Russell Simmons
The “Who Polices the Police?” Interview
with Kam Williams
"Rush" to Judgment:
Hip-Hop Icon Seeks Solution to Rash of Police Shootings
Russell Simmons has been very active as of late in the Black Lives Matter movement, and not merely as a participant on the picket lines. Whether extracting a promise from N.Y. State Governor Cuomo to appoint special prosecutors in cases of police brutality, or defending Bill de Blasio after NYPD President Pat Lynch suggested the Mayor has “blood on his hands,” Rush has been an outspoken advocate urgently lobbying for an overhaul of how the criminal justice system handles the prosecution of cops accused of police brutality.
Kam Williams: Hi Russell, thanks for taking a break from your vacation to talk to me. Where are you calling me from?
Russell Simmons: I’m with my kids in St. Bart’s. I’ve come here every year for the past 27 years. Kam, I wouldn’t take the time to talk to anybody else. You’re the only one I trust to get out the word accurately.
KW: I appreciate the opportunity, brother. Let me start by asking how you feel about the cowardly ambush assassination of NYPD officers Wenjian Liu and Rafael Ramos in their patrol car?
RS: It breaks my heart that those two innocent police officers were killed. I am really very, very brokenhearted about it. But the best way to protect both the policemen and the community going forward is by creating a system that’s just, where everyone feels safe. Of course everyone feels terrible about what happened to the policemen, but it’s terrible what happened to Eric Garner, too.
KW: Why do you spend so much time on the streets marching nowadays and previously in the park with the Occupy Movement, when you have money?
RS: Why not? Why can’t I occupy? Why can’t the rich help the poor? Why can’t I pay attention to systematic problems that disenfranchise my people?
KW: You’ve been working with the Justice League NYC, a progressive group that has gained a lot of traction as of late, and which issued a specific list of demands.
RS: I’m a little concerned about the group’s demands, all of which are legitimate, because as thoughtful as the list is, it’s still been easy for the New York Post and others to find ways to cherry pick and disparage it.
KW: Well, what would you say is your most important goal?
RS: There’s one overriding issue, namely, that we live in a police state so long as the police get to police themselves. And that is why cops go unindicted.
KW: Does it all boil down to whether or not black lives matter?
RS: I don’t like to racialize it, but it is a question of whether black lives matter. They do matter less. We know that from the news when one little white girl going missing in Brooklyn is considered more newsworthy than the fifty black kids who got shot in Chicago the same weekend. So, yes black lives matter less, but Global Grind [ www.globalgrind.com ] did follow the recent incident involving an African-American policeman who shot a white boy and didn’t get indicted. We’ll never know whether he’s guilty, because there won’t be a trial. So long as the local district attorney [D.A.] is responsible for indicting a cop, we live in a police state. I will not rest until that one flaw in the system is changed.
KW: What happened in that meeting you and Jay-Z had with Governor Cuomo a couple of weeks ago? Afterwards, you held a press conference saying that the Governor had pledged to employ special prosecutors in the future, but he seemed to simply say that the system needs to be reformed.
RS: Maybe I misunderstood him about an executive order, but he did promise to change the law. He said something to the effect of, “I promise you, I’m going to get a bill passed establishing a separate office and a separate prosecutor for the state that looks into police abuse.”
KW: You have your differences with NYPD Union President Pat Lynch, too.
RS: The police union can point all the fingers they want at everybody else, but they’re fighting to retain control. They know it’s the #1 issue. But people are avoiding it, and pushing it to the side. I don’t think anybody’s going to rest until we get a separation of the local D.A. in these cases. I’ve been in all of the meetings with [Attorney General] Eric Schneiderman. The Governor would have to issue an executive order that would land on Schneiderman‘s desk, or he’d have to introduce a bill in Albany to make that change. New York may be the first state to enact such an initiative, and then it could rollover all across the country. Regardless, we’re going to fix New York State. No one’s going to rest until New York has an independent prosecutor to look into these cases.
