Those directors who really view the production and costume designers as creative partners are likely not to view film production as merely economical activity. I delve into such jobs with passion, as each and every new challenge results in a unique creative situation.

I am certain that character depiction, the portrayal of a character through their clothing is way more than dressing up somebody in a “stylish” manner. Not only the so-called “period dramas” can be challenging, in which the given time periods pose certain special fashion historical, silhouette and technical needs to adhere to, but what emotional effect a shape, colour tone or structure has on the viewer. In my own experience, upon the birth of the filmic plans the director chooses the visual contributors, so intellectual cooperation with the director is fundamental from point zero. However, the real challenge is creating the harmony with all the visual departments (production designer, cameraman).

According to national practice, the costume and production designer are equal functions, working together with the production designer are fundamental. In the meanwhile, the colours of the costumes and the structures and reflective qualities of the textiles it’s very important to know the intention of the cameraman, as the view of the cameraman and the style of the lighting substantially determines the visual effect.

One of my defining experiences was the cooperation with production designer Árvay György and cameraman Medvigy Gábor in both Kamondi Zoltán’s movie, Dolina and Jeles András’s Rossz Árnyék (Bad Shadow) having spent long weeks discussing and testing out thoughts and visual ideas.

The other was preparing the Saul. Cinematographer Erdély Mátyás took part in the choosing of coat material by lighting- and camera testing the materials provided by me. It was important that we knew from the very beginning that the chosen fabric will dominate a large portion of the screen for a significant time and so its ratios, possible depth-sharpness will be significant. If a visual team on the same wavelength is created, the directors are also more likely to get into the work with a different feeling of safety.

As visual creators do background work, all events, festivals and conferences that highlight the profession helps its popularity and recognition. But what’s maybe even more important, it helps develop viewer need for a high standard for the visuals of movies.