A Quote by Viola Davis
I really want my acting to be definitive a lot of times, but I must feel like in any given moment there is a lot of things going on with Rose. I kept telling Denzel [Washington] throughout filming [Fences] that the house is her joy and her tomb.
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I think that's why August [Wilson] named her Rose [in "Fences"]; I really do. She's a rose in her sweetness and her kindness and in everything else, even her anger towards the end.
We keep a lot of humor and laughter in the home. A lot of times these days, people let the stress of life take the joy from the home. When you can laugh and you can have joy, that's very healthy. Victoria is easy going. She's very spontaneous and fun. I can hear her laughter all through the house. It sets the tone for the house. I like someone who can laugh. The second thing is respect. We just do our best. We don't always agree with each other but we make the decision that we want to treat each other with respect.
I would like to work with my ideal type, Song Hye Kyo sunbae. Although she has an elegant and classic style, her charisma is also strong, and her acting talent is outstanding. If we act together, I think I could learn a lot from her. But I'd probably be nervous a lot of times.
Just like Marilyn Monroe is a lot of girls' idol, that's how I feel about Dorothy Dandridge. And she any Marilyn were very close friends. She went through a lot, and people told her that she couldn't do certain things, but she didn't let that bother her. She said in her mind that she was going to do them and that nothing was impossible, and she did it. It was so sad... She died from drugs, and drinking as well.
I do feel even though now I'm acting, I still feel like I'm going to do a lot of other things, like write a book or multiple books, maybe a children's book - just random things that I feel like I want to do, that I have an urge to do in that moment.
There are a lot of times when Jessica Jones is alone in her house, and there's no dialogue. She's rough around the edges, so getting to spend that time with her and see her be vulnerable and process the weight of her world is what makes the character so likable.
Selena is my angel. She is my biggest inspiration. Being from San Antonio, Texas, I really feel that connection to her because she had a lot of performances and a lot of her most iconic performances in San Antonio. Back in my hometown, we love her. We all, as a community, celebrate her and adore her. We keep her memory alive.
I think it's not an easy task because there's not enough Latino writers that are being given opportunities to write things - and I say this because I've been given a lot of bilingual movies in the past because of my career in Mexico, and they're like, "Oh, it's going to make sense for her to do this." A lot of studios want to hit that demographic, but they sort of do it without starting in the right way, which is having someone who knows the culture, and enjoys the language as well, to be able to write these things.
You must learn her. You must know the reason why she is silent. You must trace her weakest spots. You must write to her. You must remind her that you are there. You must know how long it takes for her to give up. You must be there to hold her when she is about to. You must love her because many have tried and failed. And she wants to know that she is worthy to be loved, that she is worthy to be kept. And, this is how you keep her.
If you don't invest in the woman, empower her, give her the things she needs to lift her family up, you're just not going to make the progress that you want to make. But if you put her at the centre, you can change a lot for that family, and it has ripple effects through the economy.
Miley is crazy, and a lot of the things she does are things that should not make any sense to be in houses. And a lot of times when you first hear what she's going to do, we're like, 'Oh gosh.' And then you see it, and you're like 'Wow, that is really, really cool.'
When Nancy Reagan was presented with people who she really felt like weren't going to judge her, there was such a floodgate of affection and warmth and physical affection that, most of the time, was kept at bay because, "Oh, someone's going to say something." I think that because of so many things that happened to her in her childhood, but also in the press.
I just remember lot of men running around in little tiny gold shorts! The format - it was kind of hard. You really have to know about pop culture and I'm not really knowledgeable about a lot of those things. I know what I like. They'd ask about Gwyneth Paltrow, and I don't know anything about her, except her mother. I know who her mother is. So you really have to be current and relevant.
For me, Shonda Rhimes is an amazing person that I look up to. She empowered a lot of her writers to go on and do other things while, at the same time, she made sure she kept her stamp on those things and grew her business.
But when I realized it was actually going to be this portrait of the artist, birth to death, I had to then discover who Margaret as a young woman would be. I had to find the different voices for her throughout her life. I had a lot of fun discovering that. I had a lot of fun writing the childhood sections. By imagining her childhood, I was able to come up with this voice that matures as she gets older.
Being under the microscope meant I was never given any slack. I still managed to screw up plenty in life, mind you, but in the things I really cared about - the legal work, or the stories I was telling as a writer, or the office I built in government - I wasn't left a lot of margin for error. It's kept me driven.
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