A Quote by John Boyega

You could easily play the guy as straight-up hood throughout the whole movie, the Imperial Courts, but writer and director Malik Vitthal envisioned a human being that has never been seen before in film: a black man in circumstances that he does not like, who is passionate - persistent - in turning it around.
It never occurred to me to be a film director, partly because I hadn't seen a single film by a female director, but I liked the idea of being a writer moving to Hollywood and being unhappy; that sounded romantic and fabulous to me.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
I felt like I could get away with calling it Black Hours. That could easily be the most depressing record ever written, but because there is this sense of fun throughout the whole thing I felt like I could get away with it. Like "5 A.M."; that song's in a minor key and I'm just wailing away and it could have been just wallowing depression, but it's not.
I never envisioned myself playing for the U.S. Olympic team -- growing up, I never envisioned playing in the NBA, to be real with you. I never envisioned that type of stuff. So this is like a dream that I never had come true. It's like I'm a part of what's really going on. It's still very hard for me to believe that I am really going to be a part of the biggest thing in the whole entire world.
White people scare the crap out of me. I have never been attacked by a black person, never been evicted by a black person, never had my security deposit ripped off by a black landlord, never had a black landlord, never been pulled over by a black cop, never been sold a lemon by a black car salesman, never seen a black car salesman, never had a black person deny me a bank loan, never had a black person bury my movie, and I've never heard a black person say, 'We're going to eliminate ten thousand jobs here - have a nice day!'
I've never been a straight guy, but it certainly seems that being one is exhausting. Every part of a straight guy's day is somehow related to him letting people know that he's straight.
In 2010, Strikeforce came to Houston, and DC was something like 5-0 or 6-0, and I'd seen him at the expo. I seen him walking around and I seen he had a pink cast on his hand, and I was like, this guy is way too fat... because he looked shorter and fatter. Because back then I was slim, I was like 235. So, I was like, man, I could take this guy.
If you're not prepared, and you're not passionate, and you don't push yourself to a level of human exhaustion on every level, mentally and physically and creatively... I've seen directors who approach it casually, and they do somehow maintain better hours... but I could never be that guy. I am up and editing all night.
A Murphy [Eddie Murphy] movie is like a Sidney Poitier comedy - he's that intensely good... He revolutionized acting. He's literally black Brando. Before Eddie Murphy, there were two schools of acting for a black actor: Either you played it LIKE THIS or youplayeditlahkdis. He was the first black guy in a movie to talk like I am talking right now. That did not exist for black actors before him.
Probably better than anybody, I realized that I could have easily been one of those guys who was not seen as being a WWE-type guy.
The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
You'll see in the movie he constantly does that-he only drinks his tea a certain way, brings his own tea bags, the guy pours hot water, it's like a consistency throughout the film, but he never breaks his habits. I mean, to a point, where he has to.
I studied music all the way through college, but as soon as I graduated from university, I got straight into London and got straight into film music. So really my experiences have been being around the orchestras in London and being around the people who work in film music.
There's nobody who loves being around actors working more than David Mamet, especially actors bringing his tremendous dialogue to life. I've never seen a movie director who was happier to be directing a movie than Dave.
A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
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