Top 127 Quotes & Sayings by Forest Whitaker - Page 2

The Internet is part of our evolution. The mystics used to say, 'We can travel across the planet in a thought.' Now we really can. We can be connected with a million people at a time.

I was a curious child. I'd debate with anyone who came to the door - people from the Islamic community... Jehovah's Witnesses... anyone.

I try to be like a forest, revitalizing and constantly growing... Kids would tease me, calling me 'Little Bush.' But... I thought being called Forest helped me find my identity.

Directing is more comfortable for me because, as an actor, there's always something inherently false. Because I'm not that person.

We're supposed to be an example of freedom, and if we are doing things that are injustice to people, then what is our statement?

I think that cinema and the arts are central in our lives because we grow up and learn about the world through our exposure to stories. Parents use them as a tool to teach their children fundamental truths and values, much as adults can view them to gain exposure to cultures and individuals that they'd never be able to view in their own lives.

In high school, I did some musicals, but I never took acting until college. I was studying opera, classical voice, and a speech teacher asked me to audition for this play, and I got the lead.

The characters I've portrayed may outwardly be quite different from one another, but I've found that they're also intrinsically linked.

I try to support stories that enable us to see the difficulties in our society and the challenges we face, which is why I've also produced documentaries like 'Brick City' and 'Serving Life.'

Many of the wars we see around the world start as domestic conflicts that are fueled by external forces and powers. My view is that we can help peace if we help communities transform from the inside, on their own terms.

It rests in the hands of the common person as well as those with the power to shape humanity's course toward a world where every child, woman and man's most basic needs are met.

Look - I'm an African-American. I'm black. But I'm just looking at the character and trying to find his soul, his energy. If you can wipe away the blanket of skin and flesh that people tend to see, and look inside for the essence of the soul, then that's the work I'm doing. That's the work I always do.

I was in middle school right around the time the Bloods and the Crips started taking root in Compton and a lot of the other neighborhoods around me. I saw way too many of my peers - smart, kind, good kids - who got drawn into gangs and violence, and their futures were going to be forever scarred by that.

In some sense, when you take a child soldier out of an armed group, you've taken away the identity he or she has had for years, and you can't assume life is just going to return to normal.

I want a director who can let me feel that he's listening and watching and that he's got me covered. That security is really important for me because sometimes you go into a vulnerable space, and you want to be able to look to somebody because you get insecure: 'Did I do that right?'

When we talk about the issue of child soldiers, it can be easy to focus just on ending recruitment and liberating those boys and girls who are currently being held in military camps. Obviously, both of these are incredibly important goals, but it's also essential that we not forget about former child soldiers once they are liberated.

Our leaders must hear us speaking on behalf of our brothers and sisters in South Sudan. If the moral duty to save lives and work toward peace is not compelling enough to drive decision-makers, we must remind them that we care and will hold them accountable.

There's a molecule inside of you that is connected to everything - every person, every energy, every thing. You look for it, and when you find it, then you allow it to magnify and grow and be the dominating chemistry inside of you.

While it's easy for South Sudan to feel distant, the situation is all too real for the South Sudanese mothers choosing which child gets to eat tomorrow. This is a time when we must look outward together and declare that humanity has no borders - no one deserves to suffer like this, especially in a world of such abundance.

I'd been reading Eastern philosophy since I was a kid. And I meditated. I did it on a daily basis. It's the one thing I do with any consistency. Meditation gives you a different kind of mindset. It's very powerful.

For many child soldiers, war and violence are all they have ever known. If we don't take it upon ourselves to show them an alternative, then they're going to be soldiers forever, and they'll continue to be recruited and to participate in violence if another conflict starts five or 10 years down the road.

I want to get better as an actor, to keep trying to work harder, trying to discover something different. In some ways, it's a pretty frightening experience. But normally, I do tend to walk against fear and hope that I'll be able to survive.

Fame allows you a lot of opportunities to experience new things and connect with people. But on the other hand, people's perceptions of you can limit the scope of your relationships with them. You walk both lines.

I go back and forth between indie and studio because I feel like it, not because I feel obligated to do one or the other.

I stay true, because whatever the project is, I'm still looking for inside of that character.

I could never have gone to Africa another way and had the same experience. It was my job and my joy at the same time.

We have to not just open our eyes to what's going on in other places; we need to open our eyes to what's going on right in front of us.

I've always wanted to do characters that would help me find my connection with others and connect all of us together. You always want the energy of the character, the spirit of the person, to enter you.

Things are shifting; man is evolving in many different ways. The Internet has created a portal for people to connect with each other in a way they never could have before. When it comes to African-American or black films, it's different because there is a model that you can actually look at, an equation that shows that these films earn money.

I do look at that thematic of healing of humanity.

Filming in Africa touched something really deep inside of me, really. It changed my matrix, my insides. My blood even feels kinda different. I don't know how to describe it. It's really kind of Eucharistic. I feel like I ate the place and now it's part of my system, part of my being. I'm not claiming that now I know what it's like to be African, but that now I have a deeper understanding of myself.

There are people [in Uganda] who hate Idi Amin, a small amount. And then there are the people who really admire him, like a hero. And then there's a large group who say, 'We know that all these murders and atrocities occurred, but he did all these great things.'

