All you really need to do is shift people just a tiny bit for change to happen. It doesn't have to be huge and humongous.

I felt that there could be some anger. There could be some frustration that he has the tendency to take over the room, but I wanted all of those things to show in the grays of her hair and the fact that her hips are much wider than they probably were when she met him. I wanted it to show in the fact that her hair is not done up all the time. I wanted it to be a part of that every day that wasn't in your face. Because then for me, that's overacting. To me, that's not "being." I wanted Rose [in "Fences"] to be many things.

Womanhood is you. Womanhood is everything that's inside of you.

But along with all of that it was, "Oh, isn't he a great storyteller? Oh, it's that why I married him? Isn't he handsome? Oh, what am I going to make for dinner today?" I put all of that as a part of [Roses's from "Fences"] inner everyday monologue so, by the time he tells he that news and all of that I feel that it's there already.

Eating bread in Hollywood is a no-no!

The internal sexism within womanhood is very ­predominant in Hollywood, because we all want to be ­successful. There's a plug to it: You all have to be skinny! You all have to be pretty! You all have to be likable, because that's the ­formula that works. On an ­executive level. On a power level. And it's not always the same working with black people, because of the internalized racism. The colorism.

Even when I go shopping, I don't shop as a woman. The only time I shop is when I need something, and I'm in and out in less than 30 minutes, so I have no energy to look at 50 million gowns and styles and make sketches and think about heels. I'm not girly in that way. I'm relying on the stylist to do 99 percent of the work.