Kate Leth Quotes

I think, from the beginning, I was healed and inspired by queer culture, and Christine and the Queens, as an idea from the beginning, is queer because it questions the norm.

There are a lot of queers starved for entertainment from their own community.

I love St. Vincent. She is like our queer rock goddess and that's so needed.

My films might have been queer - because I was - but they were not gay.

I think they do a great job on Queer as Folk.

What I would love is for a normalization of queer characters on TV.

Drag is never going to be completely mainstream because it's still a queer art form.

I knew that I wanted to primarily play queer characters.

Historically a publicly unaccepted but incredibly rich culture, queer love was only able to exist privately for a long time, expressed in society through coded art forms.

I think that there are all these amazing figures in our history - the Bowies, the Tina Turners, the Chers, the people who are, in many ways, genderless or represent 'the other' - and I want pop music, and other queer artists - Kehlani, Perfume Genius - these people are bringing queer narratives into people's minds.

It's so important to recognize that there have been fabulous queer artists all throughout our history.

Coming of age as a young queer man of color, it was a rarity to see any reflections of myself portrayed in mainstream media. Turning on the television or going to the movies was an escape into the imagination, yet it did not allow me a place of true connection to what I was viewing on the screen in front of me.

A lot of artists I like end up being queer. Or maybe it's a subconscious thing that you can identify of, like, 'Oh this person understands the nuances of the romantic narrative of a queer person, or the social narrative of a queer person.' And then you discover, lo and behold that they are a queer person.

I have a naturally camp sensibility and a camp sense of humour. I love the icons that gay people love.

I didn't know Charlie before doing the movie, but I was a huge fan of the British Queer as Folk.

When I first started to write, I was aware of being queer, but I didn't write about it. Queer poems would probably not have been accepted by the editors I sent them to.

I wrote the very first stories in science fiction which dealt with homosexuality, The World Well Lost and Affair With a Green Monkey.

The term 'new queer cinema' and the films of mine that were associated with that term are from a very, very different time, one almost entirely defined by the AIDS era. It was a very different social and cultural regard for the lives, the experiences, the worth of gay people.

By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.

Queerness isn't just Lady Gaga and overpriced drinks and fauxhawks. It's James Baldwin and Bea Arthur and Gertrude Stein and Gore Vidal.

I grew up in a time where there were no queer digital references.

As an actor, it was important to me to play gay characters because, growing up, it was something I never really saw done on television and in film, and I was questioning why there weren't more people like me.

I personally always have a hard time relating to queer characters in media because I didn't really see myself in them. They were kind of pigeonholed early on as the gay character, and they would naturally end up with the other gay character who would emerge at some point as their love interest.

A lot of queer characters get painted with either a caricature brush, or they're used to teach, in a way.

When I started making films, it was never that I had this great ambition to only do gay-themed material.