A Quote by Petra Collins
That's what I look for in models: Someone who can tell a story and has a presence in front of the camera.
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You usually get one or the other, you get someone who knows how to tell a story but they don't necessarily know about light and camera and rhythm, or you get someone who can make beautiful images but they can't necessarily tell a great story. He does both and I think he's going to be one of the film-makers that our time is remembered for.
Typically, when you look for role models, you want someone who has your interests and came from the same background. Well, look how restricting that is. What people should do is take role models a la carte. If there's someone whose character you appreciated, you respect that trait.
In drama, you're interacting with other actors to tell the story. The camera is like the theater: it's the artistic fourth wall. In a screen play, you don't look at the camera and communicate with it. But with hosting, you're looking right into the lens and talking to the people. It is a different style, and it's fascinating.
I know when someone that's not you tries to tell your story, especially when you don't look like the person whose story you're trying to tell, you're going to screw it up. And the only way to get it right is to have them be as involved as possible.
The challenge for me, and for Asian models in general has been convincing editors, stylists and photographers that we can have mass appeal, but Asian, especially Chinese models have become a stronger presence. Just a season or two ago, there weren't many models for me to talk with backstage in my native Mandarin. Now I usually have no trouble finding someone at any show.
It's hard to put yourself in front of a camera, in front of the world, when you don't feel like you look the part. I've always had that problem. But I deal with it every day. When I'm interviewing, I'm like, "How do I look? Do I look all right?"
Tell a story with your eyes when you face the camera - it makes all the difference. My best tip for making skin look good in photographs is to go easy on the make-up. You don't want it to look heavy and mask-like.
Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.
Whether I'm in front of the camera, behind the camera, at my computer writing a novel or a screenplay, as long as I get to entertain someone out there, I'm happy.
I remember, when I was a little kid playing with the 25 Legos I had, I thought, 'If I just had a camera, I could film different setups and make it look like I have way more Legos and tell a story.' I didn't get a camera, though, until I basically got an iPhone.
What theatre started to look at much earlier than any other form was the internal operations of ordinary people, sometimes using mythic models in order to tell the story.
What should be driving the conversation is: What's the story? What's the movie about? Is it a compelling story? And if it is, then you make it regardless of the color of the people behind or in front of the camera.
I could never imagine myself acting in front of a camera or doing anything in front of the camera. I was a very shy girl.
Being on set in front of the camera, it makes me happy and extremely grateful whenever I'm in front of the camera.
I think I was afraid of what I might say when I got onto someone's stage or in front of someone's camera.
I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.
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