A Quote by Lee Grant

When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.
Sidney Crosby, our greatest player, I don't want to see Sidney Crosby in the penalty box. I don't want to see Sidney Crosby hurt. I want to see Sidney Crosby play.
Sidney Poitier and Sidney Lumet were instrumental in helping me get started as the first black composer to get name credit for movie scores.
I even asked [Saniyya Sidney] why she wanted to be an actor and she said, "I'm serious about this. These other little kids they want to play, and I don't have time for that."
'The Color Purple' is the kind of character piece that a director like Sidney Lumet could do brilliantly with one hand tied behind his back.
Every actor in the room honored Sidney for being there so many years before. And everybody was so moved to be at a place where history was being made again. It was tangible.
I only became an actor to get your attention, to challenge the archetype of an African American male; I can't be anything else in this lifetime than an African American man.
I didn't mind being in a school with a small African-American population. The African-American-community was very tight, and that was great. But I also wanted to interact with other types of folks.
My first love was acting. I went to Sidney Poitier films as a kid. I sat in the theater and dreamed of being an actor.
Acting became important. It became an art that belonged to the actor, not to the director or producer, or the man whose money had bought the studio. It was an art that transformed you into somebody else, that increased your life and mind. I had always loved acting and tried hard to learn it. But with Michael Chekhov, acting became more than a profession to me. It became a sort of religion.
Sidney Poitier, who is class personified, said: 'Lou, you're a leading man because you're a good actor.' Brought tears to my eyes.
Sidney Poitier became a star in part by helping black and white Americans negotiate their new relationship in the post-Civil Rights era.
Sidney Lumet's chief preoccupation wasn't art. It was right and wrong in the American city, nearly always in New York.
We were the first small American jazz group since Sidney Bechet in 1927 to play for the public in Moscow and Leningrad.
Denzel Washington, Sidney Poitier, Robert Redford, Tom Cruise: those guys have well-planned careers. I'm just on a journey. Wherever I run across a job, I say, 'Okay, I'll do that.'
I was walking around with the babies so much that when I got to the Sidney Lumet picture, I would be on set in between takes and I'd be rocking back and forth. Just standing like this rocking back and forth, and Sidney would say, Why are you walking like that in between takes?
I became the storyteller of South Side Chicago. I used an old Kiwi liquid shoe polish as a microphone. I'd go around the house interviewing everybody, telling stupid jokes, doing voices. I mimicked Sidney Poitier, Sammy Davis Jr., people on 'Laugh-In,' Flip Wilson.
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