Art is about the dynamics of the human experience.
There are things that make me excited about what I'm doing: Trouble the Water [the 2008 documentary Glover executive produced] on New Orleans, or something like Soundtrack for a Revolution, about the power of the music of the civil rights movement [which he executive produced in 2009]. Or Bamako, about the African debt crisis, a platform to discuss the experience of people who actually live it. All of these are important ways we can use film as a forum inviting people into a dialogue.
My Toussaint [Louverture] film is in limbo. We still hope after all this time that we can find another way to get this film done.
Some of the most amazing stories are happening on the global scene. My extraordinary producing partner, Joslyn Barnes, she's just virtually changed my life with the way she constructed this company and how we go about telling the stories we want to tell.
We're trying to tell stories. We're a company that's concerned with global change and the effect of global cinema. We're not simply tied to the very limiting framework of U.S. film-making.
Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.
Popular literature and culture used to reflect people's aspirations, pain, and passion. All those particular things are no longer available to us.
I remember when Langston Hughes used to write a column in black newspapers around this character Jesse B. Semple. He always used that as a voice, sometimes in comic ways, of having everyday people's voice come through this common folk hero, who was an ordinary working guy. He would talk about anything from police brutality to the Korean War. Those kinds of expression and identification are no longer prevalent in our popular culture.
There is a lack of leadership outside the Beltway, outside of politics.
When you have powerful unions, you have a working class that is politicized.
We live in a climate of fear, and because of this whole ideology of consumption almost to the point of religion.
What he [Barack Obama] does to change the world - that's what's important.
The exceptionalism of a black U.S. President is not important to me. It's what he does - and who he has at the table.
I didn't elect [Barack] Obama because he's a black; I voted for Obama because he was the right person at the time.
Democracy is about criticism.
What's more important is that we talk about movements; change happens through movements. The movement to end slavery, the movement to bring justice for those who have been left out of the system, movements to include women, movements around sexual preference - all these movements brought about change.
The world is dealing with issues of immigration, deindustrialization, and poverty.
Mother Earth is in pain and ailing because of global warming.
President [Barack] Obama is a man who had certain advantages because of the civil rights movement.
Lethal Weapon 2 used the platform to talk about the apartheid system. That was a very important moment for us.
My theatrical background was in the great work of the South African playwright Athol Fugard.
I was involved with the anti-apartheid movement through my work as an artist and also through my political commitment.
[The strike in 1968] brought us together with teachers and also with progressive whites. All of us came from diverse backgrounds, but at the same time the reasons why we were at San Francisco State in the late sixties was because of the agitation and movement building that had occurred within our communities. We saw ourselves not separate from the community but intimately connected to it.
The strike and its outcome had an enormous impact on the system of education and on our lives as well. The strike began as a response to the college's refusal to hire Professor Nathan Hare [the so-called father of black studies], and certainly unified the college around issues of justice. These issues were reflected in many communities: the Asian American community, Hispanic community, Native American community.
I was a member of the Black Student Union, part of the central committee at San Francisco State. During the 1968 strike there, I was certainly very much involved in the activities that occurred on campus. It was part of an extraordinary period in my life
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