A Quote by David Harewood
The idea that American producers and directors are choosing black British talent to save themselves a buck or two is ridiculous - it's because we're damn good.
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I find respect for a mediocre British composer, as opposed to a really good American, ridiculous because they automatically respect a composer if he's from England.
I don't want to rescind American directors but I think that European directors in general, because of the size of the nations in Europe are exposed to all different cultures, they can easily travel from one distinct culture to another in a matter of hours - you can drive for two weeks across the United States and you're in the same basic culture - so there is a certain breadth of understanding and sophistication that they bring to it and frankly, in some cases they are less expensive than American directors.
I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.
Talent is no accident of birth. In today's society a good many people seem to have the idea that if one is born without talent, there is nothing he can do about it; they simply resign themselves to what they consider to be their fate.
Granted, the writers, directors, producers, and that community make a great deal of money. But they might be choosing to do a whole lot of other things for the living they make.
It's just unfair that talent of color aren't given the same opportunities as white and male actors, directors, producers, writers, et cetera.
I have no idea what a British sensibility or a British sense of humor is. I have no concept of what that is. I have no concept of what American sensibility is. I was born in Great Britain, but I was only there for six months, and we moved to Belgium, where I grew up. I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
My generation of black British people often feels part American because of what we learned from TV.
We are in the presence of a recruiting drive systematically and deliberately undertaken by American business, by American universities, and to a lesser extent, American government, often initiated by talent scouts specially sent over here to buy British brains and preempt them for service of the U.S.A. ... I look forward earnestly to the day when some reform of the American system of school education enables them to produce their own scientists so that, in an aimiable free trade of talent, there may be adequate interchange between our country and theirs, and not a one-way traffic.
I didn't watch a film after the 1960s. I have no idea who all were the good heroes, directors or producers in the '80s. The only film I watched after all those years was my own film.
In the industry, artists of of color struggle the most. Caucasian artists have really solidified themselves in the industry, and with African Americans now we see directors and producers who vow to only produce work that shines a light on African American artists. But everybody in the middle gets lost.
You don't pick black actors or black directors because they are black. You pick them because they are good. If you lend somebody 50 million dollars you want you're money back. You don't care if they are oppressed. You just want you're money back.
I tell ya, it's tough to save a buck. Right now I'm supporting two fighters. My wife and her mother.
What I always meant by that was that I do believe that a lot of directors, and writers, and sometimes producers just lose their edge because they haven't seen anybody or talked to anybody or been with anybody who isn't a kind of replica of themselves for a long period of time.
I want my sheer work to to speak for my talent and it will be quite an achievement, I believe, if producers and directors look at my work and offer me something.
All producers and directors want to make good films.
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