A Quote by John Lewis

I think it is a must for young people and generations yet to come, to understand, to feel, to touch, to almost smell the drama of what happened a few short years ago [the civil rights movement of the 1950s and 1960s]. So maybe, just maybe, we will never ever repeat this unbelievable time in our history. We have to tell it all, and make it plain, and make it clear, so people will never ever forget the distance we have come, and the progress we have yet to make.
How blind to believe the civil rights movement ever ended. The civil rights movement never ends, and it never will. It has been marching since the beginning of time. Where Martin Luther King started is where Gandhi left off, and where he started, Abe Lincoln left off, and before that Whitfield all the way back to Moses. God has not moved. We have. But it is never too late. We are not at the mercy of these events. We can alter the course of history. We can stand against the dangerous arc of this story. But we need people who are willing to speak truth.
Television from its inception had the number one goal to alienate as few people as possible. That's why if you look at 1950s, 1960s American sitcoms, the characters don't live any place in particular, religion is never discussed, politics is never discussed, you never really know what anyone's job is; nothing that could make these people seem different from you is ever discussed.
No religion will ever make me forget the condition of our people in this country...No God, no religion, no nothing will make me forget it until it stops, until it's elimitnated. I want to make that point clear.
Every time you try to make another movie, you never know what will come of it. I can't say it ever gets easier, but it is in it's own way gratifying. I think that because no one movie that you make ever quite satisfies you, you're always feeling, "Next time I can get it right."
Maybe, generations ago, young people rebelled out of some clear motive, but now, we know we're rebelling. Between teen movies and sex-ed textbooks we're so ready for our rebellious phase we can't help but feel it's safe, contained. It will turn out all right, despite the risk, snug in the shell of rebellion narrative. Rebellion narrative, does that make sense? It was appropriate to do, so we did it.
People said I'd never make 35, then I'd never make 40, 45; now I'm almost 50, so Im beginning to think maybe they might be wrong.
In Canada there's an extensive grant system that really allows people to make their work without having to suffer that much, and I'm staring to come around on that, that maybe people don't have to suffer. Maybe you can just not be unhappy and make beautiful music in Canada, maybe that's ok.
I've kind of always had this balance between genre and personal dramas. It almost feels like the two help each other. If I was just to make a genre film, maybe it would be hollow and soulless. If I was just to make a personal drama, maybe it would be melodramatic and nobody would ever go see it.
Most actors don't understand acting. I think it's an art form that craft is out the window. I don't think people get it at all, most of the time. Or they get some of it, not all of it. If you get an Academy Award nomination, you think 95 percent of the profession is unemployed at any given time, most people will never even find work as an actor, and the ones who do will probably make $50,000 a year at the most if they're lucky. Some will never do Broadway. Some will never do a major role. And a really, really, really small percentage of them maybe will be nominated for a major award.
I always tell young filmmakers, don't go make a feature. Make a short. When you're ready to make a feature, people will tell you. Your friends will tell you. Your fans will tell you. Festivals will tell you. Listen to your audience.
I realise there are situations where I camp it up, make myself into a sort of novelty character to ease things along. Like, if I ever feel uncomfortable in a situation, I can just make myself into this funny Will-and-Grace-guest-star type of person, and maybe people will not pay attention to the deeper things going on.
I wanted to tell him that I will never be sorry for loving him. That in a way I still do - that maybe I always will. I'll never regret one single thing we did together because what we had was very special. Maybe if we were ten years older it would have worked out differently. Maybe. I think it's just that I'm not ready for forever.
There's been a systematic propagandizing of American citizens for 30 years to make us forget what America is supposed to be and what our rights are and what our system is and what our core principles are. And one of them since 1807 has been this right that the founding generation put in place, to make sure that military troops would never, ever, ever be deployed in the United States of America for civilian policing.
[A writer] must try to think clearly, to feel deeply, to write honestly. If he is fortunate he will make a living, but his work will never be anymore essentially clear and deep and honest than he himself is, and he will be judged finally not for how many copies his books have sold, but for what they have done to enrich the lives of their readers, now and in time to come.
Mostly, we authors must repeat ourselves - that's the truth. We have two or three great and moving experiences in our lives - experiences so great and moving that it doesn't seem at the time anyone else has been so caught up and so pounded and dazzled and astonished and beaten and broken and rescued and illuminated and rewarded and humbled in just that way ever before. Then we learn our trade, well or less well, and we tell our two or three stories - each time in a new disguise - maybe ten times, maybe a hundred, as long as people will listen.
As we continue to discuss ways to make our environment cleaner, and more just, for generations to come we must not forget our nation's history of racial and economic injustice and the health outcomes it's led to.
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