Quotes from Rege-Jean Page

This constant need for dominance and strength, having walls up, this kind of silent broker cowboy who needs to have something that can be redeemed before he is actually worthy of love, there is a missing piece to that strength.

Well, I think it's incredibly important that when we are indulging ourselves in these kind of great, big Cinderella fantasies, that everyone gets to see themselves as worthy of status and glamour and love and redemption.

And I think that figuring out how to open the doors in yourself that make you worthy of love and capable of giving love is that ongoing conversation that I was most interested in exploring.

'Roots' touches so many people and once you start realizing that, you realize that it has touched an immense amount of people in an immensely important way.

Simon is clearly in the tradition of romantic archetypes, your Darcys, your Heathcliffes.

I think people were grateful for the intensity of the romantic aspects of Bridgerton;' I'm not sure how grateful I was to watch it for myself.

If we're not careful, this archetype of the dark, brooding, broken antihero gets held up on a pedestal for the wrong reasons.

I don't think there is ever a wrong time to sit down and listen to your grandparents' stories.

I was up at 5 A. M. every day, going to the gym, meeting my trainer. He was horrible to me for an hour and a half every morning before the day started. I got my strength up just from surviving him.

I went to a Saturday school where you would do an hour of dancing, an hour of acting, and an hour of singing. I was loud and attention-seeking enough that they put me on their agency on the side.

My introduction to the United States was plantations in Louisiana. It was delightful.

I don't think that it's ever irrelevant to know where you came from, to know your history, and to improve upon your history.

'Bridgerton' is something a bit like if Jane Austen met Gossip Girl' and maybe like 45 Shades of Grey.'

If we've endured white Jesus for this long, then folks can endure a Black Duke.

Me and my friends used to joke about the fact that you don't see a Black man on a horse.

We all know how to focus on trauma. This is the struggle. We have the opportunity to respect our journey and focus on joy.

It's just so much fun when you're working with folks who are not just at the top of their game but reinventing the game. It's like a whole new machine.

Zimbabwe was still a relatively young country when I was living there and its post-apartheid society was only newly formed. Being a mixed-race child in that environment means that you have to think about crafting your own identity and you question why you belong in that world.

My father spoke with something very similar to a 1920s newscaster type of English, and I learnt that accent of power in post-colonial Zimbabwe. So I learnt that, and I learnt how to copy it, and I learnt how to shift in and out of it, but also talk like my mother's relatives in the village.

I was playing with the audience between takes. And the SNL' crew was like, OK, we see you.' I'm like, Dude, they're right there.' If you were playing a rock show, you don't just go quiet and tune your guitar between songs. You have a little bit of chat, a little bit of banter.

I think art that confronts dark passages and turns it in a way that develops our consciousness, our sense of identity, our future, is honorable.

There is pomp, ceremony and romance as a behavior, and then there is love as a real thing that is felt between two people.

Accents aren't accents, they're language It's almost like a code. Because that's the key to who you are: it's how you express who you are. And how you express who you are is how you speak.

It's a great way to spend your time as a human: learning about other humans and then sharing that knowledge.