A Quote by Elizabeth Peyton
The faces people make when they are photographed and the face they have when you draw them are very different.
Related Quotes
I get to draw what I like to draw, basically people hangin' around, and write very humanistic kinds of situations and characters. But I do also like to draw adventure stories - more in terms of drawing them than writing them - and letting my imagination go wild.
The Small Faces was such a different band than the Faces. I know three of us are the same, but when you take Steve Marriott out, it's a very different band.
I am so used to having two faces. A face that I had for black America and a face for white America. When Obama became president, I lost both faces. Now I only have one face.
Street skating, which is what I grew up with, is completely free of rules. You can do anything. When I see a skater go by, I think, What is this person going to do here? It's the same with people who write, who make music, who draw, who make movies. Creative people tend to have all of those different avenues in them.
There are people - I think this is why there are so many commercial directors doing well in big studio movies, for whom it's not a personal choice - it's "What's the coolest, most effective way to make them laugh, make them scream?" It's a very calculated approach. And that's different. It's not better or worse. It's just a very different approach to filmmaking. That's always been the case.
We don't think of them as acting, but we take on certain characteristics based on where we function, and those relationships draw out aspects of who we are as people. And that's what acting is. Different parts draw out different parts of your nature.
Everyone has different tastes and palates. Most of the time I put a smile on people's faces but sometimes you get people who have a different view and you take that on board and see what you can make of it.
I've grown up around people who love photography, and I think from being photographed for so long, I always wanted to understand how it worked, and I've been fortunate enough to be photographed by some really wonderful photographers, and so I learnt a lot from them, and I always ask them questions.
If we want to make Tiger Woods's or Al Gore's face, the best thing would be to have them come to our light stage so we can scan their faces for our database. But in a couple of hours, all we can do is find a face which looks similar and then correct it.
All my muscles are in my face. I have a very muscular face. I'm good with faces. I always have been.
Even if people are all from the same place, there can be very, very different approaches. It's one of the things I'm fascinated by. It's why I like directing. I like to see how different people approach trying to be truthful, on camera or in the theater, and whether you can make them match up.
When I draw a character, very often as I'm doing a face, my face mirrors the expression.
Most people draw from the mind, not the eye. They draw the idea of a table or a face, not what's in front of them. We don't actually see the line of the jaw as a line and we don't see an eye as a perfectly outlined almond shape.
Freaks was a thing I photographed a lot. It was one of the first things I photographed, and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them.
It really isn't very glamorous to sing because you have to make all these funny faces to make it sound like the record. You really want to sound the best you can so you have to make all these disgusting faces.
I got to draw shapes. I really like to draw funky, geometric shapes. And I got to use just different fonts and make a joke of how feminine it was, but it didn't even have people in it. To me, it was so exciting and interesting to do that for a while.
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