After six hours of being blind, you lose the sense of how a person is physically. It was amazing to hear the little buzzing voices all around you. [On wearing prosthetic eyelids which made him blind in _Ray (2004/I)_ ] [2005 Academy Awards acceptance speech for Best Actor in a Leading Role] "I guess we got to do it again. "Oh, Ah!" Yeah, you're ready. That's for Ray Charles. Give it up for Ray Charles and his beautiful legacy. And thank you, Ray Charles, for living. I got so many people to thank tonight. First I want to start it out with Taylor Hackford. Taylor, you took a chance, man. I mean that love for Ray Charles was deep, down in the earth. It's cracked open. And it's spilling. And everybody's drowning in this love. I thank you for taking a chance on this film. And thank you for waiting 15 years to get me to do it. I want to thank you. I want to thank Crusader. I want to thank my agents. I want to thank Rick Kurtzman. I want to thank Kim Hodges. I want to thank Steve Smooke. I want to thank my managers, Jaime King and Marcus King. Let's live this African American dream. It's beautiful. I'm glad I'm with you. I ain't never leaving you. I'm glad I'm with you. I got a chance to meet a whole lot of people, experiencing this. And other people I want to thank, I want to thank my sister. Four feet, eleven inches of nothing but pure love. I want to thank my daughter for telling me just before I got up here, "If you don't win dad, you're still good." I'm just ... I see Oprah and I see Halle. I just want to say your names. I want to talk to you later. Both of you. Because Oprah got -- allowed me to meet somebody by the name of Sidney Poitier. And, yes, Sidney Poitier said, "I saw you once. And I looked in your eyes and there was a connection." And he says, "I give to you responsibility." So, I'm taking that responsibility tonight. And, thank you, Sidney. This is probably going to be the toughest part of this speech. My daughter shares my grandmother's name, "Marie." My grandmother's name is Estelle Marie Talley. She's not here tonight. And this is going to be the toughest part. But she was my first acting teacher. She told me to stand up straight. Put your shoulders back. Act like you got some sense. We would go places. And I would wild out. And she would say, "Act like you've been somewhere." And then when I would act the fool, she would beat me. She would whup me. And she could get an Oscar for the way she whupped me because she was great at it. And after she whipped me, she would talk to me and tell me why she whipped me. She said I want you to be a southern gentleman. She still talks to me now. Only now, she talks to me, in my dreams. And I can't wait to go to sleep tonight because we got a lot to talk about. I love you." "You know what? I never really factor Hollywood into anything. I'm a black actor, so I can't really control what Hollywood thinks. I gotta go do my thing, and my jokes have got to be funny. Whatever I do has got to be great." "CCH Pounder taught me one thing. She said, 'Characters are like putting on a coat. You put the coat on while you work, you take the coat off after it's over.' You need that freshness. I know people who stay in character, and it's the worst thing in the world. You can't go out. They're still in their character and the character residue is too much. I like to go do it, flip it on like a light switch and then flip it off. Then, when we come back in the next morning I flip it back on. That's what keeps things fresh for me." "I'd like to say I'm R&B's savior. Whether that's the truth or not, I'm definitely going out there with my mic and my shield to declare, 'I am here to save R&B.' I will have the people saying, 'Sire, there is a man at the musical gates saying he is here to save R&B.'"