A Quote by Roisin Murphy
I don't like permanency. I just like to slip and slide, and in identity, I think that's a very feminine artist's point of view.
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To me, paintings are about beauty. They are very feminine, and beauty is something very feminine. For a long time, people would talk with me about identity. I don't have issues with identity, I just follow this kind of feminine beauty because I became a victim of my art, which I think is the best thing for an artist. So many artists use their talent, but with the best artists, their talent uses them.
I feel like few things are more successful at portraying honest emotions/experiences. There also just seems to be a certain feeling/mood that I respond well to. I feel similarly about the artist Kahimi Karie and the films "An Education" and "Marie Antoinette." Anything with a strongly and unapologetically feminine point of view I tend to be interested in.
What kind of world does one see when one experiences it from the point of view of two and not one? What is the world like when it is experienced, developed and lived from the point of view of difference and not identity? That is what I believe love to be.
I have a very feminine voice when I write, a very womanly point of view. My last name feels strong and powerful. To me, it's almost a bit masculine. I like the dichotomy of the two. Two sides perfectly represented within my name.
I'm not doing it to pander to people. I just always knew what I liked versus what I don't like. I never liked things with too many zippers or spikes and stuff. That weirds me out. I like things that are pretty. And I think it's great to be pretty. I like being feminine. I think it's good to be feminine. We don't need to look like men or dress like men or talk like men to be powerful. We can be powerful in our own way, our own feminine way.
The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.
My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.
This is going to sound pretentious, but I like comedy that addresses something I find either worrisome or interesting in my life. I like Louis C.K.'s stuff or Bill Burr's stuff. I feel like there's comedy where someone will think of something that they think will work comedically, and then they reverse engineer that point of view so they can say that funny thing. The comedians I like, it could be an allusion, but it feels like their point of view comes first and then the jokes are a reflection of what they actually believe, or are frightened of, or are curious about, or are interested in.
The Middle East would always be an important trading partner in just a market sense, like America is a big market for us, Asia is a big market, Europe is a big market. You are going to have hundreds of millions of consumers there, from just a standard market point of view, from a very narrow American point of view.
I don't think that writers or painters or filmmakers function because they have something they particularly want to say. They have something that they feel. And they like the art form; they like words, or the smell of paint, or celluloid and photographic images and working with actors. I don't think that any genuine artist has ever been oriented by some didactic point of view, even if he thought he was.
People might not agree with me, but I think a woman should have a feminine shape, something you can get your hands on. You, on the other hand, look like you might be partial to the skinny type, a point of view I fully respect, don't misunderstand me.
I have a perhaps naive point of view informed by my own kind of snowflake-in-the-unique-sense rather than the political sense, personal story. I mean I feel like my experiences are so hard to map onto any kind of generalized identity. For example, I'm a black person, but I come from a very particular black experience which is not unlike the experience of the Barack Obama. I have an African mother and a white father and I feel like I have a different experience of being a black person as a result of that identity than someone who is from the descendants of slaves.
I just think that pop music is very interesting in how it can reach so many people. I like that I can tell stories and I just wanted to be heard more, I guess. That's why it's pop, but in my mind I don't really view my music as pop, I don't really view it as anything. I just look at it as a picture, I like visuals.
My style very much leans towards the masculine, but I think I am feminine in it - I like the feminine body in masculine shapes. The androgynous look suits me.
From a policy point of view, I don't think it's the right approach. I don't like the idea of having millions of people here for their entire life without being able to assimilate into America...From a political point of view, we've got 55 Democrats sent and a 72 percent support for a path to citizenship. It's just not practical to think we'll be able to pass any bill in the United States Senate without a path to citizenship.
The character is important, of course, but I like when there's intelligence in a movie. I like when it's, how do you say, sensible. So for me a film is very subjective, and it's a point of view. I like to be brought into a world of a director.
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