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Samuel L Jackson is my hero. But he’s wrong about us British actors Samuel L Jackson is my hero. But he’s wrong about us British actors
(35 minutes later)
A couple of weeks ago at the Film Independent Spirit awards in Los Angeles I met one of my all-time acting heroes, Samuel L Jackson. He was sitting on the table directly behind me, and as I was nominated in the best male lead category I thought, if I haven’t got the balls to go up and introduce myself on a night like this I never will. A couple of weeks ago at the Film Independent Spirit awards in Los Angeles I met one of my all-time acting heroes, Samuel L Jackson. He was sitting on the table directly behind me, and as I was nominated in the best male lead category I thought, if I haven’t got the balls to go up and introduce myself on a night like this I never will.
As I got close he said, “Mr Harewood! Nice to meet you at last!” Crikey! I nearly spat my champagne in his face! We had a brief chat, but I’ve got to be honest, not only was I hugely starstruck, I was totally bamboozled by the fact he knew my name.As I got close he said, “Mr Harewood! Nice to meet you at last!” Crikey! I nearly spat my champagne in his face! We had a brief chat, but I’ve got to be honest, not only was I hugely starstruck, I was totally bamboozled by the fact he knew my name.
I blathered some nonsense about something or other, took a selfie and returned to my seat. It was only after we’d spoken that I realised I’d originated the role of Martin Luther King in the wonderful Katori Hall play The Mountaintop in London five or six years previously, and he’d taken over the role for the Broadway run.I blathered some nonsense about something or other, took a selfie and returned to my seat. It was only after we’d spoken that I realised I’d originated the role of Martin Luther King in the wonderful Katori Hall play The Mountaintop in London five or six years previously, and he’d taken over the role for the Broadway run.
The play was a hilarious and highly irreverent look at King’s last night on Earth after he made his famous Mountaintop speech. Lorraine Burroughs (who nabbed herself an Olivier award nomination for best actress) and I had an absolute ball performing it.The play was a hilarious and highly irreverent look at King’s last night on Earth after he made his famous Mountaintop speech. Lorraine Burroughs (who nabbed herself an Olivier award nomination for best actress) and I had an absolute ball performing it.
Although the London production was a smash hit and won an Olivier award, it was felt highly unlikely that we would transfer to New York along with the play as it was thought to be too risky to have two unknown black British actors in a play about such an important American hero. While I was a bit gutted, I understood the decision and watched as the American version, with Samuel and Angela Bassett, was mounted and unmounted rather quickly. Although the London production was a smash hit and won an Olivier award, it was felt highly unlikely that we would transfer to New York along with the play as it was thought to be too risky to have two unknown black British actors in a play about such an important American hero. While I was a bit gutted, I understood the decision and watched as the American version, with Samuel and Angela Bassett, was mounted and unmounted rather quickly.
I say all this in light of what Samuel said last week, about black British actors playing roles in movies specifically about black American race relations – and how he’d would prefer it if real American “brothers” were given more opportunities to appear. He’s created quite a debate.I say all this in light of what Samuel said last week, about black British actors playing roles in movies specifically about black American race relations – and how he’d would prefer it if real American “brothers” were given more opportunities to appear. He’s created quite a debate.
It’s important to dig down into what he’s actually saying, which is that there is still a lack of work for black American performers in Hollywood – and on that score I totally agree with him. However, I balk at the idea that we Britons are somehow a cheap alternative to the real thing. I’ve worked extremely hard in the US for the last few years now, and I can tell you I’m not exactly a budget option!It’s important to dig down into what he’s actually saying, which is that there is still a lack of work for black American performers in Hollywood – and on that score I totally agree with him. However, I balk at the idea that we Britons are somehow a cheap alternative to the real thing. I’ve worked extremely hard in the US for the last few years now, and I can tell you I’m not exactly a budget option!
The idea that American producers and directors are choosing black British talent to save themselves a buck or two is ridiculous – it’s because we’re damn good. Jordan Peele, the director of Get Out, a film about white liberal racism in America that stars British-born Daniel Kaluuya, had initially wanted to cast an American in the lead role but was so impressed by Daniel’s audition he changed his mind. I’d argue that it was exactly because Daniel wasn’t a real American brother that he was able to do so. The idea that American producers and directors are choosing black British talent to save themselves a buck or two is ridiculous – it’s because we’re damn good. Jordan Peele, the director of Get Out, a film about white liberal racism in America that stars British-born Daniel Kaluuya, had initially wanted to cast an American in the lead role but was so impressed by Daniel’s audition he changed his mind. I’d argue that it was exactly because Daniel wasn’t a real American brother that he was able to do so.
When I played King in The Mountaintop I wasn’t playing a civil rights legend, an American icon who should be treated with the utmost respect, I was playing a man with tired, smelly feet, who was anxious, proud, horny and flirtatious. I wasn’t saddled with the idea of this being sacred territory, as perhaps an “American brother” would have done; to me it was sheer performance.When I played King in The Mountaintop I wasn’t playing a civil rights legend, an American icon who should be treated with the utmost respect, I was playing a man with tired, smelly feet, who was anxious, proud, horny and flirtatious. I wasn’t saddled with the idea of this being sacred territory, as perhaps an “American brother” would have done; to me it was sheer performance.
At a Q&A for a group of American students who’d seen the show, I was immediately struck by how many of them said they really hadn’t expected to find the play so funny, and to be laughing during a play about the last night of Martin Luther King’s life. At a Q&A for a group of American students who’d seen the show, I was immediately struck by how many of them said they really hadn’t expected to find the play so funny, and to be laughing during a play about the last night of Martin Luther King’s life.
Perhaps it’s precisely because we are not real American brothers that we black British performers have the ability to unshackle ourselves from the burden of racial realities – and simply play what’s on the page, not what’s in the history books.Perhaps it’s precisely because we are not real American brothers that we black British performers have the ability to unshackle ourselves from the burden of racial realities – and simply play what’s on the page, not what’s in the history books.