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Subjects Quotes

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Subjects Quotes

“Bush is almost always clear when he's speaking cruelly. For example, when the subject is the punitive infliction of great pain, there is no problem with his syntax, grammar, or vocabulary, even if he happens to be lying. ... On the other hand, our president is extraordinarily tongue-tied when he's trying, off the cuff, to sound a note of idealism, magnanimity or -- especially -- compassion.”

“As a Black woman filmmaker I feel that’s my job: visibility. And my preference within that job is Black subjectivity. Meaning I’m interested in the lives of Black folk as the subject. Not the predicate, not the tangent.[These stories] deserve to be told. Not as sociology, not as spectacle, not as a singular event that happens every so often, but regularly and purposefully as truth and as art on an ongoing basis, as do the stories of all the women you love.”

“The [Stanford Prison Experiment] was readily approved by the Human Subjects Research committee because it seemed like college kids playing cops and robbers, it was an experiment that anyone could quit at any time and minimal safeguards were in place. You must distinguish hind sight from fore sight, knowing what you know now after the study is quite different from what most people imagined might happen before the study began.”

“If you happen to find it hard to have sustained conversations, try keeping your voice up at the end of the sentence. There is a charming graciousness in doing so, for it seems to say that you do not think your remarks are the last words to be said on the subject. It prevents you from seeming opinionated. How men dislike an opinionated woman! No one really likes her! To keep your voice up sounds as though you are interested in other people's ideas. The subject is still open!”

“Every interview is as much an impression of the journalist as it is the artist or subject. You look at interviews and you see a portrait of two people. The worst thing that can happen is if you're misquoted and then that quote is misquoted. That does drive one crazy. The most embarrassing thing is when your words are misrepresented or sometimes you say something stupid and you live to regret it.”

“Religion should be subject to commonsense appraisal and rational review, as openly discussible as, say, politics, art and the weather. The First Amendment, we should recall, forbids Congress both from establishing laws designating a state religion and from abridging freedom of speech. There is no reason why we should shy away from speaking freely about religion, no reason why it should be thought impolite to debate it, especially when, as so often happens, religious folk bring it up on their own and try to impose it on others.”

“A patient doesn't select his physical ailments. They happen to him. You could just as well ask when you are eaten by a crocodile, 'How did you select that crocodile?'. Nonsense. He has selected you. The patient doesn't even select the symptoms unconsciously. That is an extraordinary exaggeration of the subject to say he was choosing such things. They get him.”

“If you look at the end of the movie [Monsegnor Lahzar], I give a lot of space to what the spectator can also imagine of what's going to be Bachir's life afterwards. So, there's the restraint part, and there's the fact that the story is happening in the school which allowed me to tackle all these subjects without making it too didactic, because in the school everything happens.”

“Why one picture stands out among many others is always a mystery. In the beginning the subject is never quite known, but in the course of working something shows up on the film or in the print that speaks to me. I can never predict when this will happen. However, when it does there is an excitement - there is the ecstasy of recognition. And this is one of the things that keeps me going.”

“I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.”