Jacob Epstein Quotes

You know, I'm an African-American quarterback. That may scare a lot of people because they - they haven't seen nothing that they can compare me to.

It didn't matter that I wore clothes from Sears; I was still different. I looked different. My name was different. I wanted to pull away from the things that marked my parents as being different.

If people are going to complain about stereotyping, it's as likely to be Italian-Americans as gay people.

I remember people saying: 'You look funny, your hair is so black, you have a flat nose,' but I didn't think of it being racism, and I still don't. But there was a sense of difference, of being an outsider.

Color categories are on steroids in Latin America. I find that fascinating. It's very difficult for Americans, particularly African-Americans to understand or sympathize with.

Yeah, I'm sure there are stereotypes of Asian people.

People are tired of mainstream media's limited and confined portrayal of people of color.

They just think I'm a white dude. Every once in a while someone thinks I'm Jewish. I get a lot of stuff, but never Latino.

I played a Spaniard. I looked about as Spanish as any other fair-skinned German.

A coloured man can tell, in five seconds dead, whether a white man likes him or not.

Without going outside his race, and even among the better classes with their 'white' culture and conscious American manners, but still Negro enough to be different, there is sufficient matter to furnish a black artist with a lifetime of creative work.

I never thought fashion was the job for me, because I'm Japanese. Clothes! That was a European, society thing.

I think there's a misconception that all Asian-American experiences are the same. My experiences with my family and the way they wanted me to know my culture are not the same as others.

People want to call me racist for doing the Bon Qui Qui character, and I'm like, 'Look, Bon Qui Qui is a representation of a hood chick. That's it.' There are lots of hood chicks out there: some are black, some are Mexican, some are Salvadorian, and some are white.

The broad brush of stereotyping is what least appeals to people of color.

I had no expectations of white people at all.

Any time you have people of different races in a movie that's about America, there's going to be a racial component.

When I was studying comedy in Chicago, it wasn't long after 9/11. There were a lot Middle Eastern comedians who were doing bits about hailing cabs and being terrorists. So the first two years, I didn't do any of that because I wanted to separate myself from those guys. But race is a big part of who I am, and it should be a big part of my comedy.

I'd rather have dinner with Don King than with Mark Furhman. But then, I'm American. I have no perspective.

When I decided to make 'Blackface,' a short film about Black Pete, I had little knowledge of the giant cesspool of hate I was about to dive into. I didn't realize how popular and passionate many white Dutch are about a figure that they connect to fond memories from their childhood.

It occurred to me that by naming the film itself 'Dear White People,' I could tap into the burgeoning meme culture as well as make a meta-commentary about the controversies within the film.

It's called 'Dear White People,' but really, it's about these black characters and how they are involved or not involved in a racial scandal in ways that might surprise them and others, right?

My 'Black Panther' run really wasn't about Black Panther. It was about Ross. It was about exploding myths about black superheroes, black characters, and black people, targeted specifically at a white, male-dominated retailer base.

It's a classic error in American discourse: the conflation of race with culture.

Somehow, whenever we think about race or blackness in relationship to art, we always come in kind of nervous. We always think someone's about to be punished or accused of something.