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Ms. Keys, why do you write?

Since I was young I’d always write things down just to get it out of my head, almost to make space, because I haven’t always been so good at communicating one on one. So I’d always have to write it down first and kind of understand it and then be able to talk about it. You need to get it out of yourself, out of your mind, out of your heart, out of your way, to understand it. I have a lot of diaries and I love paper, I’m a paper fanatic, I love books that have empty pages.

Do you still keep a diary today?

No — crazy thing though! Just last night when I was washing my face to go to sleep I was thinking about this. I had such an incredible night, I was celebrating my mother whose birthday is on Mother’s Day. My son Egypt was there and I was just thinking about how I felt and I was like, “I need to start a new diary!” And then I was trying to figure out when am I going to find the time to write in them every day… But you have to, it’s good for you. Some of my songs are about things that I personally have been wanting to talk about and get off my own chest.

That can often be very personal though. Is it important for you to be able to make yourself vulnerable?

Oh my gosh. I promise you, I’m really just fully learning this now! I, myself, am just learning this now. And I know now, for sure, the people that are most in touch with their emotions and their feelings, people that can just cry at the drop of a dime because they relate so much to someone else’s pain or they just don’t care how they look, and they say, I’m feeling this way today — those are the strongest people I know. Those are the strongest people I know. I think you rob yourself of life, you rob yourself of your own experience when you don’t let yourself feel whatever it is that you feel!

“Once you express yourself, you’re in that vulnerable state, you’re growing, you’re learning, and you’re able to become stronger.”

A lot of times when people talk about empowering women, they often use male-associated attributes, whereas crying is typically seen as a sign of weakness.

Right. Our boys and our young men can never be expressive. If they cry they hear, “Why you acting soft?” Once you express yourself, you’re in that vulnerable state, you’re growing. You’re learning, and you’re able to become stronger because you’re saying, “Okay, here’s who I am, here’s what I feel, here’s who I want to be, here’s what I want to let go of.” But if you never get a change to express it or feel it, or go through it, you can never get to the next place! So I personally feel that I’ve learned that. And it’s so empowering; it really is! I’ve kept myself down in the past, I’ve kept myself from growing by not allowing myself to just be vulnerable.

When you entered the music industry you were only a teen, so I can imagine you’ve learned a lot since then.

It was a natural progression for me, and I think it’s a natural progression for all of us, but when I first started in the world of music it was such a shock and such a different world. In a lot of ways I started to think that I had to be perfect and look perfect and sound perfect and say the perfect phrase.

The entertainment industry is particularly judgmental.

There is a lot of judgment in the world, period. We judge each other at school since the day we go. We judge each other at work, and we compete. And now on social media we have to look at everybody judging us, telling us what they think about us and what they don’t like about us — and it’s a lot. I think the judgment happens to all of us no matter where you go, and who you are, it’s intense.

How did you cope with that environment?

Well, instead of just kind of settling into being comfortable with who I am and saying, “Oh well, not everybody’s going to like me,” I got more and more closed up and more concerned about what people thought. But with time you grow up! (Laughs). That’s all! You just grow up and realize that everybody’s opinion doesn’t matter! You just start to care less. My new album is also about breaking out of that and redefining whoever you are, who you want to be. It’s about life as it truly is, not as how we’re made to think that it should be. Imperfection and the reality of who we are as people and celebrating that truth. And not making shit up.

“We want equality and justice. No matter how you’ll express it, it’s going to come out of you. It cannot be held back anymore.”

Do you feel like those dynamics are getting better within the entertainment industry?

I speak to a lot of businesswomen and I find that they do feel very held back, still. That there’s an almost a discomfort or fear about allowing us as women to rise, to go to the next level. And obviously there’s still so many issues with equal pay scale and equality and I find it pretty crazy because obviously the more diversity there is, the stronger the business. But unfortunately a lot of people are very archaic in their thinking, so I feel that there is that challenge still. You still have to work extra hard, harder than a man would, you still have to prove yourself more. So it’s very frustrating, but I also do know that this is the time of the woman — and if you don’t know it, you’d better start to get it! Because you’re going to get left behind. So I do definitely see an improvement in the world in that sense.

The momentum certainly seems to be picking up.

We’re going after it. We’re going after what we believe and what we deserve and we’re not taking the back seat anymore. I also see an improvement in the way that we as women are standing together and paving the way for the next generations. It’s time for that shit. Because, to be honest, men have kind of been screwing up the world long enough! And I love men, you know what I mean? (Laughs) I love my husband, and I have two sons, and I want to help to show them how to empower the women in their life, to honor the women in their lives. As we continue to do that and shift that energy, it’ll move forward naturally. And I think that as a woman now, being able to let down my own walls and being able to feel more deeply about who am I in this world, it makes me write about that more.

Would you say your new album is political?

What is going on around us in the world is absolutely the majority of the conversation of this album. For the first time my album is raw and truthful. We’re all thinking about it more. We’re not okay with just sitting back and letting society or government bodies tell us what’s happening anymore. We see it with our own two eyes, we’re talking about it, and we’re standing up against it. We want equality and justice. No matter how you’ll express it, it’s going to come out of you. It cannot be held back anymore.

