A Quote by Kym Whitley

I worked with Marlon Wayans on the show 'They Wayans Brothers,' and we hit it off. One thing about Marlon, when he casts a movie or a TV show, he expects you to bring it. You've got to be ready to improv, because Marlon will say anything, and you've got to be ready to come back.
Before I made it big I worked as a dishwasher, washing dishes in this place called Dishwasher House where people could just come in and do whatever they wanted to the dishes and we had to clean them with our hands till they bled. A lot of struggling actors worked there-Downey Jr., Joaquin Phoenix, Damon Wayans, Marlon Wayans, Keenen Ivory Wayans-and we actually all kind of wish we still did.
Marlon Brando was the absolute opposite of everything they told me he was going to be, which is that he was a testy guy who wants to know that he's in control of everything. But, that's not who Marlon was. No matter what he did, the most important thing on his mind was justice.
I wish I could sit back and say, 'Oh, I'm gonna wait for a Merchant-Ivory film to come my way. Or Ivory-Merchant. Whatever it's called. But you just take what's given and then, hopefully, down the road you can be more choosy and only do, say, Wayans brothers movies. That's my goal: to be more Merchant-Ivory-Wayans.
When I got the job on 'Cursed Child,' I was doing another show in the West End, and I was playing a part that Marlon Brando had played.
I said to Tennessee, this thing is becoming the Marlon Brando show.
I was in a movie with Marlon Brando. Now, I didn't have any scenes with Marlon Brando, but I had scenes with Martin Sheen and was around Dennis Hopper, who was a child actor in the studio system and was enamored of James Dean, as was Martin, and they were all sort of disciples of Brando.
Marlon Brando changed everything for actors. After him, everyone wanted to be Marlon. No one wanted to be a type: they all wanted to display versatility in every role.
I always tell new people in show business. I say, "Look, show business pays you a lot of money, because eventually you're gonna get screwed. And when you get screwed, you will have this pile of money off to the side already." And they go, "OK, OK. OK, you ready? You ready?" "I got screwed." "You got the pile of money?" "Yeah, I'm fine." I mean, that's the way it works.
Now, Marlon and I - for some reason, even today - even today, we can't say two words to each other. We really can't talk to each other. You know, I say to him - Marlon can't talk. I mean, he'd talk to you. But he can't talk.
I've worked with wonderful actors like Marlon Brando and Henry Fonda.
Marlon Brando is the most influential movie actor of the century.
I personally can watch an eight-hour documentary on Woody Allen because I'm fascinated by him. But, an audience can't really sit through more than two and a half hours on any movie. It doesn't matter if Marlon Brando came back from the dead. It's just impossible.
I was probably 8 years old; my mom let me stay up one night. She's like, 'You have to see this movie.' It was 'A Streetcar Named Desire,' and it was on TV, and it was a big deal. And I saw Marlon Brando, and I was like, 'Oh, my God.' That's where it started.
'The Martin Show,' the 'Jamie Foxx show,' 'Living Single,' 'The Wayans Brothers,' 'Hanging with Mr. Cooper...' Some of these shows were good, some were typical television, but they facilitated a lot of work for blacks in front of as well as behind the camera. A lot of us in Hollywood thought it was the beginning of a real racial breakthrough.
If I'm racist, don't think I would have directed shows like 'The Parkers' and 'The Wayans Brothers' or worked 41 episodes with Victoria Rowell on 'Diagnosis: Murder.'
[Marlon] Brando was the only guy who could step out of that shadow at the end of that movie and be worth the wait.
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