt in New York or L.A. = 476 What kind of work is available? = 476 independent film work = 477 Independent television production work = 477 Music videos and commercials = 479 Job connections in New York and L.A. = 480 Paths to career development: non-production work = 483 For costumers and designers = 483 For costume technology work = 484 For employment in costume workrooms and craft studios = 484 Working in costume rental = 485 If you do find production work = 486 For work as a costumer = 486 For work as an assistant designer = 486 For work as a costume designer = 487 The Union Hurdle = 488 IATSE in Los Angeles = 488 Los Angeles union emplyment sources = 489 Private workrooms and rental collections = 489 Studios with workrooms, rental collections, and production units = 489 Union-only production companies = 489 New York employment sources = 489 Joining the unions = 490 Los Angeles IATSE costume classification guidelines = 491 Costume Designers Guilod Local 892 = 491 Motion Picture Costumers Union Local 705 = 492 Membership groups and ranking system = 492 Duties and responsibilities = 494 Joining Motion Picture Costumers Union Local 705 = 494 Union job-jurisdiction issues = 497 New York and beyond = 498 Current conditions for entering the unions = 498 Career-Building Strategies = 499 A Little Inspirations = 501 Conversation Thirteen: On Getting into the Business as a Costumer, with Jaci Rohr, Costume Supervisor = 502 Conversation Fourteen: On the Difference Between Working in Ner York and L.A., with Marcy Froehlich = 507 Conversation Fifteen: On How I Got Started in Independent Film, with Kristin Burke = 515 Appendices = 523 Blank Forms = 524 For Script Breakdown = 533 For Design Bibles = 533 Character Bid Sheet Form = 533 For On-Set Notation = 535 For Budget = 536 Hypothetical Pulp Fiction Project Budget Breakdown = 541 Wardrobe Kits = 552 Priority Measurement Form = 556 List of Current Designers with Major Careers = 557 Jean Rosone's Resumes = 559 Robert Joyce's Resume and sampling page = 560 Design Sampling Page by Robert Turturice = 561 Design Sample Card by Laurel Taylor = 562 Guidelines for Estimating Costume Multiples = 563 Estimating Staffing Requirements for Dirfferent Kinds of Films = 564 Selected Bibliography = 565

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