Mahershala Ali
Social media has colonized what was once a sacred space occupied by emptiness: the space reserved for thought and creativity.Collection: Space
I always hope to be a better person tomorrow than today.Collection: Hope
The real guys that I knew were really cool people, who I played basketball with and traveled with on teams and knew their families and knew that they love their family. They just happen to do something that wasn't all the way legal, but it was a part of their life, and you knew that they hustled.Collection: Legal
My father, Phillip Gilmore, was very talented. He was getting seriously into dancing. He was on 'Soul Train' and won $2,500. But the Bay Area was too small for him. I don't think he had the space to do what he needed to do.Collection: Space
I've been working almost 20 years, and I think I've worked with maybe one black director of photography in that time. Maybe two women directors or DPs. Maybe. And I've done a lot of TV. That's a lot of people I've worked with.
I'd never been around or seen a black showrunner, and in some ways you wish that it wasn't a big deal.
There are so many women who contributed in a very real way in pushing for the space program during the time in which there was a lot of competition to get into space first, and to know that there were African-American women who were integral in that success is pretty phenomenal.
I was supremely fortunate to do several projects that I'm really excited about. So within all that, there's a lot going on this year. I'm excited about 2016.
'Free State of Jones' went beyond that. It got into how the South wasn't as homogenous as we thought it was - or even the North for that matter, where we like to assume everyone wanted to free the slaves and they were all abolitionists. It actually shows how complex these ideologies were on both sides.
Now, being one who lived in the era of Obama, there are so many markers of improvement made. It's hard to be mindful of that, in the same way you're going, 'Oh everything's cool now!' and it isn't. But I try to be mindful of how much of an improvement there has been because that gives hope. You need hope. I need hope!
When I was growing up, I was told you could be anything you want to be, but I didn't really believe that because you couldn't be president. Like, I knew that; we never had a black president.
Kids feel like they have to puff up or shrink. These reclusive qualities begin to develop because you feel that who you are is going to either be accepted or rejected by your family and friends.
The things that people won't totally accept come in all shapes and sizes and forms, and I can relate to that in my own youth.
I know someone from growing up who is in jail right now for the rest of his life, but he was one of the sweetest people I ever knew.
People do bad things, but that doesn't mean they don't have other colors or qualities.
I approach things from my feeling first. I have to get a feel for the character. I'll do that through music; I'll do it through what is naturally popping up for me when I read the script. My ideas or whatever the occupation of the character might be.
There's this Method Man album called 'Tical.' It's his first album. I would just listen to that every day, because the album feels like, if it were a film, it would be black and white. It feels like there's a war percolating throughout the album itself. It's dark, and it has a nice forward pace to it.
I always felt that Jay Z, if he had a different upbringing, could be on Wall Street or in politics. If you really listen to Jay Z talk, he's kind of the smartest guy in the room.
I saw this documentary he did years ago called 'Fade to Black.' I was always a Jay Z fan - I liked Jay Z - but after I saw that documentary, I loved Jay Z. I realized how intelligent he was.
Family are the people that can hurt you the most.
People will burn through a show in two or three days, and then you're left feeling empty for 51 weeks.
I thought, 'I've been doing this for 16 years professionally. I have a window where I want to play leading parts.'
Coming off 'House of Cards,' playing someone so straight-laced, I was getting offered a lot of F.B.I. agents.
You can't watch 'Daredevil' or 'Jessica Jones' or the Marvel films and not be aware that the villain has to be awesome. I've always wanted to have more space. And the scope, morally, is more broad for the villain than the hero.
I got out of grad school in 2000. I was about 26 years old. I've always said that I was late to acting because I didn't really start doing it in a focused way until I was in my early 20s.
A lot of actors know they want to be actors a little bit earlier on. I didn't even really start studying until I was about 22.
In terms of pace, I think I just have to revisit my relationship with expectations. That has a little bit to do with comparing ourselves to other people and seeing other people's journey and seeing how they had a certain success at a certain age.
I grew up on a wide range of stuff. OutKast, they been around for over 20 years, and some of the L.A. cats like Defari, Dilated Peoples and Likwit Crew. I was always going to these shows and catching the KRS-One tennis ball, as he would throw those out, EPMD. I could go on and on.
Oakland, by far, is really gorgeous; it still has these pockets that are really dangerous. Certain things are kind of normal. I think kids out there can be tested in a way where his right of passage ties into a bit of violence and how that has become these markers in masculinity and you being kind of validated after having to pass through things.
It's a lot of wonderful things about the Bay area and Oakland that I absolutely love. I wouldn't change being from there by any stretch.
At a earlier age, I was kind of into a pretty large scope or range of music from Hieroglyphics and the Hobo Junction guys and all that to like a lot of stuff that was in New York like Diamond D, Nas, Brand Nubian, of course Biggie, OC, Organized Confusion, Tribe Called Quest, De La Soul, Digable Planets, who I just saw recently, and they killed it.
I'm so appreciative that people have begun to recognize my work in a way where it can afford me more opportunities.
My manager called me and said, 'Hey, there's a series at Neflix.' I'm like, 'Netflix? Oh, boy.' At that time, it was just a strange thing to hear. It's like going, 'There's a series at Blockbuster.'
When I was growing up, in the '80s and '90s, I just never really saw myself reflected in the things that I had a liking for. It makes a difference.
The work that I do with all of my characters is have some sense of where they come from. I kind of create my own story for myself. What's going on with my parents? Are they alive? Or family - do I have children? Do you see those things or not?
My dream role is Jack Johnson, the first black heavyweight champion.
I was going to try to get into the creative writing program at Berkeley; it's just that the acting thing worked out.
I love hip hop. It's such an appendage for me. It's something that's always shaped my experience out in the world.
I think that black people, to a degree, need to have a certain level of dexterity. If we want to be at the highest level of whatever our field is, we have to be able to navigate both worlds. We all just know that you gotta be able to put that suit on and have a conversation with people that don't look like you or your family.
I'm excited about 'Luke Cage' with Michael Colter, who plays Luke Cage. I play the villain, Cottonmouth. It takes place in Harlem. It'll just be amazing for people to get to see an African-American superhero, which there weren't any when I was growing up.
If you're not careful as an actor, you can find yourself, at a certain point, a little bit bored.
I really love Tom Hardy. He makes really interesting choices.
I think Don Cheadle has always done great work.
Viola Davis is a perfect example of somebody who's so much better than the parts she has the opportunity to play.
I do think that there are people who are able to connect with and empathize with anyone who is going through something difficult, just naturally. I don't think it's a world of effort for everyone.
I think selfishly, as an actor, we always want to do more.
I had two jobs coming out of school: I did a play, 'The Great White Hope.' I played the boxer Jack Johnson. And I was the lead in this indie film. Then I moved to Los Angeles because New York was cold and it was really too quiet for me at that time. I was out of school; I was hungry. The auditions were trickling in, and I was antsy and ready to go.
Before I got into grad school, I used to work as a deck hand on these ferry boats in San Francisco, and they did day tours. It wasn't a bad job. I made decent money. But you were sitting down all day, tying up the boat, wiping it down. For some guys, that's a dream job, but for me it was kind of torture.
I don't want to say I took myself too seriously, but I put a lot of pressure on myself coming out of school. I saw so many people leave the business behind, certain opportunities disappear for folks who had to go into other professions. That kind of terrified me. As a result, I wanted things to happen really quickly.
I got my Equity card right out of NYU grad school in 2000, doing 'The Great White Hope' at Arena Stage. I played Jack Jefferson. It was an amazing part to walk into, to carry that responsibility for that amount of time. The challenges and the breadth of that role were pretty amazing.