Karla Souza Quotes
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There's a lot of lies out there that we should catch and that have taken me a lot of time to sort of see, and reading up on it and getting educated on it. I'm reading a book that's about how images of beauty have hurt women along the decades. It's a very educating but infuriating thing to see, how we don't have equal opportunity because they're demanding so much more.
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Wisdom and white hair might not be as valued [in our society] as in different cultures.
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When I was asked to change Laurel into a Latina for How to Get Away with Murder, I was terrified, because I thought, no one's going to know how to do this because the American take on my culture is never accurate.
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[The main character] is in a forever-growing process. I feel the movie [everybody Loves Somebody] did that very well and not finishing off as "a woman's life ends when she finds the right guy".
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I knew that [director/screenwriter] Catalina Aguilar Mastretta had an amazing take on the female psyche and the modern woman and the modern immigrant woman living in the U.S., and I really saw the need for a story told of our daily lives without being a statistic and without just trying to hit a demographic, and I felt that with this one.
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I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her."
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Our society really needs to take a better look at what we're selling, because I think women being empowered will be as beneficial to men as it is to us.
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Sadly - and I think this is why it's so important that we do this more - I don't have that guiding light. You know, "Oh, that Sleepless in Seattle bilingual something," like, it doesn't exist. I don't have it in my memory, and that's why I thought it was important to make it.
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There's not enough of those inclusive projects where I feel like I'm interpreting a human being and not just a statistic or a nationality.
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I hope that we start trendsetting [with Everybody Loves Somebody], you know, like having bigger movies also include that. Because I think it'll definitely change a lot of what's going on right now.
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[Rhimes and Pete Nowalk] have definitely, from the pilot [of How to Get Away with Murder], brought forth a woman who is unapologetically herself, unapologetically flawed, and is as vulnerable as she is powerful. I'm grateful to be in that family.
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I love family. In this movie [Everybody Loves Somebody], my character is a successful OB-GYN and yet she goes back to her teenage years when she's with her parents. Like, that's me.
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[Producers] promised me they wouldn't do that sort of "defining nature of my character is that Laurel is Latina [in How to Get Away with Murder] ." It has nothing to do with that. She just happens to be a Latina.
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When we see society telling women that they have a certain time, that they make women compete with each other, the older generation competing with the younger generation. They've made us believe that there's not enough men out there for us or that we're only hired because of our looks and not because of our abilities.
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I feel that the power that storytelling has to change people, to bring them together, to have that cathartic sort of experience, is something that definitely has helped my life be worthwhile and better.
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People follow my movies for a reason, and that's because I believe in them, and I don't want to just make movies for the sake of making movies.
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Romantic comedies, if done badly, can be catastrophic.
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I guess that storytelling would be for me to keep making art that touches people in a way that nothing else can.
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[Everybody Loves Somebody] one really loves both cultures, represents them in a very accurate, genuine, authentic, fun, fresh way, and it includes so many more people because it has that language aspect to it.
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I've been transformed by stories, and I think that storytelling is definitely sacred. I take it very seriously because my life has been changed, whether it was a movie, a play, a piece of writing, poetry, a painting.
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The music in the movie [Everybody Loves Somebody] is very much hand-picked specifically because it's our history and our traditions. The themes are universal.
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I would get very frustrated reading scripts that were bilingual but maybe not bicultural.
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I love that in this movie [Everybody Loves Somebody], you almost want to go and hang out with this family.
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The patriarchal society has made women believe, first of all, you're only valid and valuable when you're young.
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Until they hired a Latina to write for Laurel [in How to Get Away with Murder], I was scared that she was going to fall into stereotypes.
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I explain that as Latinos, we can also be professionals.
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I also have to be careful of what it says about women. I get a lot of scripts that only talk about women's appearances and what they look like. I think we're tired of having to meet this standard and not being asked what our talents or abilities are.
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Something I was adamant about was that the movie [Everybody Lovess Somebody] wouldn't end with, oh, marriage saved [the main character]. They're married and she's OK. I was very pushing on having the ending be that she made an inner growth of healing so that she can then have the ability and the space to love and be loved by someone else, and that love is open-ended and doesn't mean they're going to get married tomorrow and all her problems are solved.
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I felt really strongly about this script [ Everybody Loves Somebody] because, like you said, it's a very specific way of life.
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I know that [Sunday is the day you spend with your family] is a tradition that I want to keep alive and I also want to share.
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