It's very much a back and forth conversation between the fans and the writers, between the writers and the powers that be. Their opinions, especially when expressed online or via correspondence, are important and are taken into consideration.

I didn't come to Hollywood to get on magazine covers or start my Porsche collection or to enjoy that kind of lifestyle, to go to the right parties and meet the right people.

The beautiful thing about having grown up in Brooklyn is, because of the rich cultural and racial diversity there, no one seemed to give too much thought to where I fit on the racial spectrum. But there were times when I would run up against someone who was interested in figuring out what race was. That would come as a surprise, and in some cases, like a slap in the face.

I think what you learn, working on a film or TV set, is how to tune certain things out. You've got 60-100 people swirling around you, each of them with a very important job to do.

You might look at my CV and see I've had 12 jobs, but I've been to over 450 auditions so I've heard 'no' a lot more than I've heard 'yes'. So if I go in looking only to meet my own standards, then that will make taking that rejection a little bit easier. And when I do get that job it will seem like icing on the cake.

I worked with the same trainer that worked with Denzel Washington in THe Hurricane. It was three months of training, five days a week, 4 to 5 hours a day. This was followed by a month of choreography.

Unfortunately, I'm allergic to all animals and even some people.