I've been in this business 25 years. I've been eking out a living doing Broadway, off-Broadway... I've seen the unemployment line a lot.

You see all the young girls, and they're so skinny. I actually don't even twirl anymore. They say, "Twirl, let us see your back." I just tell 'em, "I do not twirl. If you want to see my back, when I walk away, you can take a picture of it. I'm not twirling." You know, I twirled once, and I almost fell. It looks ridiculous. So I said I'm not twirling anymore.

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.

You have two stark choices when you find yourself in a really desperate situation. You can either fold and cave-in to it or you can become really passionate about getting out of it. When you're really passionate, you're going to grab hold of every rope you see, and wrap them around your arms and legs to claw your way out. And that's the way I've felt in my life.

I am the mother of a 6-year-old now, so that's changed my entire perspective.

Knowing the only way out is education, even if you don't have parents that are extraordinarily wealthy. I understand that I have to be an active participant in [my daughter's] education in order for her to thrive in the world.

August [Wilson] elevates in us is the average man in a way that is heroic and real and human. What you do is you sit with our pathology, you invest in our humanity. We're not walking around like walking symbols like we mean something larger. We're just moving throughout our lives and that's the power of the piece. That's revolutionary.