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On the clothes front, I have a designer who sits with the director for each film to chalk out a look for me based on the script.

If you have a movie coming out, and people are talking about you, the amount of scripts will build.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

I have written a bunch of scripts that have not gotten produced, much more so early in my career than later.

During shooting, you have the idea, like, of this certain dress on this actress, but it's not to fit, so you have to make all of these alterations and modifications. So in a way, I build the characters with the cast, and it's sort of custom-made, the whole process, and then you have to make all of these adjustments.

I gradually work myself into a frenzy as the shoot approaches, while we're choosing the costumes or working with the make-up artist. I'm not so much interested in my character as the film itself.

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

I was the Playmate editor for 'Playboy' for two years. I produced two years' worth of centerfolds. I did everything on that, from picking the girls to designing the sets to picking the wardrobe, coming up with themes, assigning the photographer, down to editing the photos and approving the retouching.

Couture has copied my things for years, in addition to countless other costume designers, claiming theirs were the original ideas. It's all part of the business, unfortunately.

What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen, he's become a different person.