As one who loves literature, art, music and history, I've been deeply rooted in the Harlem Renaissance for many years.

But out of limitations comes creativity.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

I use something that is a real staple in the directing world. It's called a dance floor. You lay it down so that it's so smooth you can roll around, and you can put furniture on top of it. It's seamless and you don't see it.

My mother Vivian Ayers always instilled within her children that our opinions, our thoughts and our ideas about what was possible was important. My mother made me feel that I was important as a thinker at four-years-old. And I instill that within my students everyday.

There was a time when fame meant that you were either someone who is really gifted in your field or you were making an impact or you are famous because you were a really horrible person, you know? But now, you can become famous by eating a frog. It's just not the same thing.

I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?