I think that people are born with a certain makeup, and that we're all children of God.
The idea of transformation is super-important to me. You can see it in the way I approach things. I have never been a clean-faced, freshly scrubbed hair person. I'm the New York designer who doesn't do that. I think about the hair and makeup almost as much as I think about the clothes because it all has to work.
Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.
The Taboo scene was a kind of deconstructed version of the New Romantics. The Taboo crowd was using a lot of the visual ideas that had already been used. I remember the first time I spotted Leigh Bowery and Trojan parading around in clubs: They were in their "Pakis from Outer Space" look, and the makeup was quite similar to one of my old looks, because I was quite fond of wearing blue, green, or yellow foundation, and so I was pretty dismissive of them at first.
We [Afghanistan government] were in the process of cleaning up the government when these attacks happened in the north - not only in Kunduz, but also in other provinces. Our special forces are limited - we cannot be everywhere at the same time and we had to defend every district regardless of how insignificant it might be, because of the very social and political makeup of this country.
I hope my music sets up the platform for me to be able to do lots of things - to have a cowboy-boot line, maybe, or do a perfume or makeup deal.
We can't automatically think about young women in makeup negatively. Sometimes a woman engages in these new forces and energies of beauty coming into her world. They can become tools. She's trying to express her femininity outwardly. I'm still learning too.
When I go home, I am a slug. I want to do everything completely opposite of what I do on the red carpet. I like to take off all my makeup, put on a t-shirt, be completely unassuming and just do stuff with my husband and my daughter.
I don't have any conscious memory of wanting to be an actor, but early on, there was something in my makeup that I felt comfortable with. Then when I was around five or six, I started going to the movies and gradually it dawned on me that I was like one of those people on the screen. And that was it. There was never any question or doubt about what I was going to do for a living.
Whenever you're on television, there's a responsibility to look timeless. I worked with the masters of film, fashion and beauty. I took their words into my soul, like a kind of religion that I exhibited to the world to all of our benefit. To this day, it takes a great deal of time to do my makeup the way I feel comfortable. At 82, it's still a part of what I do. I enjoy it.
We're full of electricity, and the walls and floor of a building contain carbon - the same makeup as a video tape - and I think we give off a huge amount of energy. Some people are able to see that and pick that up. I think almost every person I've met in my life has had some sort of experience that they can't explain, and those fascinate me.
It's very often true that some women look better without makeup, but that's only during the day.
My daughter is just as obsessed with playing in my makeup as everyone's daughter is. She paints our walls and herself and clothes and me. So I have to do makeup in 30 seconds or my whole house is covered in my makeup, because she'll just take it and run.
Why do you do smoky makeup, why do you try to act pretty on broadcast, etc. For hip-hop where purity is important and masculinity plays a large part, I believe it's definitely a critique that could come out.
What makes you attractive is being yourself, being natural, being unaware. Even though makeup is important, you should do it all, and then forget about it. You don't want to look like anyone else, any more than you want to be anyone else. You want to look like you. Imitation may be the sincerest form of flattery - but it's flattering to someone else. Not to you.
Saudi women like makeup. And I'm OK with that. If that's what you want to make you feel good, go for it.
Don't wear makeup all the time. When you wear makeup all the time it clogs your pores.
Warner Brothers had to hire [a stunt double] and no one thought a child could do this. Billy Friedkin came to me before we were filming [The Exorcist] and said "if you do not do all of this film, the film will be a joke." It's why they stripped the makeup down to the bare minimum, a piece on my chin, piece across my mouth that disfigured my mouth. You have scars here. Take away my eyebrows. It was my real hair. Shampoo was put in it that dried.
One thing I really don't like seeing is when girls do a full contour and then foundation and then powder and then more contour and it's a full face of makeup. I don't like that at all.
There are women in makeup and hair and wardrobe, but not in camera, not in sound, you know, and not in special effects. It's all men.
The makeup [for Count Olaf] took about two and a half hours every morning. The meditation was another hour and a half. I would eat a big breakfast - that was probably 45 minutes. And then it was lunch.
Nowadays people don't use face powder; they say it dries the skin. But I makeup in the old-fashioned way.
Most men when they make up their faces, the makeup stands forward, and their faces are behind.
I met [Gilda Radner] on the first night of filming ... Hanky Panky that Sidney Poitier was directing. And it's funny, I was in costume and makeup - my tuxedo and makeup because I'd done a few shots before she arrived, and she told me later that she cried all the way in, in the car, because she knew that she was going to fall in love with me and want to get married.
Initially I objected to the Data makeup. I said, "Why do I need this makeup? Why can't I just look like me?" In fact, I said to Gene Roddenberry, "Don't you think that by this time in history, they would've figured out how to make skin look like skin?" And he said, "What makes you think that what you have isn't better than skin?" And I went, "Um, okay."
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