When we shot "Cry Freedom," I wasn't even allowed in South Africa. They told me I could come but I wasn't going to leave. I had heavy death threats at that time. So we shot in Zimbabwe. In 1995, I had the privilege and the honor to meet Desmond Tutu and Nelson Mandela the same day: I had breakfast with Desmond Tutu and lunch with Nelson Mandela. Then I had the good fortune to have Mr. Mandela actually come to my house in California. There's been a tremendous amount of change.

In 2009, Scott Rudin sent me August's [Wilson] original screenplay [Fences] and asked me what I wanted to do with it. He wanted to know if I wanted to act in it, direct it or produce it. I said, "Well, let me read it first."

You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.

I'm a logic monster, if things don't make sense I gotta make sense of them.

That's where you can find things and modulate your performance and give the other actors something fresh to respond to. We've probably all worked with actors who when it's suddenly your close up, they get sleepy. I don't like that. It's selfish acting, and I won't tolerate it.

I always say the time to worry about flying is when you're on the ground. If you don't trust the captain, don't go.

I have a new respect for filmmakers, that's for sure, 'cause it's not easy. If I'm allowed to, I'll be directing for the rest of my life. I love the process.