A Quote by Lucinda Coxon
Even thought this is a remarkable story [The danish Girl] and these are two fascinating people in their own right, Lili's story had been in the public domain but this had somehow slipped out of sight. It seemed bizarre then but I couldn't have imagined releasing the film in a climate like today around trans issues and the comfort people have about it in the public eye.
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I am really passionate about transparency and trans rights issues, so I embrace these opportunities to speak. I try to stay in touch with those who are prominent in both the trans and transparency movements, but more often than not, I am speaking out on a particular issue on my own. I certainly hope that people listen to me and think about these issues. But regardless of whether I had a public venue to speak in, I would still be passionate about them.
I thought my story was over. But that was when I realised I finally had a story to tell - and it seems to remind people of their own story.
Since I went public with my story, I've never experienced such hate. I sometimes want to crawl under my blanket and hide forever and say, "No, that's some other girl who had an opinion." My blood has boiled a few times, but I just have to come back to earth and say people are entitled to their own opinions and I'm entitled to share my story the way I want. And that's exactly what I'm doing.
Creativity builds upon the public domain. The battle that we're fighting now is about whether the public domain will continue to be fed by creative works after their copyright expires. That has been our tradition but that tradition has been perverted in the last generation. We're trying to use the Constitution to reestablish what has always been taken for granted--that the public domain would grow each year with new creative work.
What had been became what was and a story only works when you know the ending. When the people in it don’t seem like pretend. When you can think about that girl and how she was once upon a time, and see her. When you don’t already know the story is a lie.
Alison [McGhee] and I have known each other since the summer of 2001. One evening we were sitting around talking about how we wished we had a good story to work on. Alison said: Why don't we work on a story together? I said: A story about what? And Alison said: A story about a short girl and a tall girl.
When it comes to trans people, we have to acknowledge their humanity and their dignity and listen to their voices and celebrate their courage. So much of the legislation that's happening across the world right now is not about bathrooms. It's about whether or not trans people have the right to exist in public and that's horrible. So many of our leaders are making an effort to erase trans people from our society and that angers me so much. I want to do everything in my power to stop that.
Film 'This Changes Everything' is not a sad story. It's not a slit-your-wrists climate film. It's a story about people who are making change happen.
I can't imagine being quite as lucky at any other time - I certainly never have been before. That goes right down from my producing partners to people like Eddie Vedder. But the two things that make me feel that this was meant to be now and not before was that the story itself has more resonance today - I find it a more important story today than it was then - and Emile.
My life after childhood has two main stories: the story of the hustler and the story of the rapper, and the two overlap as much as they diverge. I was on the streets for more than half of my life from the time I was thirteen years old. People sometimes say that now I'm so far away from that life - now that I've got businesses and Grammys and magazine covers - that I have no right to rap about it. But how distant is the story of your own life ever going to be? The feelings I had during that part of my life were burned into me like a brand. It was life during wartime.
I had long known the story of Aaron Burr, but when I heard about his remarkable daughter, Theodosia, about the relationship between the two and about her tragic disappearance, I knew I wanted to tell their story.
Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.
Maybe I had something to do with that. I don't know. But public don't believe press. If you were straight and really told it like it is, as Howard Cosell used to say, right? Of course, he had some questions also. But, if you were straight, I would be your biggest booster. I would be your biggest fan in the world, including bad stories about me. But if you go - as an example, you're CNN. I mean, it's story after story after story is bad.
And I always was getting fired and quitting jobs, so I was not going to ruin Public Storage, and I was excited about Public Storage because I knew eventually I could be one of those property manager people that had their own apartment on site. So I had these big dreams for Public Storage.
Because we humans find stories such fascinating things, it’s all too easy to get interested in the story for its own sake, and lose sight of the purpose for which we set out to use the story.
I've always had my own access to the public, because I started off making my clothes for a little shop, and so I've always had people buying them. I could always sell a few, even if I couldn't sell a lot, and somehow my business grew because people happened to like it. I'm in a fortunate position.
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