Brothers in Arms

''There are black actors, the Will Smiths of the world, where I'm sure that the roles they're up for are not written for a black guy,'' says Epps. ''But they take a chance with him because he's a star, and that's what it's all about at the end of the day.''

But again, the Fresh Prince is an anomaly. Snagging a white actor's lunch is still a tough trick. ''I'd like the opportunity to do the types of roles that Matt Damon would do,'' says Sean Patrick Thomas, star of 2001's interracial teen romance Save the Last Dance. After that film grossed a surprising $91 million he was certain he'd get the chance, but it never came. ''If I want to go up for something that's not written black, it's a huge, huge fight.'' At this point, it becomes a team effort. ''Your agent, your manager, the casting director -- they're the ones that have to be like, 'I know this is not the way you saw the role, but you have to see this guy. He can do it.'''

Generalizing about hollywood versus black actors can get a little obtuse, almost like fretting about the Man. Most of these actors agree that while some pretty disheartening attitudes prevail in their industry, every situation, every film is unique. More importantly, these attitudes -- like the one that keeps black-male and white-female leads farther apart than Sunnis and Shiites -- are just a reflection of society as whole. ''That s -- -is way more deep than Hollywood,'' says Epps. ''I don't look at Hollywood to be the responsible parent for society.''

So most of these guys, rather than fixating on race, prefer to think of themselves as individuals trying to find their niche in a field where everyone -- black, white, chunky, or skinny -- is out for themselves. Even still, a level of camaraderie emerges. ''You see each other at the same auditions, appointments, the same functions,'' says Thomas. ''You all appreciate each other's talents. Everybody supports each other because everybody would like to see all of us working.''

''I'm trying to bring everybody on board,'' says Kenan Thompson, who, after a little liquor, shrugs off having lost something like three roles in a row -- including Kangaroo Jack -- to actor buddy Anthony Anderson. ''I know there's only one me. I'm not worried about the next young, hungry cat. He's going to be funny, probably funnier than me, but if you're looking for me, there's only one place to find it.''

Within two weeks, Fox does, indeed, offer Thompson Fat Albert. He not only accepts but also consents to a grueling schedule wherein he'll be flying back and forth between production in L.A. and SNL in New York City several times a week, sacrificing a portion of his compensation to cover the travel costs. Sounds rough, but he knows there's no way around the struggle.

''Yeah, it's difficult,'' he says. ''But it's difficult for black people to do anything in this country. I don't know why [anyone]thought they were going to run to Hollywood and be on equal ground.''