A Quote by O. T. Fagbenle
Elizabeth Moss may very well be one of the best actresses I've had the privilege of standing opposite and sharing lines with.
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Of course, the opposite of white privilege is not blackness, as many of us seemed to think then; the opposite of white privilege is working to dismantle that privilege. But my particular hip-hop generation proved to be very serious about figuring it all out and staying engaged.
Ask Elizabeth is a community of voices, it's not me standing on a podium telling people how to run their lives, it's girls helping each other sharing their wisdom and advice and I create a space for them to do it.
Of course I had written a film about Elizabeth I, and I loved the Tudor period, and I think at the time Working Title and I had debated on whether to do Elizabeth I or Henry VIII. I'd always wanted to do Henry VIII. Like Elizabeth, I'd had this feeling that it had never properly been addressed.
Well, for me, what I've learned at the very end of this, love is sharing, and I think that really is, for me, the best place to go to experience love, is sharing.
Moss is inconceivably strong. Moss eats stone; scarcely anything, in return, eats moss. Moss dines upon boulders, slowly but devastatingly, in a meal that lasts for centuries. Given enough time, a colony of moss can turn a cliff into gravel, and turn that gravel into topsoil.
The opposite of a fact is falsehood, but the opposite of one profound truth may very well be another profound truth.
The difference between the Japanese and the American is summed up in their opposite reactions to the proverb (popular in both nations), "A rolling stone gathers no moss." Epidemiologist S. Leonard Syme observes that to the Japanese, moss is exquisite and valued; a stone is enhanced by moss; hence a person who keeps moving and changing never acquires the beauty and benefits of stability. To Americans, the proverb is an admonition to keep rolling, to keep from being covered with clinging attachments.
I had a wonderful and very successful career in New York and had the privilege of working with some of the best editors and publishers in the business.
I was very careful to cast guys who were very good-looking and very fit and who had a certain sense of privilege about them, because with that sense of privilege comes contempt.
I had acted opposite Sathyaraj in 'Uchchi Thanai Mugarndhal.' It was a role which some actresses refused to do.
Elizabeth Bishop in particular had a big impact on me personally as well as artistically. Her insistence on clarity is something I rate very highly.
One of the first speaking roles I had was in a film called 'Svengali', with Peter O'Toole and Elizabeth Ashley. I was a waiter, and I had about three lines. And I was ready! I had been around people like that, and I knew they were just actors. All the work I had done, it was all there, and I felt like I knew all the mechanics.
As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.
We do have very intelligent actresses in our country. They're all very capable, smart and are managing their professions very well.
When I made YouTube videos, I am the one who's uploading it, I'm the one who's editing it, so I'm very in control of what I'm sharing and not sharing. Whereas in music, it's a lot more of pouring my heart out and kind of just putting it out there for the best.
I love that sometimes we need to go to the opposite side of the world to realize assumptions that we didn't even know we had and realize that the opposite may also be true.
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