God comes to us in theater [in] the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. It's a way of expressing our humanity.
But with period clothes, people know less so they accept the pretty drawing that I give them.
That's another thing about today's stars that makes me glad that I'm not doing it any more. The stars come with ten people all around them. I don't know how you ever make any personal contact with them.
A lot of it, as it is in any job in life, is being in the right place at the right time.
I liked Live and Let Die, where money was no object.
When you look at Darling and the Oscars, it has to be luck. It was a black and white film and it was the last time that there was a black and white Oscar.
I fell in love with Dorset and ended up living there for a while.
I find shoestrings very hard work. I like big budgets.
I would loathe to work on modern films.
It's nice when you work with someone who has an eye for clothes and will show what you've given them.
Richard Chamberlain on The Slipper and the Rose was lovely to work with. He wore the clothes so beautifully and sang his songs so well.
The actors nowadays, both young men and young ladies, don't always wear their period clothes as well as they might. They tend to stomp around a bit in them.
On the speech day, the production designer, who has a lot of say in things, and sometimes I didn't agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.