A Quote by Kola Boof

I loved 1930's women's pictures'films by Josef Von Sternberg or William Wyler. So, I fashioned a style out of that. The integrity and ethos of what I would write, however, came from the films of Ousmane Sembene and from reading Richard Wright, Toni Morrison, Sylvia Plath and Alice Walker.
I think that’s what Toni Morrison and Alice Walker understand, the secret language of women. That it’s not a secret at all; men just don’t know how to listen.
Like Alice Walker and Toni Morrison, I try to balance reality with how we'd like the world to be.
The irony is that we're really good at comedy in Britain, but for some reason, we make very few comedy films. And when we do, they're either quite American in style, or very Richard Curtis. And I like Richard Curtis, but I think only Richard Curtis should write Richard Curtis films, and other people should try and find their own style.
I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.
Look, if you ask a child, 'Would you rather have a fulfilled mother or a stay-at-home Sylvia Plath,' they'll pick Sylvia Plath every time. But I think it's really important that children don't feel their parents' emotional lives depend on their success.
I will read anything by Laura Hillenbrand, Walter Isaacson, Barbara Kingsolver, John le Carre, John Grisham, Hilary Mantel, Toni Morrison, Anna Quindlen and Alice Walker.
Writers like Twain, Whitman, Dickinson, Melville, Louise Erdrich, Toni Morrison, Russell Banks, Carolyn Chute, Alice Walker, so many others that I read coming up as a writer, that helped form my ideas of what it means to be American - and an American writer. I'm always in conversation with them.
It would be amazing to play Sylvia Plath. She was so dark, and what came out of her writing was troubled and fierce. The dimensions, levels, layers and levels would be incredible to take on.
Beachy Head brims with electrical currents flying backwards and forwards, with the force of poems that have been well fought out and felt. I hear the currents of Alice Notley, of Bernadette Mayer, of Eileen Myles, and Sylvia Plath
I remember coming upon Philip Larkin in my 20s in the early '60s and when Sylvia Plath's "Ariel" came out it knocked me off my feet.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
Creatively, most of my influences come from the literary world: Alice Walker, Toni Cade Bambara. Writers are my heroes.
Toni Morrison has a habit, perhaps traceable to the pernicious influence of William Faulkner, of plunging into the narrative before the reader has a clue to what is going on.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
The conversation with the dead is one of the great pleasures of life. Somebody who is sitting reading Chekhov, Beckett, reading Toni Morrison - you are not in any way dead, in many ways you are intensely alive.
I'm going to write films, star in films, direct films. Write records. Perform live.
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