Just look at the cinema itself: It's comprised of lots of movies about graphic novels, and if you're not 20 years old and wearing a cape and a mask and white, you're out of business. Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.

There are things that make me excited about what I'm doing: Trouble the Water [the 2008 documentary Glover executive produced] on New Orleans, or something like Soundtrack for a Revolution, about the power of the music of the civil rights movement [which he executive produced in 2009]. Or Bamako, about the African debt crisis, a platform to discuss the experience of people who actually live it. All of these are important ways we can use film as a forum inviting people into a dialogue.

You have this response of angry young people, with a war going on in Vietnam, a poverty program that was insufficient, and police brutality.

It's also important for those who promote those issues within the white community - the somewhat privileged community - to talk about issues affecting people of color.

I was able to do The Saint of Fort Washington, on the relationship between two homeless men.

Every day of my life I walk with the idea that I am black, no matter how successful I am. And our success is tempered by that; you're successful in this way given the fact you are black, and most blacks don't get to that point.

President Obama is a man who had certain advantages because of the civil rights movement. He had the opportunity to go to some of the best schools in this country - schools that train you how to run the political paradigm, not challenge it. The leaders of the Black Power Movement were challenging that paradigm.