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In the contemporary world, artists are almost entirely self-referential.

Of course a magazine is shaped by its editor, and each editor is different.

I have not seen 'The Lion King.' I don't do black folklore. And I'm black.

Broadway is not about surprises. It's about rewarding the putrid, formulaic crap that makes Broadway Broadway.

I never feel like I've done anything. Swear to God. I'm not kidding. So it's always a surprise when somebody asks me to do anything.

I love writing. Writing has been very good to me.

My love of performers is not really different than my love for painters. Everyone's really high-strung and trying to do the best they can.

Women have an ability to be still in a way men don't.

Racism seduces us with its desire to categorize, shutting out the living and breathing and 'different' world all around us.

I grew up in a largely black community during the '70s and '80s that scoffed at 'white' music. That music - folk, rock, some disco - was considered soulless, aberrant, just one more example of the Caucasian's desire to scream and yell and demand whatever their privilege and perpetual adolescence dictated they should demand.

Inspiration takes many forms, but it's rarely pure.

My mother reveres artists, and my sister and I have inherited her love of art and the stories about its creation.

Our wishes are our most reliable mirror, and the black-and-white movies I'm most drawn to are about artists who suffer because art is a noble thing; suffering is such a small price to pay for the imagination.

I don't think that there are many, many strong, black male role models who provide a certain kind of really American, Southern-based comfort that Madea grows out of. She's a signpost in our Obama world of traditional Christian values.

I think that Tyler Perry's genius really has been to tap into the domestic market. He knows what his audience is based on, having toured America for so long, and then giving them the blueprint for his films prior to the films coming out, and then the films have the built-in audience because they've seen it in theaters already.

I think someone like Khandi Alexander, who's now on 'Treme,' is one of the most extraordinary actresses I've seen in years. But she's dependent on someone brilliant like David Simon to realize that and to give her a forum. Tyler Perry's not interested in that kind of nuance because it doesn't sell.

It's dollars before art in Hollywood.

Julius Eastman is the kind of American genius not enough people know about.

Dramas about addiction can be exciting to watch. And then dispiriting. Exciting because degradation is fascinating to follow from the relative safety and smugness of an 'appropriate' life, and dispiriting because if all that sad mayhem can happen to this or that character, what's to keep it from happening to me or you?

Black excellence is a thing. People - from Beyonce Knowles to Venus and Serena Williams to folks you haven't heard of - are into it. It's less a movement than a standard: believers set the bar high not only for themselves but also for others who share their vision, especially when it pertains to black history, stories, and style.

I think that when I'm telling a story, I'm doing the best I can to tell the story as fully as I can, and if there are various fractures that happen in the story, then that's just the very thing that the story is as opposed to my looking for avenues of difference in one story. They just really do exist. For me, anyway.

I think that writers are best served by sticking to their writing. Not having loads of theories about the best way to position the writing. I think that if the writing is good and the point of view is strong, the writing is going to take care of itself.

I am always attracted to people who are not myself but are.

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