A Quote by Andre Holland
I wanted to work with Barry [ Jenkins]. I am a big fan of his from Medicine for Melancholy years ago. Tarrell [Alvin McCraney] is my favorite playwright. I will do anything he asks. The characters were so clearly drawn and three dimensional. It was an easy thing to say yes to.
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It [Moonlight movie] deals with drug addiction, drug dealing, and single parenthood, but they are three dimensional characters. You understand where they are from and what they are trying to do with their lives. It is not a stereotype that has been pasted onto somebody. These are stories that come from Barry's [ Jenkins] and Tarell's [Alvin McCraney] mothers.
I have known Tarell Alvin McCraney for ten years but the involvement with Moonlight came more with Barry Jenkins, the director. He was a fan of the show I did called The Knick. He was also with Plan B Entertainment, who produced Selma. That is how I got involved.
I've been a big fan of Barry Jenkins for a long time.
I have worked with Tarell Alvin McCraney, who is the play Moonlight is based on. He's a company member at Steppenwolf. I have done a could of his plays here.
I really wanted to work with Luc Besson. I'm a big fan of his. Did you ever see 'The Professional.' It was very violent. But a fabulous story, a fabulous movie, very well done. So that and two or three other projects of his that I've seen, I just thought if I had a shot to work with him I wanted to do it.
I already love the idea that Barry has a colleague. It seems like a love/hate thing between my character and his already. They work together, so they clearly have some tolerance for each other, but they're just ruffling each other up the wrong way, constantly. I don't know whether that will lead to him being suspicious of Barry's identity or whether he'll have some clash with The Flash.
Well, I do not mind telling you I have been at work upon this geometry of Four Dimensions for some time. Some of my results are curious. For instance, here is a portrait of a man at eight years old, another atfifteen, another at seventeen, another at twenty-three, and so on. All these are evidently sections, as it were, Three-Dimensional representations of his Four-Dimensioned being, which is a fixed and unalterable thing.
I'm a big pasta fan. I'm a big Italian food fan. Anything Italian - I love cheese, mozzarella. Mozzarella is my favorite, so I have to say anything Italian, I'll take it.
What you need to do, is to put your will over completely into the hands of your Lord, surrendering to Him the entire control of it. Say, "Yes, Lord, YES!" to everything, and trust Him to work in you to will, as to bring your whole wishes and affections into conformity with His own sweet, and lovable, and most lovely will. It is wonderful what miracles God works in wills that are utterly surrendered to Him. He turns hard things into easy, and bitter things into sweet. It is not that He puts easy things in the place of the hard, but He actually changes the hard thing into an easy one.
I'm a big fan of James Garner. That was the other thing. When I heard that I'd get to play his younger years, (I thought) things are looking up. Unfortunately, I didn't get to meet him. He was in bad health at the time. I was a big fan of his for a long, long time - and still am! I think he's a great actor to follow a career path with.
I think there are many people in the working class who say, you know what? Yes, maybe we are better off than we were eight years ago, but I am still working two or three jobs, my kid can't afford to go to college, I can't afford child care, my real wages have been going down for 40 years. The middle class is shrinking. Who's standing up for me?
Before I was a cosplayer, I was a fan artist. I would draw my favorite characters and sell the pieces at art auctions. But once I discovered cosplay, it was like, 'I don't have to draw my favorite characters, I can become my favorite characters.'
The true test of any scholar's work is not what his contemporaries say, but what happens to his work in the next 25 or 50 years. And the thing that I will really be proud of is if some of the work I have done is still cited in the text books long after I am gone.
I'm a huge Elizabeth Berg fan. Her novels are always charming, thoughtful, and filled with lively, three-dimensional characters.
I always felt like Azula and Long Feng were much more interesting villains and three-dimensional characters than Ozai, who was just sort of a big jerk. Like a really big jerk, but not very complex or human.
I've been very blessed to have worked with two incredible directors - Barry Jenkins on 'Moonlight' and Ted Melfi on 'Hidden Figures' - and it was a collaborative effort in shaping my characters, Teresa and Mary.
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