A Quote by Sophia Amoruso
I wanted to do something really visual and photogenic.
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In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
A fisherman, say, working on a beach doing his job, may be photographed by a tourist because it's photogenic to see him working, and the Caribbean is extremely photogenic, so poverty is photogenic, and a lot of people are photographed in their poverty, and sometimes it's kind of exploited.
I really didn't know what I wanted to do. I went to art school and tried a bunch of different things, but I knew I wanted to do something in the visual arts. And I'd always been around my dad's film sets, so the interest was there. But I didn't have the guts to say, "I want to be a director," especially coming from that family.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
The minute I got skinny and got a nose job and became photogenic, and all of a sudden I had a bidding war, and every boy I ever wanted, wanted me.
[ Age Of Trump] was something that I really wanted to do, and I also really wanted it to feel evergreen, so we made a lot of attempts not to bog it down in the campaign fight, even though we were right in the middle of that. I wanted it to be something that could live on and be a conversation piece long after this inauguration, whoever it was going to be.
I've never really had a chance to play a bad guy, and that's something I've always really, really wanted to do. I wanted to experience that really dark side of a person.
I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.
'Stimela' is the very first video I directed. I wanted it to be an emotional visual art piece, displaying humans as free, powerful animals. We are all running from something or searching for something; our instincts have been ignored.
Thank you, people who say 'Wow, you're really photogenic,' for not saying what you really mean: 'Wow, you're really ugly in person.'
I was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.
'Wanted' is about a girl I was friends with, but at the time it was teetering on the edge of something more. I wanted to show her that I really cared about her. 'Wanted' was my way of saying, 'we're friends and have a great foundation, and this could be something really special.'
When I was really young, I was convinced I wanted to be a visual artist. I would paint and draw and make crafts.
When I was really young, I gravitated towards the visual arts first. I feel that's what comes most naturally to me. I've always had an immediate proclivity towards making visual art and I was a really tactile kid.
For ages I thought I'd wasted my career doing visual effects, I wanted to be a filmmaker. And then I've learnt at the end of it all that actually visual effects was probably the best training ground I could have had.
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