David Oyelowo
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.Collection: Family
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.Collection: Famous
I wasn't one of those kids who grew up watching movies thinking, 'That's what I want to do when I grow up.' I didn't really particularly know I had an aptitude for it.
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.
Excellence is the best weapon against prejudice. I intend to be part of the solution and not the problem. You've just got to keep on banging out good performances.
I love that as a black person I've experienced not being a minority. I think that's helped me to combat the minority mentality people can have here, which can stop them scaling the heights.
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 don't have a tailor, but I do love clothes.
Asher means 'happy and blessed' which embodies my eldest. Caleb means 'stubborn and tenacious dog' and I can't even tell you how much that is my little boy! It was a useful warning.
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.
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.
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.
A film centered around the Second World War with a predominantly white cast would not have the pressure on it that 'Red Tails' has.
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.
We can't afford to deny our past in a bid to be empowered. But what we can do is contextualize the past.
'The Help' sheds light on a certain truth in America, but the tragedy is if we don't get a chance to contrast it with other points of views. 'The Butler' does that, 'Red Tails' does that and that's what '96 Minutes' does.
I love tennis, love it!
Love is sacrifice.
I like to think of myself as a physical actor.
I have a bee in my bonnet as to how few black historical figures one sees on film; incredible stories, stories from which we are living the legacy and which just don't get made.
Considering that I'm British and I talk the way I do, I love it when a director takes a chance on me.
There are many, many communities, many ethnic minorities, many civilizations that have been brutalised by others and you have to move on. You cannot perpetually stay in that place of blame, otherwise it's just a downward spiral.
I was sometimes called 'coconut' when I was at school.
I've been an actor for 14 years now and a lot of that time was spent in theatre and television. Then I moved to L.A. to try and build upon that and it's starting to pay off!
I think until Britain acknowledges just how much of a presence black people had here before the Sixties, then there are certain stories that are not going to be inclusive of what I have to offer.
I would make the tea on a Daniel Day-Lewis set just to observe how he crafts roles like he did in 'My Left Foot.' That was the equivalent of seeing Haley's Comet for me. I just couldn't understand how that was possible.
I seem to be able to disassociate my insecurities. I know a lot of actors - some of the best actors in the world - can't bear to watch themselves and I have to say I can't relate to that.
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.
One of the things the BBC does better than anyone is period drama.
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?
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.
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 am a father, I am very aware of the things that I'm putting out in the world knowing that one day my children will watch the work that I've done. I want to be able to stand by it.
One of the things I have an allergic reaction to playing, especially as a black actor, is the mandatory kind of best friend/cop/detective type. You will never see me in that movie.
I consider myself a human being, a Christian, a father, a husband, so many things, before being a black person.
I hear God as an audible voice.
Because I was aspirational, I did my work, I was respectful to my teachers, I experienced a lot of bullying from the black kids. My friends were largely white or Asian.
There are a lot of challenges I undeniably have faced as a black person both in the U.K. and in the U.S. that contrived to make me feel lesser than what I am.
If you feel like the beginning of your history is rooted in slavery, that really, I think, messes with your sense of self, your self-esteem, and your self-worth.
I've never, ever taken a role for money purposes or for some bizarre notion of what may be the kind of career move that would open things up for me. If I don't believe in it, I can't do it because I won't be good in it if I don't believe in it.
What we usually do to great men and women is relegate them to homogenised heroism. Their words and actions become soundbites and images in a way that gives us an excuse not to act bravely in our own lives.
I truly believe in cinema's potential for cultural impact. I have a clear idea what I want to do - to enrich people's lives.
The only way I get a leading role in a studio picture is if Ryan Gosling can't play it, which is clearly the case with 'Selma.' If this was a non-colour-specific character, it wouldn't be me. It just wouldn't.
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?'
The kinds of stories I want to be a part of telling are about delving into what it is to be a human being.
I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.
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.
I will, till the day I die, be an advocate for the d-word: diversity.
As artists, our primary function is not to be educators - but we are at a time in history, where for us, our history needs to give context for stories that we hope to tell down the road.
We've had so many faith-based movies that I think are sub-par; I almost want a new phrase for them.