Quotes of All Topics . Occasions . Authors
That's what's so satisfying about acting. You can come as prepared as you like, but there's no accounting for what's going to come at you from the other actor. That's part of the joy and the play of it. If you don't have that it's a different kind of performance.
Getting to do what I think was my fifth BBC drama with Nikki Amuka-Bird - we've done 'Shoot The Messenger,' 'Five Days,' 'The No. 1 Ladies' Detective Agency,' 'Born Equal' and now 'Small Island' - was another highlight for me. And filming in Jamaica was great, too.
It's because films like 'Selma' are so rarely made that we end up putting them under the microscope. One, maybe two, a year. As a white person, you don't have that. You have the gamut. No one says to Oliver Stone, 'Another film about Vietnam? White characters again?'
We're not served by only knowing our finest hours through film or media, or in the history that we are taught. I think the only way we have a chance to not make the same mistakes again, is to historically understand the bad behavior and mistakes we've made previously.
I think it's vital to have something outside your acting to keep you rooted in the real world, and help you fill the vacuum. If you have nothing else, it can be unhealthy. For me being a Christian has been invaluable: it simply means acting isn't the centre of my life.
I'm one of those actors who says, "Point me toward the work that matters to me and I don't care where you're putting it. Television show. Movie. Projected on the back of someone's garage." If that's where the work is that's exciting to me and moving, I want to be there.
My grandfather was the king of a region in western Nigeria, where I had the privilege to live for seven years while growing up. But what we think of as royalty in the U.K. is very different to royalty in Nigeria: if you were to throw a stone there, you would hit about 30 princes.
I admire many actors, though I don't think there's anyone whose career I would want to mirror sort of by the beats. What I'm really looking to do is constantly defy expectations. I'm very curious to see if you can actually have a character actor and a movie star's career combined.
We start 'The Butler' in June and that's incredibly exciting for me because I get to work with the amazing Forest Whitaker again. It's a phenomenal script and a great, great role - I play his son. Oprah Winfrey is his wife and my mother. My character is a radical civil rights activist.
It's fascinating to work with a company of actors of such different ages, experience and talents. I'm one of a generation brought up on television whose acting is more 'naturalistic', whereas with some of the older generation it's more heightened. But I think there's room for both styles.
My parents are very hard working people who did everything they could for their children. I have two brothers and they worked dog hard to give us an education and provide us with the most comfortable life possible. My dad provided for his family daily. So, yes, that is definitely in my DNA.
For me, I'm always looking for opportunities to work with people who are better than me, who are more experienced than me, people from whom I can learn. And who could I learn more from than someone with an unprecedented movie star career that has spanned over thirty years whose name is Tom Cruise?
One of the skills you have to master in theater is the ability to make the audience believe that things that aren't there are there - just like when you're acting against CGI. Also, in a theater, the people in the back row can't see the whites of your eyes. Or your lips moving as you deliver dialogue.
We all have cultural bias, racial bias. One of the difficult things around this subject matter is to deny that we have places we go to subconsciously, and unless you consciously decide that that's wrong and you've got to do something about it, especially if you're in a position of power, it won't change.
The only way we are going to get diversity is if the demographics of the decision-makers change... The odd-token bone thrown is not going to do it. Don't pat yourself on the back because you made that black drama; that's not diversity. It's got to be baked into the foundation of where the ideas flow from.
I truly believe that one of the things that has been lacking in America is a spirit of repentance about the injustices of slavery and the injustices of segregation and racism generally. I truly believe that we cannot come to a place of reconciliation until there is individual repentance and corporate repentance.
If you look at your companies, and half of your staff are not female, and a decent percentage of them are not people of color, then you are part of the problem because you need people working for you and you need people in positions of leadership who can exercise their bias and who can exercise their perspective.
I certainly don't feel there's a distinction to be made between a television and a film actor. I think there's a distinction between great actors and not so great actors. But I really think if you watch a person working in television give a wonderful performance, that person is f - ing great, because there is no time.
In my time since moving to the United States, I've found that there is a dearth of great writing for black people. There are stories that depict us in a way that isn't cliched or niche, and that a white person, a Chinese person, an Indian person can watch and relate to. Those are the stories I want to be a part of telling.
I truly think a long career is to keep the audience guessing and not being able to be boxed, and for me, I'm not hell-bent on playing the lead in things as long its an interesting character with phenomenally talented people, and it's a script that I feel is genuinely innovative, creative, and potentially interesting for an audience.
I know I had my equivalents in Adrian Lester and Lenny James when I was at drama school. I remember David Harewood doing 'Othello' at the National, and Adrian Lester having done Cheek by Jowl's famous 'As You Like It and Company' at the Donmar. Not necessarily performances I saw, but just the fact they happened was massively encouraging.
I turned down a lot of easier opportunities in order to go for the things that I really and ultimately wanted to do. And what's really nice is that it's starting to work. I've been an actor for coming up on 14 years now and the level of activity that's taking place now is a culmination of a slow cooker approach to as opposed to a microwave.
I gravitate towards anything that feels challenging to me, that feels like it's gonna be saying something a bit different and new to the audience, and anything that moves me. I do movies that I would want to see, so I don't necessarily gravitate towards any genre in particular. I just try and do the best work I can and also try to keep the audience guessing.
I think what a lot of people don't realize is how much being the leader of this movement weighed upon him. After all, he [Dr. Martin Luter King] was only 39 years-old when he was assassinated, and only 36 during the Selma campaign. He always seemed older than he actually was, and I believe part of that had to do with just how much life he had to live in order to lead this movement.
There is still a fundamental misunderstanding, when it comes to observing that when someone is black and someone is white, then that difference is enough to warrant the idea that they shouldn't be together. We are so much more alike in nature than we are different, and my ambition with the roles I choose to do is to break down that prejudice, by showing how much I - as a man - am just a man.
The thing that would probably surprise most people was that Dr. Martin Luther King was a very reluctant leader. He felt very shocked at times that he had been chosen for this path, but he also understood that he was chosen for this path. He had several moments of acute doubt as to if he was up for the task - when people were injured in the protests he took it very personally, let alone when they were killed.
I truly believe slavery is why, as a by-product, we still have a disproportionate amount of black men incarcerated in the USA. It is an extension of that legacy, and that's not going to start to diminish until black people have a new sense of themselves that isn't tied to slavery and feeling inferior. I think the church can be instrumental in that, in terms of repentance, reconciliation and just being more embracing of each other - not just on Sunday, but in life generally.
I truly believe slavery is why, as a by-product, we still have a disproportionate amount of black men incarcerated in America. It is an extension of that legacy, and that's not going to start to diminish until black people have a new sense of themselves that isn't tied to slavery and feeling inferior. I think the church can be instrumental in that, in terms of repentance, reconciliation and just being more embracing of each other - not just on Sunday, but in life generally.
I basically enjoy doing films that are about something, that have complex roles that I can sink my teeth into. Basically, I gravitate to things that scare me. They might be things that I don't think I know how to play. I like trying to find within me where this character may exist. Whether is it is a fictional character or not I am not motivated by that. It is more about how challenging it is. It is just so happens that the more high profile things I have done have been historical characters.
When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.