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.
[My father] could see as far as he could see and my mother wanted us to go to college so it was a very real part of my life.
I think that if there can be considered racism it's to do with the lack of opportunities for writers and producers and the people behind the camera.
That's where you can find things and modulate your performance and give the other actors something fresh to respond to. We've probably all worked with actors who when it's suddenly your close up, they get sleepy. I don't like that. It's selfish acting, and I won't tolerate it.
When you look in one direction where Troy's chair was, you could see out through the yard across the street, there was an old cork bar advertisement for five cents. We wanted it to feel like this was real life [in Fences] and that it extended blocks and blocks.
[Having monologue] are talking to somebody even if it's just to yourself, convince yourself if that's what you're trying to do.
Michelle Pfeiffer hasn't been finding a lot of work recently because she doesn't like what a woman her age is offered. That's a real double standard. You get Sean Connery, who gets older and older, still playing opposite young ladies, but it doesn't work the other way around.
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.
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.
"It's important for us to tell our stories."
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