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.

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.

We have to not just open our eyes to what's going on in other places; we need to open our eyes to what's going on right in front of us.

As an artist, it's a great opportunity to play a character like this [Ugandan dictator Idi Amin in The Last King of Scotland]. And then, as a person, I had never been to the African continent. So, I knew, personally, it would reshape me.

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.

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.

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.