Top 93 Quotes & Sayings by Danny Glover - Page 2

The Second Amendment comes from the right to protect themselves from slave revolts, and from uprisings by Native Americans. A revolt from people who were stolen from their land or revolt from people whose land was stolen from, that's what the genesis of the Second Amendment is.

We're trying to tell stories. We're a company that's concerned with global change and the effect of global cinema. We're not simply tied to the very limiting framework of U.S. film-making.

I remember when Langston Hughes used to write a column in black newspapers around this character Jesse B. Semple. He always used that as a voice, sometimes in comic ways, of having everyday people's voice come through this common folk hero, who was an ordinary working guy. He would talk about anything from police brutality to the Korean War. Those kinds of expression and identification are no longer prevalent in our popular culture.

President [Barack] Obama is a man who had certain advantages because of the civil rights movement.

It is the most painful thing to see how young children become collateral damage of wars, but when peace treaties are signed landmines do not respect any of these accords. And as long as these silent killers linger after wars, children will never know peace

What he [Barack Obama] does to change the world - that's what's important.

The strike and its outcome had an enormous impact on the system of education and on our lives as well. The strike began as a response to the college's refusal to hire Professor Nathan Hare [the so-called father of black studies], and certainly unified the college around issues of justice. These issues were reflected in many communities: the Asian American community, Hispanic community, Native American community.

My Toussaint [Louverture] film is in limbo. We still hope after all this time that we can find another way to get this film done.

[The strike in 1968] brought us together with teachers and also with progressive whites. All of us came from diverse backgrounds, but at the same time the reasons why we were at San Francisco State in the late sixties was because of the agitation and movement building that had occurred within our communities. We saw ourselves not separate from the community but intimately connected to it.

The Black Power Mixtape is a documentary, first of all. It brings us closer to the voices we heard at that particular point in time.

In 1967, the students at San Francisco State invited the poet Amiri Baraka to the campus for a semester. He attracted other influential black writers such as Sonia Sanchez, Ed Bullins, Eldridge Cleaver. What emerged was something we called the community communications program. That's how I got involved; I got involved in a little play

Lethal Weapon 2 used the platform to talk about the apartheid system. That was a very important moment for us.

There is a lack of leadership outside the Beltway, outside of politics.

My theatrical background was in the great work of the South African playwright Athol Fugard.

Whole ideology of consumption almost to the point of religion. Whether it's the consumption of entertainment or the consumption around buying things, we're so caught up with our appetites that we don't have a clear distinction about what we need and what we just want. Plus, the decline of trade unions is a factor. When you have powerful unions, you have a working class that is politicized.

Every day of my life I walk with the idea I am black no matter how successful I am.

The civil rights movement didn't deal with the issue of political disenfranchisement in the Northern cities. It didn't deal with the issues that were happening in places like Detroit, where there was a deep process of deindustrialization going on.

It's important for people of color to link up with issues around globalization, food security, health, the environment.

The exceptionalism of a black U.S. President is not important to me. It's what he does - and who he has at the table.

The progressive movement against the war of occupation in Iraq is a reason for hope, as is resistance to free trade agreements in Latin America. Those are moments that we have to celebrate: that people still find the resolve and energy to resist

I didn't elect [Barack] Obama because he's a black; I voted for Obama because he was the right person at the time.

There are things that make me excited about what I'm doing: Trouble the Water [the 2008 documentary Glover executive produced] on New Orleans, or something like Soundtrack for a Revolution, about the power of the music of the civil rights movement [which he executive produced in 2009]. Or Bamako, about the African debt crisis, a platform to discuss the experience of people who actually live it. All of these are important ways we can use film as a forum inviting people into a dialogue.

I was involved with the anti-apartheid movement through my work as an artist and also through my political commitment.

Some of the most amazing stories are happening on the global scene. My extraordinary producing partner, Joslyn Barnes, she's just virtually changed my life with the way she constructed this company and how we go about telling the stories we want to tell.

In The Black Power Mixtape , you hear the voice of Angela Davis - not someone playing Angela Davis.

Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.

Remember, we're talking [in The Black Power Mixtape] about 1967, the year before [Martin Luther] King's assassination. We're talking about the emergence of black power, which is a discussion King mentioned in his last book, Where Do We Go from Here: Chaos or Community? We're talking about the meaning of black power and the possibility that it alienated our supporters, both white and black.

I was a member of the Black Student Union, part of the central committee at San Francisco State. During the 1968 strike there, I was certainly very much involved in the activities that occurred on campus. It was part of an extraordinary period in my life

Just look at the cinema itself: It's comprised of lots of movies about graphic novels, and if you're not 20 years old and wearing a cape and a mask and white, you're out of business. Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.

Mel Gibson is my friend. I love Mel. He's not the person that I hear people are often trying to diminish. Whatever his challenges are in life, he still remains someone I'm very close to.

Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects

Mother Earth is in pain and ailing - bglobal warming. The world is dealing with issues of immigration, deindustrialization, and poverty. When I was born, there were 2.5 billion people living on the whole planet. Now there are 2.5 billion people living on less than $2 a day. That's the kind of reality we have to deal with.

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