We all know Reagan's legacy, from the Iran-Contra affair to the funding of the Nicaraguan military in which over 200,000 people died. The groundwork for the move steadily to the right happened with the Reagan administration. People want to elevate him to some mythic level; they have their own reason for doing that.

Freedom Summer, the massive voter education project in Mississippi, was 1964. I graduated from high school in 1965. So becoming active was almost a rite of passage.

I was able to do To Sleep with Anger, a very powerful film about African Americans, their spirituality, and the things that happened within a small community and a family.

Leadership has to be focused on some very radical ideas that only we as 21st Century people can talk about: making sure people have a livelihood, making sure people receive a living wage, making sure the environment, the Mother Earth, is embraced and cherished and not destroyed. Making sure people are healthy in what they eat, making sure we hold people and corporations accountable for the damage they do not only to our environment but to our institutions.

I try to find hope in struggle and resistance in small places as much as I can.

Those titles, Executive Producer or actor, are unimportant. I always try to approach my role as an artist. The first thing you want to do, that you attempt to do as an artist, is to have some sort of input into the material that you are working on. That is how my process begins; I say to myself: "I want to do this kind of work or I want to do that kind of work."

I remember when Langston Hughes used to write a column in black newspapers around this character Jesse B. Semple. He always used that as a voice, sometimes in comic ways, of having everyday people's voice come through this common folk hero, who was an ordinary working guy. He would talk about anything from police brutality to the Korean War. Those kinds of expression and identification are no longer prevalent in our popular culture.