KW: As a lawyer, it’s painfully obvious to me that these cases are being thrown, since any prosecutor could, as they say, indict a ham sandwich if he or she wants to.
RS: All of these prosecutors have thrown the cases. Normally, everybody gets indicted and is put on trial. In the Eric Garner case, the only person the Staten Island grand jury did indict was the guy who filmed the tragic incident.
KW: I didn’t know that, but I can’t say I’m surprised.
RS: I’ve spent a lot of time with Eric Garner’s son recently, and it breaks my heart to see his family grieving and to know that unless U.S. Attorney General Eric Holder steps in and brings some civil rights charges, they will never get justice. So, when I march, I’m thinking about that one issue everybody has to agree with. The Police Association is the only one that doesn’t. It’s been horrible, between all the attacks on the Mayor and the peaceful protestors.
KW: What needs to be done to reduce the tension between the rank-and-file police officers and the community?
RS: It’s the job of the head of the police union to create a dialogue and a comfort level with the community. Mayor de Blasio’s doing his best to understand the dynamic and to work out a fair plan, but it’s like Lynch doesn’t want to give an inch. It’s in his power to determine whether a cop is indicted. If a local D.A. indicts a cop, he may as well kiss his ass goodbye. That conflict of interest can’t exist anymore. If Lynch doesn’t change, then blood could be on his hands, because he has the power to support the appointment of special prosecutors, so that any inappropriate behavior and excessive force can be investigated in a reasonable way.
KW: How well attended were the marches? Did the police play down the head count?
RS: When we marched down Fifth Avenue, there weren’t just 30,000 people out there, but at least 150,000 people out there. It stretched for 35 crowded blocks full of people. I’ll send you the footage shot from a helicopter. It was a peaceful march, and if we don’t adjust system, we will march again. Last time, I had everybody from Khloe Kardashian to Miley Cyrus to Kanye to Puffy to Nas out there. They all Instagrammed and Tweeted and used other social media to let folks know that they were going to be there. Tyrese has 20 million followers on Facebook alone. These people are all waiting for word of when we launch. So, the issue is not going away, until the state is no longer a police state where the policemen police themselves.
KW: New York sure looked like a police state when a long gauntlet of cops turned their backs on the Mayor as he walked down the hall of the hospital after paying his respects to the two officers who had just been assassinated. I realized, if they don’t feel that they have to show any respect to the Mayor, just think of the contempt they must have for the Average Joe.
RS: I would blame [Police Commissioner] Bratton. I’m not sure he’s the right person to bridge the gap. Bratton says, “It’ll go away.” He’s wrong. If he thinks it’s going away, he’s crazy. We’re not going anywhere. We’re just getting started. If we don’t get a special prosecutor in New York State, we’re going to march.
KW: What about the possibility of it inciting violence?
RS: I’ve never seen so many smart and thoughtful kids as at that 150,000+ march. The only incident involved a white, City College professor. Black people are used to the injustice, but this white professor probably got riled up because he’s white and wasn’t used to it. That was the only incident at a very diverse march.
KW: Well thanks again for the time, Rush, recharge your batteries, so you can return from vacation ready to resume fighting the good fight. We need you.
RS: Will do, my brother. God bless you.
Ava DuVernay
The “Selma” Interview
with Kam Williams
Retracing the Road to Justice!
Ava DuVernay is a writer, producer, director and distributor of independent film. Winner of the Best Director Award at the 2012 Sundance Film Festival, Ava was honored with the 2013 John Cassavetes Independent Spirit Award and the Tribeca Film Institute 2013 Affinity Award for her second feature film, Middle of Nowhere.
She made her directorial debut with the critically-acclaimed 2008 hip hop documentary, This is The Life. A couple years later, she wrote, produced and directed her first narrative feature, I Will Follow, starring Salli Richardson-Whitfield.
