You can't be hesitant about who you are.

We know the road of lack of recognition, of people telling us that we can't headline a movie because black women don't translate overseas, that every time we try to break the glass ceiling, people say no, people push back. And it's everything that people don't see out there.

We grew up in abject poverty. Acting, writing scripts and skits were a way of escaping our environment at a very young age.

I think that's why August [Wilson] named her Rose [in "Fences"]; I really do. She's a rose in her sweetness and her kindness and in everything else, even her anger towards the end.

Are there women in your world now that have given you those lessons in confidence? Oh absolutely. Meryl [Streep] does it all the time. I think she does it in a way that she doesn't even understand or think she's doing it.

I have to say, doing theater, that's what you're trained to do. Doing film, when I first started doing it, felt like something else entirely. It felt like the difference between, I don't know, waiting tables and painting a great work of art. It's night and day. I didn't feel like it was even acting.

It was hard, that confrontation scene [in "Fences"], that was a hard one. I felt like it was relentless, I never felt like I could just drop the ball when the coverage was on him or anything else.