A woman's posterior is the key to my heart.

Then I was playing the piano at eight, and that helps you learn about women because most of the people I was playing for were women.

I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.

As black folks we're always sensitive. As a black person it's always racial.

The most interesting thing about acting is when you go to the dark places, that's a lot of energy. When you go to the happiest places, it's also a lot of energy.

What's weird is when you meet a girl who is 23 and you are talking to her, even her voice is high-pitched, she's young. You ask her how old she is, she says, 'Twenty-three, how old are you?' and when I tell her I'm 41 it's like I've just told her I have cancer. It's, 'Oh my God, how long have you had that?'

I didn't have a knee-jerk reaction like some people did to the language and the violence. My stepfather was a history teacher at Lincoln High School in Dallas. So, I was already familiar with the N-word and the brutality of slavery. What I was drawn to was the love story between Django and Broomhilda and how he defends and gets the girl in the end. I thought it was just an amazing and courageous project.