A Quote by Jamel Shabazz
When I approach a person, I feel a certain way. If I don't feel that way, I'm not going to approach that individual. "I see something in you" - I want the person to know that.
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Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been 'You are an important person just the way you are. You can make healthy decisions.' Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important.
I think I approach my choices much the way I approach the way I consume movies and TV and stuff. I like everything, and sometimes I'll feel like a horror movie, and sometimes I'll just feel like an episode of 'Hoarders.'
I do feel that there are things you can learn from an artist, but I think you need to be very close to that person, and to know that person fairly well, in order to acquire anything from them. I do have a teacher myself, and I have learned quite a lot from my teacher, but it's not how to make a film. It's more how to approach my life as a director, how to approach and how to lie to a producer.
I'm always producing with the idea that the music is representing one person. That could play a factor in the intimacy of it. I'm always producing for that one person, never for a group of people - especially if it's non-danceable. I'm always thinking that one person's going to listen to this and that person might want to feel a certain way at a certain time. That can be out in space, it can be at the bus stop, it can be laying in bed listening to music. I look at it as if I'm whispering in someone's ear, basically.
When it's a real person, you want to be as honest as you can and approach it in a similar way as you would any other character, but with that restriction and wanting to respect the boundaries of that person and not be intrusive in any way.
We think we have to be a certain way because we have been taught to be a certain way. Actually the only truth is to keep quiet and see what happens from there. When I feel ill-tempered, when I feel sad, when I feel distant, it's just something that is happening. When I don't compare it to the past and project it into the future, then it's just something that is happening now. It's a way of dying now.
I tend to approach characters not based on ethnicity but on some unique individual qualities, and I've set my whole life that way. I don't want any sort of limitations imposed on my work. If you truly want to be a creative person, you can't limit yourself.
If you approach an opera as though it were something that always went a certain way, that's what you get. I approach an opera as though I didn't know it.
I approach beauty the same way I approach clothing - I think people should do whatever to themselves to make them feel more comfortable in their skin.
The pressure of looking a certain way and having to present yourself a certain way is hard. It's difficult to feel genuine about yourself when you feel the pressure of being a certain person.
I'm not presumptuous enough to feel that people are going to feel what I have in mind, so I tell a story, you know, let them read something, that doesn't change, that as I have said it, you know, so that's the way I feel about the viewer, the viewer has a mind of their own and eyes of their own and they're going to see it their way, I just hope they look.
I have no idea what happens, but I do respond to other cultures that treat life with a much more positive approach. It teaches - especially when you're a child - it teaches you to be afraid of everything, you feel like something bad is always going to happen. As to where that other way seems a much more spiritual and positive approach.
I think, actually, any morality system that rewards only the extremes is a flawed system. Players don't approach life that way, they don't approach games that way, and they shouldn't be trained to approach games that way. They shouldn't be in the 'Star Wars' mode where, 'I've got to choose every good option.'
I'm an emotional person. I'm not going to deny that. If I feel a certain way, I'll express it on the track.
I have a certain way of thinking where I see something, and I know that I want it and I make up my mind - and that's pretty much all there is to it. It was like, This is what I want to do, and I'm going, and everything's going to work out. I'm going to be an actress. There was no way around it.
I can't judge the characters I play, because it's for the audience to do. What I can try to do is to understand and embody what were they going through? How did they make the decisions they made? That to me is a more interesting way to approach something, rather than saying this person is a villain and that person is this and - because it's not very interesting to play that anyway.
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