More than a non-acting director, I think I notice when an actor is not believing in themselves. Chicago actors in particular, they work very hard and are very talented, but sometimes they don't trust how talented they are. I notice when they keep something in reserve.

The United States Justice Department, in my opinion, hasn't done a damn thing to alleviate this horrible manifestation of racism, bigotry and hate against blacks - the first African American President has done nothing. Even if he were inclined to do something to rectify what we are experiencing as a nation, I don't know if can go as far as an artistic expression can go, as salve for the collected suffering of the people.

I think that one thing that America is guilty of is not ever apologizing for the greatest sin of the country, which is slavery.

There may have been great scripts, and perfect actors to fill the roles, but those pilot projects could be stopped at an earlier point. Now, damn near anything can get on the air, but who can get people to watch? There are a lot more choices, even if you get on the air.

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

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.

There was a lynching case as late as 2011, so it's not as far away as we think. I think persecution by powerful structures, on a people who are marginalized, is not new. The idea of lynching is well known, and the way we present it in the play makes the lynching somewhat of a relief, compared to the barbaric treatment they were receiving as sharecroppers.