It is absolutely essential that the oppressed participate in the revolutionary process with an increasingly critical awareness of their role as subjects of the transformation.
The difference – the fundamental difference between theater acting and film acting is that film acting is disjunctive.
Just as it is important in Latin America to discuss ideas that come from North America, I think it is interesting for North Americans to discuss ideas that come from Latin America or Africa and do not insert themselves into capitalist interests.
At a certain point in their existential experience, the oppressed feel an irresistible attraction toward the oppressor and his way of life. Sharing this way of life becomes an overpowering aspiration.
And I thought if I don’t pre-interview – first of all, we couldn’t afford it – but the second thing was it would force me to do my own research, which takes two weeks.
The trust of the people in the leaders reflects the confidence of the leaders in the people.
Education is freedom.
I was dealing with craft, and that’s the surprising thing, the number of people who have literally broken down on our stage, because when you’re talking about the thing that is most important to someone, they’re liable to feel something strong.
How can the oppressed, as divided, unauthentic beings, participate in developing the pedagogy of their liberation?
I thought we would have at most an audience of 5,000 devotees because I made the decision to stick to craft, not to gossip, not to be interested in any of the juicy stuff that they talk about on other shows, but stick to the question of craft.