I always say film is art, theater is life and television is furniture.
I don't know how racists live with their racism. We need to take the road of love. I don't think folks are born that way; it's learned and taught out of fear.
President Obama became our first African American president, and for me, it is the stuff of which dreams are made.
There's room for Spike Lee's movies; there's room for Tyler Perry's movies. There's room for classics with an all black cast. There's room for all of it as long as we don't try to make any one piece define us as a race.
I love film because you have the last word. I never get that on stage because you've got to really believe; you've got to get the actors to trust you, and they have to believe in you, and then hopefully they will when you open the show.
As an artist, you're thankful to get a shot at a story more than once, because it doesn't happen all the time. Whether you talk about 'Hamlet' or 'Death of a Salesman,' you always want to see what the next group of actors will do.
I always approach every play based on the cast. When Denzel and I did 'Fences,' I didn't go to rehearsals and say, 'OK, James Earl Jones did a wonderful job in '87. Let me see if you can come close to James Earl Jones.'
When I'm acting, I'm just worried about that piece of the pie, contributing to the whole. But when you're directing, you... get the vision out of your head and on the stage.
In the early '90s, there was an attention to diversity. In this country, diversity was a good thing. People would use words like 'multicultural' and like it. Now, politically, those words are out. But I still feel theaters have to be diverse in order to survive.
Broadway is the same as Hollywood. Every few years we say we reached the mountaintop, then we take two steps back.
I love the idea of live theater the best because you are sitting there with the community in the dark, looking at the light, and that's really - you can't get any higher than that.
I grew up a poor kid in Florida, and I was always in Florida living with my stepfather and my mother, and we used to, every year, sit down and watch 'The Wizard of Oz.' And I think to this day that's probably the foundation for everything I've done since.
I think 'Holler If Ya Hear Me' is almost 'A Raisin in the Sun' 50 years later, with just a different 20-year-old voice speaking the words. But it's about access to the American dream and equal lives having equal value in America. It's still holding a mirror up to us so we can see ourselves.
As an older generation, we need to give all our young people love and the possibility of realizing their dreams. For instance, if I get really political, the fact that some people can't go to college, can't even think about college, that's not American; that's not right.
As I tell young people in workshops, 'It's your country. If you came here on the bottom of a slave ship, if your people came here seeking political freedom - however your folks got here - it belongs to you just as much as it belongs to anyone, so claim it. It's your birthright. America belongs to every person who is here.'
The first 45 or 50 years of the regional theater movement, all these folks, they built these theaters. The job of the next generation is to maintain them.
A lot of times, we are trapped by our own false sense of security. You can do whatever it is you put your mind to. Your goal is to find your purpose.
To me, I'm sort of like Dorothy in 'The Wiz.' It kind of parallels my life. It's a story that reminds me... that home is where the love is. So if I go to Tampa or St. Pete, and I feel the love there, that's my home. That's where the love is.
I was a political science major. I was always interested in social impact.
I'm not one to spend my life asking the question, 'Is there racism in America?' Certainly there is. But I want to do something about it.
