It's funny because I went to a predominantly white school, but for some reason they always picked the musicals that were supposed to be done by totally black casts.
I barely read. I'm not a good reader at all. Rather than reading, I used to sit in front of the TV and watch black-and-white cowboy movies. I'm a painfully slow reader. It's really bad as an actor, because you have to read a lot of scripts. It takes me like an average of three hours to read a script, which is pretty poor.
Some black filmmakers will say, "I don't want to be considered a black filmmaker, I'm a filmmaker." I don't think that. I'm a black woman filmmaker.
I'm just as white as I am black, and I'm just as Russian Jew as I am West Indian.
People do come up to me quite a lot. I get called all of it. I rarely get called my name; it's usually "Hey, Dr. Edwards!" or "Algernon." The most common thing is, "You're the black doctor on that show!" I'll take any of it, because I've definitely been called much worse things.
Alas, passion is conducive to certain other things because when you have too much passion and you have too much work, you possibly end up having black holes. The danger is too much passion.
I'm always kind of contradictory to what people want and what's selling. But maybe I should care now because I have two or three more outlets. I have to be more adaptable color-wise to what people want. It's usually just black and pink, and that's it.
I knew that there were black people in Africa, of course, unfortunately because of movies such as 'Tarzan.'
I come in with this rock 'n' roll-oriented music, and it's not black enough . . . I've always had to deal with this black-white thing.
I think kids in Europe have developed a deeper knowledge of music and of black music in particular. You go to Europe, and these kids know about all this obscure funk and soul that kids over here wouldn't know. I think it's getting better in the States, though, with the age of the Internet.
In the time just before the bombing of Pearl Harbor, when Perfidia opens, we were pre-psychologized. There were no concepts of identity, no politics of victimization. Reparation wasn't in the language. Nobody thought about giving the great grandchildren of black slaves so much as $1.98. And all of a sudden the bombs hit, interventionism versus isolationism became a dead issue, and it was us-versus-them in a heartbeat.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
A lot of my friends were mostly working in black-and-white-people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing. What each of us was doing photographically was entirely different, but we were basically coming from the same place, sort of like a club.
When you are trying to get a shot, you can't be pleasing everybody. And I tend to be sort of collaborative and a bit of a pleaser. And when I'm directing, people just sort of call me Black Hat Gabriela. Because suddenly they're like, "What happened to you?" Because I stop listening. And I feel strident. I feel rude. And I feel un-collaborative.
For two hundred years Haiti has been swimming upstream. We were the first country in which independence was won by a group of slaves - black slaves. Across the water, the country that had just achieved independence - the U.S. - still practiced slavery.
There's this scene in "The Night of the Hunter" when the kids are downstairs, and you have the feeling that they're both in a room and at the same time it looks remote. And you wonder, How can you give the effect of both "inside" and "outside" at the same time. And you realize, by watching it many times, that around the scene there's this black edging.
The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. "Persepolis" also has dreamlike moments, and the drawings help maintain cohesion and consistency.
I think back to back romantic comedies are good for black film.
I don't feel that America has a black dude right now. I'm that dude.
Obviously, I can't tell the story of what it is to be a black girl, but maybe I can tell something else. Girlhood is not about what it's like to be a black girl, it's about what it's like to be a girl.
The colors black and white are my uniform, to honor the working class. People like my parents, who were janitors and had to wear a uniform every day. It keeps me grounded.
We're historians and above all want to write about what was. Our book doesn't deal with legacies. It also wasn't our goal to destroy a legend. We consider Walesa to be a national symbol. He led Solidarity and remains an icon. But he also worked with the secret police under the name Bolek. The truth isn't always simply black and white.
For horror to work, you have to be afraid. You have to keep the monster in a black and white light.
All my friends were black and Mexican. I was the only white kid in our group and had to work hard to be accepted. Year after year, we'd breakdance and we all became close and they labeled me "Vanilla" - like "Hey, Vanilla" and they knew I hated it, so of course they kept calling me it.
I just said let's get some poets on tv. And when they said that sounded unlikely, I made it worse. I said, no man, I want to put a bunch of black poets on stage, too. Some Latino poets who barely speak English and Asian poets who can't believe how discriminated against they are. It was luck nad being in the right place. I wasn't saying nothing somebody else wasn't saying but they wouldn't hear it from them.
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