I was pretty much consumed by this character. Even when I was off, I was continually searching to find something else new about [Idi] Amin, and to embed myself deeper into the culture to the point that, in the end, I was so entrenched that I could tell what tribe someone was from just by looking at them.

I never acted in anything I've directed but I have produced a number of films and I have acted in some of the movies I've produced. Usually with first time filmmakers and pushing a move forward I have played a small role but never the lead.

Things are shifting; man is evolving in many different ways. The Internet has created a portal for people to connect with each other in a way they never could have before. When it comes to African-American or black films, it's different because there is a model that you can actually look at, an equation that shows that these films earn money.

I can play a man who's despicable. But I'll still look inside him to find a point of connection. If I can find that kernel, audiences will relate to me.

Filming in Africa touched something really deep inside of me, really. It changed my matrix, my insides. My blood even feels kinda different. I don't know how to describe it. It's really kind of Eucharistic. I feel like I ate the place and now it's part of my system, part of my being. I'm not claiming that now I know what it's like to be African, but that now I have a deeper understanding of myself.

In a lot of films, they're showing more complete, developed characters of diverse ethnic backgrounds. The larger concern is to be able to tastefully explore the stereotypes, and still move past them to see the core of people.

I try to serve the character all the time; this one took a lot of work and was consuming. It's like climbing up a ladder and sometimes you're afraid to face yourself so you make excuses; you avoid going to the top of the ladder and look in the mirror.