Debbie Allen Quotes

I loved that they were real people living in the time of the Harlem Renaissance. The story was rich with culture and character.

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I think a good director casts a film so that the actors bring a lot to the table.

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That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.

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I'm respectful of other artists and I think there is a way to talk to actors to let them know they are making this. It all has to come through them.

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You have to examine a scene on the page first. Then you get into the basics of acting Who are you Who are you talking to How do you feel about that person

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Time management is a big part of the director's job.

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There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

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It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage.

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The look of the movie has a kind a muted tone to it at first, and then we introduce color to it as we go along.

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It's rare to find parts where you see two women who relate to each other in that very natural way, with a lot of humor and pathos at the same time.

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I use something that is a real staple in the directing world. It's called a dance floor. You lay it down so that it's so smooth you can roll around, and you can put furniture on top of it. It's seamless and you don't see it.

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I owe a lot to the Brainerd legacy for my accomplishments. My pledge to you and my mother is to come here in the spring and have theater arts across the field of Brainerd. I have a commitment to this project, these grounds and what Brainerd is about.

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As one who loves literature, art, music and history, I've been deeply rooted in the Harlem Renaissance for many years.

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Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

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The production team's first meeting took place at my house. I had ideas and a color scheme in mind, how I wanted the movie to look, because that has to be a real collaboration.

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In scoring we have a lot that was not evident in the shooting. The radio is on all the time.

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I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.

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There was no question about who should play Lou Bessie. Crystal Fox brought to the role something that was really needed.

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(Self-checkout is) negative because more and more retailers are losing the personal touch. People want to do business where people know their name and communicate with them. With a world full of email and more self-service we will begin to start seeking out the basics from retailers who create emotion. There is not emotion out of self-service and most people buy out of emotion.

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I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again

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Then you give your actors broad strokes based on what your idea is for what is going on in the room and the circumstances surrounding it.

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In the film world you don't often get much rehearsal time. Only on big-budget films do you have the opportunity to rehearse for a week or two.

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The riot isn't seen in the movie, but it is alluded to. He has this one speech that gives a great sense of texture and paints a picture of what was happening in Harlem then.

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They had a clear idea about what I really wanted to see, based on our initial conversations, and they did a great job.

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The screenwriter's role was very instrumental, because it's difficult to take a stage play and adapt it for the screen.

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