Rudy Ray Moore Quotes

Audiences are more drawn in to what they can relate to, so it would be stupid not to have great Latino films for the Latino audience.

I make American films for American audiences and Asian films for Asian audiences.

Audiences want great story telling; it's why white people watch my show 'Black in America.' It's why black people watch 'Latina in America.' All of that is statistically shown and proven but it was because it was good story telling about people who were outsiders.

The impact of the black audience is expressing itself. They look to films to be more expressive of their needs, their lives. Hollywood has gotten that message - finally.

I like doing movies that relate to people's experience.

Specificity is what makes good storytelling, and good storytelling is what makes money, and making money is then what encourages new producers to invest in different stories about Asians.

The first movie I ever saw was a blaxploitation movie. It was called 'Monkey Hustle.' Like I said, just listen to the name. That's a blaxploitation movie. It had these incredible, bigger-than-life images of people who looked like I did. Or who looked like I wanted to look like.

In fact, it is amazing how much European films - Italian, French, German and English - have recovered a certain territory of the audience in their countries over the last few years.

This is what the difference is between Hong Kong and Chinese cinema - Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.

I feel like part of my journey as a filmmaker is to tell different stories, whether they are just a black perspective on things that aren't necessarily hood movies, or Tyler Perry movies or Ava DuVernay movies. Love all those people, but that whole thing has been sowed up already.

I'm trying to have Wakanda represent all of Africa.

Right now, black female artists are the most interesting people to think about. People are ready to hear whatever we're gonna say, and I'm not scared to say anything.

Black films and television are growing and getting the recognition... and the opportunities.

What's 'Atlanta' about? Technically, it's about a couple guys who are friends, but to me, 'Atlanta' is about black lives. I'm getting a real look at what black life means in Atlanta.

I just want to tell black stories.

When I was writing stories about Chinese American characters in my fiction classes, I'd get comments like, 'You should consider writing more universal stories.' But anything can happen to a Chinese American girl - just as much of the canon of English literature involves white men or women.

Sometimes we make films just for our people, and it doesn't reach to anyone.

'Luke Cage' came out in 1972 at the height of the blaxploitation era. It was a literary response to this notion of blaxploitation movies. It was the first time in American culture that Hollywood was embracing black movies.

One of the reasons I paint black people is because I am a black person.

A lot of times, black people were extremely cool, and that's how we've been commodified in TV and film. But now we're starting to see an upswing of material where we're like, 'It's cool to be quirky and weird and smart.'

You can make serious pop, you know? There was a time when the best movies were the most popular, and I keep thinking that can happen again.

In the past, I think my films that focused on African subjects struggled in the marketplace because of their subject matter.

When I looked at 'Dear White People,' you have four African-American students who are all very different and who are trying to figure out who they are. They're dealing with identity issues and crises. That is exciting to me, to see African-American young people on a page, on a screen, who are so diverse and whose stories are all so different.

'Smart, Funny and Black' is about celebrating, critiquing and learning about black culture, black history, and the black experience.

I started making work that I assumed would be far too garish, far too decadent, far too black for the world to care about. I, to this day, am thankful to whatever force there is out there that allows me to get away with painting the stories of people like me.