A Quote by Joe Morton
Without mentioning any names, there was a film that was being done, and I ran into the producer on the plane. It was a book that I really, really loved, and I said, 'I'd love to be a part of this.' And they made it clear that that was not going to be possible - for no particular reason other than that there was just no part for a black person.
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Without mentioning names, it was other people. Some day, they ought to open the report and find out. But it was other people that knocked down the World Trade Center. So, it's no reason to go into a big - now. But it was a horrible mistake that unfortunately we should never have done it. We have lost trillions of dollars, thousands of lives, wounded warriors, who I love, all over the place. And here is the other part. Iran is taking over Iraq. They have wanted it for decades and decades and decades. They're taking it over.
Unconditional love really exists in each of us. It is part of our deep inner being. It is not so much an active emotion as a state of being. It's not 'I love you' for this or that reason, not 'I love you if you love me.' It's love for no reason, love without an object.
What's hardest for me to swallow is when there is a love story, say, with a really high-profile male star and there's no reason I can't play the part. They say, 'Oh, we love Halle, we just don't want to go black with this part.'
They were all just chapters in the book, stepping stones. Each was perfect for where we were at the time, and I'm proud of them all. We couldn't have done this film [The Fourth Phase] without the other films pre-dating it and being part of the process.
I just really love producing. I love being able to be part of a solution. I love being able to create opportunities for other people to do what they do, to be part of the collaborative process that is filmmaking and television making.
When you get the ideas, that's a thrill; when you're writing the book and it's corning out well, that's a thrill; when you finish it and other people read it, that's a thrill. There are going to be reviews, of course; not everyone's going to love it. You feel sort of naked and vulnerable in a way. That's just a minor part of the process, really. If you can't take that part, you shouldn't be in the business. But there are so many joys to writing.
It's got to be a challenge but at the same time you have to feel as though you can play them - it's really dangerous to want to be a part of something just because you think it's going to be great. I've been sent plenty of scripts where I've known that it's going to be a great film and a successful one, but I just couldn't convince myself that I was the right person for the part. So, I think you have to be careful with that.
There was a producer from the Aspen Comedy Festival who happened to be there, as a friend of a friend, and she said, "I'd like to book you into the Aspen Comedy Festival," and we said, "Well, there isn't really a show to book in, this is just a little showcase and it's really our workshop." And she said, "No, it's great, I love it, just do exactly what you did."
I would say I'm black because my parents said I'm black. I'm black because my mother's black. I'm black because I grew up in a family of all black people. I knew I was black because I grew up in an all-white neighborhood. And my parents, as part of their protective mechanisms that they were going to give to us, made it very clear what we were.
In truth a clear-headed physicalist shouldn't be thinking any of these dualist thoughts. If pains are one and the same as C-fibres firing, then there really isn't any possibility of having 'one' without the 'other'. Once you properly appreciates physicalism, this dissociation should cease to appear possible - C-fibres with pains should strike you as no more possible than squares without rectangles.
If you want a film and they don't want you, sometimes you have to go fight for it. Sometimes that ends up just being a meeting really, just sitting down with them and just saying here is my vision for it and here is why I really love it. But for the most part, I think filmmakers gravitate towards people that are excited - as excited as they are about the film and as passionate about it. So sometimes going after it isn't so much a function of auditioning as it is just sitting down with the filmmaker.
Honestly, I really, really love making movies. It's so much fun, and I love losing myself in the moment and just being there with other actors. When you're truly in the moment and you're feeding each other, it's such an exciting thing to be a part of.
Most people don't know how to listen because the major part of their attention is taken up by thinking. They pay more attention to that than to what the other person is saying, and none at all to what really matters: the Being of the other person underneath the words and the mind. Of course, you cannot feel someone else's Being except through your own. This is the beginning of the realization of oneness, which is love. At the deepest level of Being, you are one with all that is.
I've always loved musical films; I find them really thrilling and exciting; it was part of what made me want to be an actress, that feeling of being really transported.
I don't really mind not being a part of a film - because if there is no part for me, I will never force myself upon a film. I feel like it's just a distraction. If it is not organically incorporated into the story, it just feels like a stupid appearance, like a sort of wink. I hate that.
Ive always loved musical films; I find them really thrilling and exciting; it was part of what made me want to be an actress, that feeling of being really transported.
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