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'Moonlight' is a story that hasn't been told. Whether placed as queer black cinema or urban male cinema, the lack of coming-of-age films featuring people like Chiron and set in places like inner-city Miami is pronounced and unfortunate.
It's interesting because I think class is a heavy, heavy part of 'Moonlight,' and I think, in a certain way, through the sum of all these parts, it's become a commentary on the black experience in America.
Cinema is a little over 100 years old, and a lot of what we do is built around film emulsion. Those things were calibrated for white skin. We've always placed powder on skin to dull the light. But my memory of growing up in Miami is this moist, beautiful black skin.
Until 'Moonlight,' I had never seen one black man cook for another on screen. But I wanted the characters to be free of 'groundbreaking' or 'never before.' We were ascribed those things. They weren't the point.
Getting involved with 'Black 47' was like getting involved with 'Dunkirk' for me. I learned a lot. But 'Black 47' was my own history from my own country.
Everything was black in the harbor, but there were still some fires burning on the ships.
Until recently, Hollywood offered only a handful of roles to actors of color. The majority of my opportunities have fallen into two categories: Scary Black and Funny Black.
Plenty of black people that I know have been on 'SNL,' and they haven't been utilized to the best of their abilities.
I grew up on a very specific diet of certain weird movies. Of course, being black, there are more black movies in there. I'll get to bring some of those references into 'Mystery Science Theater 3000.'
I have this L'Oral Superstar mascara, it's two sizes: One side is to make it thicker, and then you put the black layer on, and it gives a beautiful look.
I like to think that Junie B. looks at the world - and this isn't a negative comment on her - from the lowest common denominator. It's not all gray to her; it's all black and white.
One of the greatest gifts of Black feminism to ourselves has been to make it a little easier simply to be Black and female.
Black women, whose experience is unique, are seldom recognized as a particular social-cultural entity and are seldom thought to be important enough for serious scholarly consideration.
A major problem for Black women, and all people of color, when we are challenged to oppose anti-Semitism, is our profound scepticism that white people can actually be oppressed.
In fact, there is clear evidence of black intellectual superiority: in 1984, 92 percent of blacks voted to retire Ronald Reagan, compared to only 36 percent of whites.
There is not a liberal America and a conservative America - there is the United States of America. There is not a black America and a white America and latino America and asian America - there's the United States of America.
North Korea faded to black in the early 1990s. With the collapse of the Soviet Union, which had propped up its old Communist ally with cheap fuel oil, North Korea's creakily inefficient economy collapsed. Power stations rusted into ruin.
I am the public, a boy from Chandigarh who's bought tickets in black and revered films since childhood, and when I choose scripts, I take out the garb of an actor-slash-star, and I consume the script as a layman.
I'm trying to get people to see that we are our brother's keeper. Red, white, black, brown or yellow, rich or poor, we all have the blues.
I've said that playing the blues is like having to be black twice. Stevie Ray Vaughan missed on both counts, but I never noticed.
Water from the white fountain didn't taste any better than from the black fountain.
Back when we was in school in Mississippi, we had Little Black Sambo. That's what you learned: Anytime something was not good, or anytime something was bad in some kinda way, it had to be called black. Like, you had Black Monday, Black Friday, black sheep... Of course, everything else, all the good stuff, is white. White Christmas and such.
I love Daredevil. I thought it was enjoyable. Okay? There were critical issues with it, and that's why I wear black, some people wear red - we are entitled to our opinions.
I decorated my house like a medieval gothic castle, European-style. Chandeliers and red velvet curtains. My bedroom is pink and black, my bathroom is totally Hello Kitty, I have a massive pink couch and a big antique gold cross.
Rap was started by black people and, thus, is at the foundation of black culture. So people cannot always wrap their minds around someone like me being inspired by it. But if you listen to the things we're saying, they're authentically us.
The liberal psyche wants to protect minorities, to apologize for imperialism, colonialism, slavery, and the appalling treatment of black people during the civil rights movement. At the same time, they want to continue to defend the rights of individuals.
