Delphine Arnault Quotes

I know Louboutin extremely well. He has a mind and a vision of life that is extremely creative. He designs his shops, his homes, the way he lives.

Designing a house is like doing a movie: Once you're done, you want to say, 'I hope you all enjoy it.'

When I have to promote things now, sometimes I realize that I had a movie in mind, but in the end, it's a vision of somebody else, so I have to promote their idea.

My guilty pleasure is I like to watch a lot of HGTV. I really like watching design shows about houses, like extreme homes. Like buying a bridge and turning it into a house or something like that. I really am interested in home design or something like that... architecture.

With the way I worked, a client can give me everything they know about something, and then I go away and come back with advertising that knocks them out of their chair. They finally understand what kind of a company they are.

These rooms are decorated in two days. It's all kept secret. The neighbors spend the night in each other's home. They don't see their finished room until the end of the second day. They have no say what happens in their own home.

I love to design and remodel houses, from working with the contractors to picking the colours, materials, kitchen and bathroom accessories to finally what furniture goes where.

Houses are one of my passions. I probably should have been an interior decorator.

I've learned one general thing in filmmaking: to work with one strong idea. One strong concept that pushes you to work in a certain way artistically.

I have always wondered why the movie industry was so firmly persuaded that the original author could be of no possible help in the case of a remake or any other change in a work.

I'll see a celadon green room in an 18th century New Hampshire house and just fall in love. Colors stay in my head.

I do house things. I paint. I do portraits. I also paint my house.

There are so many designers that I love, and I'm so lucky that I get to work with so many of them and sometimes spend time with them.

This idea of collaborating with designers - that's something I can identify with.

I got into architecture via fine arts, and I was a sculptor myself, and I have always involved artists in my projects. When I say 'involved,' I mean I always bring artists in at the beginning projects before they're built and say, 'Will you do a room? Will you do a sculpture floating in mid-air? Will you make a chimney? Will you do something?'

When I look back, there was obviously the arch of my creativity and when I was young, I used to go to open homes with my mother and I used to imagine how I could make the space better and how people would live in it.

I like interior decorating. I really like to build houses. And landscaping, I like that.

One night, I was chatting with a group of 16-year-old girls over a few drinks about a name for the record store ... A bunch of ideas were bounced around, then, as we were all new to business, someone suggested Virgin. It smacked of new and fresh and at the time the word was still slightly risqué, so, thinking it would be an attention-grabber, we went with it.

Tuesdays and Thursdays, I didn't do any press, I didn't do any meetings, I just wrote all day, 'cause I'd meet, via Skype, with the creative team, at five p.m., and then I would have my seven o'clock curtain.

God enters our lives when through our creative interchanges we make history more just.

Working with the actors, working with production designers, working with the creative people who surround the process is really fun, it's really inspiring and I take great pleasure in working with them. That's what's most fun about directing.

There's so much more work that goes into developing a makeup line than one would imagine. Personally, I like to be involved in the entire creative process - everything from art direction, collection concepts, formula testing, packaging artwork, to naming the shades and also the marketing side of things.

We [with Neal Dodson and Corey Moosa] wanted to draw people in with a dialogue - whether it's a creative process or a social issue or innovation of some kind; whether it was how we told the stories or what stories we told. We produced some online videos.

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

I remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.