Zitat des Tages von Barry Jenkins:
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.
I think it's really important to remind, reinforce people that their lives have value, you know? That their lives have worth.
'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.
If you try to create something that everybody can relate to, you're gonna make something that nobody can relate to.
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.
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.
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.
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.
It used to be that watching a film was a very special occasion, the same way flying was. Before, if you took a flight from New York to L.A., most of the windows would be open. Now, we get on planes and we just close them because we're so used to what it feels like. I think the same thing has happened with cinema.
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.
Film is not an amazing medium to relay interiority. I think literature is much better for that.
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.
The way I work, things are very nuanced; not everything is explained.
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'm very much a person of nurture over nature. When the world is not nurturing, it can really change a man.
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.
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.
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.
To me, no matter who you're casting for what role, if something's authentic, usually you can mine something good there.
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.
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.
I'm process-orientated. Awards, by their nature, are results-orientated.
Because I'm so in the eye of the hurricane, I don't have a really good perception of what's happening. I'm in a room talking to people, and that's all I know. But sometimes I go out of these rooms - I live in L.A., and every now and then, maybe twice a week, I'll be somewhere, and someone will say, 'Hey, are you the guy that made Moonlight?'