A Quote by Debbie Allen
The production team's first meeting took place at my house. I had ideas and a color scheme in mind, how I wanted the movie to look, because that has to be a real collaboration.
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When I was asked to compose a score for... 'Palo Alto,' I first thought to myself, 'What is the house that these characters would want to live in?' I wanted to paint a picture and color scheme that I could work around. I gently apply different daubs to see what fits to match the color I have in mind with these characters.
The meeting with Prince William took place at the White House because Prince William wanted to see where the president spent his days, but the golf course was covered in snow.
From that first meeting, I totally loved working with Joey, it was a real collaboration.
We didn't think we were a fourth-place team. For us to beat the first-place team in the West and the first-place team in the East shows the dedication and determination that we had.
I think my least favorite hair color was the hair color that I had in 'Pitch Perfect 2.' They really wanted me to be dark red, and I wanted to be lighter like I was in the first movie, but they didn't want that. But I rocked some light red for a year, after it faded.
'Little Princess' was the first big movie that I did in America with big stages where we had kind of a different schedule to work. We had a great production designer, Bo Welch, and we had time to think about the movie in pre-production.
Big Fish was the first movie that we worked on together, and I had already written it. We had another director, but that director didn't do it. So, it was just a Hail Mary to Tim, and Tim said that he wanted to do it and I was like, "That's fantastic!" But, there wasn't a lot of collaboration because he knew what he wanted to do and just did it. There were very minor changes for Big Fish.
When I sing the songs, there's a color tone and a place, and it's not a place that I remember in reality. It's usually based on a photo that I took - 'cause those photos don't look like the real world. The film distorts them, and the colors get exaggerated.
The book is called 'A House in the Sky' because during the very, very darkest times, that was how I survived. I had to find a safe place to go in my mind where there was no violence being done to my body and where I could reflect on the life I had lived and the life that I still wanted to live.
What I wanted to do was put a woman of color, front and center, in my movie combining a lot of themes that were relevant to both men and women. I actively wanted her to carry the weight of this movie because I'm a woman. And I actively wanted to explore many of the issues that affected her as a woman of color. That was very important to me. And although these issues affect some women of color, I don't think they're only of interest to women of color. They're of universal interest.
I'm a film guy. I love it. When I read the screenplay, I knew that there would be no HD camera that could achieve the look that I wanted for this film. I wanted it to be dirty, and 16mm provides all of that with the look and the grain. That's what I worked for, and that's what I wanted, and that's how I'd seen the movie in my mind.
What happened was I was a songwriter on Quincy Jones' publishing company, Qwest, for two and a half years before I gave him the song for Michael Jackson. He had a meeting with the songwriters. I think there were about six of us on the West Coast and we all had a meeting at his house where he sort of gave us an outline of what he wanted. To finish this BAD album Jones needed one more song to round out the album. I took notes and then I then took my notes to my writing partner Glen Ballard.
I couldn't let how the team was doing affect my mindset on my rehabilitation because I sort of believe I had to take it upon myself that my rehabilitation and getting myself 100 percent healthy had to be first and foremost, before the team, in my mind.
Around 2010 - I took a long look at everybody I had around me because I wanted to make sure they were aligned with how I felt. I'm not ashamed of who I am or where I came from or the size God gave me. There was a large percentage of people who weren't [on the same page]. So I really shook up my team.
Sculpture, for me, provides that environmental discipline where you actually move in and around it. And if you have a good collaboration with an architect, to combine those aspects of color - I'm talking about color becoming a form within the building - that is a very different approach. I love contemporary architecture, which makes collaboration more interesting-and you have to be able to collaborate. It's like making a film, in a way: Everyone is a part of the team.
When I look in the mirror I see the woman I knew I wanted to be as a child. When I was a young girl, I had a vision of the woman I wanted to be. And I often reached out to women of color in America for inspiration. My mother would regularly buy Essence and Ebony. I would look at those magazines filled with images of professional, intelligent women of color who knew who they were, who enjoyed who they were, and who were surrounded by other people who enjoyed who they were. When I look in the mirror, I'm really glad that that's what I see today, but it took awhile to get here.
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