I use something that is a real staple in the directing world. It's called a dance floor. You lay it down so that it's so smooth you can roll around, and you can put furniture on top of it. It's seamless and you don't see it.

I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?

Failure: Is it a limitation? Bad timing? It's a lot of things. It's something you can't be afraid of, because you'll stop growing. The next step beyond failure could be your biggest success in life.

I'm always moving forward.

The clothes back in those days were made so much better than clothes are today. They actually took time to make clothes to fit a woman's body. Today they make clothes that fit sizes, so it stretches to fit this and that.

Be true. Be beautiful. Be free. In the midst of segregation and racism Mamma raised us to be independent and free. We saw ourselves as citizens of the world, not of a block.

The radio for these women is like television is for us today, which is really like looking at the radio.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

Time management is a big part of the director's job.

If you just change one person's life, you feel like you've done something. But if you can change a whole lot of them and get them looking at themselves differently, it's amazing.

As far as pacing the shoot is concerned, I know when I've got it. I don't think there's any reason to take ten takes unless you need them.

In places in the world where we don't speak the same language, or even understand that we pray to the same God, we dance to the same beat, that is the ONE.

There are so many famous people now that are not really gifted or talented at doing anything other than getting made up, putting on tight dresses, acting badly, getting married. I mean, what the hell? I don't know where we are going with this here in America. And we are setting a tone for the world, because everyone looks at what we do.

It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

But out of limitations comes creativity.

Michael Ralph brilliantly plays the street prophet, a West Indian who foreshadows the Harlem riot.

I've had a lot of experience auditioning people, and I can do it rather quickly even though sometimes I let them linger and give them time, but I kind of know after I see them do a couple of steps. I know.

You have to examine a scene on the page first. Then you get into the basics of acting: Who are you? Who are you talking to? How do you feel about that person?