A Quote by Rick Baker

When I do a mask, I do try to put a lot of character and a lot of expression into the sculpt. — © Rick Baker
When I do a mask, I do try to put a lot of character and a lot of expression into the sculpt.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot and try to put their voices into their character.
Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot, and try to put their voices into their character.
Especially when you play a character for so many years, the character ends up reflecting a lot of who you are and I think I've changed a lot since then, but that represented a lot of who I was as a teenager.
In film, we sculpt time, we sculpt behavior and we sculpt light.
In film, we sculpt time, we sculpt behaviour and we sculpt light.
I think playing a negative character is more difficult and challenging, since you have a lot to work on, and you have to put a lot of efforts.
When I get on the airplane, I put on the eye mask. And I travel a lot so I use it all the time.
I watch a lot of different films. A lot of different performances and I find a lot of little things from the films or things that actors do or people in real life who have behaviors or idiosyncrasies that I like or find interesting and I try to remember that. And then I'll do a prayer. I'll do a prayer to ask the character or the spirit of the character to come and visit me. And let's work together.
I used to bury myself in character parts and put on a lot of makeup and use a lot of props. At first I thought it was clever to put on false noses and to do funny voices, but then I suddenly thought, no, that's wrong, you don't do it from the outside, you work from within.
I've always used masks. I think it's a lot about the fact that masks often reveal a sort of subconscious element to a character. The mask is carved and given an expression or markings to reveal something, even though it's shielding the face. Even though it's hiding the face, it seems to reveal something underneath.
I think to get first in your division you've got to have a lot of depth, a lot of character, a lot of skill, a lot of competitiveness.
Is there anyone’s life story you don’t want to know?” “Not really.” His expression was unexpectedly serious. “Because people make a story of their lives. Gains, losses, tragedy and triumph—you can tell a lot about someone simply by what they put into each category. You can learn a lot about what you put into each category by your reaction to them. They teach you about yourself without ever intending to do it—and they teach you a lot about life.
Sometimes I'll do a mask if I had a lot of makeup on that day or was out in the sun. I like a hydrogen mask. It's an easy one, and it's supposed to soothe and relax your skin.
I'm definitely a lot more reserved without the mask on. And with the mask on, all those inhibitions kinda go out the window. I can act like Keith Richards, I guess!
Our fashion for us, it's an expression; first of all of life, I put all of myself in my fashion. Sometimes it's good, sometimes it's bad, but this is a mirror, an expression about Domenico and Stefano. It's not just a profession: it's a person with a lot of personality.
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