I stay true, because whatever the project is, I'm still looking for inside of that character.

I really wasn't even sure if I should continue acting. I would like try and figure out if I could be good enough to do it. It was like 10 or 12 years into my career before I felt like maybe I can do it. It was such a different time than now.

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.'

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.

Because I was playing Idi Amin, who dealt with the colonisation issue, I became aware of this internalised conflict of what it means to be torn between cultures, what it means to be taken over by other cultures.

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.