I never thought about being an actor.

I've been a Goodwill Ambassador for the UNICEF and the UNICEF family for more than twelve years.

Since 1957, black people have experienced double-digit unemployment - in good times and bad times. Look at the population of African Americans in prison. They represent more than half the population of prisoners in the country, 55 percent of those on death row.

I'm a child of the Civil Rights Movement.

I've always been able to make choices that don't embarrass me.

I try to find hope in struggle and resistance in small places as much as I can.

I was able to do To Sleep with Anger, a very powerful film about African Americans, their spirituality, and the things that happened within a small community and a family.

One of the main purveyors of violence in this world has been this country.

New Orleans is a city whose basic industry is the service industry. That's why it makes its money. That's - it brings people to the city. People come to the city and experience the wonders of this extraordinary city and everything else. The question is that, how do we create jobs which are the jobs that have pay, that - living wages?

In 1967, the students at San Francisco State invited the poet Amiri Baraka to the campus for a semester. He attracted other influential black writers such as Sonia Sanchez, Ed Bullins, Eldridge Cleaver. What emerged was something we called the community communications program. That's how I got involved; I got involved in a little play.

If we look at Houston, which is a very environmentally toxic place, we find that it has one of the highest levels of young men going to prison and also among the highest levels of illiteracy in the country.

But I think it's very key that there's a plan for Haiti. And we have to begin to - as progressives and people who are concerned about Haiti and have been concerned about Haiti, we have to begin to build some sort of consensus, a movement around the Haiti that the Haitians envision.

Well I don't know because I don't have a real relationship with the industry.

Every day of my life I walk with the idea that I am black, no matter how successful I am. And our success is tempered by that; you're successful in this way given the fact you are black, and most blacks don't get to that point.

This country has always been run by elite, and it's an elitist democracy. And that's not a radical concept. It's elitist democracy. When people talk about democracy, they don't talk - really talk about participatory democracy, until the point that we get us at Election Day.

The progressive movement against the war of occupation in Iraq is a reason for hope, as is resistance to free trade agreements in Latin America. Those are moments that we have to celebrate: that people still find the resolve and energy to resist.

What happened to Haiti is a threat that could happen anywhere in the Caribbean to these island nations, you know, because of global warming, because of climate change and all this.

Every day of my life I walk with the idea I am black no matter how successful I am.

You know, we do not want the militarization of Haiti. We do not see a Haitian as a protectorate where it relinquishes its own sovereignty.

It's also important for those who promote those issues within the white community - the somewhat privileged community - to talk about issues affecting people of color.

If we talk about the environment, for example, we have to talk about environmental racism - about the fact that kids in South Central Los Angeles have a third of the lung capacity of kids in Santa Monica.

I'm not so vain as to believe that my involvement changes anything whatsoever.

Freedom Summer, the massive voter education project in Mississippi, was 1964. I graduated from high school in 1965. So becoming active was almost a rite of passage.

If we talk about literacy, we have to talk about how to enhance our children's mastery over the tools needed to live intelligent, creative, and involved lives.

We have to be that wedge that drives the question and asks the hard questions.

I was able to do The Saint of Fort Washington, on the relationship between two homeless men.

Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects.

But rarely have I made choices that made me feel I was really compromising what I believe.

I never thought about being an actor.

When you've moved past a point where you're just scrambling for jobs, you think about the things that you want to do. And the things that you want to do are governed by what you've seen, what you choose to embrace.

My favorite actor is Wallace Beery.

I've been a very lucky actor.

I don't think I could be happy as an actor if there was a tyrant on the set.

When I was starting to get noticed as an actor in the 1970s for something other than the third cowboy on the right who ended up dying in every movie or episode, Burt Reynolds was the biggest star in the world.

Most parts that can be played by one actor can equally well be played by another, but not this.

I think, frankly, that I'm a better director than I was an actor.

I knew an actor's career goes up and down and back up again. Your standing in this business can't be your whole identity; otherwise, you're doomed.

I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.

I don't think there has been any increase in sophistication in the audience. When people are aware of a concept that's easy to understand, and there's an actor who will attract them to the theater and it's a movie that's funny three-quarters of the time, it will be successful.

I never dreamed about being an actor, because that was out of reach. Coming from a small town that was big in farming, and also big in clothing factories, you don't dream about being a professional football player or an actor.

My goal was always to be recognized as a good actor but no one was interested in that, simply because society just wants to warm towards your appearance. This is the great blemish of society.

If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable.

To be honest with you, when I got into this I never thought about reviews. I never thought about what people would say about me. I was just a young guy who was excited to become a comedian and an actor and I just wanted to get to do what I got to do.

It was very natural for me to want to disappear into dark theater, I am really very shy. That is something that people never seem to fully grasp because, when you are an actor, you are meant to be an exhibitionist.

I think that I've still not been successful at playing the role of the retired actor, and I'd like to work on that.

And once you cease to be a real person, you stop being a good actor.

When I decided I wanted to be an actor, I said I wanted to work with quality actors and directors.

There are roles I want that my agency might not want me to do because of the subject matter or whatever. Or there are roles that people won't bring to me because they don't think I'll do it. And that is a big strain because an actor wants to act.

Reality is, I'm an actor and an entertainer, and I really wouldn't know what to do with another profession.