Directors

"The moral of the story there is that it’s important to be involved and be engaged. Being involved also showed to me the importance of having men as part and parcel of the women’s struggle."

"It is important that women celebrate themselves but also that they don’t only preach to the converted and go out there and win more allies for our struggle."

""One of my big takeaways from young people is courage. The courage to sometimes walk where no one has ever walked. And I also think young people are not afraid to do the work — it's not as if young people are waiting to be saved. They want to save and deliver on the number of things that they feel strong about. So it is important that as older people, we don't treat them as people we have to carry, they actually will carry us I think. "thumb|Phumzile Mlambo-Ngcuka 2014"

"It's important that at a school level, in a comprehensive way, that all young people are prepared for the world of work that they will graduate into. If we do not provide those skills, we risk leaving these young people behind, they will graduate and they will be inadequate for the future that awaits them."

"Young people, of whatever time and generation, feel invincible. That’s important for necessary change"

"I am proud of the entire global team. We have been able to achieve much in the last three years and I am committed to the continued growth and expansion of Signature’s global network. We will continue to invest in our facilities and our people to be the industry-leading FBO chain. Our customers come first and everything that we do is guided by the philosophy of delivering the best possible service experience in a safe and efficient manner."

"We are pleased to welcome Maria to the board as we continue to execute our strategic plan and drive significant long-term value for General Mills shareholders"

"From the get-go, we've had incredible interest in the site-development program. It’s incremental business..We’re very excited."

"It's a profound honour to be associated with the Vlisco brand and carry the torch from my predecessor, Eugenia Tachie-Menson, who performed her role so well. I am incredibly honoured to fill the shoes of such great women. I want to thank everyone who voted for me and I'm looking forward to the year ahead (2016)."

"I fully support Ghanaians/Africans living outside helping to develop our countries and continent...we all leave our countries for various reasons, but I believe it is important for us to have tangible connections to ensure our participation in our countries’ development even while we are away."

"Our story is such a great story not just for us but to the rest of the world to prove that there can be so much light at the end of darkness."

"If you can persevere day in and day out, the days will be long but the years will be short and you’ll get to somewhere exciting"

"“The goal is to have zero paper and zero trip for citizens. The process of application will require one to apply online for now, but we are also considering inclusive services which will take care of citizens with USSD phones."

"Rwanda is a country that wants to be exceptional, most of the times our government real tries to be quite ambitious with the target that it sets"

"The pandemic has taught me to be more active online. My online presence has to be stronger than before. I need to make use of my social media platforms such as WhatsApp, Twitter, You-tube and Instagram to push my brand and sell my business."

"If one is happy, whether one is a creative person or not, it impacts everything that one does."

"I am not saying that old actors should not be used anymore, but more opportunities should be given to up-and-coming talented actor."

"What drives me is the urge to succeed. I always want to be successful with whatever I do. I also have passion for acting and fashion, which are the things I do. People who follow me on social media can attest to the fact that I’m a very trendy person. Apart from acting, I have other streams of income. I am not a lazy person and I believe that I have not even achieved half of my dreams."

"Do not let your situation define you! Do not let your condition limit you! Rise above it just like I rose above every situation that wanted to crush me and I chose to be a victor! An amazon , mercified!"

"One of the strongest women I know!!! She has been through fire! But through it all, she is still standing tall … I know everyone has a story, but one day I will bare it all and share my story, trust me you all don’t have an idea."

"How on earth would you make a mockery of someone’s agonizing pain! How? Only a wicked soul would do that!! Yomi Fabiyi, just that particular scene I saw of your movie is insensitive, utterly distasteful, and disgusting!"

"Let us protect the rights of widows and women. I believe no woman deserves to be maltreated regardless of the circumstances life throws at her. One million pledges are needed to present the “Abolish widows’ maltreatment in Edo State bill” to the Edo State House of Assembly."

"It’s heartbreaking to realise that with all the societal advancements, a reasonable segment of our society which constitutes over 8 million disadvantaged widows and 24 million children below age 17 are still subject to maltreatment that includes domestic violence, sexual assault, conversion of properties, forced evictions, neglects, denial of human rights and the list goes on. I stand with widows today, will you join me?"

"Somebody once said to me that if you want to be a multi-billionaire, you have to have different sources of income. You cannot rely on one source of income. I like money and obviously, I want to be a multi-millionaire. I know I cannot rely on one source of income. That’s why I try to do something else aside acting."

"Of course, my character goes missing halfway through the film, so half of the filming I wasn’t privy to. [...] You want to know what happens, but you’re not told. I suppose the message is that’s exactly what it’ll be like — nothing will be tied up nicely because people will disappear."

"Who knows? He died, presumably. I have no more idea than anyone else, but that’s the point. That’s why it’s so clever."

