A Quote by Francois Nars
Having worked with so many of the geniuses, I'd learned so much. It's the best sort of photography school, to work with people like Penn or Avedon or Meisel.
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I felt like I was in the best photography school in the world - I had Herb Ritts, Bruce Weber, Richard Avedon and Irving Penn teach me.
I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.
The best thing I ever learned in life was that things have to be worked for. A lot of people seem to think there is some sort of magic in making a winning football team. There isn't, but there's plenty of work.
I didn't do well in high school, but I took photography, and I loved being able to capture moments. It led to more and more photography, and fashion was the angle into photography for me. It was incredible to see photographs by Irving Penn or Helmut Newton. I was really intrigued by that, and that's what led me to New York City.
I was always in and out of school. What I learned in high school is that female friendships are so much more important than worrying about having a boyfriend or looking good or things like that. I had such a good girlfriend growing up that we didn't need anything. We had such a creative world of our own imagination together. For me, if I have a child, I would say, "I hope you find a best friend that makes it so you don't really need much but each other." Learning about that type of friendship and trust is one of the best things I ever got out of school.
I worked with Herb Ritts on the Marky Mark shoot, and then Steven Meisel, and then they'd start sending limos for me, and I was like, 'That is so embarrassing. I'm not getting in a stretch limo by myself to go to a shoot.' That whole New York thing of, 'You are fabulous! Turn up to a Meisel shoot in a limo and you're fabulous!'
I went back to Jamaica after living in New York and started to work on experimental stuff and basically I grew as a filmmaker. I went to film school; I was a PA on a lot of projects and I worked so hard, you know, you're young and I learned from different mentors. And luck put me in the position to work with amazing people. One of my mentors by the name of Little X, who took me under his wing after I came out of film school and moved to New York. I worked in videos for Jay-Z, Pharrell to Busta Rhymes and Wyclef. I quickly realized how much I wanted to make films instead of music videos.
Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.
I had many, many mentors that I worked with. Music teachers, choir directors, directors in summer stock or in regional theater. You know, people I was able to work with repeatedly and learn from who were really sort of appropriate people for me to work with at a given time in my development as an actor.
I worked at my high school newspaper at Andover, which came out weekly, unusual for a high school paper. Then my first day at Penn I went right to the 'Daily Pennsylvanian' and pretty much spent most of my college career working both as the sports editor and then editor of the editorial page.
I did so much theater, where everybody I worked with was so much better than me, that I just sort of learned.
To be honest, there are so many things I learned in acting school beyond the method; it was a safe place to practice. So acting school was about exercising that acting muscle and doing it every single day - and having people tell you that you're bad every single day! Which pushes you to work even harder.
In my years of photography I have learned that many things can be sensed, seen, shaped, or resolved in a realm of quiet, well in advance of, or between, the actual clicking of shutters and the sloshing of films and papers in chemical solutions. I work to attain a state of heart, a gentle space offering inspirational substance that could purify one's vision. Photography, like music, must be born in the unmanifest world of the spirit.
There are some very creative people out there who are like Steven Meisel, and that is why their work is so extraordinary.
Tarantino is the coolest damn guy; he's just so much fun to work with. He might be the best director I've ever worked with. He just seems to know how to do it and he knows how to make you feel good about it. He's having so much fun you start having fun. You can't help it.
The thing that's nice about working with Adam [Sandler] is that there's sort of a family vibe, cause people who have worked on his movies have worked on many of his movies, so along with the kids and the cast, all the people that worked on the movie, it was like a family and every day we'd make each other laugh.
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