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Projects Quotes

“We wanted to see how access to care can be expanded and service quality can be improved when one uses a participatory approach to program development. We showed that major changes become possible if you work in a participatory manner, listen to local people, diagnose what the problems are, provide training and identify where there are opportunities for mobilizing local resources to take action. In time leaders from other municipalities expressed interest in replication and the project succeeded in expanding innovations to three other areas.”

“I finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.”

“Suri is my daughter, she's very, very special to me, and this project took a lot of time and because it's my first feature I wanted her to know that she's so special to me. I thought that as she gets old that will mean more to her, that she's always the most important, and I wanted to give her a special thanks because she means everything to me.”

“What happened was I was invited to meet Tom [Hardy] to discuss a project that he had in his mind about an adventurer who returns to England from Africa with secrets and with a history, and the original idea was set some 80 years later than it is now. But in the conversation I really took to the idea and I'd wanted for a while to set something in 1830 and 1840 in London, so it struck a chord.”

“I feel like, in many ways, Billie Holiday's still very under-appreciated as an artist. People focus on her voice, and all of the very recognizable vocal things that she does, which are great. But I wanted to, with this project, start the conversation again about her as a radical feminist, as a civil rights activist - taking a stance. And also just [her] being a non-conformist.”

“With The Help, I knew folks involved in the project peripherally. I wanted to audition for Hilly Holbrook and part of the initial feedback was: "No, Bryce is too nice." That's part of the reason why I really love auditions as well - you get to try out a character and try out different versions of a character.”

“That was actually Lloyd Phillips who was a Kiwi film producer in L.A. And it was about Gorgeous George, not Haystacks Calhoun. I was in a couple of Lloyd's films and got approached to write the story. People don't realize it, but Gorgeous George had this flamboyant, camp stage persona that had a tremendous influence on other celebrities, like Elton John, Liberace, Elvis Presley, and Mohammed Ali, who all wanted to establish their own outlandish stage personas. The project died because Gorgeous George's wife refused to give up the rights.”

“Basically what Salomé did with Rilke as a mentor was direct him toward the Russian Orthodox Church, so he could project his love of the divine feminine onto the Virgin Mary. She wanted him to stop the cycle of being disappointed by the ultimate humanity of women. She was like, "You don't want me, you want the Virgin Mary." It's kind of a mystical concept! She also changed Freud's opinion, a little bit too late, about the female psyche, which he had so wrong. If it had been better publicized, it would have changed Western society's perception of the female psyche, too.”