A Quote by Eddie Griffin

Some might call my style pro-black, but I think of the basis of all my material as truth. — © Eddie Griffin
Some might call my style pro-black, but I think of the basis of all my material as truth.
If you're black and you oppose a progressive agenda, and you're pro life, and you're pro family, then they do not even know what to call you. You end up on some watch list for extremists.
Only in America can you be Pro-Death Penalty, Pro-War, Pro-Unmanned Drone Bombs, Pro-Nuclear Weapons, Pro-Guns, Pro-Torture, Pro-Land Mines, AND still call yourself 'Pro-Life.'
I would never call myself anti-football. I think I'm pro-information, pro-people making informed individual choices, pro-health, so for that reason, personally, I'm apathetic towards football. But at the same time, I think we can retain some civility, and I understand why people support and love it.
We ultimately have to find truth in the material, and I think that transfers onto the screen. Obviously there's varying degrees of it, and we don't get it right all the time [laughs], but I think when it feels grounded, it's because we recognize the truth in the material.
If you're anti-war it doesn't mean you are 'Pro' one side or the other in a conflict. However, it does make you 'Pro' many thingsPro-Peace, Pro-Human, Pro-Evolution, it makes you Pro-Communication, Pro-Diplomacy, Pro-Love, Pro-Understanding, Pro-Forgiveness.
I don't believe truth is conveyed by style and presentation. I don't think that if it was grainy and full of handheld material, it would be any more truthful.
I see other black women imitate my style, which is no style at all, but just letting our hair be itself. They call it the Afro Look.
The other thing was that when I was at the University of Miami, we ran a pro-style offense and defense. I started each year by going to a pro training camp, I visited with various pro coaches, and I did this for five years.
I think an editing style is something that is ascribed to the work after-the-fact. I don't think you go in with a particular intention, but I think if there is an integrity to the work and the material you are working with, the work comes from the nature of that material.
You can ask yourself, if a film makes a claim, is the claim true or false? Having said that, a style of presenting material doesn't guarantee truth. There's this crazy idea that somehow you pick a style, and by virtue of picking the style, you've provided something that is more truthful. It's as if you imagine that changing the font on a sentence you write makes it more truthful.
If people are pro-Israel, they are pro-Israel one-hundred-and-twenty percent. If they are anti-Israel or pro-Palestinian, they tend to be pro-Palestinian one-hundred-and-twenty percent. I don't think a decent person has to choose between being pro-Israel and pro-Palestine. I think you have to be pro-Peace.
The NAACP was not a black-run, black-originated organization. It was run by 21 white, socialist, atheist, Marxist Democrats. It was the antithesis of Rev. Martin Luther King Sr.'s community at that time, which was capitalist, Christian, very pro-life, and pro-America.
As a Black woman filmmaker I feel that’s my job: visibility. And my preference within that job is Black subjectivity. Meaning I’m interested in the lives of Black folk as the subject. Not the predicate, not the tangent.[These stories] deserve to be told. Not as sociology, not as spectacle, not as a singular event that happens every so often, but regularly and purposefully as truth and as art on an ongoing basis, as do the stories of all the women you love.
I don't think a decent person has to choose between being pro-Israel and pro-Palestine. I think you have to be pro-Peace.
I just think that if we are going to call ourselves pro-life, we must also agree that starvation and poverty and disease and immigration and health care for all and war and peace and the environment are also pro-life issues.
In description we hear and feel the absorption of the author in the material. We sense the presence of the creator of the scene. .. This personal absorption is what we mean by 'style.' It is strange that we would choose so oddly surfacey a word - style - for this most soulful aspect of writing. We could, perhaps more exactly, call this relation between consciousness and its subject 'integrity.' What else is the articulation of perception?
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