The wonderful situation that I find myself in now, is that choosing the roles I want is more of a reality for me. As a result, I take it very seriously, because I find this opportunity in film to be a very powerful and influential medium.

There is still a fundamental misunderstanding, when it comes to observing that when someone is black and someone is white, then that difference is enough to warrant the idea that they shouldn't be together. We are so much more alike in nature than we are different, and my ambition with the roles I choose to do is to break down that prejudice, by showing how much I - as a man - am just a man.

When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.

I'm one of those actors who says, "Point me toward the work that matters to me and I don't care where you're putting it. Television show. Movie. Projected on the back of someone's garage." If that's where the work is that's exciting to me and moving, I want to be there.

It's fascinating to work with a company of actors of such different ages, experience and talents. I'm one of a generation brought up on television whose acting is more 'naturalistic', whereas with some of the older generation it's more heightened. But I think there's room for both styles.

When I am playing a role far away from me with an accent that is not mine I always employ a dialect coach. I am almost always playing someone that has an accent that is not mine.

You can’t have people curating culture in this way when we need to see things in order to reform from them.