The business has changed, and some people can keep talking about theatrical in these wondrous terms - it will survive, but it becomes narrower what you can make. So the films I'm most interested in, studios - or even the independents - aren't making them. I'm mostly interested in people.
All I can do is keep working, keep auditioning, keep talking to people - and whatever it takes to show other colors.
I believe I can do it, but one of the reasons I don't really get into the debate is people keep talking about a black James Bond: how a black man should play him.
For me, a writer should be more like a lighthouse keeper, just out there by himself. He shouldn't get his ideas from other people all around him.
I think many of my books, including 'Handle with Care,' including 'My Sister's Keeper,' circle back to how far are we willing to go for the people we love? I think love changes the way we think. It's the thing that takes you out of what your normal set of beliefs would be.
I know that books I have written will still resonate in 50 years - particularly 'My Sister's Keeper.' It has sold three million copies in the States alone. I strongly feel that, as a novelist, you have a platform and the ability to change people's minds.
Are we truly being our sisters' keepers? Initially, that dog-eat-dog mentality within us may bark and say that we aren't responsible for other people, but if that was truly the case, then why are we even here? We have so much to offer and give to this world.
A lot of people think the best work I've done was nonfiction - the 'Brothers and Keepers' book. But I think of myself as a fiction writer. And I think, if my work is put in perspective, all the books would be a continual questioning of what's true and what's not true, what's documented and what's not documented.
When the media goes state and becomes nothing more than an echo chamber for the government, the task of sharing truth falls to the original keepers of liberty: the American people.
It's vital that the monarchy keeps in touch with the people. It's what I try and do.
It's the same as Keith Richards. People still ask him the same questions they asked him 30 years ago, even though he's a completely different person. And I'm a completely different person than I was 15 years ago.
I'm more old school: I want to be like Keith Richards on stage. It's not interesting to see straight-from-runway clothes slapped on an artist. It's more interesting when you see people who have their own style.
I wish I didn't care about what people thought as much as Keith Richards doesn't care.
Most of the people that I still talk to and hang out with, to them, I'm just Ken.
My greatest desire was to be in a sandbox with Kevin Kline or Kenneth Branagh - to be with the people I admired - and I have.
Kenneth Branagh. There was a time in my life when people would tell me constantly that I look like him. I could do a lot worse than that.
Some people are instantly brilliant. The Kenneth Branaghs of this world are ready-formed actors at 23 - he has used his success in lots of different ways - but there are people out there for whom acting is: 'Ooh, I can get on the telly and be famous.'
'Superman' has always been about Lois Lane, Superman and Clark Kent and this love triangle between these three people who really are only two people.
I was raised in Kenya, and I always wanted to be an actor from when I was really, really little, but the first time I thought it was something that I could make a career of was when I watched 'The Color Purple.' I think I was nine, maybe, and I saw people that looked like me - Whoopi Goldberg and Oprah.
I think all art comes out of conflict. When I write I am always looking for the dramatic kernel of an event, the junctures of people's lives when they go in one direction, not another.
