A Quote by Maverick Carter

With '89 Blocks,' we found a special story that needed to be told. — © Maverick Carter
With '89 Blocks,' we found a special story that needed to be told.
When you're 89, dementia develops. I mean, I've told a story onstage, and I'm telling it with a full heart, and I forgot the damn punch line.
The story it told was unremarkable: a tale of love found and lost- the oldest story in the world. The only story.
What we call 'the news' always has tried to tell a story, and it's always told the story it wanted or, put most positively, whatever story it believed needed telling.
The set of '12 Years a Slave' was an extremely joyous one! We all recognized that we were making a powerful, necessary and beautiful film, and we weren't about doing it without that sense of responsibility, and we recognized that we needed each other to tell this story. We also knew we needed to hold each other up as we told the story.
I had made it somewhere special, and I'd gotten there all on my own. Nobody had given it to me. Nobody had told me to do it. I'd climbed and climbed and climbed, and this was my reward. To watch over the world, and to be alone with myself. That, I found, was what I needed.
I think didactic art is boring. I mean, I love it in terms of, like, some of the historical precedents that I've learned from. You needed that. We needed those building blocks in terms of - you know, when I look at a great Barbara Kruger, for example, and you're thinking about, you know, the woman's position in society - you know, she found a way of making it beautiful, but at the same time it's very sort of preachy, you know what I mean?
Somalia is an important story in the world, and it needed to be told.
I have experienced ageism and sexism. In my 20s, I was told by a camera lighting man I needed plastic surgery. In my 30s I was constantly told I needed to lose weight.
I've always found it funny when people call 'Romeo and Juliet' 'the greatest love story ever told' because - man - it does not work out well for those kids, you know? I'd like to think the greatest love story ever told would at least let them be together for more than a few hours.
I've worked with people who wanted to be creative every day: it was like a goal to arrive with something very special. Sometimes it's just disturbing, because special is good when it's needed. But when it's not needed, it's confusing, and you go away from the authenticity by a strong desire to be unique and singular.
I think when people begin to tell their stories, everything changes, because not only are you legitimized in the telling of your story and are you found, literally, like you matter, you exist in the telling of your story, but when you hear your story be told, you suddenly exist in community and with others.
I think when people begin to tell their stories, everything changes, because not only are you legitimised in the telling of your story and are you found, literally, like you matter, you exist in the telling of your story, but when you hear your story be told, you suddenly exist in community and with others.
But you have to be told you're special first before you believe it yourself. I was first told I was special by my aunt. The second person was my scoutmaster.
The fact is that we wouldn't have found out about Manzanar except in our story-telling because it was really never told in the American history books when we attended school. So we were very, very lucky to have that part of history told.
Imagine blocks and blocks of no cocaine, blocks with no gun play.
To have one's own story told by a third party who doesn't know that the character in question is himself the hero of the story being told, that's a technical refinement.
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