American - Director | February 7, 1977 -
Before Charlottesville, it might have been easy to dismiss the plot of 'Mudbound' as no longer relevant. Now, I feel like audiences will be more receptive to the material - and to interrogating their personal histories after watching it.
Dee Rees
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There's a lot of power in saying no to big things that you don't want to do in order to say yes to the kind of things that really inspire you.
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With friendship, it's hard sometimes - you don't outgrow your friends, but you do question how people are friends to you in different ways and how it's okay to cultivate other relationships outside of that.
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I'm always choosing the hard things, the things that aren't easy.
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I think art always comments on the time and place it was created.
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I want people to get from 'Pariah' that it's okay to be you and not to check a box as a parent or child.
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You don't have to make yourself look like people expect you to look.
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I've been around many different lives, many different voices. It was amazing material for a writer.
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I was always going to direct. I wasn't going to hand my characters over to anyone else.
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I was interested with exploring the idea of who gets to be in possession of the land - how it's sometimes impossible to go back home, how family can be the thing that drags you down.
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With 'Pariah,' at the time, I had just come out. I had a coming out experience, and I was writing about it, transposing my experience as an adult: What would it have been like if I had been a teenager in Brooklyn? The funny thing was people thought I was from Brooklyn. I had to be like, 'No, I'm from Nashville.'
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There's a dearth of media around young black women and certainly a dearth of LGBT media for people of color.
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