Prior to directing, Ava founded DVA Media + Marketing in 1999, and worked as a film publicist for over a dozen years. Her award-winning firm provided strategy and execution for more than 120 film and television campaigns for such industry icons as Steven Spielberg, Clint Eastwood and Michael Mann.
The UCLA grad is the founder of AFFRM, the African-American Film Festival Releasing Movement. And she is a member of the Academy of Motion Picture Arts and Sciences, as well as the Academy of Television Arts & Sciences, as well as a board member of both Film Independent and the Sundance Institute.
Here, she talks about her new film, Selma, which has been nominated for four Golden Globes, including Best Director.
Kam Williams: Hey, Ava, long time-no speak.
Ava DuVernay: It sure has been awhile, Kam. How are you?
KW: I’m great. How about you? Congrats on the Golden Globe nominations, and with the Oscars just over the horizon!
AD: I don’t know about that, but it’s been a nice ride so far.
KW: I was surprised to see you in Life Itself, the documentary about Roger Ebert, and to learn that an encouraging encounter with him as an adolescent had been such a big influence on your life.
AD: He was such a champion of underrepresented filmmakers. He was a very big deal to me. It shows the power of critics. People who write about film, like you, can really affect the confidence of a young filmmaker. He did that for me, so it was such a pleasure to have an opportunity to talk about Roger in the movie.
KW: Editor/Legist Patricia Turnier asks: Why was it important for you to bring this story about Selma to the big screen?
AD: Because there’s never been a film with Dr. Martin Luther King, Jr. at the center released in theaters. Ever! One does not exist. You’ve only seen tele-films and stage plays about him. Yet, we have big screens biopics about all kinds of people. So, I think it’s only right that there be a full-length feature about Dr. King. I don’t think there could be enough of them, but there should be at least one. So, here it is!
KW: Patricia also says: The contributions of many black women to the movement, including Coretta Scott King, haven’t been credited enough. Will the audience learn more about this aspect of history in your picture? In other words, did you bring your perspective as a black female to directing Selma?
AD: Yes, Patricia, it was vital to me to include woman characters, and Coretta Scott King [played by Carmen Ejogo] is a prominent one. There’s a full arc where she’s painted, and you get to see behind the veil of her quiet dignity. Another character is Amelia Boynton [played by Lorraine Toussaint], a freedom-fighter who’s still alive and 104 years-old. She’s the woman who invited Dr. King to Selma. Oprah Winfrey plays Annie Lee Cooper, a woman who tried to register to vote five times, but was rejected and humiliated every time, and had a very infamous tussle with the local sheriff in Selma that landed on President Johnson’s desk through the newspaper accounts. Richie Jean Jackson [played by Niecy Nash] and Diane Nash [played by Tessa Thompson] are also in the film. There are a lot of sisters there who contributed to the fabric of the Civil Rights Movement.
KW: Lastly, Patricia says: The interview you did in the past with Kam Williams was translated into Spanish on my trilingual webmag. Will Selma be available in movie theaters in French and/or Spanish? I have a friend, a beautiful sister who is deaf and mute, who would like to see Selma. Will it be shown in theaters with special glasses so the deaf can watch it with subtitles?
AD: Yes, the film will be subtitled in some French and Spanish-speaking countries around the world, but I don’t know whether it will be subtitled for the deaf.
KW: Environmental activist Grace Sinden says: Congratulations on the Golden Globes nomination for directing Selma. I cannot wait to see it. We know that it is difficult for women to move up in many fields but this issue has recently received much focus, especially in terms of Hollywood directors. What advice do you have for women trying to break the glass ceiling? Can you share your thoughts on this issue? Was it any more difficult for you personally?
AD: Ignore the glass ceiling and do your work. If you’re focusing on the glass ceiling, focusing on what you don’t have, focusing on the limitations, then you will be limited. My way was to work, make my short… make my documentary… make my small films… use my own money… raise money myself… and stay shooting and focused on each project.
