It's really hard to find stuff that is original. You pick up scripts and in four pages you know where it's going and the same thing when you are sitting in a theatre, I just rejoice when something unfolds in a way that I'm not conducive.

I hesitate to direct even though I feel I contribute a lot on a set.

It's a very exciting time in the history of this country, to even see people responding to a different way of doing business and really wanting to make a change.

Every time you enter into a job it's a whole new universe. There's a new language with a new power structure. If you are in an all Black cast its a different dynamic, the same with an all male cast or a crew that is mainly women.

By the time I went to the Catholic University of America, which was the time the priests were all leaving with the nuns, the more I studied about the Bible and how it came about, the more I lost my faith.

It is a different world than when I was growing up, and you started to just kind of maintain at thirty-five and just hope you can hope it together. People are a lot more vital than I am and doing all kinds of things and leading really important movements.

I think you have to ask yourself, what is the point of the script? What is the script selling? Because all scripts are political, every story is political. It either challenges or reinforces some schism or stereotype. So what is the project going to say at the end of the day? What does it tell you about the world, or what does it challenge in terms of your world?