Such honesty is refreshing in a world where contracts like this run into the millions, but the idea of money being exchanged is often dismissed out of hand.
"We don't have a deal where I have to wear Dolce & Gabbana on the red carpet, but a lot of the time I choose to because I like their cut, I like their menswear. I want to work with a brand that I look forward to going out and speaking about."
While Dolce & Gabbana's catwalk collections are not known for minimalism or restraint, there is something much more traditional about their fragrance campaigns, which present a classical ideal of masculinity.
"They've got a term that we've talked about: 'modern hedonist'. I've got some pretty traditional values as a man but, at the same time, I'm trying to evolve every day and I consider myself quite progressive as well. You know, I'm definitely a pleasure-seeker. The classic hedonist isn't necessarily someone who makes choices for their immediate gratification; it's one who makes his choices for the ultimate, or the most gratification."
Perhaps, then, that explains the commercially popular but critically disdained titles that clutter his filmography.
The definition of movie star good looks, McConaughey recognises that being blessed in that department hasn't been a hardship: "I like an elegant, timeless image - which you may call handsome - juxtaposed with something like you'd see in True Detective, like 'Oh my God, this guy scares me'. It's just another side of me that I'm sure as heck not going to go against. I like having simultaneous images like that. There are many sides to me and those are just two."
I think that's his way of saying the McConaissance isn't as black and white as you've been led to believe. After all, for every Magic Mike there's a Dazed & Confused, for every The Wedding Planner there's A Time to Kill.
"One unforeseen pleasure of my relationship with Dolce & Gabbana, has been building my international presence in a new way. I get pictures [of the adverts] sent by my friends that are in wild places in airports and cities all over the world, and I still get pretty excited by that.
I like the campaign; I really like the photos and the commercials. It's a classy, elegant image and having that international presence has, in a way, helped to open Europe up to me. Not in a really intimate way of going to see my films or having me there in person - although I do get to travel to Italy or France with them, which is always pretty fun."
The fragrance sector is a cash cow for designers, providing them the freedom to channel their creativity into clothes, rather than worry about the bottom line. Often, signing a licensing deal to bottle the essence of a brand can be a licence to print money. But, if that little bottle is seen as anything but a luxury proposition it risks devaluing the brand, so strategy is key.
Although they may seem a safe strategy for a brand, the actor can be the one who runs the risks - most pertinently that of looking ridiculous. Just ask Brad Pitt, whose 2012 ad for Chanel No 5 was bizarre and much-derided ("The world turns; we turn with it"), or Nicole Kidman, who's only just recovering from: "I'm a dancer. I love to dance!" in a Baz Luhrmann-directed film for the same fragrance.
But, when done right, such deals can be lucrative for all parties involved, and McConaughey's work with Dolce & Gabbana is a remove from the depressing shilling for a quick buck satirised by Sofia Coppola in Lost in Translation; it's even a far cry from some of his more forgettable film roles, thanks to the involvement of his occasional co-star Scarlett Johansson and directors such as Jean-Baptiste Mondino and Martin Scorsese.
"I worked with Martin on The Wolf of Wall Street a few months before doing Dolce & Gabbana with him, so this was a little different. Our work together in film was much more dialogue-driven, but all of his direction comes from a rhythm - a musical rhythm - and I understand that very well, actually. I like to communicate like that as well, so that's really where our relationship comes from. I enjoyed working with him very much."
It's clear that, though the process may be enjoyable and fun, there's a sense of seriousness that's fitting for the names - and pay cheques - involved.
"The commercials aren't about looking down a camera lens. These are much more mood pieces and images. With Martin, we talked musically about the playfulness. It was a little more playful than previously. With Mondino, we saw the character differently, as a sort of 007-type.
We spoke about how the Dolce & Gabbana man would never rush, no matter what. We were very clear about what the taste and tone and deliberate mood was. We want it to look like it's a timeless piece and you don't know where you are. Maybe you're on a Fellini set in 1960, or maybe you're in Malibu in 2014."
Admirably, McConaughey shows no signs of embarrassment over the variety of films that pepper his CV, perhaps instead hoping that, if anything, his versatility and resolve speak in his favour.
He's not likely to channel any Cohle from True Detective or Dallas from Magic Mike on set with Scorsese: "I don't have a particular character in mind when I'm on set; instead, I play a heightened version of myself. Before we even get to that point, though, we've already talked with the photographer about what the tone of the campaign is, what the movement is.
You talk to the director and the photographer about what kind of world we're trying to create, 'cause we've all got to work together. It's a bit of a dance, it's a bit choreographed - it's about movement, about pace. It's slow and deliberate."
Slow and deliberate, just like the second act of McConaughey's career.
- Independent
