We knew if we could get Don, he'd attract a cast because he's the kind of actor all the directors want to work with. We asked him to produce the film as well, because we're not dumb. ... He's the reason we have this cast, he and the fabulous casting directors.

I imagine it was much different in the 1970s. That was the Renaissance for black actors, albeit in blaxploitation movies. There was a much greater preponderance of work then than there is now.

I understand what's it like to work all week and on Friday night just want to go and leave your brain at the door, buy some popcorn and be thrilled by something.

We believe that it really celebrates the definition of what an ensemble is all about. I mean there's 74 of us.

I've never been a part of a film before that offers such a platform into real issues, that raises social awareness and has the potential to change things.

The process changes slightly from role to role. Obviously, there are different things you're called on to do. You're not digging deep for Basher Tarr like I was for Paul Rusesabagina, but at the end of the day it's still all make-believe and you still are trying as realistically as you can to depict these characters.