Lance Reddick Quotes

Because of the way tech is changing, and becoming cheaper and user-friendly, it's becoming easier to make films cheaply, maintaining quality.

I mean, you know actors, we always want to do something else, something different.

As I got further into my career, as a character of color, if I was going to have the types of opportunities I felt I deserved, and continue to have them, I was going to have to start creating those opportunities for myself.

You either get better, or you don't progress.

If you're going to come at me, come at me respectfully, and I will respond respectfully.

I was coming from a theater background. I had an obsession with classic film and cool, interesting, intelligent television. I didn't really understand the way the mainstream television industry worked. I just thought "The wire is so good that it's going to be a huge hit, and we'll get awards up the yin-yang forever." That's what I thought!

What's interesting is, most of the people who are fans of the The Wire who black people or cops... most of the people in the industry are the crew: writers, actors and directors. And so they understand what it is that we do, so they think, "Wow, what a incredible group of amazing actors." It's funny, I think there are a couple of reasons why we have never gotten any nomination for anything except for writing.

Notes are tricky in an audition, because I find, more often than not, my instinct is right. If they have a preconceived notion about the role and it goes against my instinct, unless it makes sense to me, it often throws off what I'm trying to do. Though sometimes they have an insight that I don't because they've been living with the script. I don't have one feeling or another about notes, but it is always a little bit of a red alert when I get one in an audition.

It's funny, 90 percent of what I've done has been television, and I never really wanted to do it that much. I was really interested in film and theater. What's ironic is that when I started doing television, I did a bunch of amazing shows all in a row, starting with The Corner.

I graduated in '94 from Yale and New York Undercover was my first gig on TV. I was really all over the place with roles, which is what I wanted to do.

In drama school, my greatest strength was my range. So my early career was like that: I played all kinds of different characters.

I started to realize, a lot of times if you go into your memory, your sense memory, you know more than you think you do, from having watched and listened.

I did an Off-Broadway show that was a comedy written by Ann Meara. We were like a family, and we did that show for a year. On Oz, I did feel like the cast members were friends and there was a lot of bonding. That said, there was a lot of testosterone. Once again, it was full of really intense theater actors with this writing that was really intricate and subtle.

From the time I became an actor my whole approach was to try to do as many different things as possible. It never occurred to me that I might be typecast.

Sometimes you have to say, "No. This is my space." If you're going to come at me, come at me respectfully, and I will respond respectfully.

I feel like my public life isn't necessarily my own. I'm starting to get used to how to maneuver and operate in New York in a way that I don't get stopped all the time. I just pretty much say "Thank you." But one of the things is to try to keep moving. Not to stop too long, because people try to get into a conversation with you all the time. The hardest thing is on the subway, or when people try to chase you down.

It's funny, because in drama school, my greatest strength was my range. So my early career was like that: I played all kinds of different characters.

When you're in a high-stress situation, dynamics between people can change.

A very odd thing happened to my career when I got The Wire. My career was pretty much a steady climb; I didn't really flatline much. When I did The Wire, that's when I thought all the doors would open, but that's when things flatlined. I had a really hard time just getting seen for film, which was the next step.

The African American community is so under-served in the entertainment industry.

Notes are tricky in an audition, because I find, more often than not, my instinct is right.

'The Wire' really drew on a lot of real-life situations and real-life organizations - it created fiction to make a social statement about reality.

That's what David Caruso said to me. We were talking about the whole Emmy thing, and he said that one of the things about awards in this town is that a lot is about the drama - like the drama of the performance. And he said "Your show, The Wire, looks so real, it almost looks like a documentary. And people who aren't artists - a lot of people who vote for this stuff - don't get it."

Nothing will ever top 'The Wire.' It was historical. It was black cinema.

I'm an artist at heart.

I started acting, almost on a whim to help my music career.

Most of the characters I'd played were so different from me, so far from me that I had to transform.

I grew up studying music. I went to conservatory.

I can only speak as an American, but most journalism here isn't doing its job any more. It's about selling stuff.

Growing up, I never imagined I would be an actor.

When I was working on The Wire with the other actors, scene after scene after scene, I felt like we were singing together. We were dancing together. I'm like, "This is the best ensemble I've ever worked with. I'm working with these cats? Holy mackerel, this is heaven."

Don't be a victim; if you want to make movies, make movies.

Art is art, and journalism is journalism.

I’m interested not just in projects that I’ll be starring in, but producing film and TV that’s really quality and great for adults; and when I say great for adults, it doesn’t mean without humor, because I’m also interested in doing comedy.

You don't see a lot of black rock stars. The music industry tends to be segregated stylistically. It's hard for a black artist to cross over to rock music.