R. J. Cutler Quotes

A magazine is not just one person. And a fashion shoot is the same!

'The September Issue' is really a film about Anna Wintour's relationship with long time 'Vogue' Creative Director Grace Coddington. The two of them have been working together for two decades, and the extraordinary symbiosis between them has left an indelible mark on the fashion industry.

French 'Vogue' was always a photographer's magazine.

Anna Wintour has guided me.

By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'

Working at 'Harper's' was an awakening experience for me. I genuinely enjoyed the process of putting together a fashion magazine.

I'm really excited to see my vision for the 'British Vogue' team come to fruition.

I was so passionate about being in the magazine industry, even when I first started at 'Mirabella.'

If Botticelli were alive today he'd be working for Vogue.

I started getting emails from Anna Wintour inviting me to her dinners. It was just surreal.

All I did my first year at Vogue was Xerox.

I didn't even know 'Vogue' existed when I was growing up.

I have had the privilege of working with the best in the business, from photographers to designers to magazines. There's not much more to ask for but I'm still looking forward to one day working with photographers Mert and Marcus, Tim Walker and Nick Knight.

I thought fashion was just the pretext to do images with lots of freedom and get them published in magazines. You could express your point of view, make statements about women and about what you believe in.

There's a curiosity about what magazine editors do, the behind-the-curtain experience.

American 'Vogue' and the Versace campaign by Richard Avedon were huge for me. It put me on the map.

On some level, you could say you wouldn't have 'In Style Magazine' at all had Anna Wintour not decided to put celebrities on the cover of 'Vogue' from her earliest years as Editor in Chief.

I first thought about doing a project about Anna Wintour and 'Vogue' when I read an article in 'New York Magazine' about the Metropolitan Museum Costume Institute Ball, the annual fundraising gala that Anna oversees. It created such a fascinating portrait that I couldn't help but be compelled.

I would love to work with Mario Testino. I respect all the work he has done and is doing.

The art editor in charge of the covers at the 'New Yorker' is Francoise Mouly. She's very familiar with the eccentricities and personalities of cartoonists, so working with her is very easy.

I don't think anyone has ever been in a better place at a better time than I was when I was editor of Vogue. Vogue always did stand for people's lives. I mean, a new dress doesn't get you anywhere; it's the life you're living in the dress, and the sort of life you had lived before, and what you will do in it later. Like all great times, the sixties were about personalities.

In my teen years, I was hanging out with adults - Steven Meisel, Francois Nars, Oribe, Paul Cavaco. We had so much fun! We'd go out in New York.

I love working with Prada, I would do it all the time if I could. Working with them is like working on a film: it is very collaborative.

My very first runway show, I was in 'Vogue.'

I'm quite interested in doing a film about fashion. As someone with no fashion taste whatsoever, I think it would be good for me.