Costume Designers Guild

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009

Excellence in Costume Design for Film – Period
The Duchess: Michael O’Connor
Changeling: Deborah Hopper
Milk: Danny Glicker
Revolutionary Road: Albert Wolsky
The Curious Case of Benjamin Button: Jacqueline West

Excellence in Commercial Costume Design
Casey Storm
For “Milk, White Gold”.

Excellence in Costume Design for Film – Contemporary
Slumdog Millionaire: Suttirat Anne Larlarb
Iron Man: Laura Jean Shannon, Rebecca Bentjen
Mamma Mia!: Ann Roth
Sex and the City: Patricia Field
The Wrestler: Amy Westcott

Excellence in Costume Design for Film – Fantasy
The Dark Knight: Lindy Hemming
The Chronicles of Narnia: Prince Caspian: Isis Mussenden
The Mummy: Tomb of the Dragon Emperor: Sanja Milkovic Hays

Outstanding Costume Design for Television Movie/Mini-Series
John Adams: Donna Zakowska
Return to Cranford: Jenny Beavan
Sense & Sensibility: Michele Clapton
Bernard and Doris: Joseph G. Aulisi
Coco Chanel: Pierre-Yves Gayraud, Stefano De Nardis

Outstanding Costume Design for Television Series – Period/Fantasy
Mad Men: Katherine Jane Bryant
Pushing Daisies: Robert Blackman
The Tudors: Joan Bergin

Outstanding Costume Design for Television Series – Contemporary
Ugly Betty: Eduardo Castro, Patricia Field
30 Rock: Tom Broecker
Dancing with the Stars: Randall Christensen
Entourage: Amy Westcott
Gossip Girl: Eric Daman

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott