WEBVTT 00:00:00.000 --> 00:00:02.500 Welcome, Deep Jivers. Ever really thought about 00:00:02.500 --> 00:00:05.259 the journey of an artist whose talent doesn't 00:00:05.259 --> 00:00:07.879 just, you know, grab you, but also makes you 00:00:07.879 --> 00:00:11.619 rethink things? Mm -hmm. Imagine an actor who, 00:00:12.039 --> 00:00:15.000 well, through his performances, has brought forgotten 00:00:15.000 --> 00:00:17.480 histories back to life, totally reimagined iconic 00:00:17.480 --> 00:00:21.320 figures, and just consistently pushed... push 00:00:21.320 --> 00:00:23.820 the envelope on representation. It's quite something. 00:00:24.199 --> 00:00:27.079 Today, our deep dive plunges us into the really 00:00:27.079 --> 00:00:30.219 quite extraordinary career and frankly compelling 00:00:30.219 --> 00:00:33.380 life of David Oyelowo. You know him, the British 00:00:33.380 --> 00:00:35.929 actor, director, producer. His work has touched 00:00:35.929 --> 00:00:38.570 stages, screens, even audio waves all over the 00:00:38.570 --> 00:00:40.789 world. He leaves a mark, doesn't he? He absolutely 00:00:40.789 --> 00:00:43.250 does. And our mission today, really, is to pull 00:00:43.250 --> 00:00:45.570 out those key nuggets, the essential bits of 00:00:45.570 --> 00:00:47.890 knowledge about Oriolo's path. It's remarkable. 00:00:48.170 --> 00:00:50.369 So what are we covering? Well, we'll explore 00:00:50.369 --> 00:00:52.469 everything from, believe it or not, his royal 00:00:52.469 --> 00:00:55.170 lineage and a childhood that spanned continents, 00:00:55.250 --> 00:00:57.869 which is fascinating in itself, then obviously 00:00:57.869 --> 00:00:59.909 his pivotal roles, often groundbreaking ones, 00:00:59.950 --> 00:01:02.009 the critical acclaim that seems to follow him 00:01:02.009 --> 00:01:04.590 everywhere, and also the really impactful work 00:01:04.590 --> 00:01:07.409 he does, you know, both on screen and off. So 00:01:07.409 --> 00:01:09.810 we're trying to get at what makes his performances 00:01:09.810 --> 00:01:12.049 click, what makes them so resonant. Exactly, 00:01:12.370 --> 00:01:14.769 and how his own personal beliefs, his convictions, 00:01:15.209 --> 00:01:17.109 how they actually shape his professional choices, 00:01:17.189 --> 00:01:20.049 it's all quite connected. Okay, so think of this 00:01:20.049 --> 00:01:23.969 as your guide, your essential briefing on understanding 00:01:23.969 --> 00:01:31.170 a real polymath of performance. An artist whose 00:01:31.170 --> 00:01:34.030 whole career feels like a master class in versatility, 00:01:34.310 --> 00:01:36.390 but also in purpose. That's a great way to put 00:01:36.390 --> 00:01:38.469 it. We'll kick off with his early life, the education 00:01:38.469 --> 00:01:39.709 side of things, which is pretty interesting. 00:01:40.090 --> 00:01:41.969 Then trace how his career developed, you know, 00:01:42.090 --> 00:01:45.310 across stage, TV, voice acting, film. Quite the 00:01:45.310 --> 00:01:47.349 journey. Yeah, he's covered all the bases. Then 00:01:47.349 --> 00:01:49.430 we'll dig into the awards, the honors, or quite 00:01:49.430 --> 00:01:52.810 a few that really acknowledge his impact. And 00:01:52.810 --> 00:01:54.790 finally, try and get a glimpse into the personal 00:01:54.790 --> 00:01:56.590 beliefs, the decisions that have defined him. 00:01:57.230 --> 00:01:59.799 The man behind the roles, so to speak. It's a 00:01:59.799 --> 00:02:02.099 really rich story. Lots to unpack. Definitely. 00:02:02.359 --> 00:02:04.439 Let's get started. So to really get a handle 00:02:04.439 --> 00:02:06.719 on an artist like David Oyelowo, you've got to 00:02:06.719 --> 00:02:08.599 start at the beginning, right? At his roots. 00:02:08.840 --> 00:02:12.159 Absolutely. And his foundation is, well, it's 00:02:12.159 --> 00:02:14.000 not typical. It stretches across continents, 00:02:14.180 --> 00:02:16.919 even touches on royalty. It's genuinely fascinating. 00:02:17.479 --> 00:02:19.219 Tell us about that early life, his heritage. 00:02:19.500 --> 00:02:23.080 It really is a tapestry woven from very diverse 00:02:23.080 --> 00:02:26.400 threads. So David Oyetumbo Oyelowo, born April 00:02:26.400 --> 00:02:30.159 1st, 1976, in Oxford, England. OK, so British 00:02:30.159 --> 00:02:33.680 -born. British -born, yes. But the story deepens 00:02:33.680 --> 00:02:35.580 right away when you look at his parents. They're 00:02:35.580 --> 00:02:38.659 Nigerian. Right. His father, Stephen, is from 00:02:38.659 --> 00:02:41.460 Oyo State. That's southwest Nigeria, Yoruba. 00:02:41.879 --> 00:02:45.199 And his mother is Igbo from Southeast Nigeria. 00:02:45.539 --> 00:02:48.020 Wow, so two major distinct Nigerian cultures 00:02:48.020 --> 00:02:49.840 right there in his immediate background. Exactly. 00:02:50.379 --> 00:02:52.900 That dual lineage gives him this connection to 00:02:52.900 --> 00:02:55.879 two of Nigeria's largest cultural groups. It 00:02:55.879 --> 00:02:58.259 sets a pretty complex multicultural stage for 00:02:58.259 --> 00:03:00.319 his identity right from the start. And he was 00:03:00.319 --> 00:03:02.800 also raised Baptist. That's a detail that, as 00:03:02.800 --> 00:03:04.780 we'll probably discuss later, seems to play a 00:03:04.780 --> 00:03:07.620 really significant guiding role throughout his 00:03:07.620 --> 00:03:10.439 life and career. Interesting. So this early mix 00:03:10.439 --> 00:03:15.300 of... Traditions, beliefs. It must have fed into 00:03:15.300 --> 00:03:18.080 his versatility later on. Oh, undoubtedly. That 00:03:18.080 --> 00:03:20.340 kind of exposure, it almost certainly contributed 00:03:20.340 --> 00:03:22.879 to his incredible ability to embody such a wide 00:03:22.879 --> 00:03:24.740 range of characters down the line. And sticking 00:03:24.740 --> 00:03:27.000 with heritage. Yeah. We absolutely have to talk 00:03:27.000 --> 00:03:29.860 about the prince thing, his Omoba status. Ah, 00:03:29.860 --> 00:03:32.699 yes. The royal connection. It genuinely surprises 00:03:32.699 --> 00:03:35.819 people, doesn't it? Oyelowo is technically an 00:03:35.819 --> 00:03:38.159 Omoba, a prince of the Yoruba people. That's 00:03:38.159 --> 00:03:40.419 correct. It comes through his grandfather, who 00:03:40.419 --> 00:03:43.500 was a king, of a part of Oyo State called Aw. 00:03:43.659 --> 00:03:47.039 Yes, that's the lineage. It sounds incredibly 00:03:47.039 --> 00:03:49.379 grand, doesn't it? An actor with royal blood. 00:03:49.520 --> 00:03:52.810 It really does. What is that? title Amoba actually 00:03:52.810 --> 00:03:55.310 mean in, you know, Nigerian culture? Is it like 00:03:55.310 --> 00:03:57.729 European royalty? Well, it is a genuine connection 00:03:57.729 --> 00:04:00.090 to traditional leadership structures and Yoruba 00:04:00.090 --> 00:04:02.770 culture, which is significant. But Oyolo himself, 00:04:02.770 --> 00:04:05.830 he has this wonderfully grounded, almost self 00:04:05.830 --> 00:04:08.210 -deprecating take on it. Oh, really? Yeah. He's 00:04:08.210 --> 00:04:10.050 often quoted sort of playing it down. He says 00:04:10.050 --> 00:04:12.449 things like, it sounds way more impressive than 00:04:12.449 --> 00:04:15.810 it actually is. And there are so many royal families 00:04:15.810 --> 00:04:19.319 in Africa. And even quite funnily, Royal families 00:04:19.319 --> 00:04:23.000 are a dime a dozen in Nigeria. Huh, that's brilliant. 00:04:23.160 --> 00:04:25.560 He even came up with this witty analogy. He said, 00:04:26.019 --> 00:04:28.199 it's a bit more like being the Prince of Islington. 00:04:28.579 --> 00:04:31.300 Right. It was useful for getting dates, but probably 00:04:31.300 --> 00:04:34.699 not much else. I love that. So humility there. 00:04:34.810 --> 00:04:36.509 It tells you something about him, doesn't it? 00:04:36.589 --> 00:04:38.949 It really does. It shows he understands the historical 00:04:38.949 --> 00:04:41.550 significance, respects his roots, definitely, 00:04:41.889 --> 00:04:45.029 but he clearly prioritizes his own identity, 00:04:45.329 --> 00:04:48.149 his own achievements, over just an inherited 00:04:48.149 --> 00:04:51.649 title. That perspective, I think, it speaks volumes. 00:04:51.870 --> 00:04:54.470 He's not defined by it in a way that suggests 00:04:54.470 --> 00:04:56.930 privilege or detachment. It's just part of his 00:04:56.930 --> 00:04:58.709 rich background. That's a really great way to 00:04:58.709 --> 00:05:01.089 put it. So he has this noble lineage, but his 00:05:01.089 --> 00:05:03.899 actual upbringing wasn't exactly like... palaces 00:05:03.899 --> 00:05:06.120 and protocol. Not at all, far from it. He spent 00:05:06.120 --> 00:05:08.800 his very early years in Tooting Beck, South London 00:05:08.800 --> 00:05:12.519 until he was six. Right. Then the family made 00:05:12.519 --> 00:05:15.379 this huge move geographically, culturally to 00:05:15.379 --> 00:05:18.660 Lagos, Nigeria. A massive ship. Yeah. His dad 00:05:18.660 --> 00:05:20.699 worked for the national airline there, his mom 00:05:20.699 --> 00:05:24.100 for a railway company. So he got this direct 00:05:24.410 --> 00:05:27.670 immersive experience of Nigerian life. And that 00:05:27.670 --> 00:05:30.430 shift is absolutely key, I think, to understanding 00:05:30.430 --> 00:05:33.509 his development. Just imagine spending those 00:05:33.509 --> 00:05:38.410 formative years, six to 14, in Lagos, experiencing 00:05:38.410 --> 00:05:41.769 Nigerian culture firsthand, the energy, the rhythms, 00:05:42.110 --> 00:05:43.790 the people. Totally different from South London? 00:05:44.089 --> 00:05:46.290 Completely. And then they return to London when 00:05:46.290 --> 00:05:49.060 he's 14, settling in Islington. So these really 00:05:49.060 --> 00:05:51.199 contrasting environments must have shaped him 00:05:51.199 --> 00:05:54.000 profoundly. Oh, for sure. Think about it. Diverse 00:05:54.000 --> 00:05:56.459 South London, then formative time in Nigeria, 00:05:57.079 --> 00:05:59.319 including, interestingly, a military -style boarding 00:05:59.319 --> 00:06:01.639 school he attended there. Wow, really? Yeah, 00:06:01.720 --> 00:06:04.560 LEGO State Model College Myron. And then back 00:06:04.560 --> 00:06:07.199 to urban London, that constant navigating of 00:06:07.199 --> 00:06:09.199 different cultural touchstones, different systems. 00:06:09.980 --> 00:06:13.339 It breeds adaptability, a really keen observational 00:06:13.339 --> 00:06:15.040 eye. You can see how that would be invaluable 00:06:15.040 --> 00:06:17.970 for an actor. Exactly. It cultivates empathy 00:06:17.970 --> 00:06:19.910 and understanding of different ways of being. 00:06:20.310 --> 00:06:23.589 It lays the groundwork for a truly global artist, 00:06:23.750 --> 00:06:25.529 someone comfortable inhabiting characters from 00:06:25.529 --> 00:06:28.209 all sorts of backgrounds. And it seems that time 00:06:28.209 --> 00:06:31.269 in Nigeria, that exposure, maybe also helped 00:06:31.269 --> 00:06:34.769 cement his early aspirations. He grew up idolizing 00:06:34.769 --> 00:06:37.269 figures like Sidney Poitier and Denzel Washington. 00:06:37.629 --> 00:06:39.990 Yes, those idols are incredibly significant, 00:06:40.029 --> 00:06:42.529 aren't they? Huge figures. Giants. And not just 00:06:42.529 --> 00:06:46.040 actors, but cultural icons who broke ma - barriers, 00:06:46.139 --> 00:06:49.379 especially for black actors. They had this gravitas, 00:06:49.620 --> 00:06:52.720 commanded respect. For a young Oyo Lowo, especially 00:06:52.720 --> 00:06:55.379 as a black kid in Nigeria, seeing global films, 00:06:55.959 --> 00:06:58.579 seeing them achieve that kind of stature, it 00:06:58.579 --> 00:07:01.160 would have been powerful, a clear vision of what 00:07:01.160 --> 00:07:03.800 was possible through artistry and impact. Kind 00:07:03.800 --> 00:07:06.079 of like a blueprint. Precisely. A blueprint rooted 00:07:06.079 --> 00:07:09.079 in excellence, integrity, and breaking down walls 00:07:09.079 --> 00:07:11.480 in what was and often still is a predominantly 00:07:11.480 --> 00:07:13.959 white industry. So how did he actually turn this 00:07:13.959 --> 00:07:16.639 inspiration into a path. His education, you mentioned 00:07:16.639 --> 00:07:19.240 the military -style school in Nigeria, quite 00:07:19.240 --> 00:07:21.339 a contrast to the usual aspiring actor story. 00:07:21.620 --> 00:07:24.339 It is, isn't it? That structured, disciplined 00:07:24.339 --> 00:07:26.740 environment isn't what you typically associate 00:07:26.740 --> 00:07:29.939 with artistic discovery. But maybe it speaks 00:07:29.939 --> 00:07:32.939 to a certain resilience, finding your way even 00:07:32.939 --> 00:07:35.819 in unconventional settings. Perhaps. But when 00:07:35.819 --> 00:07:38.379 he returned to London, his artistic journey became 00:07:38.379 --> 00:07:41.660 much more direct. He enrolled in theater studies 00:07:41.660 --> 00:07:44.939 at City and Islington College. Okay. And apparently, 00:07:45.220 --> 00:07:48.139 a teacher there was really perceptive. The first 00:07:48.139 --> 00:07:50.420 person to explicitly suggest he should pursue 00:07:50.420 --> 00:07:52.519 acting professionally. That must have been a 00:07:52.519 --> 00:07:54.699 pivotal moment. External validation like that 00:07:54.699 --> 00:07:57.839 can be huge. So that, combined with his own growing 00:07:57.839 --> 00:08:01.220 talent, led him to a foundational year at LMDA, 00:08:01.319 --> 00:08:03.620 the London Academy of Music and Dramatic Art. 00:08:03.819 --> 00:08:06.100 Right, a very prestigious place. Top tier. One 00:08:06.100 --> 00:08:09.259 of the UK's oldest, most respected drama schools. 00:08:09.660 --> 00:08:11.980 Really known for rigorous training, classical 00:08:11.980 --> 00:08:15.170 and contemporary. He completed their full three 00:08:15.170 --> 00:08:18.189 -year training program in 1998, really immersed 00:08:18.189 --> 00:08:20.110 himself in the craft. And he was involved with 00:08:20.110 --> 00:08:22.410 the National Youth Theatre too. Yes, also involved 00:08:22.410 --> 00:08:24.310 with the National Youth Theatre early on. Another 00:08:24.310 --> 00:08:27.970 great place for nurturing young UK talent. So 00:08:27.970 --> 00:08:31.529 you have this mix, disciplined early life, that 00:08:31.529 --> 00:08:34.549 key bit of encouragement, then elite formal training. 00:08:34.750 --> 00:08:37.720 It's a really solid, diverse foundation. What 00:08:37.720 --> 00:08:39.899 a journey from that boarding school in Lagos 00:08:39.899 --> 00:08:43.580 to LMDA, the NYT. It's such a rich tapestry. 00:08:44.240 --> 00:08:47.740 What does growing up with such different cultural 00:08:47.740 --> 00:08:49.879 reference points do for an actor, do you think? 00:08:50.440 --> 00:08:52.759 How does it translate? Well, I think it fundamentally 00:08:52.759 --> 00:08:55.940 develops an incredibly broad, empathetic lens. 00:08:56.250 --> 00:08:58.490 That's the core of it. An actor's instrument 00:08:58.490 --> 00:09:00.809 isn't just voice and body, it's their understanding 00:09:00.809 --> 00:09:03.230 of humanity. Having lived across continents, 00:09:03.470 --> 00:09:04.950 experienced different ways of life, different 00:09:04.950 --> 00:09:07.809 social structures, Oyelo has his inherent cultural 00:09:07.809 --> 00:09:10.110 fluidity. He's not locked into one perspective, 00:09:10.190 --> 00:09:12.110 one accent. You see that in his work, switching 00:09:12.110 --> 00:09:14.309 between British and American roles so easily. 00:09:14.610 --> 00:09:16.789 Effortlessly. And African sensibilities, too. 00:09:16.789 --> 00:09:18.950 It comes from that deep well of empathy, that 00:09:18.950 --> 00:09:21.549 nuanced understanding of how people express themselves 00:09:21.549 --> 00:09:24.570 differently, but also the universal human experiences 00:09:24.570 --> 00:09:28.110 underneath. allows him to find the truth in very 00:09:28.110 --> 00:09:31.090 specific cultural identities. That understanding 00:09:31.090 --> 00:09:34.049 of otherness and sameness is just invaluable. 00:09:34.250 --> 00:09:36.529 It makes him so versatile, so believable, whether 00:09:36.529 --> 00:09:39.570 he's playing, you know, an English king or an 00:09:39.570 --> 00:09:41.929 American lawman. That makes total sense. It really 00:09:41.929 --> 00:09:44.950 helps explain that incredible versatility. Okay, 00:09:45.110 --> 00:09:47.570 so foundation established. Let's move on to his 00:09:47.570 --> 00:09:50.730 early career, his trailblazing presence, David 00:09:50.730 --> 00:09:53.769 Oyelow's stage career. He didn't hang about, 00:09:53.789 --> 00:09:56.179 did he? straight into the professional world 00:09:56.179 --> 00:09:58.940 in 1999 with a season at the Royal Shakespeare 00:09:58.940 --> 00:10:02.460 Company, the RSC. No wasting time. And the RSC. 00:10:02.580 --> 00:10:04.299 I mean, that's the pinnacle. It really is. For 00:10:04.299 --> 00:10:06.860 classical theater in the UK, arguably one of 00:10:06.860 --> 00:10:09.500 the best in the world, getting a season there 00:10:09.500 --> 00:10:11.519 straight out of Lambdéthier, that's not just 00:10:11.519 --> 00:10:13.919 a job. It's a massive validation. Signals of 00:10:13.919 --> 00:10:15.889 real talent. Absolutely. It tells the industry 00:10:15.889 --> 00:10:18.129 you've mastered classical text, you have vocal 00:10:18.129 --> 00:10:21.110 control, stage presence, the whole package that 00:10:21.110 --> 00:10:22.909 becomes the bedrock for everything else. So what 00:10:22.909 --> 00:10:25.639 kind of roles did he tackle there early on? Serious 00:10:25.639 --> 00:10:29.759 stuff. He played Benario in Ben Johnson's Vulpone. 00:10:29.820 --> 00:10:33.000 That's a dark comedy, needs sharp wit. He was 00:10:33.000 --> 00:10:35.759 a bonin in Orinoco, a really powerful restoration 00:10:35.759 --> 00:10:37.799 tragedy. He did a radio version of that too, 00:10:37.919 --> 00:10:39.759 right? He did, yeah, showing that adaptability 00:10:39.759 --> 00:10:42.879 early on. And he played Dercetus in Shakespeare's 00:10:42.879 --> 00:10:45.340 Antony and Cleopatra, alongside big names like 00:10:45.340 --> 00:10:48.600 Alan Bates. Wow, so diving right into challenging 00:10:48.600 --> 00:10:51.620 work. Definitely. These roles immediately showcased 00:10:51.620 --> 00:10:53.980 his range, his gravity, right from the get -go. 00:10:54.159 --> 00:10:56.139 But the role that really put him on the map, 00:10:56.500 --> 00:10:58.320 historically speaking, and challenged perceptions, 00:10:58.980 --> 00:11:03.360 was King Henry VI. Ah, yes. Henry VI, 2001. In 00:11:03.360 --> 00:11:07.000 the RSC's big trilogy, this England. The histories. 00:11:07.440 --> 00:11:09.460 He played the title role. And this wasn't just 00:11:09.460 --> 00:11:12.019 any casting. No, it was genuinely monumental. 00:11:12.179 --> 00:11:15.220 A landmark moment for colorblind casting. Truly 00:11:15.220 --> 00:11:17.580 pioneering. He was the first black actor to play 00:11:17.580 --> 00:11:19.879 an English king in a major Shakespeare production. 00:11:20.100 --> 00:11:22.080 The very first. Just think about the weight of 00:11:22.080 --> 00:11:24.340 that. Culturally, historically, back in 2001. 00:11:24.419 --> 00:11:27.559 Was there pushback? Oh, yes. Initially, some 00:11:27.559 --> 00:11:30.340 media criticism. You know, rooted in traditionalism, 00:11:30.539 --> 00:11:32.879 maybe discomfort with breaking the mold. Questions 00:11:32.879 --> 00:11:35.379 about historical accuracy. Could a black actor 00:11:35.379 --> 00:11:37.879 play that role? Right. The usual argument. Exactly. 00:11:38.159 --> 00:11:40.889 But his performance. By all accounts, it was 00:11:40.889 --> 00:11:43.730 so overwhelmingly powerful, so critically acclaimed, 00:11:44.210 --> 00:11:46.950 it just silenced the critics. He really owned 00:11:46.950 --> 00:11:49.190 the role. Completely. He didn't just play Henry 00:11:49.190 --> 00:11:52.470 VI, he embodied him. Gave him this vulnerability, 00:11:52.730 --> 00:11:55.129 dignity, this tragic weight that just connected 00:11:55.129 --> 00:11:57.269 with everyone. And that led to the Ian Charlson 00:11:57.269 --> 00:12:00.629 Award. It did. The 2001 Ian Charlson Award for 00:12:00.629 --> 00:12:03.110 best performance by an actor under 30 in a classical 00:12:03.110 --> 00:12:05.779 play. Hugely prestigious. It wasn't just about 00:12:05.779 --> 00:12:07.779 breaking a barrier. It was about proving beyond 00:12:07.779 --> 00:12:11.120 doubt that talent transcends race. That artistic 00:12:11.120 --> 00:12:13.259 interpretation is what matters. It must have 00:12:13.259 --> 00:12:15.860 set a powerful precedent. Immense. It asserted 00:12:15.860 --> 00:12:18.139 that the essence of the character, the actor's 00:12:18.139 --> 00:12:20.879 skill, that's paramount. Not just a rigid interpretation 00:12:20.879 --> 00:12:24.360 of history or race. So, beyond the award itself. 00:12:24.799 --> 00:12:27.419 What were the longer -term effects of that Henry 00:12:27.419 --> 00:12:30.039 VI performance? Did it really shift things in 00:12:30.039 --> 00:12:33.000 the theater world regarding race and classical 00:12:33.000 --> 00:12:35.299 roles? I think it had profound ripple effects. 00:12:35.659 --> 00:12:38.620 Yeah, ones we still feel today. Firstly, it undeniably 00:12:38.620 --> 00:12:41.320 started chipping away at that old idea that classical 00:12:41.320 --> 00:12:43.820 European figures had to be played by white actors. 00:12:44.000 --> 00:12:46.139 Provided concrete proof it could work. Exactly. 00:12:46.639 --> 00:12:48.759 Audiences engaged with the performance, not just 00:12:48.759 --> 00:12:51.519 a literal visual match. It opened doors, made 00:12:51.519 --> 00:12:54.360 it slightly easier for later productions to... 00:12:54.320 --> 00:12:56.519 actors of color without maybe quite the same 00:12:56.519 --> 00:13:00.379 initial fuss. Secondly, it took the whole colorblind 00:13:00.379 --> 00:13:03.399 casting debate from theory to practice. Directors 00:13:03.399 --> 00:13:06.159 could point to Oilo as Henry VI and say, see, 00:13:06.340 --> 00:13:08.639 it works. It can even enrich the work. And for 00:13:08.639 --> 00:13:11.159 other actors of color. A hugely powerful message. 00:13:11.200 --> 00:13:13.379 It showed that the biggest, most prestigious 00:13:13.379 --> 00:13:15.759 classical roles were genuinely within reach. 00:13:16.100 --> 00:13:18.320 It must have inspired a whole generation of artists, 00:13:18.679 --> 00:13:20.580 helped foster a sense that they belonged in that 00:13:20.580 --> 00:13:22.940 classical canon too. It really did shift the 00:13:22.940 --> 00:13:26.379 landscape. Amazing. And from that triumph, he 00:13:26.379 --> 00:13:29.299 kept working on stage, but also moved into directing. 00:13:29.720 --> 00:13:32.820 He was in Prometheus Bound in 2005, which even 00:13:32.820 --> 00:13:35.220 went to New York. Yeah, showing that transatlantic 00:13:35.220 --> 00:13:38.620 reach early on. And then 2006 directed The White 00:13:38.620 --> 00:13:41.580 Devil. with his own company in service at Brighton, 00:13:41.740 --> 00:13:44.860 co -run with his wife Jessica. Yes. That move 00:13:44.860 --> 00:13:46.820 into directing, especially launching his own 00:13:46.820 --> 00:13:49.480 company with his wife, is really telling, isn't 00:13:49.480 --> 00:13:52.100 it? Shows ambition beyond just acting. Totally. 00:13:52.240 --> 00:13:55.269 It's a desire to shape the vision, the narrative, 00:13:55.389 --> 00:13:58.250 from a more holistic viewpoint to be more of 00:13:58.250 --> 00:14:00.929 an author of the work. Taking control. Exactly. 00:14:01.389 --> 00:14:03.429 For many actors, it's a natural step when they 00:14:03.429 --> 00:14:05.610 feel they have more to say or want to cultivate 00:14:05.610 --> 00:14:08.710 a specific creative process. Directing The White 00:14:08.710 --> 00:14:11.429 Devil, a complex, dark, Jacobian tragedy, shows 00:14:11.429 --> 00:14:13.309 he wasn't shying away from challenges either, 00:14:13.350 --> 00:14:15.269 just from a different angle. And the collaboration 00:14:15.269 --> 00:14:17.070 with his wife is interesting too. Definitely. 00:14:17.169 --> 00:14:19.830 Highlights a deep partnership, personal and artistic. 00:14:20.149 --> 00:14:22.730 It really underscores that drive to be a creator, 00:14:22.870 --> 00:14:25.159 not just just a performer. But he didn't abandon 00:14:25.159 --> 00:14:28.840 major sage acting. Far from it. A decade later, 00:14:29.000 --> 00:14:32.240 2016, he tackles another huge role, Othello. 00:14:32.259 --> 00:14:34.820 In New York, yeah. At the New York Theater Workshop. 00:14:35.620 --> 00:14:39.539 And get this, alongside Daniel Craig as Iago. 00:14:39.840 --> 00:14:42.500 Wow, that's a powerhouse pairing. Directed by 00:14:42.500 --> 00:14:46.490 Sam Gold, too. And then just this year. 2024, 00:14:46.490 --> 00:14:48.929 back at the National Theatre in London, playing 00:14:48.929 --> 00:14:51.990 Coriolanus. These are massive, demanding roles. 00:14:52.169 --> 00:14:55.049 Absolutely huge. What stands out is his consistent 00:14:55.049 --> 00:14:57.850 choice of these incredibly challenging, emotionally 00:14:57.850 --> 00:15:01.090 complex, classical parts. Othello, Coriolanus, 00:15:01.190 --> 00:15:04.029 these are titans of the stage. Taking on Othello, 00:15:04.169 --> 00:15:05.809 especially opposite someone like Daniel Craig, 00:15:05.929 --> 00:15:07.850 as Iago, one of theater's greatest villains that 00:15:07.850 --> 00:15:09.990 speaks volumes about mutual respect, wanting 00:15:09.990 --> 00:15:12.269 a really dynamic, high -stakes theatrical experience. 00:15:12.409 --> 00:15:16.559 You need serious chops for those parts. You have 00:15:16.559 --> 00:15:18.600 to understand human nature deeply, articulate, 00:15:18.820 --> 00:15:21.159 intense psychological states. His return for 00:15:21.159 --> 00:15:23.519 Coriolanus just cements him as a true master 00:15:23.519 --> 00:15:25.440 of classical theater, always pushing himself. 00:15:26.039 --> 00:15:29.820 So looking back at this stage work... How did 00:15:29.820 --> 00:15:32.379 those early pioneering roles, especially Henry 00:15:32.379 --> 00:15:35.279 VI, really pave the way for everything else, 00:15:35.559 --> 00:15:37.860 proving his talent, challenging norms? Well, 00:15:37.860 --> 00:15:40.860 they gave him this unshakable foundation, critical 00:15:40.860 --> 00:15:44.460 acclaim, artistic integrity. He set a benchmark 00:15:44.460 --> 00:15:47.759 for excellence. Credibility. Exactly. By excelling 00:15:47.759 --> 00:15:50.100 in Shakespeare, especially in a role with such 00:15:50.100 --> 00:15:53.139 heavy implications like Henry VI, he showed a 00:15:53.139 --> 00:15:55.860 mastery few possess. The industry had to take 00:15:55.860 --> 00:15:58.759 him seriously. He could turn complex texts into 00:15:58.730 --> 00:16:01.330 powerful, universal performances. Gave him leverage, 00:16:01.350 --> 00:16:04.110 maybe? I think so. Confidence, credibility, leverage. 