A Quote by Viola Davis

I don't see a lot of narratives written where a woman who looks like me gets to be beautiful and sexualized and upwardly mobile, middle-class, funny, quirky. They're very seldom written.
We had a very upwardly mobile economy, and that peaked around the 1950s when the typical middle-class American family consisted of a father with a job and stay-at-home mom who took care of the kids.
Class is not a fixed designation in this country. We are an upwardly mobile society with a lot of movement between income groups.
The very term "turning pages" suggests nonstop action. But I am all about character and beautiful writing. I eat that up like popcorn. Whether a book is action-packed or not, all I need are well-written prose and quirky, fabulous characters to keep me going.
I have seldom written a story, long or short, that I did not have to write and rewrite. There are single stories of mine that have taken me ten or twelve years to get written.
We're a phenomenally snobby society, and it's such a rich seam. The middle class is so funny: it's the class I know best, and it's the class where you find the most pretension, so that's what makes the middle classes so funny.
I never felt like a happy-go-lucky ingenue to begin with. And parts are written better when you're older. When you're young, you're written to be an ingenue, and you're written to be a quality. You're actually not written to be a person, you're written for your youth to inspire someone else, usually a man. So I find it just much more liberating.
I don't think I've ever written a poem whose intention was just to be funny. I've written poems that start out funny and often shift into something more serious.
The middle class is so funny, it's the class I know best, and it's the class where you find the most pretension, so that's what makes the middle classes so funny.
A lot of what I've written that's made its way onto my records I've written in Kansas, which is interesting because I've never written about Kansas. But I go have these experiences. and I'll be back at my parents house, and it's like I'm in a safe incubator.
You know what? At the end of the day, funny is funny. I hope to see the end of all the female cliches that are written in a lot of comedies that are named chick flicks.
Women sometimes really love to look at other beautiful women on the screen. But they don't look at a woman the way a man looks at a woman. They want to be that woman. They like if a woman is beautiful or sexy, especially if she's powerful. They like to see her catch a man, or to be powerful in the world. I think this is why a lot of women love noir films and classic films because they can really identify with these really strong, beautiful women. That's the kind of power that women have lost culturally.
I also love doing comedy. I just moved to L.A. last July. Before that, Vancouver is all about sci-fi, so I didn't get any comedy, whatsoever. But in L.A., people are like, "You don't look quirky enough," and I'm like, "I'm quirky. I'm the definition of quirky. How do you want me to look quirky." They have these little boxes that they put everyone in, so now I have to try to break the mold and get them to see me as being quirky.
I think people do like extremes in cinema. There are very few films told about everyday middle-class couples, which is odd to me, as there are a lot of everyday middle-class couples.
A lot of songwriters have written about soldiers and war, but very few have written with them.
Internet porn makes everything more reasonable -- once you've realized there is a massive subculture of upwardly mobile people who think it's erotic to see an Asian woman giving a hand job to a javelina, nothing else in the world seems crazy.
Most of everything I've ever written actually was written on acoustic. 'Do You Feel' was written on electric. 'I'm in You' was written on piano.
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