Julie Taymor. She is my gold standard of stage directors. I think she has a comprehensive knowledge of theatrical form, since she lived in Indonesia, Java, Japan and France. Her knowledge of form is limitless. Whenever I get painted in a corner, I think about what form she would use, because that is what she practices. It's about accessing the theater traditions of the whole world.

I hope that people will come and experience our play 'A Small Oak Tree Runs Red' . I don't want anybody to suffer, but I source the 18th Century philosopher David Hume in association with the experience. He asserted that when we go to a tragic play, and when the form of tragedy is well put together, then we can experience a catharsis that is soul cleansing, and an anodyne to what our life would be like without it.

People learn who they are by the images of themselves, the representations that they seek.

The beauty of doing a series is that, over the course of time, it's like peeling an onion. You're able to reveal these layers, more and more. You just don't want to reveal too much, too soon.

My view is that "A Small Oak Tree Runs Red" is about putting people 'on the record,' who otherwise would have been forgotten, as a result of their bravery and love for one another. These characters demand justice, and they got punished for it. If we can correct that record in our artistic expression, in a poetic form such as this play, then that is our entire purpose and greatest benefit.

The most important thing in my life is that trying to ameliorate, redeem, the image in particular of African American men, or Black men - I don't really even like that term, "African American," because we're Black people.

I think that in some ways there is no more important thing in my life outside of family and God.