As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.

Casting ethnic characters is a very hard thing to do, but it's important. It's also interesting.

In the story, which is only a few chapters long in Genesis, Noah never even speaks until after the flood - but when you have Russell Crowe, you're going to make him speak.

Turning 30 was when my parents both got cancer and were fighting it and beat it, but their mortality started to get to me. Everything wasn't as hunky-dory like it was.

I've always wanted to introduce hip-hop filmmaking to film. There's hip-hop art, dance, music, but there really isn't hip-hop film. So I was trying to do that.

The only way I know as a director is to figure out what the film is about. And out of the theme and the sense of what the film is about, all those decisions start to make sense. But to find that truth within it, you have to limit your possibilities and limit your choices. That's where this visual language grows out of.

I remember the few times that happened to me in writing, where you basically start writing and you look at the clock and six hours have gone by and you're, like, "Whoa! What the hell just happened?" And that piece ends up in the final product even though the final product is three years away. It doesn't get rewritten. It came out the right way. But that's happened to me so few times in my life.