"Glory. Mr. Ed Zwick. I believe the original story was more concentrated on the officers, and what Ed seemed to find was the movie — and I love when that happens, when he lets the movie dictate how he should cut it or lets the movie dictate how he should roll it out — and it became about those soldiers. And he didn’t seem to manipulate any of the greatness that was going on in that film. He wasn’t arrogant about having an understanding of the culture. He seemed to appreciate it and understand. They’re bringing these actors that are bringing out the culture and the stuff that I could never anticipate, I could never prepare for, that was not on the page. It was transformative. The whole thing was. It was not only a history lesson, it was a meaningful time in the business of diversity and seeing characters that look like me — you know, that they were my color — in the business at the time have that sort of platform to embrace the inner workings, from the slave trade to the first soldiers, the emancipated men. I felt like that was such an important film. I knew every line for every character. I mean, I lived that movie. It was my upbringing. That was my school, basically. I literally knew every line. From Robert Gould Shaw to Frederick Douglass’ one scene. I knew that line too. It was kind of crazy. I wanted a blue suit for Christmas, and I broke the VHS tape and I wanted a new VHS tape for Christmas, too. And also the score. Hearing that score with those black faces — you see it in Barry Jenkins’ films as well. I just felt like Ed Zwick deserved more credit than he got. He should get more recognition. He made, I think, a perfect film, too. I think it’s a perfect film."