I don't find anything black and white; I find grey in every person, and that is what excites me.

Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.

I wanted to do something heroic if I was going to be on TV. And the first thing that appeals to me once I have decided I don't want to be the bad guy is to find things that are not black and white.

I was looking around this room, this sea of industry folk. If I had have worn black and white, somebody would have asked me to get them a cocktail; the only other people of colour there were servers.

I get the Swansea-Cardiff thing: I was a Swansea player; I loved playing against Cardiff. But when I played for Wales and played with Jason Perry or Nathan Blake, I never saw them as blue and white and me as black and white.

Schoolkids - black and white - would call me Kunta Kinte as a cuss. If ever my hair was particularly messy, if ever I looked scruffy at school, I would be called Kunta Kinte. My first impression was that it was bad to be African and bad to be associated with him.

Just as black and white, when mixed, make grey, in many ways that's what it did to my self-identity: it created a murky area of who I was, a haze around how people connected with me. I was grey. And who wants to be this indifferent colour, devoid of depth and stuck in the middle? I certainly didn't.

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