A Quote by Leonard Nimoy
The camera can capture thought in a way that's quite surprising and shocking. You can become very simple and minimal in your work and communicate a lot with just a finger or an eyebrow, or a look, or a glance.
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It still surprises me when I get cast in something. I'm not your, you know, I'm... I remember thinking really early on that you have to look a particular way and I'm quite aware of my look, so I always thought I wouldn't get a lot of screen work.
When I met someone who I thought was really talented, I would just be like, Wow! How did you get that way? And I met a lot of people who would just do anything to claw their way to the top, and it was just shocking and awful for me to see that for the first time. And now I live in Manhattan so I have become desensitized to that.
You have to communicate on a much greater scale. With a camera, you can use the flick of an eye. On stage, a lot of other things are happening that can pull focus or energy. You're always thinking the same way, but you have to amplify your thoughts with the volume of your speech and the ways you use your whole body to communicate what you're feeling. It's a little bit different from film.
I think the theater work and the on-camera work feed off each other. My theater work has become more simple, and my on-camera work has become more energized or more spontaneous.
My finger can point to the moon, but my finger is not the moon. You don't have to become my finger, nor do you have to worship my finger. You have to forget my finger, and look at where it is pointing.
From Kevyn Aucoin, I learned about the power of eyebrows. He was an eyebrow freak, and rightly so because there's nothing in your face that changes you more. You can quite visibly lift your eye with a higher-placed eyebrow, or if you thicken or thin it.
At the piano, I'm able to communicate in a way that is very intimate and direct. My approach at music is a bit like talking to a friend. You don't have to be very complicated when you speak. If you say what's in your heart, it's usually very simple.
I love to just listen and watch. I could happily watch a security camera at a store. Often during a day I'll see a guy selling pretzels or an argument that somebody's having on a stoop and I'll think, "Oh I wish I had my camera, I wish I could capture this moment." There's something about people being people and interacting that can be so beautiful when it's framed by a camera. That desire to capture people as they are, and the stubbornness to keep going when they don't necessarily want you to capture them being who they are, are key.
His left eyebrow crept higher and higher as I told him the strange bits like the glowing letters and serpent staff. "Well, Sadie," Inspector Williams said. "You've got quite an imagination." "I'm not lying, Inspector. And I think your eyebrow is trying to escape." He tried to look at his own eyebrows, then scowled.
I don't paint, and I can't draw, but I see things, I think, quite well, and I love being able to freeze things with the camera, particularly the children. Then I discovered with the camera that you can tell a whole story with just freezing a moment in reality. I find it a very good way, a very satisfying feeling.
It's very simple... this banging around with a camera and typewriter as a business is just one helluva lot of fun.
I’m not fascinated by people who smile all the time. What I find interesting is the way people look when they are lost in thought, when their face becomes angry or serious, when they bite their lip, the way they glance, the way they look down when they walk, when they are alone and smoking a cigarette, when they smirk, the way they half smile, the way they try and hold back tears, the way when their face says they want to say something but can’t, the way they look at someone they want or love… I love the way people look when they do these things. It’s… beautiful.
It's very difficult to put your finger on why a certain actor or actress will capture your attention, and you'll think they're right for a role. There's an essence to a person.
Akon is a very talented songwriter to work with. His melodies, they're just insane. It's funny, I think about him a lot when I'm doing my melodies because he's so simple, and he's just been great. He keeps me on my feet, very grounded, but he also puts me on a silver platter, which is always very nice. So it's been an incredible influence. It's like every time you work with somebody that's better that you are, you become greater.
I turned to Dionysus. "You cured him?" "Madness is my specialty. It was quite simple." "But...you did something nice. Why?" He raised and eyebrow. "I am nice! I simple ooze niceness, Perry Johansson. Haven't you noticed?
The best way to describe my work is comedy in a very, very real way. I'm not scared to look silly on camera. I take everyday situations we all go through and put a very real twist on it - things people can relate to.
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