A Quote by Rajiv Menon
I'm usually known for films that look beautiful and attractive, probably because I am a cinematographer too.
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I watched what I ate for a bit and did a bit of exercise. I wanted to look alright because I knew I had to take my clothes off and I knew I was starring alongside some extremely attractive women! I think it was Humphrey Bogart who said that the only reason people found him attractive was because of the attractive women he played opposite. So, as audience member you go: "Well, if she would find him attractive, then surely I must too!" Playing opposite beautiful actress of the calibre of Rose Byrne and Anna Faris is amazing - it does a lot of the work for you.
I am so beautiful, sometimes people weep when they see me. And it has nothing to do with what I look like really, it is just that I gave myself the power to say that I am beautiful, and if I could do that, maybe there is hope for them too. And the great divide between the beautiful and the ugly will cease to be. Because we are all what we choose.
Deserts look beautiful and green fields look beautiful too. Nature is genius because it knows how to look beautiful in every way.
For me, it’s about not being too aware of what you look like because if you are, you’re trying too hard and I don’t think that actually makes you look good. I’ve known from very early on that I don’t look perfect.
For me, it's about not being too aware of what you look like because if you are, you're trying too hard and I don't think that actually makes you look good... I've known from very early on that I don't look perfect.
MYOB - mind your own body. It's important because I don't happen to have the kind of body that we usually see on television and in films. I am plus-size. I have dark skin. And I am 100 percent beautiful. But I get a lot of flak - oh, you should lose weight. And now that I have lost weight - and I lost weight for health reasons - I get, you look good but don't lose too much weight because your face is starting to sink in.
I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.
Women sometimes really love to look at other beautiful women on the screen. But they don't look at a woman the way a man looks at a woman. They want to be that woman. They like if a woman is beautiful or sexy, especially if she's powerful. They like to see her catch a man, or to be powerful in the world. I think this is why a lot of women love noir films and classic films because they can really identify with these really strong, beautiful women. That's the kind of power that women have lost culturally.
Do I love you because you're beautiful, or are you beautiful because I love you? Am I making believe I see in you, a woman too perfect to be really true? Do I want you because you're wonderful, or are you wonderful because I want you? Are you the sweet invention of a lover's dream, or are you really as beautiful as you seem?
The most beautiful people we have known are those who have known defeat, known suffering, known struggle, known loss, and have found their way out of the depths. These persons have an appreciation, a sensitivity, and an understanding of life that fills them with compassion, gentleness, and a deep loving concern. Beautiful people do not just happen.
She was--I keep using the past tense; I ought to say she is--one of those people who, at first sight, look plain, are quiet, unassertive, unmemorable even. But who, when they start to talk and you get to know them, become more and more attractive and impressive, and you see that in fact they are beautiful. Not conventionally beautiful, not celebrity beautiful, but beautiful all through.
It's unfair but true: youth is attractive, curvy women are attractive, outliers who look a bit different to everybody else are attractive.
The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.
When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which impacts the story.
No one can force you to do a film. I am responsible for the films I chose, hit or flop. I am where I am because of what those films taught me.
I've put up with too much, too long, and now I'm just too intelligent, too powerful, too beautiful, too sure of who I am finally to deserve anything less.
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