A Quote by Laz Alonso

'Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
I'm from New York, and yet I've done only one film executive-produced by Spike Lee and have never done a film that Spike Lee directed. I've never done a film that Keenan Wayans has directed, or Bill Duke.
The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.
Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.
Jean-Luc Godard saw me in a commercial. He first asked me to play a little part in 'Breathless' of a girl who is taking her clothes off. I said, 'No, I don't want to take my clothes off.' But he called me again for 'Le Petit Soldat.' He said it was a political film, so I didn't have to take my clothes off at all.
Live theatre provides a rush you can't get in film or television. But it is the TV and film work that offers the leisure to go off and do a play.
The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.
Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.
I challenged Coleman and he accepted, he said he'd fight me. I pointed at Baroni and challenged him too, he looked at me with a bewildered look on his face and asked: "Me?", I said "Thats right, You!!" I also challenged Quinton Jackson and he looked at me and said "Me too?", and I responded. If you want some, there is some for you too!
I was never serious about Bollywood films, but when I was offered a film like 'Shanghai,' I took it because it is a good film.
When I met Bono at the Cannes Film festival while I was there for the film 'United 93,' he said to me, 'That's a great film, brother. Thank you for your courage in making it.' I plotzed.
It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
Jacques Doillon wanted me to be in his film, 'La Fille Prodigue,' and there I was, expecting, for some reason, this great bearded man, when a splendid looking red-Indian style man appeared at my door. I said no to his film because I knew that if I said yes, I would run off with him.
The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.
I don't know if it's really important, or intelligent even, when people say to me I'm a white Spike Lee, because they said to Spike Lee you're a black Woody Allen.
I turned down a film that was offered to me in the very early '80s, a Scorsese film. That probably wasn't a good career move.
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