I have a strong preference for being alive.
I did write a lot of TV themes - I wrote about 45 of them, and a couple of which are still reference and popular today, like 'Diff'rent Strokes' and 'Facts of Life.' But I was a limited musician.
And if I had a preference, it would be to be able to not be in the studio until 4 in the morning.
I can tell you, dearest friend, that if it became known how much friendship, love and a world of human and spiritual references I have smuggled into these three movements, the adherents of programme music - should there be any left - would go mad with joy.
Almost every collection I do has 200 different references. I don't have two of the same coat, two of the same dress. I have it in one color, in one fabric. I've tried to adapt the culture of couture, and the know-how and the heritage, but I try to update it.
I feel like you listen your whole life, so when you are in the studio, your references are all the songs and music that you know. It just depends on where the songs are going and what attracts you at the moment.
If someone says to me that 'Horizon' is an anti-feminist anthem, I have to tell them, 'No, that's not right.' But I'm not interested in unpicking my music for people. Everybody has different reference points.
Ultimately, with every film I'd done before, there was a reference. They have their own uniqueness, but there was always a precedent.
I have always loved really dense, complicated stories with lots of layers, tons of obscure literary references, and a plethora of inside jokes.
I hadn't read comics really before coming in to shooting the original 'Thor.' During that and beforehand, I read stacks and got my head around it all. We reference, especially when we were putting the script together before we started shooting, other stories.
