Sometimes identity can be your salvation. It can be liberating to find your place in the world, but at some point, identity can hold you back.

This film isn't about white racism, or racism at all. DEAR WHITE PEOPLE is about identity. It's about the difference between how the mass culture responds to a person because of their race and who they understand themselves to truly be. And this societal conflict appears to be one that many share.

America is a different country, and it will forever be a different country, after the election of Donald Trump.

I love the art house, and when I say the art house, I don't just mean little, independent movies but movies that really aim to be about something and say something and I love those movies.

It is frustrating having to walk through America having to bob and weave people's impressions of me because they see a tall, black guy walking down the street. That is frustrating.

I love being entertained sure, but the movies that I live for, the movies that I buy and think about and stay in my mind are the movies that entertain me but leave me with something a little uncomfortable to grapple with in the lobby.

Racism is wrong, racism is very dangerous.

I love films from all these different points of views that used the idea of the school as a way to talk about the American experience. It took me a while to figure how to write a movie like that, because that's not something you learn at film school

If the characters [in a movie] aren't real, if their lives aren't realistic, if you call bullshit at any point in their journey, then the rest of it is invalid.

What you want to do is talk about ideas, you write a novel, you have a lecture about those ideas. Satire and comedy are really the only film mediums where you can get into ideas and have people leave the theater without being moralized.

I have this natural thing in my head that when I sit down to write something serious, I tend to make jokes. I can't help it. I can't help but desire for the narrative to be as complicated and as truthful as possible. That's just the way my head works.

As a director, I try not to implement a way for working, for every single actor, across the board. I try to work with each one, on an individual basis.