A Quote by Omar Zuniga
Every film comes out of an intuition, where I'm at, at that moment in particular. But looking back on my work, somehow I get back to masculinity and how men are taught to avoid showing how fragile they can be, or to people who are in constant movement.
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I think all my work's been about how do women get back into our bodies; how do men get back. We're all disassociated.
I've definitely met some people that cultivated a masculinity that they taught themselves. I don't know how they figured out how to do it, but I couldn't.
I didn't have a ton of role models back in 1998. So, when I was looking to get in, it was really just looking up at all the men who were out there. When you're not seeing women - when you're breaking into anything - it's like, "Well, this is what the men do and how they act, so we're going to just emulate that behavior."
It's extremely difficult and very challenging to be a woman in film and television. Just showing up in this business forces you to know yourself. But I learned how to deal with rejection and get tough when I was working as a model - it taught me how to put myself out there. In a way, my time modelling was a preparation for life.
I wish that there was a program in college that taught you what to do about getting head shots, how to get an agent, how to get a manager, how to - none of that was taught. It was all your craft, and I'm very appreciative that they taught the craft in theater, but film and television are completely different than theater.
Oh! how amazing it is that people can talk so much about men's power and goodness, when if God did not hold us back every moment, we should be devils incarnate!
My parents, they gave me everything. They taught me how to work hard. They taught me how to be a good Catholic. They taught me how to love people, how to respect people, but how to stand my ground, as well.
I do not want to discuss evolution in such depth, however, only touch on it from my own perspective: from the moment when I stood on the Serengeti plains holding the fossilized bones of ancient creatures in my hands to the moment when, staring into the eyes of a chimpanzee, I saw a thinking, reasoning personality looking back. You may not believe in evolution, and that is all right. How we humans came to be the way we are is far less important than how we should act now to get out of the mess we have made for ourselves.
You forget how crazy people are in New York, all the people on the sidewalk. When you leave here, everyone's in their car. But I get back here - I just went to throw something in the garbage, and there was a guy in the garbage. And he wasn't looking in it; he is in it, looking out over 9th Ave like a fisherman.
Many people have the heart to give back, but a lot don't know how to. I try to be the bridge for those people - whether that means getting them involved in one of my campaigns or inspiring them by showing them a blueprint of how to get others engaged.
In the end, so much of what I wanted to do was to have a body of work that exhaustively looked at black American notions of masculinity: how we look at black men - how they're perceived in public and private spaces - and to really examine that, going from every possible angle.
I'm looking back at what I did and how it works. In a sense I'm waiting to see how people will respond. I'm waiting to see how you respond, without asking me to tell you what I think about it, because it is your job to give me an idea of how you go about thinking about this work. And if it's too absurd then, you know, I'll kick you out!
I didn't like hovering above myself and looking back, or going through a door and thinking, How many times did I just go through that door? How do I get back? You know, that's not for me.
We're still trying to figure out how to let men be vulnerable, to realize there's strength in vulnerability, and that it's how you fill out the circle of masculinity.
I realize I have a lot of amazing opportunities, but I don't know how you can play a human being going through real human experiences without being able to walk down the street. If you can't live a real life, how do you play a real person? It always confuses me when actors work back-to-back-to-back with no break. If you live your life on a film set, how the hell can you relate to real people? You don't know what its like to not have people fussing over you all day, and that's not life - that's silly movies. I will always want to take breaks and I wouldn't be OK with losing that.
He glanced back at the wall. How like a mirror, too, her face. Impossible; for how many people did you know who reflected your own light to you? People were more often--he searched for a simile, found one in his work--torches, blazing away until they whiffed out. How rarely did other people's faces take of you and throw back to you your own expression, your own innermost trembling thought?
