If it ain't on a page, it ain't on a stage.
When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.
In Los Angeles, everyone is a star.
Raising the standard of the work, not complaining about somebody not voting.
I get nervous when a picture goes beyond two hours.
People have said to me for a long time, "Man you're funny." I say, "Well, I'm quick," but being funny on purpose, take after take - that's why I said for me it was new territory, and so by improvising something might come out that might be good. And it's film, so they can cut it if it isn't.
When people say "What do you want people to get from this movie?" I say, "Well, it depends on what they bring to it." I don't try to decide what people should get from it or why. I don't do a part for those kinds of reasons.
[Movie "Fences"] is more than holds up today. We have had a tremendous response at the screenings.
It just happened that we did [Fences] seven years ago on Broadway. Scott Rudin brought me August Wilson's original screenplay for it, and I realized I hadn't read the play. So I read it. Then I realized that Troy (my character) was 53 - and I was 55 at the time. I realized I better hurry up! I might be too old!
There's things that I can do as an actor that I couldn't do in any other form of life and I've got a strange personality. But film requires strange people, so I've got a nice comfy home.
I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.
[Rose from "Fences"] couldn't just jump out there. Not just because of economic reasons but because how she was looked at in society at the time. There were a lot of factors that made you stay I guess.
[Saniyya Sidney] was very serious about her work and her craft, and she wanted to be good, and she wanted to work on it. So I said, "Ok." It was as simple as that. She was just right. She just has it.
Black or white good parts are hard to come by. A good actor with a good opportunity has a shot; without the opportunity it doesn't matter how good you are.
If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.
Fundamentally, the most important thing is to get the film made for me and to get as many people to see it as possible. And if I help that, then - I know I help that, let's put it that way. I do know that I help that. It is called show business.
[Black people] come into the world exactly like you. It's just that there are circumstances in the culture that are dictated and put on our lives that we have to fight against.
By the way, sitting with other mommies is probably the most frightening experience in the entire world. They're serious into mommy-shaming.
I didn't realise that Ridley Scott has never won an Academy Award.
I am not going to bury my son! My son is going to bury me!
I know, as an actor, I don't like sharing everything with the director. And it's fine if they don't with me.
There's racism everywhere.
I think we're fascinated by gangsters and that whole lifestyle and crossing the line. We get sort of stuck in our normal lives, if you will, and you want to be bigger than life and I think people somehow live through these sorts of characters.
You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.
Denzel Washington: I like the collaboration, I like seeing people do well, so I really plan to direct the rest of my days.
"It's important for us to tell our stories."
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