PS: In the documentary, David Frankel says that when it came to your vision [on "Miami Rhapsody"], even though he didn't always understand it, that "Sarah Jessica would go to the moon for you." And then later, we see Parker say when it came to "Sex and the City" that the director, Darren Star, was creating something that "didn't have a point of reference" when it came to doing the costumes. Was it the combination of Parker's willingness and trust, mixed with Star's hands-off approach, that enabled you to push boundaries to create what you did for "Sex and the City"?
PF: I had never met Darren when Sarah Jessica proposed me to him. We were total strangers. I don't know if he took a chance on me because of Sarah Jessica, but whatever [the reason it] happened, we're all happy for it.
PS: What gave you that vision for the characters when you got the "Sex and the City" script?
PF: The first inspiration comes from the actor and their delivery of the character, so I think that's very important. And of course, in the beginning, I asked Darren, "Can you describe the way you see these characters?" And he did a great job of doing so. He gave me the startup information [I needed], which was great. I knew Sarah Jessica because we had worked together previously down in Miami [for "Miami Rhapsody"], but I didn't know the other three girls, so that was really helpful to me. I mean, Sarah Jessica was a shoo-in because she's so fashion . . . and she can run down the street in high heels.
