I imagine it was much different in the 1970s. That was the Renaissance for black actors, albeit in blaxploitation movies. There was a much greater preponderance of work then than there is now.

I used to record but just in my own studio or in my friend's back when I toyed with the idea of being a rapper.

Yeah! I went to the set of Monuments Men.

Once the steam engine went away and we started moving into burning fossil fuels - not just burning them, but everything we do with oil - we've been experiencing [these problems] at an accelerated rate. The scary end-game scenario is getting closer and closer, about what we're going to be able to do to sustain life on this planet as we have come to know it. And I think this is a very real possibility, that we could be dealing with conditions we have no idea how to wrestle with.

It's great to be in a film that's able to have people really want to become socially conscious, to walk out of the theatre and want to do something.

If you look up and no one who's around you has been around you for the past 20 years, and they're all new people, I think that's a problem.

It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something.