![]() Making these connections gives you authority to own your expertise as the designer and helps the director further flesh out the characters in the script. Perhaps there are some design elements in his costume that would compliment those characteristics. You may notice certain characteristics about an actor who might make you think of say, Elvis. You can reference people that they might know and suggest ideas based off of trends you’ve discovered over the years to create for a more in-depth character. This research comes in handy when in meetings with directors. Lisa has 25 banker boxes filled with torn out pages of magazines. With a track record as being self-sufficient, you put directors and producers at ease and avoid being micromanaged. You want to build a reputation for yourself not only as a good designer, but as a good business professional who can run an efficient design team that stays on budget. They can bring to the table information that you may not have found in your research.īe aware of how money is being spent and if need be, simplify. If a costumer is extremely well-versed in military uniforms, welcome their input when you’re embarking on a design. This keeps ideas fresh and allows for new perspectives that can improve the overall costume designs. Remember, you’re only as good as the team you hire and after 15 hours working together in a single day, your team becomes family.Ĥ: Take Advantage of Your Team’s Knowledgeīe open to outside creative suggestions. Moments like this encourages team camaraderie. If a director points out a particular costume that he loves on set and you know the person who helped with it, give them recognition. Giving credit where credit is due is so important to keeping your team motivated when times get stressful. Create an environment for others, including yourself to own up to mistakes, quickly adapt, and then move on. Instead of pointing fingers, jump in and figure out how you need to cobble that missing costume together in a matter of seconds. When long hours are worked and money is on the line, stress escalates. Show up with the mindset that everyone is going to do their best, but be realistic that not everything is going to go as planned - costumes will get forgotten, continuity errors may arise, alterations can go wrong. There are so many moving pieces in the making of a film. Lisa begins every project with a pep talk to her team by saying, “shit is going to happen.” You can always turn them down later.Ģ: Cultivate Calm and Creative Problem-solving ![]() Put your name out there as much as possible on your own to keep new projects coming your way. You may be surprised by how these projects can challenge you creatively and open up opportunities for you to avoid getting typecast. Be open to taking small or non-union jobs. Reach out to the local film commission for a list of union jobs that are happening near you. Find interesting, recently greenlit projects in the trades and tell your agent about them. You have to put yourself out there - everywhere. You can get nominated and win awards, but it doesn’t mean producers and directors are lining up to call you for their next project. Just when you think you’ve got it made, you haven’t. To sum up our conversation with Lisa and understand what it REALLY takes to stay ahead in the industry, below are 7 habits to consider from Lisa’s career to help you navigate your next project. We recently met up with Lisa Padovani, costume designer from Boardwalk Empire and Gotham, shows that both utilized SyncOnSet for continuity and script breakdown. ![]() Bringing characters to life from sketch to screen is awe-inspiring and the ability to work with nearly every department makes you an integral part of the movie-making process. Costume design is one of the most demanding jobs in the film industry, but also the most rewarding. ![]()
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