“It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it’s got to be a great script and a great character.”

Its really a luck of the draw or fate or destiny, whatever you want to call it, but you dont know if youre going to resonate with people or not.

That is the thing I’m most grateful for in this industry to be able to spin in those different mediums, with television, film and the stage – at this stage of the game.

In terms of the black female audience, usually if you’re true to that character but more so in your body of work if you’ve proven that you love your sisters and you proven you will come back home like in 42.4% they’ll give you a pass when you jump ship. I hear it all the time.

Sex in the City was a different kind of phenomenon because of the show itself is a phenomenon and to me that’s successful because to resonate with women across the board for six years and have only one African-American actor pass through for one episode.

It’s about strengthening the relationship and the bond of parent to child.

I get to work and enjoy that part of me, but then I have time to have a life and be with my kids.

It’s just different discipline, just doing the voice over. I guess I’ve done about 5 or 6 audio books in the past and I do the animated voice for a show called Fatherhood on Nickelodeon.

The hope is they would like to bring it to Broadway next year, so we’ll see that’s to come in the end of the finance year and everybody else and also real estate and what theaters are available at the time but I would like to come back with it.

My Soul to Keep is the ultimate love story with a black man and a black woman. I call it the ultimate love story. It’s about an immortal.

The voice over is a hat you put on right now as opposed to worrying about going through wardrobe, and having to look a certain way.

Krush Groove was a movie at the time. That was my first break. I just got to New York. I was right out of college and I was happy to have a job.

It’s something that was very interesting to me to be a part of and all of them again because of the relationship. Some of the superhero movies are better than others.

I love my kids so much. They teach me something every day. It always brings richness to my work, and even more in life. I feel lucky to be able to do both.

Our deal always was that we did one as scripted always, we got it like we thought we needed – so we were all happy with it as written. Then I’d let him play as long as we had time.

Ive never actually watched another director work.

Most directors have little lists in their heads of people they really want to work with.

A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.

Directors have a tendency to use their hands like orchestra conductors.

Actors aren’t stupid, mostly, and if there’s a sensibility and an aesthetic that a director’s going for, if you’re aware of that too, you can do things to help that.

I think the writer’s quite low down in the hierarchy really. But the fact that they took the piss out of Nicholas [Hynter] who, besides being the director, is also director of the National Theatre is, I’d have thought, slightly more risky.

Exodus is a very large organization. My board of directors is supportive of me as the president of Exodus and are very much involved in my decision-making and those types of things.

It’s really rare for film directors to be that interested in things other than themselves.