Tinashe Quotes

I get to work with great photographers, wear lovely clothes, be part of the creative process.

These last few years, working with Tim Burton, it's been the best time I've ever had.

I like the gritty parts of fashion, the design, the studio, the pictures.

I've always appreciated working with people I have chemistry with, who are friends, and where you feel that the work is growing while you are getting to know each other better.

I never hand in a book until it's completed. Richard Jackson then reads it and asks me to clarify murky points. We work very well together. He knows how hard to push, and I know how hard to push back. He's the only person who can criticize my work without me throwing a hissy fit.

If the chemistry is right between star and photographer and the geometry of the pictures pleases the star, often the two people end up with a long-term professional friendship during which they continue to work together and to produce highly personal images.

I've always worked with my partner, my husband, Cameron, since 'Raw Like Sushi,' and in a way, I feel very free with what I do, but he also has an amazing insight in having intuitions that tend to be right a lot of the time, about where we should go next.

I started modeling at 14. It's simple. You respond to what the photographer wants and wear other people's ideas. I got bored with it, though, so I went to university.

I loved working with Ed Zwick.

My brother's a blast to direct; he's one of those great characters who brings so much to every scene he's in, and we're pals.

Having a connection and chemistry with a director is really key.

If I'm writing a song for Karen Harding, I know I can't impose what I want to say onto her. I literally have to get into her headspace and think, 'what does she want to say?' When it comes to my stuff, it's the same. What can I write that's true to me?

I am honoured to be a part of H&M's designer collaborations. The work with their team is an exciting, fun process. They are very open to pushing boundaries and to set a platform for creativity. This will be a great way for a wider audience to experience elements of the Alexander Wang brand and lifestyle.

Sharing the cover with Irina means a lot. Irina is the most beautiful woman in the world and working with her was a surprise and something very special. It was the first time we did something together. And I enjoyed it.

Those of us who make films try to make something that we're feeling and that we would like. Then we just hope an audience responds the same way. It's very important to have the electrical circuit made, but I don't have control over how people feel when they flip the switch. So the whole idea of marketing research and test screenings is just foreign to me.

With the death of Robert Mapplethorpe, I had lost my main collaborator in taking photographs. So I didn't know who to work with.

Photography is a way of feeling, of touching, of loving.

I think what's great about that relationship between an actor and a Director is you have to really blow away all your thing, the safety things that you put up.

I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.

I can write the stuff and play it myself and have something in my head, but the best feeling is when somebody else plays it and they're hearing something other than what I'm hearing.

Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.

As an actor, you're only one little piece of the puzzle; you're fulfilling someone else's vision. If you're involved earlier on, you're kind of creating your own.

I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.

I had met Michael Stipe, and he was such a kind person, and extremely understanding, so I asked him if he knew a photographer who would come to Detroit, where I lived, who would be child friendly and who would respect my home. Michael suggested Steven [ Sebring]. One day a knock came at my door, and when I opened it, there was Steven. He's been like a brother ever since.

The dance that happens, between actor and director, is a very delicate thing...it's why people tend to work together on many films over and over.