Alexander Wang Quotes

It would be fun to write with Adele, actually. She seems like a fun girl to write with.

Movies are a collaboration, I feel, so I didn't think of myself as an authoritative figure as much.

He just kind of talks them through, and then I get the fun part cause I get to make up the stories.

After all, it's very important for any big-name designer to have a couture range. I leave the ready-to-wear to my partner and team.

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

I do a lot of co-writing with my producer RedOne, and then a lot on my own. I just like to be creative.

I have made things for Calvin Klein and other designers, and it's interesting to see the way each person approaches it.

Filmmaking is hard enough as it is. If you can find a group you love working with, it makes it just a little bit easier.

The reason I wanted to work with New Look was that they wanted to stick with one designer and do lots of collections a year.

I like little collaborations where the other thing happens, where it's half-baked or it's improvised, and let's develop it together. "What do you want to wear? Do you have an idea?" All that's fun to do, and I like that, but it doesn't take anything away.

It's incredible to be working with Mr Armani and his team at Emporio Armani. I feel an affinity to the brand ethos and have been a long time admirer of their designs.

I feel like that's a way people can change the way music is - to be guided by someone they believe in and trust. Larson and I really believed in each other. It was like brother/sister, father/daughter, we were laughing and yelling, that's how it is when you make an album! Essentially the trust was there and I got something great.

Most of the people that I've worked with when shooting films that I really respect, there is a point which you do become obsessed in a good way. And because it's a collaborative medium, you're not by yourself in a room tearing your hair out, you're in a room with a bunch of people. And we're all tearing our hairs out, or trying to get something right, or caring deeply about something. But that's fun.

In the beginning we were creating our music, ourselves, every night . . . starting with a few outlines, maybe a few words for a song. Sometimes we worked out in Venice, looking at the surf. We were together a lot and it was good times for all of us. Acid, sun, friends, the ocean, and poetry and music.

Making music is so much more self-motivated. It's my own music. It's my own time. I don't have a team around me that's helped me make everything.

I think now it's the money who tells the artist what to do - it's not the artist who tells the money what to do. And things move very fast, which is hard, because sometimes you need more time to be creative. I guess no one has a loud mouth like I did. They don't dare to scream loudly what they think. But you can't take fashion too seriously. The whole thing is about giving the woman who wears your clothes some power, some fun, some service. It's great to make it as art. But first, it's a service for someone.

The nuts and bolts of shooting a film and writing a film are still really difficult. But what makes it easier is the fact that you know you're going to go to work with your best mate.

I felt like people really do their best work when they're having a really good time and feel safe to push the envelope and make a jackass out of themselves.

That is an amazing experience, because we with director Christian Petzold know whenever we criticize each other, it's for the best, and you don't find that very often, that you trust each other so much. That's a special thing.

There is a greater a sense of pride - like when we did Kill the Messenger - and that was probably one of my more fun experiences on a movie set. Having everyone there on the same team, it just feels really great.

Creator and reader are partners in the invisible creating something out of nothing, time and time again.

I think Gram did his best work in co-writes. Sometimes when you're working with one other person, it's such a magical thing. You're editing each other and you're trying to create that one spark.

[On her collaboration with Adolph Green:] We stare at each other. We meet, whether or not we have a project, just to keep up a continuity of working. There are long periods when nothing happens, and it's just boring and disheartening. But we have a theory that nothing's wasted, even those long days of staring at one another. You sort of have to believe that, don't you? That you had to go through all that to get to the day when something did happen.

I love Michael Anthony. We met on set for a shoot and ever since then he has been my guy. We don't do too much conceptualizing - it's usually just a vibe we are feeling based on the wardrobe or mood of the shoot, and we go from there.

So we [with Kate DiCamillo] would act them out, we would toss ideas back and forth, we would laugh, we would argue. Sometimes it went really well, sometimes it was such a pain in the ass. Our other rule was that we wouldn't work on it at all when we weren't in the other's presence. It was really hard not to do that. We'd start going on email back and forth, 'What do you think about this, what do you think about that?' But, no, no, no, it had to be live. So we forced ourselves not to look at it except during those two-hour stretches when we were actually with each other.