A Quote by Harry Belafonte
I don't find inspiration on Wall Street. I don't find that in Beverly Hills. I don't find that in places where opportunity resides unbridled, and I think the real creative energy and the real juice is in where people are caught, in the economic abyss.
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There will be hoards of vampire bats descending on Beverly Hills.... We'll see if they can find any real flesh to puncture. I don't know.
I think people come and go, 'I'm going to find the real Gary. What is it... the real Gary? I've got to find it.' But the thing is, it's pretty much what you see is what you get. I'm just like this. There's no hidden viciousness.
I work in the margins. The margins are where you'll find the nice people. You'll find real friends. You'll find honesty. You'll find integrity. You'll find relationships that will last you for a lifetime and will be there to support you in the bad times, which are the only relationships that matter anyway. Relationships that are all about power and money aren't worth having.
There are a lot of people in Beverly Hills who come from the Middle East, who are very much a part of the Beverly Hills fabric, and their kids grew up with the privileges of Beverly Hills. And yet they still have to deal with a lot of the prejudice against them for being foreign-born.
People in this country should be able to find economic opportunity and meaningful jobs in the places they grew up.
The sociopaths - that's the real problem. The whole street demeanor is about pretending to be a sociopath as well so that the real ones can't find you.
When you find real jazz on the radio dial, it comes in all static-y. It's just like tap dancers. You have to go uptown to find the real hoofers. We only come to midtown if we're called upon.
I'm really bad with answering questions. Usually, I don't even answer them. I try to find inspiration inside of the question. I think, and I jump from one beam of inspiration or energy to the next, as opposed to explaining the energy.
For instance, I'm in Beverly Hills right now at a hotel. I told myself, "Man, it's so beautiful out here. If I ever moved to L.A., I would probably want to buy a house in Beverly Hills." The thing is, once I leave Beverly Hills, [I realize] there's no bodegas in Beverly Hills. Once I leave L.A. and go back to Miami or if I go visit New York, it's like, "Oh man, there's the bodega." What I'm saying is that you can't forget the reality. Sometimes people take success and forget about reality.
Don't worry if people think you're good. Make this your experience. And find out what makes you unique as an artist. You don't get the opportunity to do that as much in the real world.
My approach is always the same. I try to be as honest as possible. Find the real honesty and humanity in the character because even a fictional character is supposed to feel real. And my job is to find that reality and bring it to the screen.
I think it's important to find humor anywhere you can. In real life, with the darkest, scariest, most intense moments, if you can find something funny, that's good.
I have a strange fascination with the Midwest. I'm waiting to find out that my parents are actually from the Midwest. I grew up in Beverly Hills, up the street, and I just feel comfortable there. I've shot in Minneapolis, in Detroit, in St. Louis, in Omaha - they would say they're the Plains, not the Midwest - and I love it.
When you hear the word 'disabled,' people immediately think about people who can't walk or talk or do everything that people take for granted. Now, I take nothing for granted. But I find the real disability is people who can't find joy in life and are bitter.
I perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.
A Dickens character to me is a theatrical projection of a character. Not that it isn't real. It's real, but in that removed sense. But Sherlock Holmes is simply there. I would be astonished if I went to 221½ B Baker Street and didn't find him.
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