Joan Hickson Quotes
I watch these old films in black and white, and suddenly the door opens, and there I am. The other day, I was wearing the most awful hat.
Quotes to Explore
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At some hotels, I feel like I have to be dressed to the nines - perfectly eccentric - to walk out the door.
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The essential relationship across American history between black people and white people is one of exploitation and one of plunder. This is not, you know, necessarily about, you know, whether you're a good person or not or whether you see black people, you know, on the street, and you're willing to shake their hands and be polite.
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When in life do you get a black and white printout that says this is what you should do? It just doesn't happen.
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Because of where I come from, I never thought I'd see in my life a black candidate running for President.
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One of my personal plights in this business is about playing 'The Sassy Black Girl.'
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My dream part would be to play Mitt Romney's sarcastic black maid. We could call it 'Mammy & Me.'
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Black people must address itself to the causes of poverty. That's oppression in this country.
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It's an ongoing joke that a black man is always the first one to get killed in movies.
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Do I feel that white directors have to tell only white stories? No. Do I feel that black filmmakers should only tell stories about black people? No. If we say that, then that means Asian people cannot write about anybody but Asians. I don't think a woman should only write about women.
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I think that it's hard enough being an adolescent and wanting so much to fit in with your peers, your schoolmates, and to erase any sign of difference, to be part of the group. And being biracial but also being black in a predominately white school marked me as different.
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Black people were very angry with me for writing the book. A lot of people didn't believe me, or didn't want to believe me, and that used to really bother me. It was a very painful and difficult time.
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I wrote a script with my brother which ended up, somehow, on the Black List in 2008.
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After two years at UCLA, I decided to leave. I was convinced that no amount of education would help a black man get a job.
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When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.
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I would never say that being Bob Marley's son has been a pressure. It has been a door opener.
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In a typical history book, black Americans are mentioned in the context of slavery or civil rights. There's so much more to the story.
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Touring is really a pretty lonely business.
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Working with David Lynch, rules go out the door.
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I make films about black women and it doesn't mean that you can't see them as a black man, doesn't mean that he can't see them as a white man or she can't see them as a white woman.
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I believe that each person can make a difference, but it's so slight that there's basically no point.
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Since 1970, I've been using text and ephemera as well as photographs in order to tell stories of one kind or another. There's a thread that runs through all the work that is to do with bearing witness. The photographs are about asking questions, though, not answering them.
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Yoga allows you to find an inner peace that is not ruffled and riled by the endless stresses and struggles of life.
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I watch these old films in black and white, and suddenly the door opens, and there I am. The other day, I was wearing the most awful hat.
