"John Kani"の名言

In South Africa, we've been watching these movies all our lives - 'Batman,' 'Superman,' 'Captain America' - and every time the mask comes off it's a white man.

I have been on the Urban Brew board for many years and assisted with the artistic evaluation of the various shows that were pitched to the production company.

I must concentrate all my efforts in the attainment of freedom for my people.

We haven't got those dreams: 'I wish to become doctor or a lawyer.' Black people in South Africa have been barred in doing anything that would articulate their cause.

Over the years, many young actors have approached me: Vusi Kunene, Sello Maake ka Ncube, and Seputla Sebogodi. They all said, 'Hey Bra John, let's do 'The Island and we want you to direct.' But somehow, my heart was not in it or I was busy with something else, so I'd say, 'ja, ja, we'll do it.'

I started to get my doctorate, not to be called 'doctor.' Those are just little things you get to get recognition.

Every time there is a movie that tells a South African story, it is done by someone who must be taught the right way of pronouncing 'Sawubona.' Enough is enough.

The exchange rate of the Rand against the dollar, pound or euro makes South Africa an attractive location. The positive side of this is it gives our artists and technicians an opportunity to work.

Inkaba' is about a feud between two South African families. They have been fighting for years, from one generation to the next. It's like those typical feuds you have in rural KwaZulu-Natal where, after a while, you do not even know why you are fighting.

'Captain Marvel,' whereby the steel trap is challenged, where the hero is a heroine, where the most powerful person who has the welfare of the future of the human race is a woman. What else can it be? Because that was the role of my mother when I was a kid.

My stories are about humanity, about the challenges of surviving and the constant fight against ignorance, inhumanity and complacency.

Before 1994, many South Africans used theater as a voice of protest against the government. But with the end of apartheid, like the artists who watched the fall of the Iron Curtain in Europe, theater had to find new voices and search for new issues.

We are sort of not at the level of entertainment that the Western world is. Everything we see on the play in the screen, we read, we take serious. We take that it speaks to me. And so wonderful to see how the Johannesburg, South African audiences will say: What does it say to me? What does it make me feel? Why am I celebrating it?

I still remember the moment when my teacher, Mr. Budaza, walked into class and said, 'Today we are going to study 'Julius Caesar,' one of Shakespeare's most important plays.'

Any older actor knows the last great mountain to climb is to play King Lear and now, if I ever play Lear, I will have done the pre-preparation because I had to go into the play and read it over and over again.

In 'Lion King,' the music is brilliant. The CGI is amazing.

I come from a long line of storytellers.

When I'm abroad it's almost like I'm in a transit lounge. I'm only comfortable when I know the date of departure.

What does Macbeth want? What does Shakespeare want? What does Othello want? What does James want? What does Arthur Miller want when he wrote? Those things you incorporate and create in the character, and then you step back and you create it. It always must begin with the point of truth within yourself.

We've got the right to vote, but what does it mean? People now want to have the right to a job, the right to education, the right to medical services.