A Quote by Ed Skrein
A lot of time, I've had bosses who were women that were, like, described as battleaxes, and I loved 'em, man. We get on like houses on fire.
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There were not a lot of roles for a black man like myself that were different. Then 'Top Boy' came. I read the script and I loved that the characters were human.
There were doors that looked like large keyholes, others that resembled the entrances to caves, there were golden doors, some were padded and some were studded with nails, some were paper-thin and others as thick as the doors of treasure houses; there was one that looked like a giant's mouth and another that had to be opened like a drawbridge, one that suggested a big ear and one that was made of gingerbread, one that was shaped like an oven door, and one that had to be unbuttoned.
My models were oral, were storytellers. Like my grandmothers and my aunts. It's true, a lot of people in my life were not literate in a formal sense, but they were storytellers. So I had this experience of just watching somebody spin a tale off the top of her head. I loved that.
It was the first time I was looking, really, right after the storm, that I saw maybe the amount of devastation that had happened in the Lower Ninth Ward. Where my friends lived, which was about six blocks from where the industrial canal was, houses was smashed into houses, and there were, like, four houses smashed together.
But I felt like Pablo Escobar felt like he was an honorable businessman. And when he killed people, I think he felt he did it because they were honorable. That they were liars and were trying to cheat him. I don't think he had a lot of respect for the politicians in Columbia at the time, so he had quite a lot of fun killing them.
My nana was always a widow as long as I was alive; my grandfather died before I was born. All the women on my street - there were four houses in a row with all old women who lived alone who were widowed. They all had kids, but they were all widowed. My mom didn't put me in preschool; I didn't know that was a thing. I just hung out with these women all day.
I wondered if the fire had been out to get me. I wondered if all fire was related, like Dad said all humans were related, if the fire that had burned me that day while I cooked hot dogs was somehow connected o the fire I had flushed down the toilet and the fire burning at the hotel. I didn't have the answers to those questions, but what I did know was that I lived in a world that at any moment could erupt into fire. It was the sort of knowledge that kept you on your toes.
We had a moment in the '40s and '50s, where female characters were very strong in film, where these incredible roles were written for women like Joan Crawford, like Bette Davis. But then there was a space of time where - I don't know why - it wasn't like that. It became difficult for women to find certain roles after a certain age.
People like me who were engaging in brinkmanship with the party economic bosses and the open dissidents who were being arrested were pursuing a common goal in different ways.
That so-called feminine ardor for clothes shopping had been flagging for some time. Between 1980 and 1986, at the same time that women were buying more houses, cars, restaurant dinners, and health care services, they were buying fewer pieces of clothing-from dresses to underwear.
I feel very lucky to have served under some great bosses. The majority of them were men, but I have also had a few women. In many ways, I feel like media is pretty neutral when it comes to gender.
When I did 'Think Like A Man', I would run into people who were acting like it was the first thing I'd ever done. I was at the premiere of 'Think Like A Man,' and people were coming up to me, like, 'Man, you're going to get work after this, bruh.'
There were the days when women were under contract, and they were thought of as a commodity, so they hired the best writers and a lot of them were women at the time. This was in the thirties and forties, to make product for the people who were under contract, who were their assets to the studios. But that doesn't exist anymore - and as a result, the people who are in the industry write products that interest them.
I loved my kids. And I loved my house, and I loved a lot of things about my life in the 1950s. But there were a lot like me in that era, very overeducated housewives.
The story of our band is that we were this relentless touring band in those early years. We were leaving day jobs and going off on the road and having fun and seeing the country for the first time. We were playing Chinese restaurants and basements and record stores and houses. We were crashing on floors and it was all new and exciting. It was like a vacation. It didn't feel like work. I couldn't wait to go on tour back then. I would be sitting at my day job or my apartment, just itching to go. There were so many adventures that were about to happen.
Somebody's gonna give you A lesson in leavin' Somebody's gonna give you back What you've been givin' And I hope that I'm around To watch 'em knock you down It's like you to love'em and leave'em Just like you loved me and left me It's like you to do that sort of thing Over and over again You're a fool-hearted man.
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