A Quote by John Singleton

In 'Boyz N the Hood,' every female character was three-dimensional. — © John Singleton
In 'Boyz N the Hood,' every female character was three-dimensional.
J.T Woodland, known as “the cute one” in The Corporation’s seventh-grade boy band, Boyz Will B Boyz. Due to the success of their triple-platinum hit, “Let Me Shave Your Legs Tonight, Girl,” Boyz Will B Boyz ruled the charts for a solid eleven months before hitting puberty and losing ground to Hot Vampire Boyz.
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
Genes are effectively one-dimensional. If you write down the sequence of A, C, G and T, that's kind of what you need to know about that gene. But proteins are three-dimensional. They have to be because we are three-dimensional, and we're made of those proteins. Otherwise we'd all sort of be linear, unimaginably weird creatures.
Seem to be telling this, but really telling that. Three-dimensional writing, like three-dimensional chess. Nabokov was the other master of that. You could learn something from Nabokov on every page he ever wrote.
When I was a kid, my aunt snuck us into see 'Boyz n the Hood.'
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.
There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.
I believe there are talented female rappers out there that aren't one-dimensional. It's OK to be one-dimensional, by the way.
When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.
When I did 'Boyz N The Hood', I never thought how we grew up in South Central was interesting enough for a movie.
We have our classic hood movies, right? Like "Boyz in the Hood." We have our classic conscious films like Spike Lee's "Do the Right Thing," or "Stand By Me." Even beyond Coogler, there are black films that are just voices. So the intention behind this ["The Land"] was to capture today's.
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.
I want to have conversations, because they give you confidence in your choices. I learned it first on Boyz n the Hood, but it is not a race-based experience - it is part of the artistic process.
New Jack City' and 'Boyz 'N the Hood' are realities, but movies like 'Strictly Business' are realities, too.
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