A Quote by Robert Rinder
Let's start spreading work experience and opportunities a little wider so that the photographers, writers, and TV producers of tomorrow are drawn from a broader section of society.
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Usually I work out the plot before I start. This time I thought: Writers always talk about not knowing where a book is going - -I want to experience that, too. What I found out is that it's very interesting, but it takes much longer because you have so many false starts. You take wrong turns and you have to go back and start the whole chapter, or the whole section, from scratch.
So when it was my turn to start developing projects, I knew the writers I wanted to work with, and I had met every head of studio, every executive and a lot of producers. I started finding things, little crumbs off other people's tables that I would make my own.
I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.
I don't think you should sit around and wait for people to give you an opportunity to express yourself or do your work, or whatever. Actors have to be producers and writers have to be producers.
Movies are grander, with (in my experience) more heavy weight chefs in the kitchen: the studio, the producers, the writers. All of them get to weigh in and you have to listen to all of them because they hired you. With TV, it's a way smaller scale, with only a few people weighing in.
The bottom line is that female writers aren't being given enough opportunities by male producers.
I think that if there can be considered racism it's to do with the lack of opportunities for writers and producers and the people behind the camera.
Most writers stick to what they know. The black experience is our experience, so it's not that challenging for us. That's why sometimes you'll see writers that start off telling black stories, but later branch out into other material. People say they "sell out." No, they evolve as writers.
We're really trying to make movies for TV. Producers and writers are taking risks that they weren't in the past.
It's just unfair that talent of color aren't given the same opportunities as white and male actors, directors, producers, writers, et cetera.
The TV business is like the produce section of the market. Today everything is fresh and glistening and firm. And tomorrow, when they find a bruise on you, they toss you out.
I was raised around a lot of artists, musicians, photographers, painters and people that were in theater. Just having the art-communal hippie experience as a child, there wasn't a clear line that was drawn. We celebrated creative experience and creative expression. We didn't try and curtail it and stunt any of that kind of growth.
People who feel alienated have little trust in the institutions of our society. This adds to the wider sense of disaffection and makes it more difficult for our politics to work.
The immigrant experience in 'Ilustrado' was only a small part of what I intended to be a broader look at the Filipino experience, even if that broader look was itself merely a specific perspective.
Buy a cross section of American industry, and if a cross section of American industry doesn't work, certainly trying to pick the little beauties here and there isn't going to work either.
The Shield made me realize there were great opportunities for writers in TV.
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