KW: Editor Lisa Loving says there have been thousands of people marching in cities all across the country since the Missouri police officer who killed Michael Brown was not charged in his death. In our town, Portland, we see a whole new generation of community leaders stepping forward, right now. As you made this film did you have any idea it would be released at a time in history when thousands and thousands of young black people would again be marching in the streets for civil rights?
AD: I had no idea. It’s very poignant and it moves me beyond words that this film that we’ve made, that this piece of art would be released in such a robust way during this cultural moment rife with energy for change, with people taking to the streets, the power of the people being heard, and their voices being amplified. It’s an honor to have something that speaks to that right now. It certainly wasn’t anything that we knew was going to happen. But I find it thrilling that people are standing up, and I’m hopeful that it will really move the needle this time around. And it’s a little eerie that some of the events in our film are so similar to some of the things you’re actually seeing on cable news today.
KW: Lisa also says: I feel that many people – people of all kinds – really do not know what Dr. King did in leading street protests against racist laws even as the FBI, at the highest levels, was breaking privacy laws and even laws of basic human decency to stop him. Do you think learning that about the FBI might surprise people?
AD: If you don’t know your history, I think you’ll be surprised to learn it. But it’s very prominent in the public records that there had been this counterintelligence program called COINTELPRO, for short that during the Fifties and Sixties placed leaders of progressive movements in the United States under surveillance. It was created by FBI Director J. Edgar Hoover, and was signed off on by every president in office during those decades. It’s disturbing… it certainly served to dismantle a lot of the progressive movements that existed back then. If you don’t know about it, it’s in the film, and you can Google it and learn more about it.
KW: Sangeetha Subramanian says: There are so many lessons to take away from this film and story. Is there one lesson you would like to hear discussed more that may not be getting enough attention?
AD: No, I think the film is getting plenty of attention right now. I’m just excited about January 9th when the film will be opening everywhere, and people in the real heart of the country will be able to see it. That’s the day I’m really hopeful about. That’s the day I’ll be on Twitter wanting to listen to what people have to say about the picture, good or bad, as they come out of the theater.
KW: Cinema Professor Mia Mask asks: Will you come to Vassar? We'd like you to be a guest of the film department as a visiting artist. We’ve asked you in the past, but your shooting schedule prevented it.
AD: Thanks for the invite, Mia. You’d have to put the request in to the office. But I’m pretty booked up right now.
KW: David Roth asks:Did you have any hesitation about casting British actors in the iconic roles of Coretta Scott King and Dr. Martin Luther King?
AD: Not at all, I just wanted to cast the best actor for the job and, without a doubt, David Oyelowo and Carmen Ejogo are transformative in these roles. And I knew that they would be. David was the first black man to play a King of England on the stage of the Royal Shakespeare Theater. His chops, his acting abilities are exceptional. He gave all of himself to the part, so I hope people will come check it out.
KW: Children’s book author Irene Smalls asks: How will you judge the success of Selma, and what movie would you like to make next, if you could do anything you wanted?
AD: I will judge the success, not on any awards or on the box-office, but on how people feel and what they say after seeing it. That’s what really matters to me. The film has something to say, and in a very specific way, about freedom and dignity in this country, and about some of the great leaders who worked hard and lost their lives in the pursuit of justice.
KW: Well, I loved the film, Ava, and all the best during awards season.
AD: Thank you, Kam. I’m so glad I got to talk to you, and I look forward to talking to you again.
To see a trailer for Selma, visit: https://www.youtube.com/watch?v=kPgs2zshD9Y
Annie
Film Review by Kam Williams
Little Orphan Annie was a syndicated comic strip created by Harold Gray (1894-1968) which debuted in the New York Daily News on August 5, 1924. The cartoon revolved around the misadventures of an adorable 11 year-old with curly red hair who’d exclaim “Leapin’ lizards!” whenever she got excited.