I happen to be black and a woman and unapologetically proud to be both, but that is not the totality of my identity.
Let me be abundantly clear: I am black, and I am a woman, and I embrace both of those facts.
I am black and a woman and unapologetically proud to be both. But I've never asked anyone to vote for me because I'm black and a woman.
I was a bit of a humour black sheep. I would make these jokes full of irony and dark cynicism and that just didn't work when I was seven, people did not laugh.
I think that if we really want to break it down, that non-black filmmakers have had many, many years and many, many opportunities to tell many, many stories about themselves, and black filmmakers have not had as many years, as many opportunities, as many films to explore the nuances of our reality.
I wish I could be the black woman Soderbergh, and put the camera on my shoulder and shoot beautifully while I directed.
We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.
I'm not signing on to direct 'Black Panther.' I think I'll just say we had different ideas about what the story would be. Marvel has a certain way of doing things, and I think they're fantastic, and a lot of people love what they do. I loved that they reached out to me.
I never had a desire to be a filmmaker. As a child and a teenager and in college, I was not aware of black women making films.
There's really no precedent for someone like me gaining clout in the space that I'm in - a black woman directing films in Hollywood.
It's not enough even to have one black Barbie... because black women are not a monolith.
One of the reasons why I created the podcast called the 'The Call-In' that we do through Array - because as a black artist, every time I sit down with mainstream media, I'm asked about issues of race, identity and culture. No one asked what they ask my white male counterparts, which is: 'Where do you like to put the camera?'
I think that black people making art, women making art, and certainly black women making art is a disruptive endeavor - and it's one that I enjoy extremely.
Nothing good bursts forth all at once. The lightning may dart out of a black cloud; but the day sends his bright heralds before him, to prepare the world for his coming.
Black women are supposed to be 'strong,' but the burden of carrying our race and carrying our families adds the pressure.
The roles that I feel I get, or handed to me, or whatever, are not that interesting. I don't think it's a problem that's specific to black women. I think it's a problem that's specific to movie-making in America.
I don't think that a vote for Barack Obama is a symbolic thing. I think it's much more than that. It's not just a black man. It's not just a feel-good vote. It's the idea of electing someone who really does want to make a difference.
I remember how being young and black and gay and lonely felt. A lot of it was fine, feeling I had the truth and the light and the key, but a lot of it was purely hell.
Black women are programmed to define ourselves within this male attention and to compete with each other for it rather than to recognize and move upon our common interests.
Black women sharing close ties with each other, politically or emotionally, are not the enemies of Black men.
Black writers, of whatever quality, who step outside the pale of what black writers are supposed to write about, or who black writers are supposed to be, are condemned to silences in black literary circles that are as total and as destructive as any imposed by racism.
But, on the other hand, I get bored with racism too and recognize that there are still many things to be said about a Black person and a White person loving each other in a racist society.
In discussions around the hiring and firing of Black faculty at universities, the charge is frequently heard that Black women are more easily hired than are Black men.
We have to consciously study how to be tender with each other until it becomes a habit because what was native has been stolen from us, the love of Black women for each other.
Blacks have traditionally had to operate in a situation where whites have set themselves up as the custodians of the black experience.
I think all in all, one thing a lot of plays seem to be saying is that we need to, as black Americans, to make a connection with our past in order to determine the kind of future we're going to have. In other words, we simply need to know who we are in relation to our historical presence in America.
In 1977, I wrote a series of poems about a character, Black Bart, a former cattle rustler-turned-alchemist. A good friend, Claude Purdy, who is a stage director, suggested I turn the poems into a play.
Most of black America is in housing projects, without jobs, living on welfare. And this is not the case in 'The Cosby Show,' because all the values in that household are strictly what I would call white American values.
With my good friend Rob Penny, I founded the Black Horizons Theater in Pittsburgh with the idea of using the theater to politicize the community or, as we said in those days, to raise the consciousness of the people.
