With this film, 'Need For Speed,' with this, we had a blank canvas to work with. What we had to do was have fast cars, and that's it.
Let's just say, if I weren't a model, I'd be a walking collage. I see my body as a blank canvas that's aching to be decorated; I find it all very fascinating.
It's a marvellous life, a gregarious life that we've had. We're very lucky in that way. Unlike writers or painters, we don't sit down in front of a blank canvas and say, 'How do I start? Where do I start?'
I want to make beautiful paintings. But I don't make beautiful paintings by putting beautiful paint on a canvas with a beautiful motif. It just doesn't work. I expect my paintings to be strong and surprising.
One of my favorite beauty products is Vincent Longo Water Canvas creamy blush. I have it in every color and I've been using it for 5 years and that's all I put on when I leave the house. It looks so natural I just put a little bit on my cheeks to give them some color.
Everyone knows my style - I jam my hips in, jam their head into the mat and punch their head through the canvas.
The animation of the canvas is one of the hardest problems of painting.
In film, you're painting a canvas. I got really excited about that.
Perfect isn't normal, nor is it interesting. I have no features without makeup. I am pale. I have blond lashes. You could just paint my face - it's like a blank canvas. It can be great for what I do.
I'm painting the paintings that I want to see in museums. And I'm hopefully presenting them in a way that's universal enough that they become representative of something different than just a black body on a canvas.
