'Trap Lord' is basically the writer of the hood. It's the kid that's from the hood, from the trap, who's going to preach to his friends and his homies. Because they're not going to sit in no church. So they listen to me instead of going to a church, because I understand them, and that's really what the 'Hood Pope' is.

'Trapped In The Closet' lives in a place on the earth on its own. It pays its own rent, it's its own landlord, it owns the building, it's everything. And it's so separate from what R. Kelly does; that's the great thing about it.

'Trapped in the Closet' is pretty much forever. I've got a leash on this thing now. I'm going to walk it.

'Traveling While Black' is about empathy, what African Americans experience in traveling throughout America, and how it hasn't changed that much from the past. If it can be experienced in virtual reality, then perhaps some empathy can be gained.

'Traveling with Pomegranates' is a very personal, very honest story about my relationship with my daughter and Ann's with her mother.

'Tree Fu Tom' is a truly interactive programme because it is designed to help children get up off the sofa and physically move, which is a very important part of children's development.

'Treme' begins after Hurricane Katrina, and it's a year-by-year account of how everyday people there put their lives back together. It's sort of a testament to, or an argument for why, a great American city like New Orleans needs to be saved and preserved.

'Trilogy' was more of a claustrophobic body of work. Before it was released, I hadn't left my city for 21 years, and I had never been on a plane, not once. I spent my entire life on one setting; that's probably why pieces of the album feel like one long track, because that's what my life felt like. It felt like one long song.

'Triple D' is not going anywhere. I enjoy highlighting my brothers and sisters in the business.

'Tristan' is a very unique case, not just in Wagner's output, but in music in general. It remains contemporary no matter what else surrounds it. There is something self-renewing about it.

'Triumph over tragedy' -- how pathetic! I think people are generally freaked out that I'm multifaceted. You don't hear people saying, 'Gwyneth Paltrow won an Oscar -- and she's blonde!'

'Troll 2' is one of the rare sequels where you don't have to waste time watching the first one, since the films have absolutely nothing to do with one another.

'Trolls' was a blank slate -- there was no world, no mythology. We talked a lot about the Grinch and we liked how they showed his heart growing, but how do you show a photographable device like that for the Bergens? We ended up using color for a lot of that: desaturating and then pulling the saturation up.

'Tropic Thunder' is one of my favorite movies of all time. 'Blazing Saddles.' Anything that will get me to smile.

'Troublemaker' is not an adaptation of 'Metro Girl' or 'Motor Mouth.' It is an original story. The hardest part was probably trying to keep the sound true to the novels. I always write in first person, and it was important to us that the readers of 'Metro' and 'Motor' be comfortable with the change over to a graphic novel.

'Troy' is an adaptation of the Trojan War myth in its entirety, not 'The Iliad' alone. 'The Iliad' begins with the quarrel between Achilles and Agamemnon over the slave girl Briseis nine years into the war. The equivalent scene occurs halfway through my script.

'True Blood' allows you to be big, so it's almost like you're on stage, and I'm comfortable with that.

'True Blood' differs from 'Six Feet Under' in that there are way more characters and plot-lines, but fundamentally it's still about the characters and their emotions.

'True Blood' excites me. It scares me, but it excites me.