A Quote by Anna Paquin
We all had to learn Southern accents. It wasn't a big research show. With the 'Wounded Knee' project, I locked myself in my apartment with history books so I would know what we're talking about.
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Fortunately, I come from an activist mother, so I didn't have to rely on the history books. The history books teach us nothing about the Underground Railroad aside from Harriet Tubman. So I knew more about it but, obviously, I had to dig deeper and expand my knowledge and do a lot of research once I took this project on. I had, like, a good two months to research before we started shooting, which isn't a lot, and I continued it throughout the five months of us shooting.
Our sacred beliefs have been made pencils / names of cities / gas stations / My knee is wounded so badly that I limp constantly / Anger is my crutch / I hold myself upright with it / My knee is wounded / see / How I Am Still Walking.
She stood looking carefully at the labeled portraits Ursala had put up: Little Crow, Chief of the Santees, Geronimo, last of the Apaches, and Ursala's favorite, Big Foot, dying in the snow at Wounded Knee. "Isn't that where the massacre was?" asked Ellen. "Yes. I'm going to go there when I'm grown up. To Wounded Knee." "That seems sensible," said Ellen.
Jimmy Carter, of course, was beloved. Peanut farmer. Came out of nowhere, governor of Georgia. Normally Democrats hate Southern accents, 'cause Southern accents equals Deliverance, equals hayseed, equals idiot. But if it's one of them... But you had to look the other way with Jimmy Carter and then here came Bill Clinton later. So depending on where the Southern accent's from, they'll make an exception and not be prejudicial about it. But for the most part, a Southern accent may as well be a slave owner as far as Democrats are concerned; they want no part of it.
[Judge and Jury] is outstanding. I have
learned more about the history of
baseball, true history, than from
anything I have ever read or heard
about. [It's] research and documentation
clarifies so many of the personalities
and events that took place before 'my
time' in the game. Jacques Barzun's
quote: 'Whoever would know the heart
and mind of America had better learn
baseball' should be supplanted by [this]
biography of Landis.
America is a melting pot for all different groups of people, historically. And it's rare that the story of all of these people will be told in the history books. So I always felt I had to find out my history for myself and research my roots.
I had to really learn what it meant to be on a set and what the expectations were and what producers are. I had to learn who I'm talking to and what their functions are. I had a couple of gaffes: I would ask a person a question, and it wasn't their job. I had to Google their job description. That was the first big adjustment.
I can learn a lot from reading briefing books and talking to experts, but that pales in comparison to what I can learn from going out and talking to people about what they're actually experiencing and hearing about their ideas.
My grandmother and I would go see movies, and we'd come back to the apartment - we had a one-room apartment in Hollywood - and I would kind of lock myself in this little dressing room area with a cracked mirror on the door and act out what I had just seen.
Many people talk about me entering the history books as the first female in 22 years and what a big moment it was. And I'm very flattered that I managed to do something historic, but in all honesty I was out there for me as a racing driver and to show everybody what Susie Wolff is capable of not to put my name in the history books.
Sometimes I'm asked if I do research for my stories. The answer is yes and no. No, in the sense that I seldom plow through books at the library to gather material. Yes, in the sense that the first fifteen years of my life turned out to be one big research project.
Whenever you get involved with talking about rights, you're talking about being a citizen. You're talking about being a citizen in capitalism; you're talking about what rights are granted to what identities, under what laws, and all that is a big mix. Marriage is, among many other things, a formality to channel capital through a family. And that's why the big DOMA lawsuit was about paying too many taxes! "I wouldn't have had to pay all these taxes if Theodora had been Theo" - that was the big tagline. It's all about protecting assets.
when I walk into an apartment with books on the shelves, books on the bedside tables, books on the floor, and books on the toilet tank, then I know what I would see if I opened the door that says Private - grownups keep out: a children sprawled on the bed, reading.
A kid is always locked down inside their family. In the film, I felt like talking about loss and death, which we've had a lot of right now, but you know, the experience of lockdown maybe gave me more courage to believe we could create cinema while all locked in our houses.
I like as much time as I can get and I'll do whatever I think is helpful to prepare for a role. Sometimes it's practical research, meaning if I had to write shorthand, I'd learn how to write shorthand. Or if I have to know how to dance a certain way, I would learn that. And then there's just research of talking to people similar to the characters I'm playing. And there's stuff that I just feel is inspiring, whether it be music or a painting or a photograph. I've used a lot of Nan Goldin's photos in the past to inspire me. I use certain paintings and pieces of music.
There are 20,000 million books I could have to read, but I can pick the ones and know that I'm learning something that I didn't know before. That's the glory of writing. It's not even so much the writing, it's what you learn - especially history - because so much of it is research.
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