Bridges: YOU KNOW, WHEN I'M LOOKING FOR COSTUMES,
I'M ALWAYS LOOKING FOR THEM TO SPEAK VOLUMES ON THEIR OWN.
THE REASON I AM A COSTUME DESIGNER
IS BECAUSE IT IS EVERYTHING THAT I AM INTERESTED IN
AND DID ON MY OWN AS A KID, ALL PUT INTO ONE JOB.
THERE'S THE DRAWING AND THE PAINTING OF SKETCHES.
THERE'S THE FASCINATION WITH THE HISTORY OF CLOTHES.
I WAS ALWAYS INTO FABRICS.
COSTUME DESIGN IS GIVING AN EXTERNAL LOOK TO A CHARACTER.
IT GIVES AN INDICATION OF THINGS UNSAID.
ACTORS DO A LOT OF WORK DOING THE INTERIOR WORK,
AND I GIVE IT A SHELL.
MY INSPIRATIONS COME FROM VINTAGE MAGAZINE ARTICLE
TO SOME ARTWORK FROM THE PERIOD, CERTAINLY MOVIES.
I ALSO FIND MYSELF USING THINGS FROM MY MEMORY.
I'LL SEND PEOPLE OUT TO GET SOME OXFORD SHOES
LIKE MY GRANDMOTHER USED TO WEAR.
AND I LIKE TO GET OUT AND PUT MY HANDS ON SOME ACTUAL GARMENTS.
WE'RE AT PALACE COSTUME COMPANY,
AND WE'RE GONNA GO LOOK FOR WHAT THE SCRIPT REFERS TO
AS A "SPARKLY PERIOD GOWN, VINTAGE."
SO THIS IS THE PLACE TO DO IT. LET'S GO UP TO THE GOWN ROOM.
YOU KNOW THAT ELUSIVE MOMENT OF THE CHARACTER EMERGING
IS SUDDENLY YOU'LL SEE THE ACTOR TAKE ON A DIFFERENT STANCE.
HERE WE ARE IN THE GOWN ROOM.
'50s IS IN THE BACK. I MIGHT WANT '50s.
OR THEY'LL MOVE DIFFERENTLY,
OR THEY'LL SIT DOWN AND LOOK AT THEMSELVES
AND SUDDENLY START TALKING A LITTLE DIFFERENTLY.
THIS HAS A LOT OF IMPACT.
I'M KIND OF IN LOVE WITH THE EARLY '30s,
BECAUSE THEY HAVE SUCH...
I THINK IT'S ABOUT THEM SORT OF MORPHING INTO
ANOTHER PERSON.
MY THEORY IS, IS THAT THEY FEEL LIKE THEY LOOK GOOD,
BUT THEY FEEL LIKE SOMEBODY ELSE.
OH, THIS IS A GOOD ONE. IS THIS A HAT?
AND THERE'S ALWAYS A LITTLE MAGIC
WHEN YOU FIND JUST THE RIGHT HAT THAT ALREADY EXISTS.
THE BEST EXAMPLE OF THAT I CAN THINK OF DANIEL DAY-LEWIS
IN "THERE WILL BE BLOOD."
IT HAD THAT ROLLED EDGE AND WAS A LITTLE MORE DIGNIFIED.
THAT'S WHAT WE'RE TALKING ABOUT. LIKE, IT'S VERY SUBTLE.
THIS IS THE ONE THAT WOULDN'T WORK,
BUT THIS IS THE ONE THAT WE KNOW OF FOR "THERE WILL BE BLOOD."
THERE WAS ONLY ONE. WE TRIED TO MAKE A DOUBLE.
IT JUST NEVER WAS QUITE THE SAME.
THAT'S -- THAT'S THE MAGIC I LOVE.
SO OUT OF ALL THESE DRESSES,
THESE WILL GO BACK AND TRY ON MY ACTRESS
AND SEE IF IT WORKS FOR WHAT SHE'S DOING WITH HER CHARACTER
OR WORKS FOR THE DIRECTOR FOR THAT MOMENT,
WORKS FOR MY PRODUCTION DESIGNER, AND WORKS FOR ME.
IT LOOKS INTERESTING AND WELL-FITTING
AND SORT OF JUST RIGHT ON MY ACTRESS.
WE'RE AT ANTO CUSTOM SHIRTS IN THE SAN FERNANDO VALLEY,
AND KEN AND I ARE GONNA LOOK AT SOME FABRIC
AND TRY TO FIGURE OUT WHAT TO MAKE A SHIRT FOR AN ACTOR --
'70s, THE RIGHT COLLAR SHAPE, THE RIGHT CUFF SHAPE,
AND SOME APPROPRIATE FABRIC.
BUT THIS LOOKS GOOD.
I THINK SEEING HOW THINGS ARE MADE
OR THE CHARACTER THAT THINGS HAD OF THAT PERIOD
OR THE KIND OF FABRICS THAT THEY ARE, THAT HELPS ME SO MUCH --
WHETHER IT'S HOW DISTRESSED IT IS, HOW FURRY IT IS,
IS IT TEXTURED, IS IT SLICK?
EVERYTHING SPEAKS A LANGUAGE
THAT POINTS TO THE CHARACTER THAT WE'RE DOING.
SOMETIMES THERE ARE CREATIVE BLOCKS.
I GO BACK TO THE RESEARCH.
I JUST TRY TO CULL SOME MORE RESEARCH
AND LOOK FOR MORE IMAGES OF WHAT COULD THIS BE
AND TRY TO TURN IT ON ITS HEAD
AND LOOK AT IT FROM A DIFFERENT WAY.
A CHARACTER THAT I'M DOING KIND OF BASED ON BURT'S STYLE.
SO YOU'VE BASICALLY GOT 50 YEARS
OF BURT REYNOLDS' SHIRTS RIGHT HERE.
HE HAD BUTTON DOWN MADE IN MAY 1962.
SO WE KNOW WHAT BURT WAS WEARING.
SO TO GO BACK TO THE DRAWING BOARD, SO TO SPEAK,
SOMETIMES SOLVES A LOT OF PROBLEMS.
I DO THINK THAT CREATIVITY
ESSENTIALLY IS MAKING SOMETHING OUT OF NOTHING.
FOR ME, IT WORKS OUT WITH THE CLOTHES,
TO SEE A CERTAIN SEAM OR A SHAPE OF A SKIRT,
AND THAT'LL NAIL IT FOR A COSTUME FOR ME FOR A CHARACTER.
I CAN'T THINK OF DOING ANYTHING ELSE.
I'M VERY LUCKY TO BE DOING THIS,
THAT IT'S JUST EVERYTHING THAT I'M INTERESTED IN
ALL IN ONE JOB.