People have said to me for a long time, "Man you're funny." I say, "Well, I'm quick," but being funny on purpose, take after take - that's why I said for me it was new territory, and so by improvising something might come out that might be good. And it's film, so they can cut it if it isn't.
When people say "What do you want people to get from this movie?" I say, "Well, it depends on what they bring to it." I don't try to decide what people should get from it or why. I don't do a part for those kinds of reasons.
[Movie "Fences"] is more than holds up today. We have had a tremendous response at the screenings.
We just had to stay out-of-the-way [in Fences]. [August Wilson] already wrote a masterpiece. And you really don't know how it's going to work until you get it in front of an audience.
It just happened that we did [Fences] seven years ago on Broadway. Scott Rudin brought me August Wilson's original screenplay for it, and I realized I hadn't read the play. So I read it. Then I realized that Troy (my character) was 53 - and I was 55 at the time. I realized I better hurry up! I might be too old!
There's things that I can do as an actor that I couldn't do in any other form of life and I've got a strange personality. But film requires strange people, so I've got a nice comfy home.
I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.
[Rose from "Fences"] couldn't just jump out there. Not just because of economic reasons but because how she was looked at in society at the time. There were a lot of factors that made you stay I guess.
[Saniyya Sidney] was very serious about her work and her craft, and she wanted to be good, and she wanted to work on it. So I said, "Ok." It was as simple as that. She was just right. She just has it.
Black or white good parts are hard to come by. A good actor with a good opportunity has a shot; without the opportunity it doesn't matter how good you are.
If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.
Fundamentally, the most important thing is to get the film made for me and to get as many people to see it as possible. And if I help that, then - I know I help that, let's put it that way. I do know that I help that. It is called show business.
You'll see some great performances [in Fences]. And I'm not just saying that because I directed it either! You'll see!
You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.
People tend to relax when they're off camera. That's when they should be working the hardest.
I have a new respect for filmmakers, that's for sure, 'cause it's not easy. If I'm allowed to, I'll be directing for the rest of my life. I love the process.
[Having monologue] are talking to somebody even if it's just to yourself, convince yourself if that's what you're trying to do.
I worked with Sidney Lumet years ago, and we had a long rehearsal process, and he would tape out the entire set on the stage, so I stole that from him.
We rehearsed for two weeks [in "Fences"], and we taped out the whole house in the front, and the rooms, and we stood it up like a play. We tried to get off book and gave people small props.
Growing up I didn't watch movies.
I've been fortunate. I don't pick scripts. Scripts pick me.
When I was a child I thought I saw an angel. It had wings and kinda looked like my sister. I opened the door so some light could come into the room, and it sort of faded away. My mother said it was probably my Guardian Angel.
I and haven't been unemployed for 20 years. I'm an exception to the rule.
I am not going to bury my son! My son is going to bury me!
There's racism everywhere.
