A Quote by David Adjaye
In a way, going to Africa allowed me to see possibilities that sometimes seem impossible in certain conditions. It also allowed me to see opportunities for material strategies. I hate it when people think I went and got something [from Africa] and brought it here. It's more about how it affects the way in which I work and affects [my] creativity.
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Playing on turf affects everything, you know, it affects the way the ball rolls, it affects the way the ball bounces, it affects the way you think about whether or not going into a slide. It's kind of a nightmare.
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As a filmmaker, like any artist, when something affects me emotionally I think about it in those terms. It's my way of dealing with my thoughts, my fears and my hardships. I think the same can be said with any artist. For a musician, you're going to write a song about something that affects you emotionally.
As a filmmaker‚ like any artist‚ when something affects me emotionally I think about it in those terms. It's my way of dealing with my thoughts‚ my fears and my hardships. I think the same can be said with any artist. For a musician‚ you're going to write a song about something that affects you emotionally.
The women's movement gave me a set of tools to think about things like my body and how people react to me and the way that my dating life was going. It's a very practical movement - yes, it's about issues like how we can get more women MPs elected, but it's also about how feminism affects things like your relationship.
Sometimes I go home, put the game on, and think, 'How can I miss that?' It affects you; it also affects you to know your career also depends on the opinion of journalists, fans, directors, and sometimes they're not really qualified to judge.
I do care about what people think about me sometimes, and sometimes it affects me in a negative way.
I've often used the extremes in my work to comment on the mainstream. I think that sometimes a subject that I'm working on, like popular culture, is so present all around us that they're hard to see. It's like: How do you see the air you breathe? How do you see how it affects you?
Any atrocity that's committed against one person affects us all, and we are becoming more of one society, of a global society, so something that happens in the Middle East or something that happens in Africa, something that happens in Asia, affects all of us.
I think I just grew up with this receptivity that a lot of people might shut down at an early age because of the influences around them. I didn't really have that, so it just allowed me to trust what I see, hear and feel a lot more. It allowed me to have more confidence in going with my gut.
You see, Africa makes a fool of our idea of justice. It makes a farce of our idea of equality. It mocks our pieties. It doubts our concern. It questions our commitment. Because there is no way we can look at what's happening in Africa, and if we're honest, conclude that it would ever be allowed to happen anywhere else.
It always struck me that Africa was, in a strange way, a futuristic place and had elements and vibes and spirits that were going to inform the future. Africa Express is an attempt to engage that power outside Africa, and for everyone to benefit from it.
I'm not concerned with people seeing me in a certain way. Some people see me as a kid, some people see me as an adult. But I'm seriously not going to complain how anybody sees me, as long as they see me.
Africa - You can see a sunset and believe you have witnessed the Hand of God. You watch the slope lope of a lioness and forget to breathe. You marvel at the tripod of a giraffe bent to water. In Africa, there are iridescent blues on the wings of birds that you do not see anywhere else in nature. In Africa, in the midday heart, you can see blisters in the atmosphere. When you are in Africa, you feel primordial, rocked in the cradle of the world.
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