I see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.

Everything that I've gone through informs me and my opinions in a way, I guess because I am a child of segregation. I lived through it. I lived in it. I was of it.

I understand the rural south because I spent a lot of time in it when I was a kid and my grandfather’s brothers were farmers and I spent time on the farm when I was a kid with them walking through the fields and working and hanging out.

There are a lot of little kids, amazingly enough, that see me. Their parents go, 'That's Mace Windu.' They go, 'Oh, right. Well, you know, Jedi can fall from really high places. So you're probably not dead, but you only have one hand now.' That's good. There's hope.'

When I'd read the script [The Man], [ Eugene Levy] that's who I'd seen in my mind. When I ran into him, I said to him, 'I read the script. You'd be great.' He had no idea what I was talking about. Then, we saw each other again in London. He'd read it and was enthused about it.

I actually think it's going to be the intriguing plot [ in Black Snake Moan] point that brings people into the film.

Die Hard With A Vengeance shooting was a great time, because we had an interesting script. The first script was called Simon Says, and something was going on, because some days we'd get to work, but we wouldn't actually have dialogue. We would go to Bruce's Willis trailer, and they'd say, "Okay, you have to go from 168th Street to 97th Street today. We're going to do it in the cab, and Sam, you say this. Bruce, what do you want to say?" And that's how Bruce's "hey, Zeus!" thing came up.