There's a thing you confront when you're going into something new and you come to this sort of abyss, and then you push yourself. It makes you try different things.

There are people [in Uganda] who hate Idi Amin, a small amount. And then there are the people who really admire him, like a hero. And then there's a large group who say, 'We know that all these murders and atrocities occurred, but he did all these great things.'

Visit to Africa reshaped my point-of-view of colonialism. It reshaped my point-of-view of my own sense of source, and my own place of birth. It made it more organic inside of me, because it placed me in a position where my job was to understand and to become more African.

I'm just looking for characters that continue to make me stretch and grow and learn more about the human condition.

I found the people to be very kind and generous. It was unique because the crew was mainly Ugandan [filming The Last King of Scotland]. They had never done a film before. So, they were learning the process of making films, but at the same time they were also helping with the authenticity of the film.

It's a unique experience when you're doing an independent film where you have one person who puts up all the funds to make the film.

On the very last day of shooting [of The Last King of Scotlang], I remember wanting to get the [Idi Amin] character out of me right away, as much as I could. You literally take a bath to wash him off you. Luckily, I went into another part not so long afterwards, so I was kind of able to push it away a little bit. But speech patterns, and little sounds, particularly colloquial things, like the way you ask questions or might respond, were sticking with me, probably because I'd worked so hard to make it a part of my everyday way of expressing myself.