A Quote by Sophia Bush

I get to experiment with a lot of looks with my character so that's really fun for me. It's like getting to paint a new canvas everyday. — © Sophia Bush
I get to experiment with a lot of looks with my character so that's really fun for me. It's like getting to paint a new canvas everyday.
The less you offer, the more readers are forced to bring the world to life with their own visual imaginings. I personally hate an illustration of a character on a jacket of a book. I never want to have someone show me what the character really looks like - or what some artist has decided the character really looks like - because it always looks wrong to me. I realize that I prefer to kind of meet the text halfway and offer a lot of visual collaborations from my own imaginative response to the sentences.
I would say for everyday I build buildings or houses like a bricklayer with canvas and paint.
What's fun to me is that we can make movies but we are no longer restricted by this two-hour timeframe. It gives us this bigger canvas to paint on. It opens up all sorts of new storytelling possibilities.
The movie I'm really excited about that I had really fun doing is 'Feed the Dog.' It's with Nat Wolff and Selena Gomez. It's really fun. It's raunchy, like 'Superbad' meets 'Risky Business,' kind of. I got to be a really fun character, an out-there Mrs. Robinson-type character. I get to seduce Nat.
I moved to New York when I was 17 and I had no idea what I was doing. I really thought I was going to take that city by storm and it taught me a lot; it was like the school of life. For me, it was like a series of really hilarious experiences in New York with getting jobs and getting fired.
I am used to doing dramatic work, but its fun to grab a gun, and go running around, getting beat-up. Its fun to do the action stuff, because it is really physical. There is nothing like getting into a character by getting beaten up physically.
There's nothing wrong with going out and playing for the fans that have been with you forever. I get it. It looks like a lot of fun. But that's not the thing that drives me. I already did that, and I appreciate everything I got from it, but I want to do something new and fresh.
Sometimes I scrape off a lot. You have on the floor, like cow dung in the field, this big glob of paint... and it's just a lot of inert matter, inert paint. Then I look back at the canvas, and it's not inert - it's active, moving and living.
When I watch the show [Westworld], it leaves me looking at the world around me in a new way. It really stays with you. And it's one of those things that you have to figure out. You're going to get little clues along the way, and every time you think you know what's up, we're going to flip it around. It's going to take you for a really awesome, crazy ride, but it's a really, really revolutionary character for women. There's a lot of really fun stuff to look forward to.
No one would want to pay a penny for an empty canvas by me. But it would be quite another if the empty canvas were signed by a great artist. I would be surprised if an empty canvas by Picasso or Matisse signed and inscribed with the words, 'I wanted to paint such and such on this canvas, but did not do so,' would not fetch thousands... After all, with an empty canvas, the possibilities are limitless, and so perhaps is the cash.
With movies, you come and go as an actor, especially if you are not the lead, from week to week. You don't really have a lot of time to get to know anyone, and then on to the next thing. I know a lot of actors who find fulfillment in playing an entirely new character. I like to stick with one character and create a family with the people around me.
Well we've got to do a lot of kung fu choreography, which was really cool. Like I have, you know, like the big hammer that I use, kind of like a staff in a sense. So I get to use that like a really cool weapon. Kung fu style. And it's just really fun to get to learn that and execute it in a way that looks cool on screen. It just feels really rewarding.
I paint on the ground. I paint with sticks, with big paint cans, and whatever else falls in it. Basically, what I'm doing is capturing unbridled emotion and putting it on canvas. It's like capturing lightning in a bottle.
That was really the Fifties for me - that whole spirit of flicking the paint on the canvas.
I don't paint so that people will understand me, I paint to show what a particular scene looks like.
Life in itself is an empty canvas; it becomes whatsoever you paint on it. You can paint misery, you can paint bliss. This freedom is your glory.
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