Quotes of All Topics . Occasions . Authors
Making films. It gave me a voice. Legitimately saved me.
The way I work, things are very nuanced; not everything is explained.
A month alone would make me so happy. Not good for my dating prospects.
I'm process-orientated. Awards, by their nature, are results-orientated.
Filmmaking is a very privileged art form. It costs a lot of money to make these things.
You walk on a set, and you have no idea - that's why I don't storyboard. It's all possible.
As a writer, a blank page will humble the hell out of you. It always does, and it always will.
Film is not an amazing medium to relay interiority. I think literature is much better for that.
I'm very much a person of nurture over nature. When the world is not nurturing, it can really change a man.
As a person of color from the South, San Francisco was the first city that really made me feel like an other.
I'm so damn boring. I like reading and writing and making coffee. And walking. Barry Jenkins likes long walks.
As a filmmaker, I really want to utilize the tools to carry the voice - my voice, and the voice of the characters.
If you try to create something that everybody can relate to, you're gonna make something that nobody can relate to.
I love production. I could do it 365 days a year. Post is different. It's just too slow, and everything is very finite.
To me, no matter who you're casting for what role, if something's authentic, usually you can mine something good there.
I was hiding behind athletics and all my jockitude, so I didn't have to deal with being ostracized as the weird art kid.
I think it's really important to remind, reinforce people that their lives have value, you know? That their lives have worth.
There were times when we didn't have hot water or a phone line. But I guarantee you, we always had cable, and it was always on.
Sometimes, how you ingest this idea of masculinity as projected onto you by the world could be the difference of life and death.
My films are personal-voice-driven films about human characters and the place we live. Technically, I'm an independent filmmaker.
Art is inherently political. Even trying to make a film that has nothing to do with politics is, in and of itself, a political act.
Whenever I tell people I'm from Miami, they always ask me about the beach. But I can count on one hand the times I went there as a kid.
My first job was cutting grass. In Miami, this grass grows everywhere. You just get the lawn mower out, walk down the neighborhood, cut grass.
I wasn't known as a neighborhood tough or anything like that. But yeah, I was, like, a scrappy kid. You know, I kind of kept to myself, you know?
I think everybody can identify, you know, with this sort of struggle to decide for yourself who you are, you know, and what your place in life is.
At school, film-making had been the most beautiful thing that ever happened to me. Then I get to L.A., and it's this whole other thing. I checked out.
I grew up really poor and have always been the type of person who will work earlier or work harder or more than the other person to even the playing field.
I worked for Oprah Winfrey for two years right out of college in 2004. I was a director's assistant on the film 'Their Eyes Were Watching God,' which Oprah produced.
You graduate from film school and move to Hollywood. Hollywood tells you, 'We're not the place for you to make films,' so you decide you have to make a film yourself.
I'm always about, 'What is the most productive version of what I'm putting into the world?' Something that can be engaged by all folks. I don't have to change everyone.
We are carrying these images out into the world, and we can't control how people contextualize those images no matter how virtuous our aspirations and our intentions are.
I didn't really want to be a filmmaker, growing up. Other than Spike Lee's movies, I would think, 'Where is a place for me?' We were so damn poor that it just seemed too far beyond.
I don't choose to make movies as small as the movies I've made. The combined budget of my two films is far under $5 million, but it's just by necessity that it ends up being that way.
How did I feel as a guy who was making a movie about a single mom who's a crackhead? That - I was scared. I mean, it was scary. But part of that's because it was so personal and real to me.
'Moonlight' isn't an issue film. It's not about addiction, it's not about sexuality, it's not about identity. It's about all these different layers, because they are all a part of the character.
I've worked at this film festival in Telluride called the Telluride Film Festival. Been there since 2002. I used to make popcorn. I was an usher. Cleaned toilets, everything. Grew up there as a kid.
It's interesting because I think class is a heavy, heavy part of 'Moonlight,' and I think, in a certain way, through the sum of all these parts, it's become a commentary on the black experience in America.
Until 'Moonlight,' I had never seen one black man cook for another on screen. But I wanted the characters to be free of 'groundbreaking' or 'never before.' We were ascribed those things. They weren't the point.
I just came back from my hometown, making a movie about a kid who grew up just like me, and it was financed by white people in New York. Personally, I can't be angry. In my personal experience, the support was there.
'Moonlight' changed me. To see people so moved by this movie inspires me to find something else to offer. And maybe the next one touches only five people or maybe just one person. To me, you know, that would still be worth it.
I really sort of kept to myself. I kind of just watched the world. And I think to keep people from messing with me, yeah, you know, I went out to run track. I went out for the football team. Not because I love track or love football.
I have friends who I consider my peers, who have done amazing work, particularly in the film and television space, who came up as independent artists and who have been - to be brutally honest - much more prolific than I was able to be.
'Moonlight' is a story that hasn't been told. Whether placed as queer black cinema or urban male cinema, the lack of coming-of-age films featuring people like Chiron and set in places like inner-city Miami is pronounced and unfortunate.
In hip-hop, sometimes that pace is so fast that you miss things. I don't mean literally miss lyrics; I just think there's an emotion in what these cats are saying that gets by you. When you slow things down, there's this emotion, this yearning.
I got into film school. I went and didn't know anything about it. Over the course of two years, I kind of got kind of good at it. You know, I had a brief moment where I wasn't sure if I could do it. I didn't know you needed light to expose film.
As a filmmaker whose first film was made with the DIY tools of digital cinema, I love how the democratization of the filmmaking process and platforms like YouTube enables people to tell stories that in previous generations simply could not be told.
Growing up, I wasn't the most vocal kid in the world. I feel like I learned through observation, and usually, when you're watching things, you're not speaking. That sort of metastasized in a way that I began to participate less and less in the world.
Cinema is a little over 100 years old, and a lot of what we do is built around film emulsion. Those things were calibrated for white skin. We've always placed powder on skin to dull the light. But my memory of growing up in Miami is this moist, beautiful black skin.
Not all my work features black actors. I mean, it's funny: someone was reading back to me all the languages that have appeared in my films, whether they were shorts or features. They span Arabic, French, Mandarin, Cantonese - all kinds of languages. I think it's really cool.
There's nothing in Hollywood that's inherently detrimental to good art. I think that's a fallacy that we've created because we frame the work that way too overtly. 'This is Hollywood.' 'This isn't Hollywood.' It's like, 'No, this is actually all Hollywood.' People are just framing them differently.