A Quote by Jurnee Smollett-Bell
It's not very exciting to go to work to just have your character's identity being defined by her relationship with her male counterparts.
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Be yourself. Forget about whether you are male or female and just work hard to become a director who truly knows her craft and the direction she wants the film to go. People respect a director for her work regardless of her gender.
Her work, I really think her work is finding what her real work is and doing it, her work, her own work, her being human, her being in the world.
We had established Harley Quinn as an accomplice to the Joker who was also crushing on him and found herself in the middle of this weird relationship being at the beck and call of his every whim. We wanted to stretch her and make her a stronger character, so to have her leave him and go off on her own was a story I wanted to tell for a while.
It is important that the female develops a reality that honors and nurtures her femininity and has an identity and creativity of her own. It is equally important that the male in the relationship endorses that creativity.
Developing a character with genuine depth requires a focus on not just desire but how the character deals with frustration of her desires, as well as her vulnerabilities, her secrets, and especially her contradictions. This development needs to be forged in scenes, the better to employ your intuition rather than your intellect.
In 'The Travelers,' everyone is defined by his or her relationship to work. I put each character on a different rung of the ladder: from the lowliest assistant to a powerful man in the world of media.
The higher mental development of woman, the less possible it is for her to meet a congenial male who will see in her, not only sex, but also the human being, the friend, the comrade and strong individuality, who cannot and ought not lose a single trait of her character.
My relationship with my daughter is gonna affect her relationship with men for the rest of her life... Sometimes I'm walking with my daughter. I'm pushing her in the stroller, and sometimes I just pick her up and stare at her, and I realize, my only job in life is to keep her off the pole.
Anytime you're with somebody, you become a reflection of that person. I believe the first five years of our relationship was me grooming her, getting her tough and getting her ready for all of this and how to deal with it. The last was just her being a strong Black woman who has her man's back.
I enjoy being on CNBC's 'Fast Money,' in part so that audiences can watch a woman who is as well informed about, and invested in, the market as her male counterparts.
[On her mother:] My relationship with her is close, painful, and skaky, and I always have to keep searching for a sign of love. Everything I do, I do to please her, to make her smile, to ward off her fury. This work is extremely exhausting.
Sometimes you can just step into the character, and you get all your feelings and emotions just from sympathizing with her and being her. But then, other times, you just have to resort back to anything that you've been through in your own life and try to play that.
Playing Amanda [in Defiance] was a wonderful opportunity for me. She was strong, dynamic, a complete badass, not defined her relationship with a man. She could hold her own. I really loved her.
If you have a character stand up and put on her shoes and open the door, in order to do that, you're imagining her shoes and her clothes and her house and her door. The character becomes more real. But once you've done that, you can probably just get it all across with a couple of details.
We love a girl for very different qualities than understanding. We love her for her beauty, her youth, her mirth, her confidingness, her character, with its faults, caprices and God knows what other inexpressible charms; but we do not love her understanding.
I'm attracted to artists like Frida Kahlo, because her work was her life, her questions, her outrage, her suffering, her pain. Everything is in her work.
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