We just say there are five, you know, racial groups in the US. I say that these folks are what we call a sixth American. There's something different. They are somebody who - they don't exist in any particular racial category, so they all feel it and they kind of congregate to each other.

We studied a mosque, and this is when we were at Notre Dame, and in this mosque they had people from a variety of countries, most of them immigrants. In some of the countries, when you go into a mosque you remove your shoes. To not do so could be punishable even by death in that nation. In other countries, it would be a great offense to remove their shoes when they come into the mosque, a sign of disrespect.

One of the things we find when we talk to people that attend these congregations, they all have social cost to it. People want to know why they're doing that. Sometimes they're questions about selling out on their race or "Are we not good enough that you have to go to this kind of congregation and not ours?" So there are costs to it, and I think they're a little bit higher in the South because of its history.

If we go into white congregations, non-whites will sometimes say it felt like worship never started. It was sort of dead and didn't feel that warmly received. But so - and there are different realities either way, and it makes it difficult for all groups to try and cross boundaries.

Downsides, yeah, and when there are more downsides when churches first start - they go through stages of transforming to becoming multiracial. So in the beginning stages there's often a lot of pain, a lot of confusion, a lot of people leave.

I think it's going to open up a wider place for a discussion about we ought to come together in our churches, in our neighborhoods, in our work places, in our clubs and our networks. I think it'll be more acceptable to talk about it. We'll see what happens. It'll take some time. But I think it will.

In your actor's heart, you know when you're playing well. Others may not always agree with you, but I'm always aware of when the scene is cooking or not. You have an instinct about that from years of doing scenes and plays, and I think it stands you in good stead even in the TV world.