This film isn't about "white racism", or racism at all. DEAR WHITE PEOPLE is about identity. It's about the difference between how the mass culture responds to a person because of their race and who they understand themselves to truly be. And this societal conflict appears to be one that many share.

One of the facets of growing up the way I did, I never had the experience of being solely in the black community. Even my family, my mother is what they call Creole, so she's part French, part black, and grew up in Louisiana. It's a very specific kind of blackness that is different than what is traditionally thought of as the black community and black culture. So, I never felt a part of whatever that was.

As a director, I try not to implement a way for working, for every single actor, across the board. I try to work with each one, on an individual basis.

I love when scenes are intentionally and meticulously planned so we feel like this is a handcrafted scene that only works in this moment and this movie, and that's the way I approach my films.

It is frustrating having to walk through America having to bob and weave people's impressions of me because they see a tall, black guy walking down the street. That is frustrating.

I am more than a black guy. I am a person, I'm storyteller, I'm a son, I'm a friend, so I am all those things so it is frustrating to a degree to be limited by other people's perceptions of me but at the same time, it is true that I am a black guy and it's like I'm rooted in, but not bound by. That sort of mentality, that's the one that I hold to be true.

I'm very interested in clans and the way people group together, and there's a lot of group shots. There's a lot of people in positions that people feel like they're in attack mode, kind of pointed at each other in the frame. I'm not a big fan of shooting something that looks like it could belong in any movie, I'm not a fan of okay, "wide shot, wide shot, medium shot, close-up, close-up, we'll figure it out in post." I hate that.