A Quote by Normani Kordei
I put my all into performing so people can walk away knowing a bit more about me and feel the passion in my story.
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One of the things I want to do with 'Desi Rascals' is go a bit deeper into the characters and their family lives and have a bit more heart and a bit more inter-generational story-telling, so it's not all about young people.
My interest is to point out to you that you can walk, and please throw away all those crutches. If you are really handicapped, I wouldn’t advise you to do any such thing. But you are made to feel by other people that you are handicapped so that they could sell you those crutches. Throw them away and you can walk. That’s all that I can say. ‘If I fall....’ - that is your fear. Put the crutches away, and you are not going to fall.
That's the best thing about being an actor. If you're in a baseball movie, you walk away knowing way more about baseball, or if you're in a sci-fi film, you learn way more about Comic-Con, and so I loved all that.
I'm actually interested and enthusiastic. Even when I walk into a show not knowing much about my guest, I always come away as more of a fan or enthusiast.
Leadership, to me, is about the ability to have people want to hear what you have to say. People want to be around you, people want to believe in what you tell them, and they feel good when they walk away from you about who they are and what they're doing.
I think when you've got a passion for something, it comes out of you, and people can feel it. Then your mind is so geared towards that and how you can improve on it, and you're so excited about performing that it comes together.
There are people who can walk away from you... let them walk. I don't want you to try to talk another person into staying with you, loving you, calling you, caring about you, coming to see you, staying attached to you... Your destiny is never tied to anybody that left. And it doesn't mean that they are a bad person, it just means that their part in the story is over. And you've got to know when people's part in your story is over.
I don’t want to love him—this would be so much simpler if I didn’t. But I do. He’s funny, and passionate, and strong, and he believes in me more than I even believe in myself. When he looks at me, I feel like I could take on the whole world and come out standing tall. I like myself better when I’m with him, because of how he sees me. He makes me feel beautiful and powerful, like I’m the most important thing in the world, and I don’t know how to walk away from that. I don’t know how to walk away from him.
I don't think there's a right or wrong things in your style. It's about how you clearly reflect who you are; how you more clearly tell the story. Who are you? How do you want to transmit that to the world, and how do you more clearly say that? Then I have a philosophy, FFPS: fit, fabric, proportion, and silhouette. Proportion's everything, really, knowing your body and understanding that. Those things have been really crucial for me. It's about being clear about the story you want to tell to the world about who you are - and maybe a little bit of FFPS.
I hope to make pictures like I walk in the desert—under a spell, an instinct of motion, a kind of knowing that is essentially indirect and sideways.Of all the things I wondered about on this land, I wondered the hardest about the seduction of certain geographies that feel like home–not by story or blood but merely by their forms and colors. How our perceptions are our only internal map of the world, how there are places that claim you and places that warn you away. How you can fall in love with the light.
For me becoming a filmmaker was about taking back my voice - crafting stories that would move away from the problematic narratives that the studio system would put out about Latinos. I think this is why people like my films. They're refreshing. They feel more real.
I have definitely had guys walk up to me, put their arm around me, and when they walk away, my shoulder smells like taco meat.
But I think writing should be a bit of a struggle. We're not writing things that are going to change the world in big ways. We're writing things that might make people think about people a little bit, but we're not that important. I think a lot of writers think we are incredibly important. I don't feel like that about my fiction. I feel like it's quite a selfish thing at heart. I want to tell a story. I want someone to listen to me. And I love that, but I don't think I deserve the moon on a stick because I do that.
Prepare by knowing your walk away [conditions] and by building the number of variables you can work with during the negotiation... you need to have a walk away... a combination of price, terms, and deliverables that represents the least you will accept. Without one, you have no negotiating road map.
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
'Just Can't Let You Go' is a song about passion. It's when you have such a strong passion and love for someone or something that your heart just can't let it go. Whether it's a special boy, girl, or that feeling you get when performing on stage or playing a sport. For me, my passion is music. I just can't let it go!
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