The real guys that I knew were really cool people, who I played basketball with and traveled with on teams and knew their families and knew that they love their family. They just happen to do something that wasn't all the way legal, but it was a part of their life, and you knew that they hustled.
What you see in 'Daredevil' and 'Jessica Jones' isn't the Hell's Kitchen of today; it's a version of what it was like.
You can't watch 'Daredevil' or 'Jessica Jones' or the Marvel films and not be aware that the villain has to be awesome. I've always wanted to have more space. And the scope, morally, is more broad for the villain than the hero.
Theater will cast in a more open way; Denzel Washington might play Richard III. Television and film don't really cast openly like that. The theater world has always been a leader in diversity.
Understand that we are all co-creators of our respective destinies.
We live in diverse communities with all sorts of people from all sorts of different backgrounds. The more our entertainment can be a reflection of the world we live in, the better it is for all of us.
I got out of grad school in 2000. I was about 26 years old. I've always said that I was late to acting because I didn't really start doing it in a focused way until I was in my early 20s.
I do think that there are people who are able to connect with and empathize with anyone who is going through something difficult, just naturally. I don't think it's a world of effort for everyone.
My friends in college, several of whom are still my closest companions, would tell you that I was almost obsessed with becoming - fixated on creating - the future that I envisioned for myself: one of expanding to know my fullest self, which I have in no way achieved.
Cultures and races are mixing in a very organic way in the world, and that should be reflected in film and television.
My mother is an ordained minister. I'm a Muslim. She didn't do back flips when I called her to tell her I converted 17 years ago. But I tell you now, you put things to the side, and I'm able to see her, and she's able to see me. We love each other. The love has grown.
One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.
'Free State of Jones' went beyond that. It got into how the South wasn't as homogenous as we thought it was - or even the North for that matter, where we like to assume everyone wanted to free the slaves and they were all abolitionists. It actually shows how complex these ideologies were on both sides.
I've never seen 'Gone with the Wind.' I don't know if that's something to be embarrassed about, but I know that I should have seen that movie by now.
It's important for people of colour to have the opportunities to play characters that are as nuanced - as three-dimensional, as human - as the characters who we traditionally see getting to play the protagonist. The good guys and the bad guys. The reason that is important is because it's a better reflection of the reality of the world we live in.
I got my Equity card right out of NYU grad school in 2000, doing 'The Great White Hope' at Arena Stage. I played Jack Jefferson. It was an amazing part to walk into, to carry that responsibility for that amount of time. The challenges and the breadth of that role were pretty amazing.
At graduate school in 1999, I finally had the chance to examine why I believe what I believe. I realised that I'd had no period in my life where I'd consciously tried to develop my own theology.
I'd always wanted to do a Marvel project, and I'd always imagined getting to play one of the superheroes because it's such a hard thing to get. It's the parts that only go to a few people. The flip side of that is the antagonists are pretty awesome.
I really love Tom Hardy. He makes really interesting choices.
My dream role is Jack Johnson, the first black heavyweight champion.