It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.

I believe in God, absolutely.

The story is also about the battle between Arthur and the Saxons. The Saxons were destroying everything they came across and Arthur was left when Rome was falling because this movie takes place in 400 A.D.

I like making movies.

I like the opportunity to make films.

Being a kid growing up with Kurosawa films and watching Sergio Leone movies just made me love what it could do to you, and how it could influence you - make you dream.

Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.

I've become friends with Michael Mann and Oliver Stone; I've seen those guys work and that was great to see.

Bruce Willis. Pain in my ass, no problem about that. We just didn't get along. We got along off camera, but shooting we just didn't get along.

Cinema Paradiso, because it reminds me of why I make movies, the magic of movies, the romance of movies.

I take them seriously but I try not to read them. I take them personally, that's why I don't read them. I think people are lying when they say they don't care, that's not true. I take them personally.

It's a hard line to walk, man. Cause you know you want to make this movie, you want to make it dark and real, you want to show all this stuff but unfortunately you can't always do that.

It's not worth it, it's not about money, especially when you're dealing with a culture. It should be about elevating the idea of what we are and who we are as people in the cinema, and that kind of stuff keeps dragging us back down.

I like the platform to show your art and everything that goes along with that. To show your voice and hopefully find films that are more politically driven, films that maybe inspire.

But I like to go to movies with my son because it's still fun; it reminds me of why I make movies.

The simple answer is I'd just be a guy trying to feed my family, like everybody else. The complicated answer is, I think I'd be in some sort of military or government world of some sort.

It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.

So it's hard to be an artist and be true to the reality of the world you want to create and also make it entertaining and successful financially.

'Cause movies are human drama, that's it.

Anyone who's done their homework knows that the West was a pretty rough-and-tumble place. People from all over the world were there - and when you were there, you had to be tough as nails.

At one point, there wasn't a black quarterback in the NFL. When you start winning, then you start seeing more. Jumping up and down and screaming and calling people names is not going to change anything.

Each time you see a Western movie, it's a good reflection of where things are in the world at that time. It's probably one of the purest forms of cinema that really tells you where the world is.

Every time I look through the lens with Denzel, I'm like a 12-year-old kid. It's hard for me to look at the monitor because the fun is in watching him.

I became a director just for the love of movies, because of the power of cinema.

I box every day. I have a gym built wherever I go, so I still got my gym. Every day, I try to get in there and work out the mitts.

I don't understand why we give up genres, and the Western is a great genre. It's a part of the rich history of cinema and who we are as we've evolved as people, as a community.

I grew up on the East Coast, and we always used to say, 'Go get your hustle on,' whether it was playing sports or making money. You do what you have to do to do what you want to do.

I grew up watching 'Rocky.' I still love that movie, the original one.

I just think you can't shut your life off to just, you know, one thing. You gotta be open-minded. Explore things. Feed your artist.

I only pay to take my son to the movies, because most of the time I only watch European movies, independent movies, or screen them privately. But I like to go to movies with my son because it's still fun; it reminds me of why I make movies.

I started studying mythology, just on my own. Joseph Campbell, mysticism.

I think men under pressure - I mean, that's what brings out the worst and the best of us. I like to explore that quite a bit in my characters because I don't see a lot of it on the screen that moved me like the films that I grew up with - that are honest, at least, about honest emotions and honest heroism.

I think that the dialogue between police officers and the black community has to get better, but not better in a way where, 'Oh, let's talk about it when something horrible happens.' The dialogue has to be going on consistently, every day.

I used to get off the bus, and there'd be a crowd around, you know, and I was thinking, 'God, I hope this is not for me.' And it normally was, and it was because someone said something to my sister, and the first she says is, 'Well, I'll get my brother.'

I watched the 'Seven Samurai' a lot because I loved it growing up. I can't describe to you how powerful that was. When you're a kid, you can't watch an almost-three-hour movie, but this was a war I just never saw before, with these samurai. I could relate to it, just being poor.

If you disagree with the way a colleague did something, call him up, invite him out for a coffee, talk about it. But don't do it publicly.

If you win, if you make money. If you do quality work, then other people of color, whatever color that is, can get in the door.

In our culture, I think that there is no markers anymore. Young men don't really have something that says you're a grown up now, until you have a baby.

It takes all sorts of people to come together to fight tyranny. It's not about one race anymore.

Kurosawa is the sensei, the Shakespeare, of filmmaking.

My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.

My grandmother was a huge western fan. She'd have me watch with her. 'Shane,' 'Bonanza,' 'Duel in the Sun,' I saw them all with her. I used to watch them until the TV turned to snow.

My responsibility is, I'm always trying to look for new people of color or even artistic people who need a chance.

People in Hollywood go home to their wives and children who look like they do. If you're in that position, your natural thought pattern is sometimes to think, 'Superman, oh yeah he's white.' You can't get mad at somebody for doing that. It's the world they live in and for some, they only live in that bubble.

Remakes have been done forever. People talk about 'Scarface' and don't even know it was a remake.

The challenge for a director - and I think a lot of directors feel the same way - is that today we have to put on a producer's hat, too. Meaning, you have to sometimes think of it being 'business show,' not just 'show business.'

Westerns are simple stories where there's good and there's evil and where people had a sense of space and freedom. Growing up in the city, as a kid, you've never really seen that before. It's a beautiful dream to go from concrete to big skies, dirt and horses.

What I learned is, don't forget who you are, because that's what's going to make you a filmmaker.

When I was younger, growing up in Pittsburgh, they had a 'Golden Gloves' program through the Boys and Girls Club. In Pittsburgh, New York, Philly, Washington, those areas, I would go and spar at competitions.