The auditioning process is one in which the actor gets very little information about almost every element of it.

I've found that sitting around and obsessing about projects moving forward, when there's actually nothing I can do about it, at a certain point, is really counter-productive.

Usually if a scene's really hard to write, I just don't write it. Nothing's coming to mind.

I think there's a lot of shame in American race relations. There's a lot of suppressed guilt that lashes itself out still. I see that all the time, and whereas opposed to sort of trying to address the issue in an up-front way, they're attacking and thus perpetuating the problem thinking that they're being sophisticated and post-racial, when, in fact, they're being completely regressive.

I find that when people get a script, they know within five pages if the writer can write. Once you're five pages in, it doesn't matter whose name is on the cover, you're not even thinking about it.

I spent so many years of my life as a stage actor and when you do all these plays, a lot of really great plays are very politically driven. They deal with deep social issues, and that's the kind of stuff that I love, as an audience member.

I don't use my writing career as a vehicle to get me acting work or to write roles for myself.