A Quote by Jennine Capó Crucet

People really saw themselves in a big way in Elian Gonzalez's story. — © Jennine Capó Crucet
People really saw themselves in a big way in Elian Gonzalez's story.
I've been going to Cuba since the Elian Gonzalez affair.
Some suggested over the weekend that it is wrong to expect Elian Gonzalez to live in a place that tolerates no dissent or freedom of political expression. They were talking about Miami.
The reality here is, these are people that campaign for votes, and nobody wants to be associated with pictures that would certainly exist, even if they were fake, and they most likely would be. You know, can you imagine 150 pictures of that federal agent storming the home in Florida to kidnap Elian Gonzalez and send him back to Cuba?
Tony Gonzalez is one of the best ever and changed the way tight ends have transitioned themselves from college to the NFL. He can do a little bit of everything. He's a guy who you want to model yourself after.
I'm very conscious about the way I treat people because I was never really taught to treat people in a respectful or kind way. I never really saw that role model, so for me, that made me just want to be the opposite of what I had and treat people the opposite of the way I saw other people treat other people.
The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.
Mr. Murphy is really, really amazing. I have admired him from the time that I saw the first season of 'American Horror Story.' I watched 'Glee,' but once I saw 'American Horror Story,' I was like: 'I'm working for him.'
In America, celebrities who go to see your show will come backstage and introduce themselves. Meeting Annette Bening and Ethan Hawke that way was amazing, but when Tom Hanks came, it was really special - I've loved him since I first saw him in 'Big!'
Books are a really fun way to get yourself in a certain mindset or mood as an actress. Also, the way people tell a story is so revealing and I think it's important as an actress to see all the different ways people can unravel a story, and introduce the characters and the way people speak.
The way people are responding to [Moonlight movie] is something we never anticipated. We knew it was good but it is so diverse. The way people are reacting shows me that everyone sees themselves in it. That is groundbreaking. Similarly people come up some older people that it is not their story but are just crying in our arms after a screening. They know what it was like to be bullied or struggled with their own identity trying to figure out who they are. It has really caught people's imaginations.
The way to tell a really big story, I think, is to tell a really small story.
I think that people have to have a story. When you tell a story, most people are not good storytellers because they think it's about them. You have to make your story, whatever story it is you're telling, their story. So you have to get good at telling a story so they can identify themselves in your story.
When Facebook acquired Oculus, the game changed immediately. You saw big companies jumping in. You saw people like Google getting fully committed, and then Microsoft came along with HoloLens - there was a lot of stuff that people were doing before, but now the space really ignited.
I have always been a big meta guy because I think the way journalism is practiced in Washington, and the way everyone sort of cohabitates in the same fishbowl is ultimately a bigger part of the story than people outside of the fishbowl really know.
In those years of the Fifties, in London and New York, I lived, without knowing it, in a time when the profoundest changes were happening: when a radical alteration was getting ready to happen in the way a society saw young girls. And, as a consequence, in the way they saw themselves.
But when I say it isn't meant for anyone's eyes, I don't mean it in the sense of one of those novel manuscripts people keep in a drawer, insisting they don't care if anyone else ever reads it or not.The people I have known who do that, I am convinced, have no faith in themselves as writers and know, deep down, that the novel is flawed, that they don't know how to tell the story, or they don't understand what the story is, or they haven't really got a story to tell. The manuscript in the drawer is the story.
This site uses cookies to ensure you get the best experience. More info...
Got it!