I didn't really want to be a filmmaker, growing up. Other than Spike Lee's movies, I would think, 'Where is a place for me?' We were so damn poor that it just seemed too far beyond.

Cinema is a little over 100 years old, and a lot of what we do is built around film emulsion. Those things were calibrated for white skin. We've always placed powder on skin to dull the light. But my memory of growing up in Miami is this moist, beautiful black skin.

Growing up, I wasn't the most vocal kid in the world. I feel like I learned through observation, and usually, when you're watching things, you're not speaking. That sort of metastasized in a way that I began to participate less and less in the world.

My first job was cutting grass. In Miami, this grass grows everywhere. You just get the lawn mower out, walk down the neighborhood, cut grass.

I mean, I'm 48 years old and I've been through a lot in my life - you know, loss, whether it be death, illness, separation. I mean, the failed expectations... We all have dreams.

I have mothers with small children come to me and say, 'You found that I had early breast cancer - because of you, I don't have cancer.' You've just prevented that person from dying early, and to prevent an early, unnecessary death is incredibly meaningful.

The death penalty confronts us with a penetrating moral question: Can even the monstrous crimes of those who are condemned to death and are truly guilty of such crimes erase their sacred dignity as human beings and their intrinsic right to life?

The reason I'm not more political is because I have music. And from a young age, I needed it. After prison, my father came to America, joined the Army, fought in Vietnam - and was exposed to Agent Orange. He died a slow, horrible death. Music was my escape.