In New York in the Forties or Fifties, everybody's in a suit, an overcoat and a hat.

I am inspired by the appearance of a bohemian of the new millennium. I thought it was necessary to update the figure of the bohemian, but not in the traditional way.

I always liked clothes; since I was very, very young, I was interested. I studied costume as part of my theatre education.

I'd hate to see any film I'm involved in fail, especially artistically but also business-wise.

We're all animals.

I brought my first fall/winter line to New York, and it was confiscated by U.S. Customs. They asked, 'What is the value of this?' I said, 'I'm not so good with existential questions.'

Utopia means elsewhere.

I was never a fanatical movie person.

I'm a little bit phobic about stains on my clothes, so I never travel without a little packet of organic stain remover.

Imagine how asleep or utterly unperceptive and clueless you would have to be not to see yourself as absurd for the most part.

I have at times spoken with my peers and the head of the actors' union about why we're not paid when we appear in, say, a 'TMZ' production, but there seems to be no real interest in combatting it.

If you don't interfere with me, I'll always do something really good.

Things are so much global and Americanised.

'Secretariat' was such a magnificent animal, unbelievably beautiful and powerful. It's always nice to see something that close to perfection, a reason to celebrate.

I'm more comfortable with whatever's wrong with me than my father was whenever he felt he failed or didn't measure up to the standard he set.

Every country has their problems.

I prefer to conduct my life based on how I treat people.

I'm a little bit of a fabric lunatic.

Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.

I can see how, given a certain degree of sensitivities, proclivities and rage, I could have ended up differently.

I like to direct movies, but I don't like to goof around for eight years talking about it.

The most evocative thing to me is probably when a writer and a group of performers can collectively put together something compelling that asks the really simple question: 'How do we live?'

Quite often - a lot of the work I had done had been extensively with women. Most especially in the theater, but also quite often in the movies. That has its own delights, and maybe pitfalls too.

I don't have a saviour or a royal family.