A Quote by Sana Khan
I'm taking my own time but I don't want to just relax either. Also, when you're looking for work, everybody approaches you, but I'm trying to target the right project that takes me a level up.
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Craft takes time, and therefore it is luxury. You cannot do an amazingly well-made garment without taking time—not just the time it takes to make something but also the time it took the maker to come up with the idea. That is all luxury, and that has been lost because were trying to make things faster and faster, cheaper and cheaper. The consumer tends to lose track of what luxury is.
I'm not particularly good at coping with it. I just cope. I just leave my brain at the door and just stand there. I can get the screaming more than I get the photo things. That's the worst, when you have this wall of photographers. I've never understood the logic in how they do it. Everybody shouts at the same time, and you're trying to do a logical thing, looking from the left to the right. And they almost always end up looking disappointed with you afterwards.
When a spectator approaches a painting with his own particular set of filters or theories, be they historical, political, intellectual or whatever - he either finds what he is looking for or dismisses the work as irrelevant. He has deprived himself of the possibility of any fresh experience or revelation by looking only for confirmation of that which he already 'knows.
Now I don't want to take roles just for money. It's like trying on the right dress. When you go shopping for a dress, you can try to make something work 'cause you can't find the right one, but you always have that memory of the time you put on the perfect dress and you were like, "Oh, my god, I love myself in this dress! I'm excited to go out and have people see me in this!" That's the way that I'm looking at the roles that I want to do. I'm not looking for anything specific, except for something that has heart, and that I will enjoy doing that feeds my soul.
If we're doing a class project, then I'm going to be the one talking and taking the lead. I might not necessarily put all of the work in the project, but I want to help and do as much as I can and get everyone going in the right direction.
If you work in the city long enough, it begins to deal with you on a personal level. Streets reveal their moods. Sometimes the signal light loves you. Sometimes they fight you. When you're hunting for a new building, you hope the city is on your side. You have to use a little bit of thinking--you might call it the process of elimination--and you need a little bit of instinct, but not too much of either. If you think too hard, you overshoot your target and end up at the Pier or the Tenderloin. If you relax and let the city help, the destination does all the work for you.
I'm trying to avoid any more asshole roles, at least for a little bit. The main criteria for me when choosing a project is a good director. I just want to work with these guys that I admire because I do want to direct my own films one day, and I want to pick their brains to see what their process is like, and see what I can take from that.
I used to work in TV and quit the job because I couldn't do it any more. I quite like taking my time over a film, five years is how long it takes me to work something out. And when you just do quick turnover, turnaround, I'm literally this is driving me mad, I want to find another living. I'll just have to find a creative way to tell the story.
I just feel very grateful to be a part of that, to be a part of a winning team... I'm trying hard not to be used to it, but I am kind of. It is something where I've run out of people that I want to work with because I've worked with everybody I ever wanted to. I really have. I can't think of anyone I'd want to work with right now because I'd just want to work with the same people again.
Life is too short to be doing work that doesn't make you feel happy and fulfilled. I'd rather wait for the right project, as opposed to just taking whatever is handed to me.
Balance is a tricky thing. I love my work and that helps. And I work a lot. So I spend a fair amount of time trying to make sure I'm taking time off, exercising, meditating and things like that. I also have a powerful support team (including my partner, Kelley) to keep me grounded. I don't always feel like I have the balance I want, but I have awareness about it, which I think is key.
For me, everything is still possible and I am as determined as ever. I believe first that the project of a people does not die. It is the project of freedom for a people, it is a project of sovereignty. And since the nation exists, it has the right to its own state. I will work to advance it in that direction.
Every relationship has its own language. It takes a long time to evolve and read one another. Just as it's true for people, it's also true on a national or cultural level.
I had also wanted to work with Aaron McGruder for a long time and there were a few other people on the project that I really wanted to work with,so it seems like a miracle of a project ['Black Jesus'] was handed to me.
I'm honored that other comedians like what I do. That means the world to me. But at the same time when I'm on stage I'm not just trying to make the comedians laugh - I'm also trying to make the audience laugh. I want to make everybody laugh.
You want to make a representative selection, but at the same time, you want to give a sense of the whole project. I have this big conflict in my writing life that I'm trying to work out all the time.
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