The original strip also featured Oliver “Daddy” Warbucks, the millionaire who rescued her from an orphanage; Punjab, his loyal manservant; and Sandy, her adopted stray puppy. The popular serial was first brought to the big screen in 1932, and was adapted to the stage in 1977 as a Broadway musical.
Directed by Will Gluck (Easy A), this fifth film version is very loosely based on that Tony-sweeping production. But the story unfolds in the present at a foster home in Harlem instead of during the Depression at an orphanage located in lower Manhattan. And a few names have been changed, but the roles and motivations basically remain the same.
At the point of departure, we find Annie (Quvenzhane Wallis) and her fellow wards of the state caught in the clutches of cruel Colleen Hannigan, (Cameron Diaz), an abusive alcoholic with a mean streak who takes delight in exploiting the little girls entrusted to her care. This predicament inspires the mistreated waifs to do what else but sing about how “It’s the Hard Knock Life” for them.
Meanwhile, Annie futilely sits in front of the restaurant where she was abandoned long ago, praying for the return of the parents who’d abandoned her, so the sun’ll come out “Tomorrow.” However, a ray of hope arrives when she crosses paths with mobile phone magnate Will Stacks (Jamie Foxx) who soon invites the grimy street urchin to move into his posh penthouse with a panoramic view and state-of-the-art amenities.
But did the billionaire make the generous overture merely for a photo opportunity to improve his image as a mayoral candidate? Will the cute kid be callously kicked back to the curb once the campaign’s over?
The outcome won’t be much of a mystery to the average adult, though it will probably prove compelling enough to keep tykes and maybe even tweens glued to the edges of their seats for the full two hours. As for the lead performance, Quvenzhane Wallis is quite endearing as the latest incarnation of Annie, right from the opening scene where she ostensibly takes the proverbial baton from a freckle-faced redhead (Taylor Richardson) resembling the other actresses who’d previously played the part.
Still, the film has a glaring Achilles heel, a mediocre soundtrack. Jamie Foxx has the best singing voice here, by far. The rest of the cast members give it their all, but simply fail to deliver any show-stopping renditions of either the familiar or new tunes.
A 21st Century variation on the age-old theme where an insufferable 1%-er finally gets in touch with his sensitive side with the help of an irresistible ragamuffin representing the downtrodden rest of humanity.
Good (2 stars)
Rated PG for mild epithets and rude humor
Running time: 118 minutes
Distributor: Columbia Pictures
To see a trailer for Annie, visit: https://www.youtube.com/watch?v=nasLuiP-1E0
Top Five
Film Review by Kam Williams
Chris Rock Rolls in Romantic Comedy/Film Industry Satire
In Birdman, Michael Keaton played a fading star trying to revive a career that had been in decline since he’d become typecast after playing a superhero in a series of blockbusters on the big screen. That plotline wasn’t all that far off from the arc of Keaton’s real-life fate following an outing as Batman back in 1989.
The similarly-themed Top Five features Chris Rock as Andre Allen, a comedian who has become too closely associated with “Hammy the Bear,” the popular protagonist of a humor-driven film franchise. Consequently, he’s been having a hard time making the transition to dramatic roles.
At the point of departure, we find Andre in the midst of promoting his newest movie, Uprize, an historical drama about a slave insurrection on the island of Haiti. He’s allowed New York Times reporter Chelsea Brown (Rosario Dawson) to tag along for the day, since she’s been assigned by the paper to prepare a profile on him.
Sparks fly, the two flirt, and it’s pretty obvious right off the bat that the two are attracted to each other. Trouble is, he’s already engaged and about to marry Erica Long (Gabrielle Union), a shallow, self-centered reality show star.
