A Quote by D. B. Sweeney

I know some black actresses who have to wait every 19 films for a role. I can be cast in practically every one as a young white male. — © D. B. Sweeney
I know some black actresses who have to wait every 19 films for a role. I can be cast in practically every one as a young white male.
We were in the heart of the ghetto in Chicago during the Depression, and every block - it was probably the biggest black ghetto in America - every block also is the spawning ground practically for every gangster, black and white, in America too.
Here's the thing. We do a movie with a predominantly black cast, and it's put in a category of being a black film. When other movies are done with a predominantly white cast, we don't call them a white film. I'm trying to remove the stigma off things they call black films.
Every time you enter into a job it's a whole new universe. There's a new language with a new power structure. If you are in an all Black cast its a different dynamic, the same with an all male cast or a crew that is mainly women.
I see Americans of every party, every background, every faith who believe that we are stronger together: black, white, Latino, Asian, Native American; young, old; gay, straight; men, women, folks with disabilities, all pledging allegiance under the same proud flag to this big, bold country that we love. That's what I see. That's the America I know!
A young man who came from Columbus, Ohio and made it, and who wants every other young man and young woman, black or white, to know that if I could do it, they could do it. Me and my fans grew up together, and I believe they know I'm a walking billboard and proof of that. That's what I see when I look in the mirror.
We are Christian and Jewish and Muslim and Hindu and none of the above. We are gay and straight. We are black, brown, white, and innumerable combinations. We are young and old, female and male, with and without disabilities, urban and rural, and liberal and conservative. Every one of us is an equal American.
I don't like to do press. But I know sometimes I need to do it because every time I do there's young people - black and white, but I think about young African-Americans because that's the experience I grew up with - who hear it.
'The Red Era' is for everybody. Every gay, every fluid, every black, every white.
I managed to get a short film with Channel 4 Films. I cast a young actor who'd done a bit of television before, a young actor called Ewan McGregor. That was very first thing. This writer had won this competition, and I made this little short, black and white movie. I think for both Ewan and I it was the start of our careers.
A black boxer's career is the perfect metaphor for the career of a black male. Every day is like being in the gym, sparring with impersonal opponents as one faces the rudeness and hostility that a black male must confront in the United States, where he is the object of both fear and fascination.
I look at Woody Allen's prolific career of 30 or 40 films, and I'm watching the clock. I'd love to work at a clip of a film a year. We don't get the benefit of the doubt, particularly black women. We're presumed incompetent, whereas a white male is assumed competent until proven otherwise. They just think the guy in the ball hat and the T-shirt over the thermal has got it, whether he's got it or not. For buzzy first films by a white male, the trajectory is a 90-degree angle. For us, it's a 30-degree angle.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.
Every young male actor dreams of being James Bond in an action movie. And that's their first role. But the truth is, when it comes down to it, that's not relatable.
I saw several actresses play the part. I did not in fact, as far as I know, do anything that any of the other actresses did. I don't think actresses do that. I think that what we do is we see a role as a role, we don't see it as a person. We look at the role and think, 'What can I, as an actor, bring to that part?
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
Every Sunday on Channel 6 in Guadalajara, where I lived, they dedicated most every Sunday to black-and-white horror films and sci-fi. So I watched them. I watched 'Tarantula.' I watched 'The Monolith Monsters.' I watched all the Universal library.
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