A Quote by Peter Molyneux
'X Factor' isn't just about internationally recognized singers, it's about all the rest of us. There's a human interest story there.
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I think we did our first session in 1958. There were no black background singers - there were only white singers. They weren't even called background singers; they were just called singers. I don't know who gave us the name 'background singers,' but I think that came about when The Blossoms started doing background.
In any case, you read with exasperation or amusement the multiple errors in a story-and then turn the page to national or international affairs, and read with renewed interest as if the rest of the newspaper was somehow more accurate about far-off Palestine than it was about the story you just read. You turn the page, and forget what you know.
Nature is full of drama. I know nothing about biology, about birds, about insects, about the details of politics. I just make movies about human interest stories.
When I talk about the God who is with us, for us, and ahead of us, I'm talking about our facing that which most terrifies us about ourselves, embracing it and fearing it no longer, refusing to allow it to exist separate from the rest of our being, resting assured that we are loved and we belong and we are going to be just fine.
The X Factor is something that's real. Once you find that X Factor, it's undeniable. No matter what the critics say about our band, we obviously have the X Factor. Redfoo has got the X Factor.
I just essentially stayed at home for three years and just learned to play as many instruments as I could and listened to as many singers as I could. Like, when I got to about 19/20, I started listening to singers. I normally just listened to bands. Now I listen to a lot of old singers, not a lot of new stuff.
If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.
All the great novels, all the great films, all the great dramas are fictions that actually tell us the truth about us or about human nature or about human situations without being tied into the minutia of documentary events. Otherwise we might as well just make documentaries.
We do not have many intellectuals who can speak out for us internationally. We have no writers who are recognized, respected and loved outside the Arab world.
I think, as singers and performers, we are ambassadors of the human experience. I don't want to get bored just talking about myself.
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.
Walt Disney was a story man, and he knew that we were thinking story. That's why he dug us so much and he hired us to work for him. We always thought about the story. That was more important than any words and any music. That's all it's about.
The story of slavery is everybody's story. It is the story about how we're all shaped by, regardless of race, regardless of how long we've been in this country. We hope that we can be a factor to both educate America around this subject but maybe more importantly help Americans finally wrestle with this, talk about it, debate it, because only through that conversation can we ever find the reconciliation healing that I think we all want.
The things that are reflected back at us, often times, are appealing to a base instinct that's about response as opposed to reflection. So for me, it's important to turn on a piece of information that might interest people, you know, that might interest them in pursuing or researching maybe, or even just thinking about it in that moment as I'm performing it.
Politics now is really only about self-interest, which means it has violence built into it because your self-interest is going to collide with the self-interest of the rest of the world. That's inevitable.
You just did a whole read-through. The lie that brought us into war was that Iraq was a threat to us. Well, now it is a threat. Now it is a terrorist hotbed. The fiction is now reality. And now we have to deal with it. It was an attempt at a corporate takeover. This was about oil. It wasn't about human rights. It's not about human rights.
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