Source: The Talk

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Mr. McGregor, how would you describe your unique style of choreography?

I see beauty in things that are dysfunctional rather than just pure line and shape. The aspiration of classical ballet has often been about a kind of grace and effortlessness and lyricism in the body, an instrument that’s in fantastic motion. I think that’s really beautiful and really interesting, but I also think there’s a whole other range of physical potential that a human body can do. So, I’m interested in that side of it. I’m interested in bodies misbehaving.

Where do you think that comes from?

I’ve always had a very long body, so I’ve been able to do things differently. I was doing body-popping and a lot of club stuff when I was around 18, when rave culture came around. That kind of permeates the way in which you see people move. I’ve not been in a classical ballet school — where you’ve seen bodies move in a particular way — since the age of eight.

“Everybody carries their own physical history, so it doesn’t matter if you’ve trained in hip-hop or body-popping or classical ballet. It’s all the same, really.”

You never had any traditional ballet training?

No! And that’s why it was so strange that I would get these really amazing jobs at places like The Royal Ballet, where I was the first resident choreographer who had never trained in a royal ballet. But I don’t think any of that matters. Being a choreographer is about the biomechanics and signature of the body. Everybody carries their own physical history, so it doesn’t matter if you’ve trained in hip-hop or body-popping or classical ballet. It’s all the same, really.

Did you go back to school to gain the technical knowledge necessary to talk to professional dancers?

Kind of. I did a degree in choreography and semiotics, as well as contemporary dance training, but I got my practice in ballet through actually doing it, right? So the first time you ever work with somebody on pointe shoes, you ask them, “What can you do?” I had no idea what you can do! But less important than knowing how the pointe shoe works is to have good dancers in the room who, when you say, “Can you do that?” they can go, “Oh no, but I can do this.”

Your approach to teaching choreography seems to rely more on collaboration than authority.

It’s a dialogue. I try to work with the best people possible and suck out their brilliance as much as possible. The job of a choreographer is to find what’s personal to them. When I worked with Thom Yorke, for example, I found out that he’s an amazing dancer. Full stop. He doesn’t really need a choreographer.

So you based the choreography around his natural movement?

Right and I think it should be like that for everyone! The “Lotus Flower” video is choreographed but it comes from him, so he feels he owns it already. He’s giving it to me, and I’m just helping him form it in a different way. When you’ve got somebody so extraordinary, it’s exciting for a choreographer; it’s effortless. Sometimes technique gets in the way of letting dancers be curious and open and try new things. Their idea of physical beauty gets in the way of them exploring. For me, there’s no point in being an artist now and just repeating things that happened in the past.

Source: The Talk

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Mr. Scheeren, what experiences would you say changed your understanding of the world?

I think when you grow up in Europe, almost no matter where, you have a very sheltered idea of how things are. So going backpacking through China 25 years ago really confronted me with a reality that was unimaginable. Simply the amount of people around you, a completely different definition of personal space, of how things would work, of how people live… The main reason to go was that I knew nothing about the world, and China seemed the most impenetrable. Somehow that trip was a discovery of a reality that I had no idea about before. It was quite a transformative moment for me because it liberated me.

Liberated you from what?

It showed me that things could be dramatically different but maybe equally valid or equally interesting. For instance, I think that the power in China was not in holding on to its past in the way that other developed nations do, it was in the complete focus on the future. There was very little sentimental baggage. It was simply a search for how to progress. That experience was very raw, you could feel this incredible energy somehow in that country. People were hungry for things to happen, people were interested in what the future could be.

“That strong sense of courageousness was a very exciting context for an architect to engage with.”

Ma Yansong says architects should involve the public more when envisioning the future of urban planning.

Well, that strong sense of courageousness, that strong sense of demand, or exploration, was a very exciting context for an architect to engage with. It wasn’t just about how could we stick to what we already know but how can we rethink things for which there are no particular models. For example, in China, someone came to us and said, “We want to build a bookshop that is 100,000 square-meters large.” And you go, “What do you mean? Not even a public library is that size!” But then you visit an existing bookstore in Seoul that is half that size and it’s completely full of people. You see that energy and that density and you think, “Of course you can double it!” But at first it sounds like a completely implausible idea.

But bigger doesn’t always mean better…

True. What is important is to not simply succumb to the generic production of quantity and built mass, but to really ask how could we develop models out of this inevitable density, that are much more valuable towards us as human beings — towards a question of how we want to live, what is the quality of our life, and how do we want to exist in a city that grows extensively. I think we’ve been quite successful in finding clients that were ultimately willing to engage in these dialogues to see how we can break the mold, how we can, in a very literal way, open the skyscraper up to the life of people.

Like with your Interlace apartment complex in Singapore?

Exactly, the Interlace was a redefinition of a building as something that was no longer just an object, but a connective tissue that would form a huge community. The way the building blocks are stacked up forms huge gardens and courtyards, so it was about defining the space to live in that would allow you an incredible degree of freedom to decide for yourself. I think that’s what ultimately makes for an incredible quality of life in that place. Another example is the Sky Forest project in Ho Chi Minh City, Vietnam. For that, we imagined the nature that you could soak up in the middle of a very dense, emerging part of the city.

