A Quote by Margot Lee Shetterly
I started to think of 'Hidden Figures' as the first part of a mid-century African-American trilogy.
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The first slave came to Florida in 1526. The first one we know by name, Esteban, which means Stephen, came a couple of years later. So, we start with the stories of Juan Garrido and Esteban to show that African-American people have been here a century longer than anyone thought, and that the diversity we see in the African-American community today has existed since the beginning.
After the children grew up, I began to focus on my writing. My first books were part of a trilogy... The 'Wind Dance' trilogy.
Out of 30 years of Second City I was probably the third African-American with the main stage cast. I was surprised when I first heard that. I think part of the reason that improvisation has never been popular with African-Americans is that it isn't popular in the inner cities.
The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming. It doesn't get any better than that.
I'm always talking about how representation is such an important thing - it's not just a request, it's a requirement - it needs to happen. So, to be a part of representation and to go down in the history books as the first African-American woman to win, and the second African-American to win the Royal Rumble is an honor.
We cannot proclaim this century the African Century and then ignore the AIDS pandemic, as some political leaders are apt to do. To claim this century the African Century is to declare war on AIDS.
I don't see a lot, but I think what the movie studios know and what they always know but they kind of ignore, which is that a there's an audience for movies like 'Get Out,' and 'Hidden Figures,' and to some extent 'Moonlight,' which made a lot less money than 'Hidden Figures' did.
I think the African American community, the Latino community, the Native American communities have borne an unfair burden in the last century, and continue to.
It's odd to say we had our first African American president before our first African-American-owned movie studio, but we're making progress.
I sit here as the first African-American attorney general, serving the first African-American President of the United States. And that has to show that we have made a great deal of progress. But there's still more we have to travel along this road so we get to the place that is consistent with our founding ideals.
My husband [Julius Tennon] and I started a production company. We've already optioned a book and some scripts to do exactly that, to create more complicated, multi-faceted roles for African-Americans, especially African-American females. I think it's important.
The acceptance of the facts of African-American history and the African-American historian as a legitimate part of the academic community did not come easily. Slavery ended and left its false images of black people intact.
It has become part of the accepted wisdom to say that the twentieth century was the century of physics and the twenty-first century will be the century of biology.
Sometimes you can't fight change, because you're a part of it, and I feel that in the context of these films that are happening now, there is a kind of change coming in terms of how history is represented on film, and the African, and the African-American and British African experience.
I think there are white alumni out there who wouldn't mind having an African American president of their school, but would be reluctant to have an African American coach, because he represents the school so. I think it's just sheer backward racism.
I am writing about people who are alive in the city of New York during mid-20th-century America. And these people are like a character in a play or they are figures in a short story or a novel.
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