00:16:04.470 --> 00:16:06.649 It allowed him the freedom to navigate all the 00:16:06.649 --> 00:16:08.490 diverse roles that came next across different 00:16:08.490 --> 00:16:10.370 mediums, knowing he'd already conquered one of 00:16:10.370 --> 00:16:12.669 the biggest artistic mountains. He could challenge 00:16:12.669 --> 00:16:14.850 conventions because he'd already proven his brilliance 00:16:14.850 --> 00:16:17.490 beyond doubt. It wasn't about tokenism. It was 00:16:17.490 --> 00:16:20.090 undeniable talent paving the way. Having built 00:16:20.090 --> 00:16:22.149 such a strong stage presence, it feels almost 00:16:22.149 --> 00:16:24.870 inevitable he'd move to screen. First as a British 00:16:24.870 --> 00:16:28.730 spy, later that... iconic American lawman. How 00:16:28.730 --> 00:16:31.429 did the TV career start? It started with a pretty 00:16:31.429 --> 00:16:34.509 big splash, especially for UK audiences. His 00:16:34.509 --> 00:16:37.429 most recognized early TV role was definitely 00:16:37.429 --> 00:16:41.110 MI5 officer Danny Hunter in Spooks. Ah, Spooks. 00:16:41.190 --> 00:16:44.370 Or MI5 in North America. Great show. Fantastic 00:16:44.370 --> 00:16:47.389 show. He was a key part of it from 2002 to 2004, 00:16:47.490 --> 00:16:50.070 those really strong early seasons. It was huge 00:16:50.070 --> 00:16:54.350 in the UK. Tense, smart, really popular spy stuff. 00:16:54.450 --> 00:16:58.009 He was great in that. Intense, but vulnerable. 00:16:58.370 --> 00:17:00.710 Exactly. It gave him major exposure and showed 00:17:00.710 --> 00:17:03.149 he could handle contemporary high -stakes drama 00:17:03.149 --> 00:17:06.269 with real nuance. He'd done bits before that, 00:17:06.410 --> 00:17:08.250 of course, Maisie Raine, Brothers and Sisters 00:17:08.250 --> 00:17:10.509 back in 98, showing he was already looking at 00:17:10.509 --> 00:17:13.369 screen work. And from Spooks. He really started 00:17:13.369 --> 00:17:15.349 showing his range, didn't he? Yeah. Popping up 00:17:15.349 --> 00:17:17.269 in all sorts of things. He did. He moved fluidly 00:17:17.269 --> 00:17:19.269 between genres. Appeared in the, as time goes 00:17:19.269 --> 00:17:21.849 by, Christmas specials in 2005, about as far 00:17:21.849 --> 00:17:23.650 from Spooks as you can get. Chuckle's right. 00:17:23.950 --> 00:17:26.970 Had a cameo in Mayo in 2006. And what's quite 00:17:26.970 --> 00:17:29.210 interesting is that recurring pairing with Nikki 00:17:29.210 --> 00:17:31.210 Amookabird. Oh yeah, they played couples or partners 00:17:31.210 --> 00:17:33.769 quite often. Several times. In Born Equal, Shoot 00:17:33.769 --> 00:17:36.049 the Messenger, both in 2006 and then later in 00:17:36.049 --> 00:17:38.990 the No. 1 Ladies Detected Agency in 2008. They 00:17:38.990 --> 00:17:41.740 had great chemistry. Clearly. Directors obviously 00:17:41.740 --> 00:17:44.400 saw it and used it. It let them explore different 00:17:44.400 --> 00:17:46.660 relationship dynamics across different dramas, 00:17:47.279 --> 00:17:49.619 showcasing his versatility again. You did other 00:17:49.619 --> 00:17:52.130 acclaimed British stuff too, right? Oh, yes. 00:17:52.490 --> 00:17:55.210 Main roles in things like Five Days in 2007. 00:17:55.589 --> 00:17:57.650 That was a really gripping mini -series about 00:17:57.650 --> 00:18:00.609 a missing person case. I remember that. And The 00:18:00.609 --> 00:18:03.630 Passion in 2008, where he played Joseph of Aramaseya. 00:18:04.029 --> 00:18:07.349 So again, contemporary, historical. He could 00:18:07.349 --> 00:18:09.789 bring depth and authenticity to both. Really 00:18:09.789 --> 00:18:13.369 built his reputation as a reliable, compelling 00:18:13.369 --> 00:18:15.690 screen actor. And then he moved into adapting 00:18:15.690 --> 00:18:19.150 major novels and hitting HBO. Big steps. Definitely 00:18:19.150 --> 00:18:21.750 big steps. He played Gilbert. in the BBC adaptation 00:18:21.750 --> 00:18:25.009 of Andrea Livi's Small Island in 2009 fantastic 00:18:25.009 --> 00:18:27.509 book, Powerful Adaptation. Really important story. 