I hate it when, by page 30, I know what the lead's going to do and then what the bad guy's gonna do. Mostly it's just scripts by the numbers where nothing's surprising, nothing's interesting.

I'm trying to steal from everybody. So yeah, there's cats that I'm personally affiliated with - Carl Franklin, Paul Thomas Anderson - and others that I don't know personally but their work I'm a big admirer of, like Martin Scorsese. But I'm hoping to come up with a language that is mine, that's specific to my take on this material.

I was brought into the curiosity of it because with Sony Pictures Classics, which bought the movie, they look into what the feedback is and base that off of how they release it, and you end up hearing the feedback and getting that early talk. So the reviews early on that were "bad reviews," they were kind of reviewing another movie.

When I'm the person in front of the microphone, and I'm the person in the light, I want to reflect and refract the light onto places where they need the attention, where I don't need it.

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.

I also believe that you are what you have to defend, and if you're a black man that's always going to be the bar against which you are judged, whether you want to align yourself with those themes or not. You can think of yourself as a colourless person, but nobody else is gonna.

I think if you're going to read reviews, you have to just concede that they are all right. And I think I read two very diametrically opposed reviews about my movie and I had to go, yeah, I agree with both of them.