A Quote by Bruce Weber

I've always been shy and that's partly why I chose a life behind the lens. I like people to look at my work and hopefully it speaks for itself. — © Bruce Weber
I've always been shy and that's partly why I chose a life behind the lens. I like people to look at my work and hopefully it speaks for itself.
Cameras are a lifesaver for very shy people who have nowhere else to hide. Behind a lens they can disguise the fact that they have nothing to say to strangers.
The movie was always something that was always kind of like a dream. From the start of making my YouTube videos, I've always been sharing my thoughts or opinions or just updating people on my life, but the movie is more of a behind-the-scenes look at what actually goes into my life.
I always tell clients you have to be able to remember why you chose to do a movie: to always be able to look at a movie and know, whether it's good or bad, why you chose to do it.
I struggle quite a lot in rehearsals, partly because I'm shy, partly because I still don't really understand the work that actors and directors do. I love the magic at the end, but the getting there - the wrong turns that are necessary to make something work - I find slightly beguiling and worrying.
If you look at yourself and life through the lens of your ego, you'll feel isolated, ganged up on, alone, dfferent, and not part of the crowd. If you look through the lens of Spirit, knowing we're all one, you'll always feel safe, secure, ad loved.
I always had a sketchbook with me when I was young. I was hiding behind it, basically, hiding behind drawing because I couldn't cope with people in real life; I was very shy and very nervous around people.
My mission is to change the way people see the world. Everybody has a perspective or a lens they see things through, and hopefully I can adjust that lens or change that lens so that they see things from a different perspective, a different lens.
What I have always loved about modelling is the chance to play a part. I am quite shy naturally, but I like getting into somebody else's head space, understanding how people work and the psychology behind their actions.
The precise effects of lensing depend on the mass of the lens, the structure of space-time, and the relative distance between us, the lens, and the distant object behind it. It's like a magnifying glass, where the image you get depends on the shape of the lens and how far you hold it from the object you're looking at.
Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It's always the unspoken word and what's happening behind someone's eyes that makes it so rich.
Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It’s always the unspoken word and what’s happening behind someone’s eyes that makes it so rich.
I've been lucky to travel and work all over the world through the lens of the back of the house, and I love that monocle. I love that lens, because it's real people.
I wore makeup when I was at school, and I wore makeup when glam started. I started wearing it again when punk started. I've always been drawn to wearing it. It's partly ritualistic, partly theatrical and partly just because I think I look better with it on.
My life and my work are very interlocked. That's partly why I like to keep my private life private.
I've always been very comfortable wearing not much, in my swimwear or my underwear, or running around naked. I've always been very free like that. I don't really know why, exactly, but I just have been. Not really too shy about that.
I'm actually a very shy person, which is why I always chose to be in the kitchen. You can make people happy and entertain them, without really being there. You can make a very short appearance and then say, 'I've got something on the stove, gotta go!'
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