Scripts were rather scarce in 1968. We did a lot of Amiri Baraka's plays, the agitprop stuff he was writing. It was at a time when black student organizations were active on the campuses, so we were invited to the colleges around Pittsburgh and Ohio, and even as far away as Jackson, Mississippi.
I write the black experience in America, and contained within that experience, because it is a human experience, are all the universalities.
White artists have made millions of dollars off music they stole from black artists. I don't blame all the white artists. I'm a huge Stevie Ray Vaughn fan, and he was always very gracious about where he learned his music. But a lot of the time, you'd think the white guys thought it up. Hey, hasn't anyone heard of Muddy Waters?
'Copper' is my first period piece. It's funny because I've been doing a lot of episodes of 'Elementary' with Johnny Lee Miller and Lucy Liu; they keep bringing me back on the show, and so I go from being an outstanding black doctor to being a kind of hood, ex-car thief who went through rehab in 'Elementary.'
In a law enforcement situation, black people are not always treated the same as white people would be.
There are so many stereotypes of how you have to be as a black man, growing up in the community as a man.
I feel like a lot of black men 'put on' because of what they see and because of what people tell them they have to be.
The sad reality of it is, as black artists in the industry, we still have to work 10 times harder to get our voices out there.
Anything that's outside the standard of the average black male is looked down upon. For me, I wasn't raised playing sports. I was artistic, so that was looked down upon by people in my church, and I was teased for that growing up in school, so it goes both ways.
I wasn't like the rest of the kids. I was an artist. Living in a black society, when you're raised around a bunch of boys who plays sports and chase girls, there's this perception of masculinity that's super hard to fit into. I wasn't the stereotype of that like a lot of my peers were.
Binaries, whether it's 'man' or 'woman,' or 'black' and 'white,' were created to separate us. So without binary, there is only 'us,' which makes us all equal.
This character I play on 'OITNB' is an antagonist in a Black Lives Matter storyline, but you need antagonists in order to tell those stories.
I wasn't your normal plus-size girl who would dress in all black and hide in the shadows. I was very out there. But I was very shy and insecure about certain things.
I want to offer plus-size women the opportunity to wear fun colors and to avoid the pitfalls of only wearing black because many curvy girls think it is the only color that is slimming.
Everybody says black makes you look slimmer, but what about those other colors that also complement your skin tone or your figure and things like that?
My work on black holes was on the connection between black holes and elementary particles.
My work indicated that if we consider smaller and smaller black holes, at some stage, the properties of black holes become indistinguishable from those of elementary particles.
I love good old-fashioned black or white Converse. I have a few pairs. And they are all really dirty. I can't have clean Converse - I go in the dirt and run around!
I like edgy but classic looks - like Chanel mixed with Alexander McQueen. My personal style is edgier. My closet is just black, gray, and white. I'm more comfortable in darker colors and leather jackets.
A lot of sequins for New Year's! Red, green, white - I fail at all of that because I'm always in black. But for Christmas, I do love wearing cute dresses with tights and a pair of boots.
I've not just played for England. I've done it for all the black players out there - to prove that they can do it.
I've played 100 caps for England, for my country. Being the first black player, I think, is amazing.
To not see black or Latina women as famous in my industry is crazy! I have to talk about it.
The sum total of what I learned about African American culture in school was Martin Luther King Jr., Rosa Parks, and the Underground Railroad. This was more than my mom knew; she didn't even see a black person in real life until she was 18 years old.
When I was a teenager, my parents made me take a part-time job at the local Black Eyed Pea, which was a home-cooked-food family restaurant.
I'm going to be a fashion icon in a minute. I'm not going to do it in a corny manner. I have a voice that speaks for a whole other market - not just black people, but high fashion urban people. I mix street wear with high fashion. It's never been seen before.
In Harlem, I got all my black friends. But when I go downtown, I got black, white, Asian, Indian friends. There's no borders, no barriers.
I think the most overused words in our vocabulary in the South are black and white.
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