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Wardrobe and Props > Wardrobe and Props - Pg. 151

132 chaPter 6 Preparing for Production collar of his shirt buttoned, even when he is having sex with a prostitute! His style of dress is just as colorless as his apartment décor; however, it is also just as compulsively tidy and sharp. His shirts are always perfectly pressed, reflecting his military discipline. The playwright Dreyman, on the other hand, wears warm, brown corduroy jackets and loose white shirts (Figure 6-6, right). When he's at home writing, Dreyman goes without the jacket and his shirt is slightly wrinkled with collar and cuffs unbuttoned. Dreyman's collar is almost always open and he practically never wears a tie. In fact, one scene makes the point very clearly that he doesn't even know how to tie one. It's a socialist ideological thing with him; middle-class fetters is what he calls ties. Costumes are so important to the expression of character that no filmmaker can leave the selection to chance. Young filmmakers will often typecast a friend in a role, thinking that he looks perfect for the part, and then assume that he'll arrive on the set dressed as he always is, say in jeans and a baggy sports jersey. But as the day of the shoot approaches, this friend becomes self-conscious about being in front of the camera and arrives dressed the way he wants to be seen instead, in a suit and tie, destroying the conception the direc- tor had in mind. Student and independent films often plunder the wardrobes of their actors for suitable clothes. Why not? The clothes fit and the actor is comfortable in them. But you cannot assume that your actors will wear the right thing when the shooting day arrives. If you're using the actors' real clothes, you should go to their homes before the shoot, carefully look over their wardrobes with them, and once you find what you need for the film, mark those