"Nuclear war is everyone’s problem, it’s not just country to country. It’s a worldwide problem, we all share it, and that’s why it’s so frightening now. Since Threads was made I’m sure there have been advances in what nuclear weapons can do."

"Keep dreaming, the best ideas comes in your dreams and the ability to create a world of fantasy. Stalk your mentors and their works."

"The thing about Lagos is that it has so much flavour.It can be better but there’s nothing like home."

"Again, be authentic."

"Every time you have a chance to showcase your craft, your mission is to knock it out the park."

"Nigerians truly have a gift. We can turn the most dire situation into a hilarious joke."

"I try not to focus on the negatives and limitation. I just work hard and make sure I deliver with the opportunity given to me."

"The greatest thing you can do for yourself in every time you have the opportunity to handle someone’s project, knock it out the park, and that is what I live by every day."

"In corporation religions as in others, the heretic must be cast out not because of the probability that he is wrong but because of the possibility that he is right."

"Both of them come from birth. I was born black and gay. I was not socialized to be gay. I always knew I was different; I was always interested in something that a lot of kids were not into…"

"The reasons that I stayed in theater are very personal. I think Asian-American stories can be best served in a place where you can tell them the most, and for me, where I can see that happening is in novels and in plays, because it's more easily done. In plays, anyone can do it, so the opportunities to tell Asian-American stories are infinite…"

"I probably am a playwright first, and a director second. But, since I do a lot of directing sometimes, it's an almost equal thing. Writing is very exciting to me because I'm able to control the world that I want to create. And, as a director, you go into another world, and you kind of help flesh out a world that other people have created..."

"The dramaturgy of audiences and communities is crucial: how they think, how they hear stories, how they relate to the theatre…That was an interesting curve. Not having lived in the Midwest, I found that it’s segregated, it’s tribal."

"As a director, I was able to journey into these plays, find myself, and realise the worlds the playwrights have written…I find my inspiration and my passion in other writers and their versions of this country and this world."

"In most Asian-American families, if a son or daughter says they want to be in theater, nobody's embracing them for that. And that's a problem. Because when you're discouraging those people at that age, it reduces the number of participants in the cultural life of the community."

"I think some of the bigger issues in terms of diversity are specifically about Broadway and Hollywood, where it's more about money. There are major controversies going on at those levels…there is always controversy over how Hollywood is casting white actors in what might have been Asian roles, or Asian roles that have been transferred into white roles. So on that level, there are some real challenges."

"My theater work came out of my community activism, and became an extension of that activism. Being Asian American, there are so many hurdles to get across in terms of creating awareness and recognition of Asian-American theater, wherever you go. Those two are, for me, wedded together completely…"

"First there’s often protest by Asian American communities about what they believe are stereotyped depictions; by resetting the opera in Edwardian England, we don’t have to worry about that. Second, because the opera was originally set in Japan, you had all these white actors playing Japanese characters – yellowface actors – and by setting it in Edwardian England we now have white actors playing white characters. To me, that solves the two key concerns that might come up."

"There are fundamentally two schools: You stand where you are and demand that actors come to you, or you go to where they are. It’s not just with actors, it’s designers, too. You go to where they are and you try to cajole, woo, seduce, engage, empower them to go on the journey that you think they should. I generally employ [those methods], because I really believe that if you force an actor to do something, there’s a piece of them you never get back…"

"I think it’s that a musical must maintain buoyance. Most musicals are informed by very rigid archetypes. If you get a very sophisticated mind writing them, you sense something else, but it’s a folk-art form, really, at its best…"

"Every play is rhythmic control. If you want an audience to go on a journey, it’s rhythmic control. You’re crafting when they lean in, when they push back, when they breathe, when they surrender. It takes you probably five to six minutes to build trust with an audience. A musical you can build trust in three notes. Boom, boom, boom, you’re instantly seduced. So musicals have this easy potency, but generally, in my opinion, they waste them, because a musical is incredibly hard to do…"

"Smashing things together. Because, culturally, that’s America at its most interesting. It’s things connected, awkwardly, that produce the brilliance. It’s not absoluteness that produces the brilliance; it’s when things that don’t belong together collide, and in that collision, something springs forth, and that becomes extraordinarily fascinating to me."

"Sometimes you feel where it was trying to go down. There’s a residue feeling and so it lasts a little bit longer. Even after you stop choking, you still feel it inside your throat. There’s something about theatre where I want to not be able to get up, walk out and go: ‘Oh, that was nice,’ but really have to engage with it as I go home and think about it and work over what I felt about it. That’s the type of theatre I like.”"

"…White people playing people of color is not new; what is new is people of color are now [able to] own their own authenticity. White theater was created to reflect their audiences and white theater must deal with [changing audiences and perceptions]. … I think it’s about what the story requires, and what happens when you cast someone who could not be believable and who could not tell that story…"