Michael Ealy Quotes

Mostly I'm proud to be an African-American woman, but I'm glad I have a universal look as well.

I'm tired of cookie-cutter monolithic representation of black folks.

I'm not one of those people who's against all-black productions of Tennessee Williams plays, but there are lot more complex and natural ways to bring people of color into the theater.

One of the things I'm concerned about is that I really want to make sure the races of all the characters are kept. I don't like it when black characters become white in movies, or things like that.

I think the universal themes of "American Pie" are what make it attractive to everybody. How to people relate to these characters? It's because these five male characters in this movie wouldn't ordinarily be in the same friend group and they each have their own part to play in the whole thing. There's a character for everybody in this movie that they can relate to... that they either were or knew someone that was. To cover the range like that is pretty unique to our franchise.

My hope is to see people of color in roles that do not emphasize race. Often times when movies are centered around people of color, they are movies where the storyline is based on some racial component. I want to see movies where people of color play more interesting, nuanced characters.

It's exciting to me that Ride Along is a movie that has two African American leads, but it's even more exciting to me that it's not a movie about two African American leads. They just happen to be African American. It's a universal story. It's a story about a guy in love with a girl, and he's gotta get the approval of the overbearing, mean brother. That's a universal theme.

I've always wanted to explore characters of all races, all genders, all ages. It just seems to me to be a natural way to approach any kind of storytelling.

I wanted to try to create characters that happen to be Asian but who are pretty different from those we generally see in our culture, in our commercial culture.

Only black people in the whole neighborhood, so let's break it down: Me, I'm a decent comedian, I'm a'ight. Mary J. Blige, one of the greatest R&B singers to ever walk the Earth. Jay-Z, one of the greatest rappers to ever live. Eddie Murphy, one of the funniest actors to ever, ever do it. Do you know what the white man that lives next door to me does for a living? He's a f*****g dentist.

I hope that more [African-Americans] decide to play after seeing the things that I was able to accomplish; not only myself, but other African-American players. Hopefully, they pick up a bat and a ball and go out there and play.

In the early days of my carer as an actor, I shared what was then the prevailing attitude of Negro performers :;that the content and form of a play or a film scenario was of little importance to us. What mattered was was the opportunity, which came so seldom to our folks ... Later I came to understand that the Negro artist could not view the matter simply in terms of of his individual interests, and that he had a responsibility to his people who rightfully resented the traditional stereotyped portrayals of Negros on stage and screen.

"Please stop," I said. "You're upsetting the black Santas."

Tonight we celebrate Hollywood's best and whitest, sorry... brightest.

You know when I played, you had me and Kevin (McHale) and some others throughout the league. I think it's good for a fan base because as we all know the majority of the fans are white America. And if you just had a couple of white guys in there, you might get them a little excited.

I had self-doubt about whether my story was interesting to people. I didn't want to write something that was anecdotal. It was important to me that people would get something out of my book. I want people to read it and say, "Now I don't feel so alone," or "I'm going to remember that next time I'm being an asshole."

You have a white guy as an announcer and sportscaster. Me, I'm black. I do it and I've already done some stuff in the past. We're more expressive than the white guys. You look at the skill players. We're the ones that get into the end zone. We get in the end zone more than they do.

I got into [acting] so late because of sports. And then when I was in grad school, I sort of got lulled into basically forgetting I was black, in - meaning that everyone you play at a conservatory, 95 percent of the characters are non-black.

I like marginal characters, I like real people. I learn more from talking to my plumber when he comes to fix my toilet than I do from meeting a movie star. I think my movies are in the same vein as that.

Virginia Mayo had kind of a small role in The Best Years of Our Lives, but you got the whole character in one scene. Where are those parts? I was talking to somebody about great actors: Morgan Freeman's name came up, Forest Whitaker, Denzel Washington. And I realized, there're no black actresses. Where's there a black actress who's been extremely successful in the past 10 years?

The thing I like about the sci-fi genre is that you get to examine universal themes and polarizing moral choices. The characters have a lot on their shoulders and are often trying to survive in some very difficult and hostile environments.

I do a lot with characters' sense of identity. I also like challenging stereotypes, gender roles, things like that. Give me a stereotype or a genre expectation and the first thing I want to do is stand it on its head. In the Nightrunner books I wanted to see if I could create a believable gay hero, one who wasn't someone's sidekick or a victim.

What raises great poetry above all else--it is the entire person and also the entire world.

I look at my four boys, who are the colors of silt, loam, dust, and clay, an infinite palette for children of their own, and I understand that time erases whiteness altogether.

We've lost a lot of coaches around here, but the philosophy and the approach, the standards we have set and the expectations we have maintained have always been upheld from one year to the next.I attribute that to the great character of the players and the willingness of the coaches to not get influenced and get off-message and to get out of the way.