Our cinema is coming of age, and people are realizing we need to tell different stories differently and in fresh manner and not just do formula stuff and serve it to the audience.
What I'm really excited for is to see the evolution of trans characters and see more diverse stories be told, so that every time we're on screen, we're not really playing the part of educator and having to explain the experience to the audience, because it will have already been normalized.
In my perfect world, we'd have one black girl fantasy book every month. We need them, and we need fantasy stories about black boys as well.
American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.
he beauty of this world [of comics] is there are so many stories to tell, and there's so many wonderful characters. Wonderful characters we haven't even begun to introduce - it's a world that is infinitely expandable.
I think that 'Room 104' offered us an organic opportunity to tell all kinds of stories with all kinds of protagonists.
The best way we can encourage people to create companies that create jobs is to celebrate the diverse entrepreneurial stories and the variety of drivers that led these entrepreneurs to sticking their necks out.
It's very important to me that people get to see themselves in stories. When someone tells me they've never seen themselves, I have a new goal.
We just don't want to repeat anything that we've done in the movies [X-man] or that we're going to do in the movies. There's so many stories to tell, we just want to stay out of each other's way.
I hope that upon this scorched earth we have planted the seeds of ideas that will bear the fruit of more diverse and inclusive stories that include people of color in the LGBT community.
Because I've worked with Netflix from the beginning, and that's my first job, I only want to work with creators, producers, and networks that are pushing the limit and putting people on the screen that haven't had their stories told yet.
I think Australia focuses on people that had a big start at home, like 'Home and Away' or 'Neighbours' graduates, and the truth is those shows are pretty white for the most part. The diverse actors go straight to the States because that is where more diverse stories and opportunities are being presented.
You want to go to a place where you work every day, where you get to tell stories that look and feel like the audience in America that are watching. You're really limited, if you walk into a room and you can just tell stories about that. So, we've been really blessed.
There's a lack of diversity amongst executives in the position of greenlighting a film who feel that their stories are being told. If there's a diversity at the executive level, then we'll have diversity of the storytelling process.
There's a hunger our there for different types of stories, and I think there's an audience that's waiting and primed to accept a vision of America that looks like what they see when they walk out of the door each day.
It would appear that I just love writing many different stories.
I'm a big believer that there's more power in numbers and the more you can expand the stories that are relevant to both communities, the better. For example, a school that's terrible for black kids is terrible for brown kids. We have to figure out ways to navigate the school systems and make sure that we're investing in a public education system that's beneficial for all kids.
I think it's unfortunate when people say that there is just one true story of science. For one thing, there are many different sciences, and historians will tell different stories corresponding to different things.
I wouldn't like to just do one story or one type of stories all the time.
I do think it's important for black writers to show that we too can make it into the mainstream. Growing up, I didn't just watch The Cosby Show, I watched Growing Pains and Family Ties too. We can tell those stories too.
I'd like to find great stories from as many parts of the world as possible.
There are so many different stories. You can choose to tell them, or not, but they certainly have the right to exist
I'd like to see more female heads of studios because what's also being crucially lost is the female perspective: 50% of the population are not having their stories told.
Telling diverse stories is at the heart of our culture.
What is crucial is the provision of opportunities for telling all the diverse stories, for interpreting membership as well as ethnicity, for making inescapable the braids of experience woven into the fabric of America's plurality.
