CAREERS
I GOT USED TO DIRECTORS WHO WERE extremely demanding IN THEIR VISION, WHICH SET THE BAR FOR working hard ”
COSTUME CHRONICLES Deborah L Scott has worked on iconic films including Avatar and Titanic over the course of her impressive career, successfully navigating many challenges along the way
Def: What unique challenges do you face in your role that might not be immediately apparent to others in the industry? DLS: The challenge of doing the Avatar movies – which are very technically advanced – is that sometimes brand- new techniques are developed, so the learning curve is steep. For example, performance capture had never been done underwater before; I had to create a suit which could be used to do that. It was a completely blank slate which took roughly eight months to get right. There were these markers that go all over the body, and the technician showed up with what looked like a ball of knotted up Christmas lights! Nobody knew how to make it waterproof or get it on the body properly – that was a huge technical and costume job – people have no idea what it took just to get to that; being able to read the performance of an actor underwater. James Cameron is demanding, so you have to rise to the occasion. He once said to me: ‘you and I get along because we both like a challenge’. It’s a whole new world, making costumes and then transferring them to a visual effects film.
Def: How has technology impacted the field of costume design during your career, and do you have any predictions for the future? DLS: I’ve seen things go from film cameras to everything being shot digitally – and how this could dictate colours and patterns. Working on ET was one of the first times people were using blue screen, which came with restrictions because it was such a new technology. Everything moves so quickly. I think AI is a little scary – it could very easily take the magic out of things. But when you get down to it, the thing costume designers do is work with a group of people, making real things with our hands. That won’t disappear – even on a film as big as Avatar , that’s still the most important part of my work. We will always have that, though we might combine the old school with new technology. Def: When you look back on your career, what do you hope your legacy will be? DLS: I’d love for there to be iconic pieces people remember, like the red sweatshirt in ET . I’d also like to be remembered as a collaborator and a friend.
singular vision is the most important, and every other crew member should fall in line behind it. The DOP is important as well because you want to know how things are being shot. Then, obviously, the production design, hair and makeup collaborations are crucial too. The actors, as well – early on in my career, I’d define a character in my mind and could get too rigid about it. Sometimes, actors have strong opinions of their own; I’ve grown to love the fitting room because it can be a really creative space. DLS: You must have a passion for it – you’ve got to really want to work hard. The film business is very demanding. You also have to be sensitive to the people around you, as well as their feelings and artistic pursuits, but you have to bring a strength of character, and a desire to do the work and love it. You also have to be patient, as there will be times between projects when you’re not working, or you miss out on jobs. Def: What would your top advice be for anyone aspiring to become a costume designer in the film industry?
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