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 do think how two people dance with each other is indicative of how they feel about each other. It can tell a lot more than a verbal scene.

I know that there is still a lot of bitterness and anger, and arguably justifiably so, when you think about how brutal slavery was and what its brutal legacy still is.

In what I do for a living, trust and confidence are key. Inevitably, you can't make brave choices and do your best work, if you don't have those, because it's such a subjective art form, and you don't have eyes on yourself.

I was sometimes called 'coconut' when I was at school.

I think until Britain acknowledges just how much of a presence black people had here before the Sixties, then there are certain stories that are not going to be inclusive of what I have to offer.

I don't have a tailor, but I do love clothes.