A Quote by Y'lan Noel
I hadn't seen 'The Purge' until I was trying to do the research for it. But it was my friends and my cousins, in particular, who came to me not too long before the audition process and asked me if I had seen it. They were talking about how great it was. I was engaged in the opportunity to do the film because of their intrigue with the franchise.
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I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
I had actually sent an audition tape for Simon Pegg's movie 'Hot Fuzz,' which came to nothing. Four years after the film released, out of nowhere, I got a call saying the producers of 'Game of Thrones' wanted me to play Hodor after they had seen that particular tape.
I had seen movies before that that had made me laugh, but I had never seen anything even remotely close to as funny as Richard Pryor was, just standing there talking.
They've seen me make decisions, they've seen me under trying times, they've seen me weep, they've seen me laugh, they've seen me hug. And they know who I am, and I believe they're comfortable with the fact that they know I'm not going to shift principles or shift positions based upon polls and focus groups.
It used to annoy and frustrate me to have to come in and audition. I would say to my agents, 'Haven't they seen this film and this film and this film? They know what I look like... They must.' Until I directed an episode of 'Roswell.' And all of a sudden, I realized why that was such an important thing.
In 2013, I had to do 'The Wright Stuff' on about an hour's sleep. I was asked, 'What do you make of the situation in Mali?' and I said, 'Well, I've not seen the film but I know the dog dies in the end.' They were talking about the civil war, and the whole audience took an inward breath. I thought, 'Should I not have revealed the end of the film?'
I had not seen that until - and when it first came out I was told. I had not seen or been aware of all of that physical evidence. And when I saw it, I was horrified. It was so astounding to me to see that there was that much evidence.
For me, in general, it's always about the material. Obviously, it's about the material and hoping that someone wants to hire me for a job, too, but I've certainly seen films like 'Orphan' and movies like that where I know that if I had had the opportunity to read that script or had an opportunity to do it, I would have wanted to do it.
Pauline Kael had seen Nashville, and she loved Nashville. When I called her, she immediately responded to me because we had become friends, and I told her how great this film was, and she told me, "Well, I'll have to see it for myself." So I showed it to her, and she flipped.
I am an old, old friend of Aaron Sorkin's, who is the executive producer and writer. He had been talking about doing a political show for a long time and I had been interested in it for a long time. The moment I became available, he called me last year and asked me if I wanted to do it and then I just had to audition for the powers that be, and I got it.
Being a nerd, which is to say going too far and caring too much about a subject, is the best way to make friends I know. For me, the spark that turns an acquaintance into a friend has usually been kindled by some shared enthusiasm . . . At fifteen, I couldn't say two words about the weather or how I was doing, but I could come up with a paragraph or two about the album Charlie Parker with Strings. In high school, I made the first real friends I ever had because one of them came up to me at lunch and started talking about the Cure.
There've been times where, like when I auditioned for 'Akeelah,' I think in the first audition I was a little bit afraid because it was, you know, I had seen girls in there that I had seen on TV before, and I was like, 'Man, I might as well just walk out of here now because I'm just a newcomer,' and this and that.
Until quite recently I've been wholly cut off from [the Shias] because their tenets forbid them to look upon an unveiled woman and my tenets don't permit me to veil Nor is it any good trying to make friends through the women - if they were allowed to see me they would veil before me as if I were a man. So you see I appear to be too female for one sex and too male for the other.
I have seen clouds part for the sun. I have seen rainbows. I have seen flowers in the morning, covered in dew, and I have seen sunsets so brilliant with fire they made me want to weep. And I have seen Dan smile at me, his lips still wet from my kiss, and if I had to choose which sight moved me the most I would say it was that one.
It weren’t too loo long before I seen something in me, had changed. A bitter seed was planted inside of me. And I just didn’t feel so, accepting, anymore.
I had never seen an ocean before I came to Mumbai, something that now we take for granted. But the first time I stood in front of the ocean, it affected me for a week. I had never seen something as enormous. It consumed me completely.
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