Theatre Design & Technology - Fall 1997 - 44

COMMON GROUND

The table
below
summarizes
some of the
differences
between
costuming for
film and for
theatre. The
orange column
gives a quick
explanation of
the differences,
andlorsome
strategies that
costumers new
to film can use.

Costuming as a career, whether in theatre or in film, is essentially a freelance job. and as such, getting work is all about
who you know. For entry-level positions in film, this is especially true-there is no better foot in the door than to have
worked with a friend of the person intervie\\"ing you, or to have
worked on a well-kJl0\rI1 film. In both theatre and film, certain
collaborative work skills are highly valued, for instance the
ability to think on your feet, your flexibility, and your ability to
creatively solve problems. The ability to understand the needs
of a script and anticipate costume problems are particularly
important when you are on location with the cameras rolling.
Costume technicians in both film and theatre have an
easier time finding steady employment than do freelance designers. If you want to work for one of the big costume workrooms in L.A., you will be expected to work to Broadway
construction standards with an emphasis on modern dress
construction and tailoring. " 95% of what I do is modern construction," said one L.A. shop head, "please don't show me
another beautiful corset!" Meticulous attention to finish and
detail is necessary for most close-up camera work, and it also
creates long-lasting costume stock and keeps fussy stars
happy. The filmmaking process puts different demands on a
garment than a two-year Broadway run will. It's not unusual
for film designers to use fragile antique clothing and fabrics, if
they have the budget for such IU)"l.lries. However, as in theatre,

More complex
production units

the smaller the budget, the lower the standards.
Costume design jobs in both fields are highly competitive
and require a good background of script analysis, character
work, research and shopping skills. It also helps if you have
good survival skills for dealing with divas, working with difficult directors, and maintaining your balance during "evolving" productions. The majority of film and television work is
in modern dress and demands particularly sharp shopping,
fitting and rental skills, plus the kJlOwledge of a broad range of
clothing resources. That all-so-necessary design eye for "telling" character details, figure correction and mood manipulation is equally necessary in both fields.

ADJUSTING YOUR SIGHTS AND YOUR HABITS
There are some significant differences to working in filmsome come part-and-parcel with the process of filmmaking,
some with the aesthetics of the medium, some with the training process for the field. As a costumer, when you watch films
you can tell pretty well what the costume load was like, what
problems they encountered in the design, and you can form an
educated opinion about the style solutions that were made. It's
not that difficult to recognize the numbers of extras that reqUired costumes and how the film's action had a progressively
destructive impact on the costumes because these observations are all already part of your work perspective. However,
unless you have been fortunate enough to participate in (or

Later casting and
contracting

Higher budgets,
higher salaries
More diva design
opinions

More variable
location work;
nomadic and
studio-based
costuming
methods

Mostly realistic
character design
work

Less prep time
More action/
adventure and
special effects
problems

Variable viewing
frames close up
and distant design
factors

ALL

199

TD&T

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1997