Jermaine Fowler Quotes

I have lots of hopes for black actors in general, whether they be on TV or on stage or in movies, and that is that we move beyond the tokenism of what it means to be black in a particular set of circumstances.

I feel that 'Person of Interest' is the same quality as 'Brotherhood.' I think it's one of the smartest network television shows on the air today. The audience is a wide range of individuals.

My goal is for 'The Bill Engvall Show' to be a show the networks look at and say, 'Ooh, maybe we should get back to the family sitcom.'

It is so cool to think that there are two female, Indian actresses on prime-time American network television who are considered attractive and funny and smart.

I met Mike Judge when I was working on my own cartoon for MTV; it did not air. But I got on with Mike and then did a few voices on 'Beavis and Butt-Head' because of it.

It's so important to create roles and characters and projects that feature black people in a way that's not specifically targeted towards the niche market, which is, like, a black movie is created, and it's produced and pitched so that only black people will watch it.

Iris is the Lois Lane of 'The Flash.' It's a really special role. Knowing they were willing to offer it to an African American - Iris is traditionally white - I knew how important this would be for so many people.

Part of the reason everyone is freaking out over 'Black Panther' is because we've never seen it. We have two thousand years of stories, and we've never seen it.

I did a pilot for Nickelodeon that didn't end up going to series.

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.'

In sci-fi, the Black guys always die. So, it's extremely important to bring African-American characters to the genre and not have them killed.

I created the first black superhero who was not a gangbanger or an African chief but was rather a college graduate and a professional, which I think is a big accomplishment.

I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.

I can't wait to see little white kids dressing up as Black Panther.

Until recently, Hollywood offered only a handful of roles to actors of color. The majority of my opportunities have fallen into two categories: Scary Black and Funny Black.

I went to USC and got my first break writing for a kids' show called 'Pepper Ann.'

I found myself trying to work within the Los Angeles system. I had an agent and a manager, which I still do, and going to meetings with networks about game shows and reality shows and projects that weren't mine. It was fun, but it wasn't what I'd set out to do.

Scores of African-Americans have written both appreciatively and critically about what 'The Cosby Show' meant to them over the years.

It's great we have a female Thor. It's great we have a black Captain America. But those are just optics; it's optics of change... Unless you have the structural diversity, the structural change behind the scenes - more women, more people of color actually calling the shots and editing these books - those optics won't last.

I'm just happy that as an African-American man, that 'Candyman' has once again been given the nod to enter people's consciousness.

I actually worked on the pilot of 'The Chase' and wrote the questions on it.

For a writer, working in television is an incredibly rewarding medium. You're in charge of all aspects of production and get to see your vision come to life every week.

But everyone comes to Hollywood hoping to get a role people are going to remember them for, and I get girls saying I was their first crush, or Asian guys saying Rufio was the first time they saw an Asian kid on-screen that wasn't nerdy or stereotypical, so I was lucky the character that resonated was cool.

Every time a Hollywood director shoots a film about Africa that features a Western protagonist, I shake my head - because Africans, real people though we may be, are used as props in the West's fantasy of itself.

Obama a ‘light-skinned’ African-American ‘with no Negro dialect, unless he wanted to have one.