A Quote by Gabrielle Union
Sometimes it's not even a role that's specifically written for a woman. It could be a role written for a white man or Asian man, or Latino. If it's something that I feel I could do well, I go after it. Especially if it's nothing that has to be gender or race specific, I'm all over it.
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Max [Landis] writes in quite a heightened way, specifically for Dirk. There's a rhythm and a specific speed to it, and it was very easy to learn because it was so well-written. It just rolled off the tongue. There aren't many auditions that I go for, where I feel like I could actually do the part. But with this one, even though I was not quite sure how to pin Dirk down, I thought I could do it.
In Alien, Sigourney Weaver's role was written for a man. In Salt, Angelina Jolie's role was written for Tom Cruise. These things, when reversed, do prove to be just as exciting and entertaining with women in leading roles.
If I was to go around as a white woman, a white man, an Asian woman, an Asian man... the world would just respond to you so differently because of your outward form, right?
The role of the disappointed lover of a maiden or of any single woman might be ridiculous; but the role of a man who was pursuing a married woman, and who made it the purpose of his life at all cost to draw her into adultery, was one which had in it something beautiful and dignified and could never be ridiculous.
This is something that I cannot get over -- that a whole line could be written by half a man, that a work could be built on the quicksand of a character.
I think that a lot of actors of color have said that it's a wonderful thing to play a role that doesn't have a race and that is kind of open to any sort of interpretation. I completely understand that, but at the same time, I just want Asian characters that are well-written.
Any role that is well-written, exciting and something that I am comfortable with interests me whether it's comic or tragic. It could be in a film, play or TV.
I like the biblical way of being in a relationship which is head shipment, I'm not saying that a man should run over a woman, but a man should have his role and a woman have her role.
Applause is interesting, but I'm a monster with or without it. Something is either well written or it isn't. 'White Rabbit' is not well written, and no amount of applause or royalties can convince me it is. I could have done a better job with those lyrics. They didn't say what I wanted.
If a man could say nothing against a character but what he can prove, history could not be written.
For a while, I was feeling like I was always playing characters that weren't specifically Korean or specifically Asian, even - that they were characters who were originally written white, and then they would cast me. And I used to consider that a badge of honor because that meant I had avoided stereotypes.
If something is well-written, it has a chance to be good and if it's not well-written, it will not be good. It could even become popular, but it won't be good.
Even if the script's well written there's something about the life of an improvisation that resonates better than a written word, sometimes.
Not one role that I've played has been written specifically for me.
I never felt like a happy-go-lucky ingenue to begin with. And parts are written better when you're older. When you're young, you're written to be an ingenue, and you're written to be a quality. You're actually not written to be a person, you're written for your youth to inspire someone else, usually a man. So I find it just much more liberating.
A book is not an example of 'women's writing' simply because it is written by a woman. Writing may become 'women's writing' when it could not have been written by a man.
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