A Quote by Zac Posen
I think that maybe growing up and being dyslexic early on, the visual quality of cookbooks specifically was something very enticing to me.
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I think that growing up very poor in a very wealthy town gave me a sense of being an outsider, and I hated it when I was growing up.
The idea of being at home and picking up kids from school and cooking dinner and then the husband comes home - there's something that seems really nice to me 'cause I never had that growing up. And it seems so enticing. But in my mind, I'm like, 'Well, I'll just play that in a movie and go about my own life, bizarre as it is.'
There were many influences on me while growing up. In the late Seventies and early Eighties when I was growing up in Hyderabad, it was a bit more laid-back, and that gave you time to think about things differently without perhaps being caught up in the narrow approach to one's journey through life.
I'm very grateful to being dyslexic and I owe my career to being dyslexic.
Growing up, the question of faith and the question of God, specifically with Christianity, has been something that's informed me quite a lot, but it's also very loaded. The way that it's often expressed in America is very different from the way that I view things.
I think every writer has their waves of inspiration and their ways of doing things. But writing is very difficult for me. It's something I haven't practiced as diligently as my visual art. I've been doing visual art because I think it's easier for me to construct, whereas words are very difficult.
If you're dyslexic I think it's very important to know that you can do anything you want and it's not simply because you're dyslexic that you should be shoved on the side.
I wasn't going to be an actor. I was going to be a lawyer. I came from a family just above working class, just below middle class, a great family of wonderful values. The idea of me having a chance for a law degree was enticing. Enticing to me but also very enticing to my 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.
I was dyslexic - still am dyslexic - and as child, I found things very difficult. I think my father realised that in acting and stuff I could express myself.
Cookbooks have all become baroque and very predictable. I'm looking for something different. A lot of chefs' cookbooks are food as it's done in the restaurants, but they are dumbed down, and I hate it when they dumb them down.
My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.
My greatest gift in life was being dyslexic. It made me special. It made me different. If I had not been dyslexic, I wouldn't have needed sports.
I was very insecure growing up, and even though I'm not that girl anymore, I think that the passion, that not feeling pretty and being insecure, is where my soul came from. And from early childhood, I let it free onstage.
I think guys, because we share a history growing up of being stereotyped, because there are fewer of us in the dance world, that contributes early on to a bond among us. A lot of us share stories of being harassed or teased growing up - there's a certain deep camaraderie that's formed through that shared struggle.
When I was in my early twenties I was doing tenant organizing - rent strikes, specifically - in my building. I think that was how I started doing poster art. It was something very concrete.
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