It’s equally clear that Andre and his high maintenance fiancée are ill-matched, so anybody who’s ever seen a romantic comedy can figure out where this one’s headed. And while the plot does everything to prevent Andre from wising up until the very end, it simultaneously affords the acid-tongued funnyman ample opportunities to point out show business’ shortcomings.
Besides being peppered with plenty of inside jokes and pithy comments about Hollywood, Top Five is memorable for boasting the most star-studded cast of the year. The dramatis personae includes J.B. Smoove, Kevin Hart, Adam Sandler, Jerry Seinfeld, Cedric the Entertainer, Tracy Morgan, Whoopi Goldberg, Charlie Rose, DMX, Jay Pharoah, Taraji P. Henson, Romany Malco, Gabby Sidibe, Luis Guzman, Sherri Shepherd and Ben Vereen.
As you might imagine, many of the celebs are limited to blink and you missed it cameos, though the production does manage to milk a little magic out of each one’s brief moment in the limelight. Nevertheless, make no mistake, this is a Chris Rock vehicle, and the picture is at its best when the irreverent comic is at his cockiest.
A clever, laff-a-minute adventure worth the investment for the hilarity, even if it telegraphs where the love story might be headed.
Excellent (3.5 stars)
Rated R for sexuality, nudity, crude humor, pervasive profanity and drug use
Running time: 101 minutes
Distributor: Paramount Pictures
To see a trailer for Top Five, visit: https://www.youtube.com/watch?v=jejCmmawzLY
David Oyelowo
The “Selma” Interview
with Kam Williams
Mellow Oyelowo!
David Oyelowo (pronounced – “oh-yellow-oh”) is a classically-trained stage actor who is working successfully and simultaneously in film, television and theater, and has quickly become one of Hollywood’s most sought-after talents. He was recently nominated for a Golden Globe for his stirring performance as Dr. Martin Luther King, Jr. in the highly-anticipated, civil rights drama Selma. Directed by Ava DuVernay and produced by Oprah Winfrey and Brad Pitt’s Plan B, the film follows the black fight for the right to register to vote culminating in the march from Selma to Montgomery and in President Lyndon Johnson’s signing of the historic Voting Rights Act of 1965.
David can currently be seen in Christopher Nolan’s space travel, sci-fi adventure Interstellar and in A Most Violent Year opposite Jessica Chastain and Oscar Isaac. He just wrapped production on Captive, a true-life crime thriller, and will soon co-star in Nina, a biographical drama about Nina Simone (played by Zoe Saldana).
A year ago, he co-starred in Lee Daniels’ The Butler, alongside Forest Whitaker, John Cusack, James Marsden and Oprah Winfrey. And in 2012, he was seen in Steven Spielberg’s Oscar-nominated drama Lincoln, with Daniel Day-Lewis, Sally Field and Tommy Lee Jones.
Additionally, David starred in the critically-acclaimed independent drama, Middle of Nowhere, also directed by Ava DuVernay, and in Lee Daniels’ The Paperboy, opposite Nicole Kidman, Matthew McConaughey and Zac Efron. His other screen credits include the George Lucas-produced Red Tails, Rise of The Planet of The Apes, The Help, 96 Minutes, The Last King of Scotland and Who Do You Love.
David first impressed audiences on the stage when he starred in The Suppliants at the Gate Theatre playing King Palasgus. Next, he played the title role of Henry VI, becoming the first black actor to play an English king for the Royal Shakespeare Company.
Kam Williams: Hi David, thanks for the interview.
David Oyelowo: My pleasure, Kam. How are you?
KW: I’m great! Congratulations on the announcement of Golden Globe nominations for you and Ava DuVernay.
DO: Yes, that was a very, very nice moment for us. I’m particularly proud of her. When you look at that list of directors she’s in the company of, it’s pretty extraordinary to think that she’s only been directing for five years, and that she’s the first black woman to be afforded this honor. So, we’re really, really happy, particularly when it comes to her.
