I've always wanted to do characters that would help me find my connection with others and connect all of us together. You always want the energy of the character, the spirit of the person, to enter you.

I think the biggest thing that motivates me when I'm choosing a part is a role that will help me continue to grow as a person and as an artist, and a role that will deepen my understanding of humanity, and my connection to it.

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

In every project, I always look for the depth of humanity inside of it. I'm just trying to say if we can help in some way heal the equation with [Afro-Americans] what's going on with us as people.

Trying to understand, inside, what it is to be Ugandan was crucial to the character, because there are Ugandan ways of doing things that I was trying to capture. Even if I had made this movie in South Africa, it would not have been the same, because it is so specific to Uganda.

The other night I was walking down the stairs behind one of my daughters. I was tired, and she was goofing around, you know like kids do, doing all this stupid stuff on the stairs. And I was thinking, please just go down the stairs and let's get you to bed. It's after your bedtime. I've had enough for one day. And then I sort of caught myself. I snapped out of it. I was like, 'dude, you should be dancing down the stairs behind her'!

I started by studying Kiswahili to learn the dialect. Then, I studied tapes, documentaries, footage, and audio cassettes of Idi Amin's speeches. And I met with his brothers, his sisters, his ministers, his generals' all kinds of people, in order to try to understand him.