A Quote by Hari Nef

My desire to be an actor or a model precedes my identity. — © Hari Nef
My desire to be an actor or a model precedes my identity.
I never think of an actor as a model. A model wears what you tell them to wear, that's their job. An actor is different. It's important to work with the actor because in the end that's who the audience sees and that's the success that you need.
One of the secrets of being a great photographic model, as it is for a great film actor, is that you let the camera in. It's an intimacy that the model or actor creates with the lens, that then transmits itself to the viewer.
Fixing is the illness model; acceptance is the identity model; which way any family goes reflects their assumptions and resources.
All over the world today people have a very strong desire to find a sense of identity, and at the same time that's coupled with the rise of absolutely absurd wars that relate to ethnic identity. Perhaps there is something deeply ingrained in people that relates to a sense of belonging, and without that, identity doesn't seem as real as it should.
At the end of the day, I'm not a model, I'm an actor. I didn't want to be a model for a brand - I wanted to be a spokesperson and to collaborate.
Identity is a very difficult thing in the theatre. As an actor said to me one day, 'What are we doing today?' when we were doing a workshop. And I said, 'Oh, just be yourself'. And he said to me, 'I don't know who that is, I'm an actor'. And I begin to realise in fact that we seek identity because we're told we should have one, but I wonder whether it's necessary.
To be an actor is to be ambiguous in every form, which is a very hard way to live. You represent desire: the desire of the director and the desire of the audience, even if it's a subconscious desire. If a director is to work with you for two months, he must be in love with you in some way or another.
In every art the desire to practice it precedes both the full ability to do so and the possession of something worthwhile to express by its means.
The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.
I don't direct so that I can have an identity and so I can go on to CGI movies. I had a big identity as an actor, and that's not what I'm looking for from directing. Directing is a whole different goal.
In Tar Baby, the classic concept of the individual with a solid, coherent identity is eschewed for a model of identity which sees the individual as a kaleidoscope of heterogeneous impulses and desires, constructed from multiple forms of interaction with the world as a play of difference that cannot be completely comprehended.
To me, it's a little odd to ever think 'model into actor.' I modeled once. I was about as far from a decent model as you can possibly be. I did not enjoy the world at all. I fell in my stilettos quite a bit.
We are deeply conditioned against unconditionality because we've been told in a thousand different ways that accomplishment always precedes acceptance, that achievement always precedes approval.
Belief sometimes precedes understanding; faith sometimes precedes scientific evidence.
The enterprise of America precedes that of Europe, as the industry of England precedes that of the rest of Europe.
What I find relatively funny is that I'm not a model. I'm five foot six and a half; I have absolutely no dream or desire to be a model, I don't live for fashion. But when an opportunity comes your way very early in your career, like Burberry, you do it.
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