I said, “The only way I can play someone this hard is for something to be peeled away each week, and the first thing that needs to go is the wig.” I just wanted to deal with her hair. It’s a big thing with African-American women…You start when you’re just a young girl. Do you twist it? Do you leave it natural when it’s so hard to take care of? Then you start wearing wigs but every night before bed you’ve got to take the wig off and deal with your hair underneath. And it’s a part of Annalise that I needed the writers to deal with because I’ve never seen it, ever, on TV and I thought it would be very powerful. It’s part of her mask. - Viola Davis (x)
Separate Cinema: The First 100 Years of Black Poster Art edited by John Duke Kisch with a foreword by Henry Louis Gates, Jr. and an afterword by Spike Lee
This magnificent volume is a celebration of the first 100 years of black film poster art. A visual feast, these images recount the diverse and historic journey of the black film industry from the earliest days of Hollywood to present day.
Shouldn’t it be called African American poster art.