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 do look at that thematic of healing of humanity.

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.

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.

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 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.

I try to be like a forest: revitalizing and constantly growing.