PS: It's hard to forget the scene where we meet Kate Upton. You made such a basic white string bikini look like so much more! How many did you look at before settling on that one?
PF: Maybe about 20. We presented her with them, and she picked a few, and then the director. You know, everybody has to decide . . . It's a decision fest.
PS: When you watch the movie, the style looks effortless, but behind the scenes there are so many layers to every look we see on screen. What's the costume-design process like?
PF: It's a long process. It starts out with a script. You read the script, you learn the characters. Then you meet the director. You now have a character you are picturing from this script and from what the director sees. And then you meet the actors. It's very important that you observe and learn the different ways they move, what their body's like, their ideas, how they communicate. And then you find the parallels between the actor – the actual human being – and the fictional character. You stay within those boundaries – what they share in common.
If you can isolate the characteristics they share and if you stay within those boundaries, you'll end up with something believable. If you try to put a round form into a square form, it just won't go. You have to find the compatibilities and stay there. At the end of the day, the actor is in front of the camera. I'm there to help the actor find this character. It's a personal relationship. It's sensitive, and it's creative. That's my process.
Source: 20th Century Fox
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