I really do not care what the white world is doing. I care about black people building the monument on slavery.

It's not always expected of filmmakers to do stereotyped stories. But one has to be willing to travel to festivals and hook up with people, engage people intellectually about your passion and the kinds of films that interest you, and sooner or later you find people that have the same affinity that you have.

Most young people now are very vulnerable as to what the American film aficionados are going to say. They care too much about a system that has no room for them. It's really a serious issue for me, because to me it's, how do I survive beyond a film that was disgraced or praised?

I really do not care what the white world is doing. I care about black people building the monument on slavery.

Success is really when you create a space, a piece of art, and people come in and say, that's my story - when they claim it.

There are filmmakers like me in different parts of the world that have a story they want to tell, and it's a story that comes out of a certain historical reality within their own life. Then you get committed all the way and however long it takes, stay very committed.

For me, I think [art] exists in a cave. I am in a cave. I have my own editing place, but I'm not powerful enough to amass the resources to keep doing movies every two or three years.