Alanis Obomsawin Quotes
Racism and prejudice exist there at the National Film Board like anywhere else. My history at the Board has not been easy. It's been a long walk.
Quotes to Explore
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I think, doing a first film, at some point you get halfway through, and you wonder, 'Is this is good enough to define who I am for the coming decade?'
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To get a film in Cannes is a real honor. To have it play and not get booed is a real relief.
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But the process of making a film is not glamorous. Certainly not my films.
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My character in 'Batman v Superman' isn't supposed to be Japanese, but director Zack Snyder said he'd seen me in 'Wolverine' and had to get me in the film somehow. Hearing that was like music to my ears.
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That's what film can do in a way that TV and other long-form storytelling can't. It gives you this very immersive moment.
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Redlining went beyond FHA-backed loans and spread to the entire mortgage industry, which was already rife with racism, excluding black people from most legitimate means of obtaining a mortgage.
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The film depends on the audience's belief in this relationship.
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My boy cousins used to sit my older brother and me down and take us through a film-studies course. It included 'Tremors', 'The Goonies', and, of course, 'Star Wars'. That was when it began: sitting cross-legged watching as the opening crawl goes up the screen.
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I make sure that whatever film I do, I enjoy my role.
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I've only used my own voice about four times on film.
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I love moments in film where there's no dialogue, and somebody communicates something with a look that kills you. That's why I love going to the cinema.
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We must confront our own racism. Discriminatory housing and employment policies are nothing more than institutionalised racism.
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My generation of Americans was the first to really care about racism and sexism, not to mention the I Ching, plus, of course, the Earth.
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I love film. I've always been enchanted by doing film. It's something I grew up watching - classics and directors I admire - so that's something I've always been passionate about.
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I've seen people glaze over when they're confronted with racism, and there's nothing more, you know, damning and demeaning to having any kind of ideology than people just walking the walk and saying what they're supposed to say and nodding, and nobody feels anything.
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Beautiful film music can be made relevant to any period.
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The norm is white, apparently, in the view of people who see things in that way. For them, the only reason you would introduce a black character is to introduce this kind of abnormality. Usually, it's because you're telling a story about racism or at least about race.
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I've done a lot of TV, but not film.
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I'm Method trained. How is this character like me? What does she think of her mother? What does her mother think of her? It's like construction, and then, yes, you hope you're talented and that the universe aligns and captures the kind of laborer's work you've done and whatever else sprinkles down on you, and it's all caught on film or onstage.
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All my life I've been aware of the Second World War humming in the background. I was born 10 years after it was finished, and without ever seeing it. It formed my generation and the world we lived in. I played Hurricanes and Spitfires in the playground, and war films still form the basis of all my moral philosophy. All the men I've ever got to my feet for or called sir had been in the war.
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I am now mainly painting faces and landscapes; I am obsessed day and night by the vision of faces and colours. And the spiritual vision is my mystical world.
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Every film is a puzzle really, from an editorial point of view.
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What connects me so strongly to Israel is the fact that I'm second generation.
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Racism and prejudice exist there at the National Film Board like anywhere else. My history at the Board has not been easy. It's been a long walk.
