In a way, 'Sin City's designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.
I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
'Black film,' that term allows studios to just marginalize a movie and say, 'We've made our black film. We've made our film with people of color in it,' as opposed to, 'I just feel like people of color should be in every genre.'
It will take very sophisticated marketing to achieve our aim of bringing more black people into the theater.
I grew up watching old black and white movies where Marlene Dietrich or Jean Harlow would go walking down some cobblestone street in ripped stockings and head into some smoky boite and sing for a pathetic living. That's so what I wanted to be.
I'm doing another pilot about a black Democratic pundit who's married to a white Republican pundit. And the purpose of me wanting to do that show - and ABC sort of supported me in the way they did - is because I feel like, you know, the political system is like an old married couple.
At Marshall Field in Chicago, I had them take a big bed into the menswear department, one with black sheets. I'd get in bed wearing a nightcap, and my fans would get in bed with me, one at a time, and I'd sign their memorabilia. And then I'd give them a free pint of Ben & Jerry's.
I love chocolate. Black chocolate with marshmallow inside, caramel inside. If I could only have two foods, I'd take some fantastic chocolate. And some terrible chocolate. I love the Clark Bar.
Dr. Martin Luther King is not a black hero. He is an American hero.
What I like about my character: Luke Cage is a person first and foremost. We do have other black superheroes, but he's important because he's touchable. Luke has moments when he has to try to forget his pain, but then, unlike the rest of us, he's also able to channel that frustration into fighting bad guys. Real martyrs aren't trying to be martyrs.
I deal with gay and black conservatives who don't want to be called Uncle Toms of their politically correct Marxist multi-cultural unit structure. And they come to me saying, 'What can I do?' And I say, 'Lay low.'
We as a people need to declare that we stand with rule of law and not with the false tales of the revolutionary Marxist forces, who most recently have rebranded themselves from Occupy Wall Street to Black Lives Matter.
Black men struggle with masculinity so much. The idea that we must always be strong really presses us all down - it keeps us from growing.
The pattern of a newspaperman's life is like the plot of 'Black Beauty.' Sometimes he finds a kind master who gives him a dry stall and an occasional bran mash in the form of a Christmas bonus, sometimes he falls into the hands of a mean owner who drives him in spite of spavins and expects him to live on potato peelings.
The Washington black community was able to succeed beyond his wildest dreams. I mean, we had our own newspapers, our own restaurants, our own theaters, our own small shops, our own clubs, our own Masonic lodges.
I know I got it made while the masses of black people are catchin' hell, but as long as they ain't free, I ain't free.
There are still plenty of movie people peddling black stereotypes. I guess Tyler Perry's probably the most massively successful.
With injuries, every match varies. The black eyes are accidents. The broken noses are accidents. But the bumps from when we land on the mat, they're hard. I think it looks easier, or the fans don't really understand what's happening, but it does take a toll.
Everything matches black, especially black.
In order to reverse the maternal health crisis for black women in the U.S., we need concrete policies from our leaders and better protocols from hospitals.
