A Quote by Lilly Ledbetter
Some of you may know my story: How for nineteen years, I worked as a manager for a tire plant in Alabama. And some of you may have lived a similar story: After nearly two decades of hard, proud work, I found out that I was making significantly less money than the men who were doing the same work as me.
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We may know that the work we continue to put off doing will be bad. Worse, however, is the work we never do. A work that’s finished is at least finished. It may be poor, but it exists, like the miserable plant in the lone flowerpot of my neighbour who’s crippled. That plant is her happiness, and sometimes it’s even mine. What I write, bad as it is, may provide some hurt or sad soul a few moments of distraction from something worse. That’s enough for me, or it isn’t enough, but it serves some purpose, and so it is with all of life.
My family is no different from yours. We may be different from the geography that we come from. Some of you all may pray differently than I do, some of you all may be from a different ethnicity, but we all have the same story.
I'm quite happy with the body of work that I've done, and I've done some really good work over the years that I'm proud of. I'm proud of some of the people that I've worked with, been lucky to have worked with.
But I still wonder how it was possible, in those graceless years of transition, long ago, that men did not see whither they were going, and went on, in blindness and cowardice, to their fate. I wonder, for it is hard for me to conceive how men who knew the word "I," could give it up and not know what they lost. But such has been the story, for I have lived in the City of the damned, and I know what horror men permitted to be brought upon them.
How do you deal with a criminal that will not listen to what you have to say and who continues his policy of violence? Some say you continue to talk and let him tire himself out. But nearly 40 years after the institution of apartheid, is there anyone who still believes that verbal persuasion will work?
I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
It must be a good thing to die conscious of having performed some real good, and to know that by this work one will live, at least in the memory of some, and will have left a good example to those that come after. A work that is good-it may not be eternal, but the thought expressed in it is, and the work itself will certainly remain in existence for a long, long time; and if afterwards others arise, they can do no better than follow in the footsteps of such predecessors and do their work in the same way.
After 'A Separation,' I found it much easier to work in Iran because I worked with very enthusiastic people who were very involved in the work, and that facilitated a number of things. It made it possible to iron out some of the difficulties found by other filmmakers in Iran.
A life lived in chaos is an impossibility for the artist. No matter how unstructured may seem the painter's garret in Paris or the poet's pad in Greenwich Village, the artist must have some kind of order or he will proudce a very small body of work. To create a work of art, great or small, is work, hard work, and work requires discipline and order.
At some point in time it will be right for me to step aside. That may be after this year, but that may be after two or three more years.
Very often people who live in a ghetto accept some of the stigmatisation against them. I mention the case of a Japanese minority the Burakumin, which was pure Japanese in descent, but which was concerned with dirty work: leather work, cadavers, and some other things.There was a famous story of an old man who asked: 'Do you yourself believe you are the same as the Japanese?' And the outsider said: 'I do not know, we are dirty.' This kind of conscience was never there in the surroundings in which I lived. One always felt as someone whom could be proud of, being both German and Jewish.
But that is the way of the place: down our many twisting corridors, one encounters story after story, some heroic, some villainous, some true, some false, some funny, some tragic, and all of them combining to form the mystical, undefinable entity we call the school. Not exactly the building, not exactly the faculty or the students or the alumni - more than all those things but also less, a paradox, an order, a mystery, a monster, an utter joy.
'The Immigrant Story,' which took me about twenty-five years to write, was a very simple story, but I couldn't think of how to tell it. Then twenty years after I started it, I found this one page and realized it was going to be the story. That's the only way you get it sometimes.
I've always resented the smug statements of politicians, media commentators, corporate executives who talked of how, in America, if you worked hard you would become rich. The meaning of that was if you were poor it was because you hadn't worked hard enough. I knew this was a lite, about my father and millions of others, men and women who worked harder than anyone, harder than financiers and politicians, harder than anybody if you accept that when you work at an unpleasant job that makes it very hard work indeed.
I'm most proud of my kids, for one, and my family and my parents. Outside of that - what am I proud of? I don't know. I don't look back, I just go forward. I'm just proud of the fact that my parents were immigrants and we had nearly nothing, and all of the sudden, with the help of a lot of people and my parents as a model, I amounted to something. And I'm doing some very decent work.
With every story that TV covers, somebody - some corporation, some shareholders - are making money. That's true whether covering Libya, Iraq, the tsunami in Japan, Osama bin Laden, whatever story there is. That day, the shareholders are making money off it. Every newspaper that's sold, somebody's making a dime.
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