The best notes are action-based and less, I don't know, heady, theoretical, because, as actors, we're too much in our heads anyway.

All the things you can do to prepare for a role that free you, in the moment, are great. You have this muscle memory for things. You don't have to act it as much, once you've done it enough.

I know about hip-hop culture, whether it's graffiti writing or DJ-ing or being an MC.

To me, there's nothing greater than making people laugh.

I need to gain a lot more experience. I think so much of being a director, other than the technical aspect and the artistry of it, is the confidence that you are, I think in many ways, you're the captain of the ship.

Sometimes, you run into trouble as an actor when you're not working with someone who is collaborative or doesn't bring themselves to the piece, and you sort of have to start worrying about yourself and protecting what works for you in the scene. I never had to do that in this movie because it was sort of this trapeze act.

There is a challenge of doing something new. Sometimes you have to suspend whether you believe in yourself doing it and just give yourself over to the idea that they believe in you.