I try to be like a forest: revitalizing and constantly growing.

On the very last day of shooting [of The Last King of Scotlang], I remember wanting to get the [Idi Amin] character out of me right away, as much as I could. You literally take a bath to wash him off you. Luckily, I went into another part not so long afterwards, so I was kind of able to push it away a little bit. But speech patterns, and little sounds, particularly colloquial things, like the way you ask questions or might respond, were sticking with me, probably because I'd worked so hard to make it a part of my everyday way of expressing myself.

The true wealth of a community is measured by how carefully it listens to its women and how sincerely it values their wisdom. Empowering women empowers us all.

There's a thing you confront when you're going into something new and you come to this sort of abyss, and then you push yourself. It makes you try different things.

I'm just looking for characters that continue to make me stretch and grow and learn more about the human condition.

There are places where life could exist. And we've already discovered that there's been life on certain planets that we've explored. That may just be algae or whatever, but life on Earth began a certain way, too.

I was pretty much consumed by this character. Even when I was off, I was continually searching to find something else new about [Idi] Amin, and to embed myself deeper into the culture to the point that, in the end, I was so entrenched that I could tell what tribe someone was from just by looking at them.

And God, God who believes in us all. And who's given me this moment, in this lifetime, that I will hopefully carry to the end of my lifetime into the next lifetime.

I found the people to be very kind and generous. It was unique because the crew was mainly Ugandan [filming The Last King of Scotland]. They had never done a film before. So, they were learning the process of making films, but at the same time they were also helping with the authenticity of the film.

My parents moved to Los Angeles when I was really young, but I spent every summer with my grandparents, and I'd stay with my grandfather on the farm in Longview. He was retired from the railroad, and he had a small farm with some cows and some pigs. I remember part of my youth was feeding hogs and plowing fields and stuff, so that's a part of me.

I hope that audiences respond really positively. I think it's a very intense, entertaining film [The Last King of Scotland], because you're brought in on a fun ride, and slowly you fall into it as James [actor James McAvoy's character, Dr. Nicholas Garrigan] does. Nicholas is like the audience. I think it's a good ride for people. And you learn something, as well.

I never acted in anything I've directed but I have produced a number of films and I have acted in some of the movies I've produced. Usually with first time filmmakers and pushing a move forward I have played a small role but never the lead.

I certainly don' think I could've played the character [Idi Amin] the same way without being in Uganda. I loved working in Uganda.

It is important to make the best out of every generation.

In a lot of films, they're showing more complete, developed characters of diverse ethnic backgrounds. The larger concern is to be able to tastefully explore the stereotypes, and still move past them to see the core of people.

I went through two schools of acting but I learned more about acting from meditating and from my marshall arts teacher.

I started by studying Kiswahili to learn the dialect. Then, I studied tapes, documentaries, footage, and audio cassettes of Idi Amin's speeches. And I met with his brothers, his sisters, his ministers, his generals' all kinds of people, in order to try to understand him.

Trying to understand, inside, what it is to be Ugandan was crucial to the character, because there are Ugandan ways of doing things that I was trying to capture. Even if I had made this movie in South Africa, it would not have been the same, because it is so specific to Uganda.

I like to play complex characters and the duality, and trying to reach for the light, it's more interesting really. I've gotten to play so many types of guys and I just try to find the humanity in each one of them the best I can.

The other night I was walking down the stairs behind one of my daughters. I was tired, and she was goofing around, you know like kids do, doing all this stupid stuff on the stairs. And I was thinking, please just go down the stairs and let's get you to bed. It's after your bedtime. I've had enough for one day. And then I sort of caught myself. I snapped out of it. I was like, 'dude, you should be dancing down the stairs behind her'!

It's a unique experience when you're doing an independent film where you have one person who puts up all the funds to make the film.

I was trying to capture this man's [Idi Amin] energy, and I did a lot of research in studying him. I tried to capture his 'Warrior King' energy inside of me as much as possible.

I'm really excited that people are receiving my performance like this. It makes me feel good, because I've been working really hard. And this character [Idi Amin], I worked particularly hard on. But I don't want to get too caught up in it, because first of all, it could lead to a great disappointment. You never know what's going to happen.

I think the place fed me completely. Not only was I in Uganda, but I was around many people who had a personal relationship with Idi Amin. I was eating the food constantly. I was culturally hanging out with the people. You can't help but absorb the energy, and try to get inside the culture.

I try to serve the character all the time; this one took a lot of work and was consuming. It's like climbing up a ladder and sometimes you're afraid to face yourself so you make excuses; you avoid going to the top of the ladder and look in the mirror.

Until film is just as easily accessible as a pen or pencil, then it's not completely an art form. In painting you can just pick up a piece of chalk, a stick or whatever. In sculpture you can get a rock. Writing you just need a pencil and paper.

In every project, I always look for the depth of humanity inside of it. I'm just trying to say if we can help in some way heal the equation with [Afro-Americans] what's going on with us as people.

Since Idi Amin was from the Sudanese section in the north of Uganda, he was darker skinned. He had more of a blue undertone. So, we did change the coloring of my skin to be closer to his. But otherwise, there were no transformations besides acting.