A Quote by Andre Holland

I have worked with Tarell Alvin McCraney, who is the play Moonlight is based on. He's a company member at Steppenwolf. I have done a could of his plays here. — © Andre Holland
I have worked with Tarell Alvin McCraney, who is the play Moonlight is based on. He's a company member at Steppenwolf. I have done a could of his plays here.
I have known Tarell Alvin McCraney for ten years but the involvement with Moonlight came more with Barry Jenkins, the director. He was a fan of the show I did called The Knick. He was also with Plan B Entertainment, who produced Selma. That is how I got involved.
It [Moonlight movie] deals with drug addiction, drug dealing, and single parenthood, but they are three dimensional characters. You understand where they are from and what they are trying to do with their lives. It is not a stereotype that has been pasted onto somebody. These are stories that come from Barry's [ Jenkins] and Tarell's [Alvin McCraney] mothers.
I went down and spoke to some of the people who lived in the neighborhood in Miami. At the end of the day I think my connection with Tarell [Alvin McCraney] is what helped me the most.
I had a cheat sheet because I knew Tarell [Alvin McCraney]. His movie is largely autobiographical. I knew about certain events in his life and some of the people he talks about. I had visited the place where he lived many times so I understood innately what that was.
I wanted to work with Barry [ Jenkins]. I am a big fan of his from Medicine for Melancholy years ago. Tarrell [Alvin McCraney] is my favorite playwright. I will do anything he asks. The characters were so clearly drawn and three dimensional. It was an easy thing to say yes to.
Richie Faulkner is very respectful to the songs that he plays from when [founding member] K.K. [Downing] was in the band. He plays them incredibly. And he's got his own nuances and his own techniques that he puts in - as he should.
I could play a cop, I could play a crook, I could play a lawyer, I could play a dentist, I could play an art critic-I could play the guy next door. I am the guy next door. I could play Catholic, Jewish, Protestant. As a matter of fact, when I did The Odd Couple, I would do it a different way each night. On Monday I'd be Jewish, Tuesday Italian, Wednesday Irish-German-and I would mix them up. I did that to amuse myself, and it always worked.
For two years I was a member of a repertory company in Los Angeles, doing mostly original material, plays written by the director.
'Moonlight' is a project that resonated with me more than anything else. I wouldn't have done 'Luke Cage' if they hadn't made time for 'Moonlight.'
Fred Astaire was retired when he worked in 'The Pleasure of His Company.' They were lucky to get him to play the father part.
I found it was my good fortune to somehow be able to work in these forms that I loved when I was a kid. I love movies and I could write screenplays. I love theater and I could write plays. I mean, they would be my own, I could never write what was used to be called the well-made play. But my first play, "Little Murders," turned out to be a great success and a great influence on plays at that time.
Woodie King Jr., in 1970, had started a company called the New Federal Theatre, which was ensconced at the Henry Street Settlement. I did a number of plays there, and I auditioned each time. The plays were mostly new. New York was very fertile ground; there was a plethora of African-American plays being done.
I worked with Ismail Merchant on 'The Mystic Masseur,' I did 'Sakina's Restaurant,' I've done plays, I've been on Broadway, I've done movies, I've done TV... but nothing has had the pop culture penetrative impact as 'The Daily Show' has. It's the nature of the beast.
I've done as much as I could and as hard as I've worked to try to be ready, but we'll never know until I actually play.
When I was 20 years old and first with the Steppenwolf Theatre Company, we had an 88-seat theater in a basement and no money.
I was only in one play at Steppenwolf, in the early days.
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