A Quote by Kofi Siriboe
When the dialogue is on point and I feel like the overall story and message is really serving something that's socially progressive, it really makes me want to be a part of it.
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I have a gut reaction to stuff that I read. Either it's a filmmaker that I really want to work with, or it's a story that I really want to be a part of and help serve, or there's a character that I feel I can bring something unique to. That's really what it's about. I would go crazy, if I just relied on the same tricks and did the same thing, all the time. It was just be no fun, at all. I really do need to try something different, every time out, and do something that scares me, a little bit.
It's got to feel, the pulse has to feel like this part of the world, the instrumentation has to be true to that, and so, between him, [composer] Mark Mancina and myself, we really chased that, while serving our story Moana].
For me, it really is about a dialogue. Life can be really isolating or terrifying or euphoric - it's all these things. And while I'm here I want to have an exchange. I want something to vibrate. And I want to be really stimulated.
The platform doesn't really matter to me, whether it's stage or theatre or even a web series. I just am more interested in, like, if it's a story that I would want to watch and if it's a character that I feel like I can contribute something to, then that's really what gets me.
For me, the only ego that needs serving in putting together a film is the story's, the ego of the story and it's the piece itself that you want to bring out the voice of the piece. You're really serving that and that's the thing that you have a basic understanding of.
I can get into my own head [and] not have to really envision that girl. I am that girl and I know what I want something to feel like and move like. It's really inspiring, of course, to see so many girls wearing the line and I love their take on it, it almost feels like this religion or something at this point. It's really exciting.
Telling the story with only a few shots, I love that style. It makes you feel like you're part of the action, part of the story. It reminds me of the theater, where one act is basically like one long shot. It almost makes you forget that you're seeing a movie.
I love life... Well yeah, and I'm sad, but at the same time I'm really happy that something could make me feel that sad. It's like, it makes me feel alive, you know? It makes me feel human. And the only way I could feel this sad now is if I felt somethin' really good before. So I have to take the bad with the good, so I guess what I'm feelin' is like a, beautiful sadness.
I don't really identify with America, I don't really feel like an American or part of the American experience, and I don't really feel like a member of the human race, to tell you the truth. I know I am, but I really don't. All the definitions are there, but I don't really feel a part of it. I think I have found a detached point of view, an ideal emotional detachment from the American experience and culture and the human experience and culture and human choices.
I felt like this is a story in 'Life', that does not go too far away from the feeling that something like this could really happen - it's part of what makes you connect and stay with the story. The feeling of "all is good and calm" in the beginning really sets you up for when things start to go "not so good..."
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
I feel like that's a blessing [ Ralph Angel role]. I really just think it's about the overall message, the way it's conveyed and the people involved in the project. Find people you want to create with because it's infinite, unlimited expression.
I always feel like if someone has stage fright, I really try and say, "Listen, these people want you to succeed, they want to have a good evening. They want to see something really great. They don't want to see something crappy. They don't. They want to be at something really special."
You know, I feel like if I don't change something, then the results maybe are going to continue the way that they have. That for me is not something that I want to really be a part of.
At some point, I'd like to make a record that's more of a self-serving guitar album, because I really love to play. It's not really something I'd expect a whole lot of people to buy, though.
I can fully understand [that] artists want to be able to pay their bills. As a fan of art, and art as a way to shift dialogue and address cultural issues, there's a part of me that's really, really saddened by that and can't really relate to it.
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