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Annie would just give Bill like...Here's a hundred pages, and Bill flourished with Annie more than ever anywhere.
Annie會給Bill很大的創作空間和自由度，Bill的作品等在Annie的這里也比其他任何雜志都多。
It was like she almost gave him his own little mini magazine just to do it however he wanted.
就好像是她提供給他了一整個迷你雜志，他可以按照自己喜歡和想要的樣子來做。
He'd work all day, and he'd come up at night, and our sessions usually lasted till about 4:00 in the morning.I worked for the Establishment during the day,
他整天都在工作，有時會晚上過來，我們有時會開會到凌晨四點。我白天要為《紐約時報》工作
so I was like a bird getting out of a cage, and I'd go down there.
我像逃出牢籠一樣跑到這里來。
It was marvelous.
這真是很奇妙的感覺。
I would come after my job at the Times, and we would lay this out, and then I'd go home about 2:00.
我一般在結束《紐約時報》的工作之后過來，然后我們把內容定下來，我大概兩點鐘左右回家。
Biked back from SoHo where we were.
從SoHo那邊騎車過來，好了我們在這兒。
I think one Details Magazine, it was Fall Special...125 pages of Bill Cunningham.
我在策劃Details雜志的一期秋季特刊125頁Bill Cunningham的作品。
A hundred pages?
一百頁？
Ninety-nine. -Ninety-nine pages.
99.-99頁。
We just...We never thought of it.We just went on and did what we wanted till we had said what we wanted to say.
我們只是…從沒想過這個。我們都是盡力在雜志上表達我們想要傳達給讀者的東西。
111 pages. -111 pages.
111頁。-111頁。
Here are what I did was I blew up the embroidery of the coat, and we put it on the pages, and then put the coat, small, in the middle of it,
這部分我要重新解構這些刺繡的外套，我們把它放在這些頁，然后把衣服的圖片縮小到頁中央，
'cause the news was in...-Yeah, the idea was the big...was this.
因為內容是在…-是的，我們的想法是…占大部分的是這個花紋。
'Cause it was like something out of the Renaissance, you see?
因為這有些像文藝復興時期的東西。
You try to show the reader what was really new.
你要努力向讀者展現出這些最新的東西。
Look at this. It's like something from Paul Poiret, uh, 1910.
看這個…這像是Paul Poiret在1910的作品。
Scheherazade, the Arabian Nights.
Scheherazade的一千零一夜。
Look at the embroidery, the tassels, the lace.
看這些刺繡、流蘇、蕾絲邊。
