Oftentimes when I'm deciding to do a movie, the main thing is really, that I look at, is the director. I've come to feel that more and more. The more movies I've done and the older I've - the more experience I have, I always knew it was a director's medium, and I always said that.

Sending our kids in my family to private school was a big, big, big deal. And it was a giant family discussion. But it was a circular conversation, really, because ultimately we don't have a choice. I mean, I pay for a private education and I'm trying to get the one that most matches the public education that I had, but that kind of progressive education no longer exists in the public system. It's unfair.

Poverty feeds into the clean-water crisis, which contributes to hunger, and so on. There's undeniable interconnectivity among these issues. Just one of these problems can be deadly on its own, but in the most disadvantaged areas there is a perfect storm of problems. And it takes its greatest toll on children.

Success is not something I've wrapped my brain around. If people go to those movies, then yes, that's true, big-time success. If not, it's much ado about nothing.

The danger of course is always is caricature. The biggest challenge was to sound like Nelson Mandela. Everything else is easy to do, walk like him. He has a few ticks and things I noticed that I picked up. I didn't have any agenda, as it were, in playing the role other than to bring it as close to reality as I possibly could.

I believe a solid, really strong middle-class is the key to making the country in the best way.

Most films and directors lose their nerve and want to indicate [emotions] a bit more, to show that their story is clear. I'm not saying that's a good thing; as an actor its anathema to good acting, but to have someone with the confidence to say that should I be utterly natural and minimalist is great.