Talking Heads were a big influence on my comedy. For David Byrne, every album had to be different. With 'Portlandia,' every season has to be different. You gotta reinvent the look, all of it.
'Take Me Apart' doesn't feel cohesive in a singular way but in a varied way. You can fixate on individual songs, and there are references from all over the place: Anita Baker to Bjork. I wanted to show all the facets of myself.
When I finish a film, I want to forget it. I never like to repeat myself. Maybe, when I am dead, they will find certain consistencies in the style of my films, but I never want one film to look like another.
Ultimately, I'd like to create a body of work where every album has its own personality and a reason to exist within the catalog, not just 'more of the same.'
I think that it's nice when someone can go and look more exotic and do the girl-next-door thing as well.
If I am doing a certain kind of cinema, that does not mean I hate the other kind.
I would personally not run down any cinema just because I am not capable of making it. Anurag Kashyap makes a certain kind of cinema; I make a different kind. But when we meet, we are friendly.
I've always had influences from all over the place, like Mr. Bungle and Primus. As a band, we try not to focus too much on where it's coming from, because we're always listening to music.
Stylistically, we do so many different things.
Beauty is boring because it is predictable.
Almost everything looks the same at art fairs - very hygienic, very white, lots of right angles.
It is through the acceptance of a variety of aethetic and intellectual points of view that a culture is given breadth and density.
I'm listening to Tame Impala, Mac DeMarco, Frank Ocean, Childish Gambino. I'm just trying to just get as many different inspirations as I can. I love artists that can adapt and have different styles.
The more people explore the world, the more they realize in every country there's a different aesthetic. Beauty really is in the eye of the beholder.
Doing the Yumi cmapign has shown me lots of different looks I'd not tried before.
There is no such thing as an ugly accent, like there's no such thing as an ugly flower.
My tastes and inspirational artists were always rather eclectic and diverse.
I think what you call 'metropolitan America' - as in San Francisco, New York and Los Angeles - I think there's more awareness of the atypical, while in more traditional Britain, there's the kitchen-sink dramas and thrillers. It's more formulaic.
There is so much talent in British fashion: a real cookie jar of different aesthetics with designers like Mary Katrantzou, Erdem, Christopher Kane, J. W. Anderson, and Simone Rocha.
It is better decoration when, in painting, some monstrosity is introduced for variety and a relaxation of the senses and to attract the attention of mortal eyes, which at times desire to see that which they have never seen.
Every movie that I'm in is very different in terms of aesthetic and costume. I mean, from 'Mirror, Mirror' to 'Mortal Instruments,' I went from dressy dresses to leather and heels and tight, sexy, chic outfits.
I can create clothes for so many different time periods. I've always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.
If you look at the buildings, you'll find that one part looks as if it was designed by one man, and you go around and look at another facade and it looks as if it was designed by another man, you see.