Have you ever been surprised by how people inhabited your buildings?

In a way, that’s the best thing that can happen, when people are inspired enough to make their own story out of it. It’s not that they have to live your story — I think that would be a rather oppressive scenario. Architecture should never be too prescriptive in terms of telling you what to do. I think it’s actually brilliant when people find ways to reinterpret the spaces we create. For example, by complete coincidence, I found on the Internet a girl living at the Interlace who had posted a series of “My Life at the Interlace” videos, where she rollerblades throughout the complex — that was really a great moment. We couldn’t have scripted anything as good as that.

Source: The Talk

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Mr. Oyelowo, how do you approach playing a historical character?

It’s a very tricky thing because of course you have to be evocative of who they were, how they moved, how they spoke. You have to make people relax and say, “Okay, he feels like him enough that I can just go on this journey with this character.” But if it becomes an imitation, if it’s about mimicry, if all people were saying is, “Oh, yeah, he really got the voice,” you’re dead! That’s the worst compliment you can pay.

Really, why?

Because when you go to see a movie, there is a spiritual exchange between the audience and what you’re watching. There is something metaphysical going on, where through the eyes, through what that person is exuding, you go, “I understand who they are. I have a sense of what they’re feeling when they’re not even talking.” There is an embodiment that is total so that you forget all of that. People shouldn’t be looking at the mechanics of what you did.

What should they be looking at?

How you did it emotionally. I believe that we go to the movies to see ourselves. “How would I react?” If all you’re seeing is a superhuman human being who had answers for everything, then you’re just watching in awe and it’s just like, “Okay, wow, he’s him and I’m me.” So I think it’s important that we can see ourselves on screen and I think that also means that we’re looking for the greatness in ourselves.

Is it important for your work to inspire people to be better?

It is important to me! I want to do films that hopefully inspire people to be the best version of themselves. If you look at the films I do, all of them, in some way… the remit I set myself is, “How does this enrich people’s lives?” You know, what’s meaningful? I want films that, when my kids see them, they understand why daddy did those films. They understand how it correlates with the way I’m trying to raise them.

Did you gain that perspective when you became a father?

Being a father teaches you very quickly that you are not the center of your own universe. That’s one of the gifts of having to wipe poop! (Laughs) Other people’s poop… Four times, with four children! I’ll be on a plane tomorrow back to my kids, lock my door, and it’ll all be about poop again! (Laughs) That’s the life I lead.

I’m sure that makes it easier to focus on the important things in life.

The fact of the matter is that every actor’s career has highs and lows. When success as an actor comes early, it’s very easy to believe the hype. But to me, it’s about how consistently you do the work – whether it’s celebrated or it’s not. I’ve been in movies with huge movie stars who have been crucified when there are failures and who have been adulated when there are successes.

In the last few years you’ve been in The HelpLincolnThe Butler, and most recently you portrayed Martin Luther King, Jr. in Selma. Why is it so important for you to make films about African-American history?

We need those films. Up until recently, films that deal with civil rights and racial unrest have mostly been told through white characters, through white protagonists. Malcolm X is probably the only film I can think of where you have an indisputable black American leader as the focus of the film. What you’ve tended to have is Mississippi Burning or you have Glory or you have these films that are all through white protagonists. Great films – but a different point of view. You can’t have a film about Dr. King and it be all about Lyndon Johnson in my opinion.

Why do you think there are so many films about African Americans coming out of Hollywood lately?

I think it’s synonymous with Barack Obama’s presidency. I think having a black president means that for a lot of white people there is an opportunity to not just focus on what’s negative about the past, but we have clear indications of progress, so it becomes easier to go: “How did we get here, historically? How have we got to the point where we have a black president?” All these films, they were just not getting made before his presidency. I actually saw President Obama about two weeks ago when we took Selma to the White House, and I thanked him for my career.

What was his reaction?

He went, “Ah, I don’t know about that.” But I told him, “Trust me. I can track when these films came my way!” I can chart it because it’s synonymous with when I moved to L.A. I’ve been in five of those movies! So I think that’s what it is.

And last year 12 Years a Slave even won the Oscar for Best Picture.

But a film about a slave is different than a film about a leader. Black people have been celebrated as slaves and butlers… The very first black person to win an Oscar was for playing a maid in Gone With The Wind, Hattie McDaniel. So, you know, that’s not an issue. We’ve been celebrated as subservient people forever. Great! Fabulous! As leaders? No, not so much. Barely ever.

To quote Dr. King, do you believe that the arc of the moral universe bends towards justice in the end?

I think it does – if love is where you’re operating from. I think if you have anger and bitterness in your heart, and you just decide to lash out against it, all you do is you feed prejudice because prejudice exists on the basis that you are lesser than. If you prove that you are lesser than, you are only going to perpetuate that myth. I think there is a reason why the phrase is moral because to be moral is to absolutely embrace the fact that there is a right and there is a wrong. So the only way it bends towards justice is to be part of the solution as opposed to being part of the problem.

Source: The Talk

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