Don抰 come with this crazy talk.

This is you, right. You got your direction that you move.

You do many hangers.  

This is you, and this is me. Now we seem like we don抰 fit it all. We just crash into each other. But there when you line things properly, like opening next door to me, everything gonna worked out. and you know if you slow down, I got you. 

 

 

He wanted me to do another scene with my watching next door neighbor Terrence Howard. He wanted her to, you know, we抳e rolling in the bed, you know, in a brown *, sit down and watch TV. I go. Listen, she makes two of these sandwiches every afternoon, she watches one life to leave, and you know, she has a beer. She is not doing that in a brown *. But you know, leave likes to push, push, push the analogue. So we argued up until the day off about that scene. 

 

We抳e * how about the scene, Oprah, we probably marry now. So I think it抯 a good choice, you know that, just pull back a little bit, you know.  

 

We抳e still on activity in the beginning you know, 抍ause this is Oprah, you know. But I go back to what I do. We just direct in, and she was so fragile, and so vulnerable, and so that I ended it, I want to take care of her. 

 

 

I love that woman so much. She made it so comfortable, and you know, she knows that I抦 a lose candidate in that scene. She has, she still loves to play with me. You know, and I guess, artistry, you know, is wrapped in many different packages, just comfortable with that. 

 

 

What抯 the name of that movie, honey?

In the Heat of the Night.

In the Heat of the Night, with Sidney Poitier.

Sidney Poitier is a one man as fantasy as what he was to be.  

We talking about. You just want me carry the work. It抯 breaking out embarrassed follows. 

I will be a white. An acting white.