A Quote by Trace Lysette
I feel like if Hollywood can stretch for inclusion and intersectionality, and being intentional with its intersectionality, that that can ripple out past Hollywood into whatever industry and kind of affect society as a whole.
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Intersectionality is not easy. It's not as though the existing frameworks that we have - from our culture, our politics, or our law - automatically lead people to being conversant and literate in intersectionality.
Intersectionality has given many advocates a way to frame their circumstances and to fight for their visibility and inclusion.
Hollywood, that whole industry, is a lot like a really small town. You bump into the same people all the time. I think Six Degrees of Kevin Bacon can be played with anyone and everyone in Hollywood.
The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life. But Hollywood has forgotten that, in the past, what made Hollywood great and what made it go ahead was the fact that Hollywood was fed with, for example, Jewish directors coming from Germany or Austria and enriching Hollywood. In 15, 20 years, Hollywood became imperialistic. Cinema goes ahead when it is marriaged by other culture. Otherwise, it turns on itself.
I appreciate it if I make a Chinese film. And if there is an opportunity to make a Hollywood film, I will take it - especially because, as you probably know, in Hollywood, even today, there are not a lot of big roles for Asian performers. So it is a great opportunity. It is possible to make films that people everywhere enjoy. I travel quite a lot. I don't really feel like when I am in China, I am a Chinese person and when I'm here, I'm a foreigner. I don't feel that kind of difference anymore. In the past I did. Not anymore. I feel quite at home everywhere. The whole world is my home.
I feel like there's a randomness in real life that too many Hollywood movies just shave off. It feels too intentional, and life just isn't that intentional. I like popcorn movies. I like entertaining movies. But, I feel like I could do something more in the real world.
There's nothing in Hollywood that's inherently detrimental to good art. I think that's a fallacy that we've created because we frame the work that way too overtly. 'This is Hollywood.' 'This isn't Hollywood.' It's like, 'No, this is actually all Hollywood.' People are just framing them differently.
Whether it is spelled Bain and being put out by the Obama campaign or Bane and being out by Hollywood, the narratives are similar: a highly intelligent villain with offshore interests and a past both are seeking to cover up who had a powerful father and is set on pillaging society.
I'm on the board of the Annenberg Inclusion Initiative, which is run by Dr. Stacy Smith - she conceived of the inclusion rider. What I love about the inclusion rider is it uses the fact that Hollywood is based on hierarchies, and it knows that these key players have persuasive power.
I like to go to the movies at The Hollywood Forever Cemetery. They do this thing in The Hollywood Forever Cemetery in Hollywood where everybody sits out on the grass and they project movies and it's very romantic and very old-school Hollywood, so I love that.
In my opinion, Hollywood doesn't know the context. Hollywood sees a David and Goliath story with Israel being cast in the role of Goliath, as the evil aggressor. The Palestinians are simply innocent reactors to whatever Israelis are throwing at them. And everything - like their economic situation - excuses the savagery.
I loved acting as a kid because I was kind of shy, so it brought me out of myself. Acting for kids is like playing house, you know? But growing up in Hollywood, it just made it seem possible. It wasn't like some idea of going to Hollywood; it was in my backyard. I lived two blocks from Grauman's Chinese Theatre growing up. It was what people did. It's an industry town. So it wasn't some far-off fantasy, it was like "Oh yeah, when you grow up, you do this because that's what people do here."
What I didn't tell her was that I distinctly remember walking out of my junior year English class reading, 'Amandla Stenberg comes out as queer.' She unknowingly set a precedent in my life, a gold standard of how to be proud and exist in the intersectionality of multiple identities that were one thought of as being conflicting.
This is the whole point of intersectionality - that it cannot only be a single-issue analysis of race and gender, and instead must consider the cumulative impact of various and simultaneous identities that compound the effects of discrimination.
Hollywood's thinking is very typical. And it's just really predictable too. And I think at Hollywood, these box office movies are flopping. I mean, there hasn't been an original thought coming out of Hollywood since the '80s.
I think the message has already been sent to Hollywood, which is that this kid's a hard worker, he's talented, and people are coming out to see him. And when you have box-office results, Hollywood treats you different. Hollywood stands up.
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