There are important differences that mean we appreciate each other, not tolerate each other. Race creates this idea that there's this massive difference. So when you use race as a means to explore politics, it's a very interesting way of looking at difference, yet similarities.

When you're in political times, you want to reflect those political times, and sometimes going back to our past is the best way to look at our present.

Sitting in the back row of a full audience watching one of my movies, and hearing them cry and hearing them laugh in the right moments, particularly when they laugh at a line I've stolen from one of my family members and put in the film. That excites me a great deal.

If you unite a couple on a joint fight, the question is, "Does it unite them literally, or does it weaken their love?" And if it weakens their love, is that true love? And if this is true love, then you know they should be united by their separation. It's their fight that brings them emotionally together while they're physically separated, and so, though there's physical separation, there is mental and emotional closeness.

I knew I wanted to make a movie that looked decadent and expensive. I knew we would have to make every penny stretch and put as much of the budget onscreen as possible. So it starts with your heads of departments - your production designer, costume, hair and makeup designers. Picking the right people who were as committed as I was to telling the story as I was.

People assume thoughts and processes about you that may have nothing to do with you whatsoever, but they make political assumptions and assertions about who you are based on your choice of partner.

What I hope is that this wider pattern of films about slavery that's emerging isn't just a fad but evidence that we've turned a corner as filmmakers of color and that we're moving forward in our confidence and in the film industry not being afraid of our telling these stories and in giving us the opportunity to bring our vision to the screen.