We're in crisis mode as black actresses. It's not only in the sheer number of roles that are offered and that are out there, but the quality of the roles. The quality - and therein lies the problem. We're in deprivation mode because me, Alfre and Phylicia, we're in the same category. Whereas if you take a Caucasian actress, you have the one who are the teens, in their 20s, 30s, 40s, 50s - they're all different. There are roles for each of them. But you only have two or three categories for black actresses.

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.

When you shoot a scene, you remember every moment. You remember when your head went down, your head went up. You don't see little quirks, little eye movements, little lip movements. Once again, you become completely vain when you're watching it in a way that you weren't when you were shooting it. And the vanity, what it makes you focus on are everything that has nothing to do with the scene and everything to do with your own ego.

When your passion and drive are bigger than your fears, you just dive.

As an artist, you've got to see the mess. That's what we do. We get a human being, and it's like putting together a puzzle. And the puzzle has got to be a mixture, a multifaceted mixture of human emotions, and not all of it is going to be pretty.

It's harder to work with people who are not as dedicated to their craft. It also leaves you a better actor when you finish the project, since you always feel like you've learned something.

When you see what the deficit is, then you have to do something about it.