KW: Environmental activist Grace Sinden says: You have had a very successful and varied career but your role portraying Martin Luther King in Selma must have been an extraordinary experience. I have only seen the trailer online and was deeply moved by your performance. How emotional an experience was portraying Dr. King for you?
DO: It was a deeply-emotional experience for numerous reasons, not the least of it being that the film had been very hard to get off the ground. So, there were several times when I had to pinch myself about the fact that we were actually getting it made. 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. So, yes it was an intensely emotional shoot, but also an intensely joyful shoot, since we really felt we were paying honor and doing service to these great men and women who had participated.
KW: Rel Dowdell, Patricia Turnier and Sangeetha Subramanian all ask: How did you prepare for your definitive performance as the iconic Dr. Martin Luther King?
DO: Even though the journey towards doing it was long and at times frustrating, one of the good by-products of its taking awhile was that I had time to really study King, to study his movements. I also had the God-given opportunity to be in films like Lincoln, The Help, The Butler and Red Tails, films that look at the black experience in this country over the past 150 years. So, I had this historical education going on before stepping into this role. All of those things, combined with talking to Dr. King’s children, and spending a lot of time with Andrew Young who, of course, knew him intimately, were all elements that helped me immeasurably get to where I got.
KW: Harriet Pakula-Teweles asks: How does an actor faithfully embody an historical figure without simply presenting another newsreel portrayal?
DO: Well, I think the way you do that is by focusing on what’s behind the newsreels. If you merely focus on what we already know, then it’s not revelatory. You may as well just go and watch a documentary or a few videos on Youtube, and you’re good. What I had to do was go and find the guy who is the father, the friend, the man who was unsure, the man who needed friends around him in order to be able to keep on going. What does a moment where he’s home alone with his wife feel like? What does a moment where he’s just completely on his own feel like? To show what he’s like when he’s quiet, as opposed to when he’s giving a speech are things that I think are absolutely necessary in order for an audience to feel like they’re seeing a side of this historical figure that they didn’t know before.
KW: David Roth asks: What was it like collaborating with director Ava DuVernay again? Did it make a difference that you’d worked with her before?
DO: Well, in what I do for a living, trust and confidence are key. Inevitably, you can’t make brave choices and do your best work, if you don’t have those, because it’s such a subjective art form, and you don’t have eyes on yourself.
Having done Middle of Nowhere with Ava, I had found someone I deeply trust, not just as a human being, but in terms of her creative and artistic vision. And in playing a role as exposing as Dr. King, you want someone leading you that you implicitly trust. That was one of the blessings of working with Ava again on this. And not only do I trust her as a person, but I think her ability as a director is world class. She’s as good as anyone I’ve worked with before, and that’s something that instills confidence.
KW: Chandra McQueen says: Your performance in Selma was remarkable. We saw the human and iconic side of Dr. Martin Luther King Jr. in your performance. Was there anything that surprised you, something new that you discovered about Dr. King, while studying for the role?
DO: 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 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. He was away from home 28 days of any given month. He was a voice for the voiceless and had so many people relying upon him. As a result, that made for a man who, to be perfectly frank, had lived two lifetimes by the time he was killed. That was something I felt in the playing of it. I don’t think I could have done what he did. That was quite extraordinary.
KW: Well, you made history in your own right with your performance as Henry VI when you were the first black actor to play an English king with the Royal Shakespeare Company. How did that accomplishment feel?
DO: It felt great, because I was glad to be the one to break the deadlock. Yet, it was bittersweet because, like Ava says of her Golden Globe nomination, even though I was the first to be afforded the honor, I’m sure I wasn’t the first black person deserving of that honor. So, it’s something to be proud of, but we’re keen to move on from the first and to be an undeniable part of the conversation going forward.
KW: Thanks again for the time, David.
DO: Thanks so much, Kam, and have a good day.
To see a trailer for Selma, visit: https://www.youtube.com/watch?v=kPgs2zshD9Y