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.

Martin Luther King was a voice to the voiceless, and he did that tirelessly, and his faith was the engine to that. But he was just a human being, at the end of the day.

We can't afford to deny our past in a bid to be empowered. But what we can do is contextualize the past.

I seem to be able to disassociate my insecurities. I know a lot of actors - some of the best actors in the world - can't bear to watch themselves and I have to say I can't relate to that.

I hear God as an audible voice.

There's a nimble quality to the way a television actor can work. When that muscle gets strong it's a very valuable thing.

I never, ever do a film and just kind of move on. I think of them as children of mine, and you don't give birth to a baby and just leave it on someone else's doorstep. You see it all the way through college.