If you think about black art, all black art, whether it's Invisible Man or whether it's James Baldwin, Langston Hughes, Zora Hurston, or Richard Wright, they all deal with elements of identity and trying to humanize our experience and our struggle in the world where people have been indifferent to who we are and what we are. It's basically just saying that our lives have meaning.

I mean, we should only be talking about the merits of film ["Moonlight"] because one of the great things about the visual language is that it is the great equalizer.

I've just never seen a live event [like Oscar] where the emotional swings - it was just stunning.And it was interesting because, on one hand, "Moonlight" is one of these, like, generational pictures that you wanted to see win. But at the same time, if "La La Land" had won, I completely understood.

75%-90% of the murders that occur in black and Latino communities are solvable. Everybody knows who did it or somebody knows. The reason nobody talks is because snitches get stitches and people aren't bulletproof.

If you think about black art, all black art, whether it's Invisible Man or whether it's James Baldwin, Langston Hughes, Zora Hurston, or Richard Wright, they all deal with elements of identity and trying to humanize our experience and our struggle in the world where people have been indifferent to who we are and what we are. It's basically just saying that our lives have meaning.

One picture and one win cannot right a million wrongs. It's a step in the right direction.We have to get to a point where a movie like "Moonlight" winning [Oscar] or Barry Jenkins being nominated and winning, you know, for a screenplay or being nominated for best director - that it's just commonplace. They shouldn't be a novelty.

Harlem is filled with moments of history.