David Oyelowo Quotes

I consider 'Dreadstar' to be an extension of my family, so it took me a while to feel comfortable letting anyone else take care of this project.

I wondered how long it took for a baby to become yours, for familiarity to set in. Maybe as long as it took a new car to lose that scent, or a brand-new house to gather dust. Maybe that was the process more commonly described as bonding: the act of learning your child as well as you know yourself.

Every character I do is something special to me. Every time you score with a great character relationship in a movie, it becomes your baby.

A mother's body remembers her babies-the folds of soft flesh, the softly furred scalp against her nose. Each child has it's own entreaties to body and soul.

I really put my heart and soul into everything and I don't want a project that doesn't feel real to me or I don't get invested in. In order to drive a show for eight or 10 years or whatever the target for doing a show is, it really has to be a part of you. Because then I can come up with stories for seasons and seasons on end. I wish I had the ability to just like the idea and get people in and drive it that way through their enthusiasm. For me, it has to be a little more of a personal thing, even if it's not a completely personal story.

One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.

I have never heard a dancer asking for advice about how to stay focused on her footwork, or a painter complaining about the dull day-to-day task of painting. What task worth doing isn't worth daily effort? Do you think Michelangelo was having fun the whole time he was on his back painting the Sistine Chapel's ceiling?

Your own creations are your own children; you gave life to them, so you'll always have, if not more passion to them, more connections to them.

When you're doing a movie, you're in and out of there in three months. If you hated the experience, it's all good because you can take the paycheck and leave. But, on a television show, you have to love your character and you have to love the experience because you could be there for awhile, fingers crossed.

I have friends who have children, and they have told me how remarkable it is to have a new life that is a piece of your own flesh anf blood. But I --" "I realized that I didn't love her because she was a piece of me, I loved her because she was a piece of you.

I consider chess an art, and accept all those responsibilities which art places upon its devotees.

I want to be a jazzman until the day I die. To help keep that motion, momentum and movement going, for myself, for my students, for the people who hear me. Oh sure, some days you look around at this country and look at the evidence and think, Oh Lord, don't look good. But you keep moving. You gotta keep moving.

Learn from your experience shooting your film, and then move on to the next.

Grown don't mean nothing to a mother. A child is a child. They get bigger, older, but grown? What's that supposed to mean? In my heart it don't mean a thing.

I already have a wife who is too much for me.. she is my art, and my works are my children.

It's probably not an accident that the films that I care about happen to be about issues that matter to me, stories that I want to tell. If you're going to spend two years of your life on something it has to matter to you, you have to be passionate about it.

An artist's working life is marked by intensive application and intense discipline.

The artist is not a 'Sunday child' for whom everything immediately succeeds. He does not have the right to live without duty. The task that is assigned to him is painful, it is a heavy cross for him to bear.

I'm glad I took that time to work really hard on the music. I feel the effects of that now in a positive way with my connection with the audience.

All my children are my babies. They're our babies.

A true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art.

Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.

A first child is your own best foot forward, and how you do cheer those little feet as they strike out. You examine every turn of flesh for precocity, and crow it to the world. But the last one: the baby who trails her scent like a flag of surrender through your life when there will be no more coming after--oh, that' s love by a different name.

Talent must be a fanatical mistress. She's beautiful; when you're with her, people watch you, they notice. But she bangs on your door at odd hours, and she disappears for long stretches, and she has no patience for the rest of your existence; your wife, your children, your friends. She is the most thrilling evening of your week, but some day she will leave you for good. One night, after she's been gone for years, you will see her on the arm of a younger man, and she will pretend not to recognize you.

Here's what's interesting about women. When it comes to their babies, when it comes to their children, they become these financial warriors like I have never seen before. They will not turn their back on the battlefield.