Thom Browne Quotes

I'd want to start being a creative director of a specific line, like Adidas, for example. If they called me up to collaborate on something, I would do it.

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.

I think the relationship is very tenuous between fashion and art. Many designers have built relationships with artists, which is not something I personally did. But it's true, sometimes you see artists working for a designer or a brand on some specific project or taking care of their environment and making an amazing store.

Every director's so different. Everybody has their own modus operandi and I love getting to know different directors in the way they work. David O. Russell is very exciting to be with because he's got a mind like quicksilver.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.

I think if you speak to any creative person, there's something so powerful - so intoxicating, if you will - about discovering another voice, another instrument, another way of looking at things, another way of perceiving things.

I love reading different scripts and helping create different looks, different environments. Sometimes you go to meet a director over a particular script, and they'll say, 'I want you to do this because I want it to look like Shawshank,' and I'm like, 'Well, I'm not that interested in doing that again.'

Acting is a community where you come in and out of each other's lives. I'm slightly envious of the Golden Age of Hollywood. It must have been frustrating to be owned by the studio, but it was also like being in a company, working with the same people, and that appeals to me.

That's what I've always wanted to do - work with my favorite writers and make something from scratch with them that we can feel like didn't exist before we came in the room.

I wrote a draft of 'Playboy' for Warner Brothers, and it was impossible to really be independent of Hugh Hefner. In the end, Hugh Hefner was unable to take the back seat required to be able to write something about him that I felt I could do.

From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.

I tried working with the best of directors and producers. I tried being selective, but things didn't work out. Now, I am open to working with anybody and everybody who is good. Or I'll try to make it good. That suits me.

I've been very fortunate to work with a lot of directors who understand that actors need to feel empowered in order to really do their job.

I've been fortunate enough to pick the brands that I collaborate with based on if they feel authentic to me and if it's on-brand with what I am doing.

I am open to working with new directors as long as the script excites me.

As far as working with Kanye and Solange, that was amazing. After 'Swing Lo Magellan', I needed a change. Getting to work in that capacity, writing for other people and working for other people as a writer and as a person who's not representing it as the front person or whatever - it's such a different perspective you can get.

I've lost so many gigs composing commercial or television music because I can't repress my inclination to work against conventions.

Being a perfectionist is really difficult. You're never really happy with what you're doing, no matter how good it is. When you can just release that pressure and be in someone else's work and still have the respect of those creators to bounce off the page and give your ideas that they can take or leave? I really enjoy that.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

My favorite thing as a performing artist is to get a pile of raw material from a writer who says, 'Will you help me make this real?' There's nothing like starting from scratch.

I love working with different artist with different styles and different producers with different sounds, creativity is everything.

I'm a director's actor, and I surrender myself to the vision and the process. I think nothing else matters then.

I do whatever the directors and writers ask me to do.

I tend to be collaborative, and I want to hear other people's ideas. Especially with actors, I want them to feel like they can breathe life into their characters.