Alejandro Gonzalez Inarritu Quotes

I design all of the costumes for my movies, actually.

Costume design is so important and really helpful, and I really love that aspect of character development, just figuring it out.

Cinema is still a very young art form with extraordinary techniques and very impressive special effects but sometimes it seems the soul has been taken out of things.

Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.

Gary Ross is amazing. He's just - he always has a billion ideas of what he wants, but has a very clear perspective also; he just makes it work. He really does. He's trying different things and making everything look amazing.

I shot this wonderful picture called American Saint a couple of years ago, which is still looking for release.

From time to time, there are people in the film industry who appear on the horizon with a unique vision. South African director Neill Blomkamp is one of those rare people.

Fashion photographers are the new painters.

The movies that are made more thoughtfully or made or with more ambition often get just get drowned out by the noise.

I've worked with a lot of directors, some of them you wouldn't really attach the word 'artist' to their name.

I think the form, the Hollywood movie, I think the quality is obviously always going to be there and I think that the question of taste, there's always a question of taste.

Ngila Dixon is such an incredible costume designer. She's such a cool, stylish woman. She has such an understanding of character.

Film, as far as I'm concerned, is my area of artistic endeavor, so I never think of a movie that gets released as being all done-it's just when they took it away from you.

I was never attracted to being a very proficient singer or player. I suppose I was interested in creating a vision; in the same way I was very drawn to tension within cinema.

The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.

Movies are the work of a collective conscious. It takes 500-800 people on a movie to complete a vision.

The perceived wisdom is that people do not go in large numbers to black-and-white movies anymore - which is a great shame, but I'd love to make a black-and-white movie one day.

One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.

Susanne Bier's work I've always really enjoyed. She's just such a great filmmaker; she's very cool and very sexy - that always helps, too.

If one lazily thinks of what a fashion designer might do if he's going to conquer cinema next, it would be taking the opportunity to display his fashion sensibilities.

I truly believe in cinema's potential for cultural impact. I have a clear idea what I want to do - to enrich people's lives.

It's a really exciting thing to collaborate with production designers, cinematographers and gaffers and costume designers and editors and composers.

No one understood why I would wanna be behind the camera, not in front of the camera, and so no one took me seriously, and people said, 'Oh, well, this is just a hobby isn't it?' and I said, 'No, I really love this. I wanna make this my career,' and I did not have a lot of support at all for many years. People just kind of thought it was a joke.

I will always endeavour to bring out the best films.

On-screen wardrobes are important. They help create an overall aura, and with local productions being viewed all around the globe, they represent our aesthetics to the world.