On trying to dabble in costume design:
“I saw a photograph of a Balenciaga sheath dress that was inspired by a school uniform. The Balenciaga dress was very simple. Or at least it looked very simple until I had to figure out a way to make it and then realized, My God, this is incredibly complicated. There is nothing more beautiful in all the arts than something that appears simple. And if you try to do any goddamn thing in your life, you know how impossible it is to achieve that effortless simplicity.
[My wife] Rebecca was very patient. The code that I had to crack was a very particular gusset in the armpit. You couldn’t tell from the photos how the gusset was designed. Marc and I each worked on our version of the gusset and, through trial and error, figured it out. Rebecca has worn the dress. It’s very pretty.”
On his (final?) film Phantom Thread:
“I don’t know why, but suddenly I had a strong wish to tell an English story. England is deep in me. I’m made of that stuff. For a long time, a film set in England was too close to the world that I’d escaped from—drawing rooms, classic Shakespeare, Downton Abbey did not interest me. But I was fascinated by London after the war. My parents told stories about living through the Blitz, and I felt like I ingested that. I am sentimental about that world. And my dad was very much like Reynolds Woodcock. If a poet is not self-absorbed, what else is he?
Before making the film, I didn’t know I was going to stop acting. I do know that Paul and I laughed a lot before we made the movie. And then we stopped laughing because we were both overwhelmed by a sense of sadness. That took us by surprise: We didn’t realize what we had given birth to. It was hard to live with. And still is.”
Read the full interview at W Magazine.
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