Deborah lynn scott
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Because he’s, for the most part, he’s trying to blend in right?
In addition to her celebrated filmography, it is balancing the professional with the personal that Scott sees as another career achievement.
“Star Wars Vs. Star Trek” October 1, 2020
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Short Profile
Name: Deborah Lynn Scott
DOB: 1954
Place of birth: United States
Occupation: Costume designer
Ms.
“Your job is to give the audience the visual language that describes that character. I lived in New Orleans, New York, Indiana, and Montana—so I became an observer of people far before I was interested in costume design.” Movies were a part of that childhood, with her father being a fan who introduced her to the classics, while her mother loved musicals and also taught her how to sew.
I mean, you know, I was not the only costume designer on the first film. The choices I made were very good ones. When you have that kind of communication, it can be really, really wonderful.
“We tend to do a lot of little sentimental things as costume designers that are meaningful to us that the audience will never know.”
What was it like, for example, seeing Michael J.
Fox putting on Marty McFly’s orange vest for the first time in Back To The Future?
That’s a funny question, because obviously when you’re creating it and you making those decisions, you have no idea that it might become iconic. It was one of my absolute favorite working experiences.” The word “icon” gets used so frequently it can lose its power, but Scott thinks of the term as part of a whole.
Your job is the same no matter what the technical side of it looks like. We should be able to speak up, especially in a department and say, ‘How can I cover you? Let’s get into this world together.” Sometimes you’ll sit in the fitting room for hours because the actor wants to talk about the character, so you’re sculpting that back story and generating all these ideas.
In terms of costume design history, I feel like it’s a door opening to this new genre, and hopefully more people will be allowed to work in it. That’s great.”
In honor of the 40th anniversary of E.T. But that particular thing everyone was looking for what that joke could be, and I think hitting on that was was it just, it really worked.
“I think being a conductor of people requires a lot of skill and not every student of costume is going to be good at that. The best ones, I think, are very, very demanding, and very particular about what they want out of their movie. Because I feel like even though we all wear clothes, it feels familiar, but the act of kind of establishing what that visual language might be is different. Each and every different kind of film comes very differently to different directors.” She elaborates, “some need a lot of help, some need no help at all right?
The visual joke was that he looks different. I think they say ‘oh, it looks like a life preserver.’ Well, the joke came after we chose the item.”
Deborah adds in, “so I was really busy knowing that this was going to come up and working with the writer and and Bob Zemeckis, like what could it be?
As an audience member, you’re so sucked into the world, and you feel like you’re standing next to them practically… But I also really believe that the costumes on a mannequin are stunning as well, so there is equal cards!
Are opportunities like this one more rare in the film industry?
Yeah, I think so!
I was able to let my imagination absolutely run wild, but it’s also about trying to control it and focus it. Even with actors, I’ll do something sentimental, like with Spider Man, I had the actors write little notes to each other… So there’s always some things like that that make it feel really personal.
How else do you go about sourcing the pieces for a film’s costume collection?
For Scott, it was just one of several times her work would capture the zeitgeist of a decade. So it’s always going to be different, better, more advanced.