A Quote by Whitney Port
I think it's hard to have a camera in your face every day. If you're not already confident about how you look, then you're going to want to do things to change it.
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I'm now in my mid-thirties, so I look in the mirror and my face is changing, and I have a different relationship all of a sudden with myself. Your face changes, things change - that's just kind of what happens. It's hard, though, in this industry, because I think so much importance is put on how you look, and I'm not brave enough to be like, "You know what? I'm just going to let it happen. Whatever. I'm so cool with every line on my face."
Think about how you are going to feel if you eat the healthy food, how you are going to look in a bikini next summer or in skinny jeans. Think about feeling strong, healthy, confident. You'll be more confident in the bedroom, more confident at the office.
When you think about being a director, you think about writing stories, putting the camera in interesting places and directing the actors to get your vision, but it's hard to imagine even this process... sitting here nine months later talking about the film and talking about it 20 times in one day. You don't even think about the part where you come to the set every morning and everyone's looking at you to see your mood in order to see what the day is going to be like, and the influence that you wield.
I think somebody's got to be cutting-edge. It just depends how you want to market your magazines and how big you want them to be. We look upon competition as what it is. It's there, you pay attention to it, but you don't live by it. You have to go on and grind it out day to day and do the best you can with your magazine every single day.
Things happen very quickly and they have to happen quickly in order to have vitality, which I think is essentially part of a good pot. But in addition it means that you can explore an idea and change it and then change it and then change it; I don't mean by changing the one pot, but you make one pot then you make another that's related to that; you make another - you can make 50 pots in a day and none of them are going to be carbon copies of any other, but they'll all be related because there's something going through your mind about the form on that particular day.
The way I think of it is that Russia is not going to change fundamentally. They may change tactics; they may look at their interests and figure out what actions they take, but they're not going to change fundamentally. And they're going to try to gauge what will the responses be to things that they do, and what will our things be. And here, they do wonder what is the level of our resolve? How far are we willing to go? And that is something that is very hard to gauge.
There has been inequality for so long, and now that someone like Trump is in charge, we're face to face with how much misogyny there is in the world. But things are moving quickly, and you just want to say, 'Let's think about this, because we don't want to jeopardise real change.'
I went from being a casual songwriter who wore big sweatshirts and leggings every day to someone telling me I was going to be a pop star who's on camera every day. I didn't know a lot about fashion because I had kind of given up on my relationship with clothes. Now, I have a stylist that's shown me the right places I can show off my body - but I still stick to my comfort zone in fittings. I want to be covered and I think I can be sexy fully covered. That learning process has been helping me with my confidence. And I follow actresses and singers who post on social media about being confident.
You can do things in every part of the world. You can do things in every discipline. You can do large things, you can do small things. But it takes a while to figure out what you actually want to do. And it changes. As you change your interests and desires in philanthropy change, I think you have to be open to that change.
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?"
I think if you're stressed, it shows in every part of you; how you carry yourself, which then affects your pose, how you hold your face, which then makes you look stressed and so nothing looks relaxed.
It's just a matter of who you are and how you talk to people. Your subjects will trust you only if you're confident about what you're doing. It really bothers me when photographers first approach a subject without a camera, try to establish a personal relationship, and only then get out their cameras. It's deceptive. I think you should just show up with a camera, to make your intentions clear. People will either accept you or they won't.
Every time you do a true story - and I've done a few - you have to look in the mirror and say, 'That's close enough. I'm comfortable with this.' You're always going to compress time; you're going to change the order of things. But I don't think you want to tell a big lie. You want to think that you're embracing the truth.
I think we have a choice every single day in how we want to live our life. You wake up and you make your choice of what you want to do with your day that's going to help you achieve your dream.
It's hard for people to see how they can change how dismal things look, but there are still wonderful things to sing about. Music is the only way we are capable of talking about the most important things.
Working on camera, your face is your career. But I'm not really one to buy into the pressures. At the end of the day, the job I do, it's more about the art and craft of it. If you're good at what you do, there's a place for you in the industry, no matter what you or your skin look like.
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