00:18:27.769 --> 00:18:30.130 Absolutely. Then Bled and Oil for the BBC in 00:18:30.130 --> 00:18:33.150 2010. But a huge turning point, especially for 00:18:33.150 --> 00:18:35.730 US recognition, was the HBO film Nightingale 00:18:35.730 --> 00:18:38.710 in 2014. Ah, Nightingale. What made that one 00:18:38.710 --> 00:18:41.250 so special? Got a lot of attention. It was extraordinary, 00:18:41.309 --> 00:18:43.130 almost like film theater. It's basically a one 00:18:43.130 --> 00:18:45.690 -man show. Oil will carry the entire film pretty 00:18:45.690 --> 00:18:48.559 much alone on screen. Wow. That takes serious 00:18:48.559 --> 00:18:51.099 skill. Immense skill. He plays a man descending 00:18:51.099 --> 00:18:55.269 into delusion. It's raw, powerful, psychologically 00:18:55.269 --> 00:18:57.670 intense. He got loads of award nominations for 00:18:57.670 --> 00:19:00.230 it. I can imagine. To hold the screen entirely 00:19:00.230 --> 00:19:03.329 by yourself, convey that level of emotional complexity 00:19:03.329 --> 00:19:06.690 and isolation. Yeah. It's a tour de force. It 00:19:06.690 --> 00:19:08.990 proved he could anchor a whole narrative single 00:19:08.990 --> 00:19:11.710 -handedly, captivatingly, really cemented him 00:19:11.710 --> 00:19:14.250 as a major dramatic force. Which brings us right 00:19:14.250 --> 00:19:16.829 up to his more recent, really high -profile series 00:19:16.829 --> 00:19:19.170 work. Many listeners will know his voice from 00:19:19.170 --> 00:19:22.369 Silo on Apple TV Plus, Holstenbecker. Great character, 00:19:22.609 --> 00:19:24.690 great show. His voice work is fantastic there. 00:19:24.769 --> 00:19:27.309 But the big one, the one making huge waves, is 00:19:27.309 --> 00:19:30.730 Lawman. Bass Reeves on Paramount plus Tremis, 00:19:31.009 --> 00:19:33.809 he stars and co -produces. This feels like more 00:19:33.809 --> 00:19:35.750 than just a role for him. Oh, Bass Reeves is 00:19:35.750 --> 00:19:37.990 incredibly significant on multiple levels. It's 00:19:37.990 --> 00:19:40.990 compelling drama, yes, but it's also vital historical 00:19:40.990 --> 00:19:43.049 storytelling. Tell us about Bass Reeves himself. 00:19:43.329 --> 00:19:46.450 He was a real person. Born into slavery, but 00:19:46.450 --> 00:19:48.910 after the Civil War, he became one of the very 00:19:48.910 --> 00:19:52.329 first Black deputy U .S. Marshals, and crucially, 00:19:52.730 --> 00:19:55.269 the first Black deputy marshal west of Mississippi. 00:19:55.789 --> 00:19:58.789 An amazing, largely forgotten figure in American 00:19:58.789 --> 00:20:02.119 history. Wow. or Yellow Woe championed this? 00:20:02.480 --> 00:20:05.480 Massively. His involvement as co -producer shows 00:20:05.480 --> 00:20:08.140 his deep commitment to bringing these essential, 00:20:08.420 --> 00:20:10.839 often overlooked historical narratives to light. 00:20:11.319 --> 00:20:13.460 It was a passion project he pursued for years. 00:20:13.500 --> 00:20:16.579 And his performance? It's fantastic, richly nuanced, 00:20:17.240 --> 00:20:19.960 captures Reeve's strength, his integrity, the 00:20:19.960 --> 00:20:22.599 incredible challenges he must have faced. It's 00:20:22.599 --> 00:20:24.279 no wonder he got the Golden Globe nomination 00:20:24.279 --> 00:20:27.019 for it this year. Right. Best actor in a miniseries. 00:20:27.180 --> 00:20:29.480 Well -deserved. Absolutely. And looking ahead, 00:20:29.740 --> 00:20:32.059 he's got government cheese coming up on Apple, 00:20:32.279 --> 00:20:34.259 playing Hampton Chambers, and he's executive 00:20:34.259 --> 00:20:35.839 producing that, too. So he's really stepping 00:20:35.839 --> 00:20:37.940 up behind the camera as well. Clearly. He's becoming 00:20:37.940 --> 00:20:40.500 a real creative force, shaping the projects from 00:20:40.500 --> 00:20:42.940 the ground up. It's incredible how he navigates 00:20:42.940 --> 00:20:45.920 between British and American work. And across 00:20:45.920 --> 00:20:48.720 all these genres, spy thrillers, period dramas, 00:20:49.440 --> 00:20:51.759 historical Westerns. Yeah. What does that say 00:20:51.759 --> 00:20:54.400 about his versatility? It speaks to that cultural 00:20:54.400 --> 00:20:56.700 fluidity we talked about, definitely, but also 00:20:56.700 --> 00:21:00.039 this boundless artistic curiosity, maybe, and 00:21:00.039 --> 00:21:03.480 a lack of ego about the type of role. Lots of 00:21:03.480 --> 00:21:05.500 actors find it hard to bridge that Atlantic gap 00:21:05.500 --> 00:21:07.799 convincingly, let alone jump between eras and 00:21:07.799 --> 00:21:10.579 genres so seamlessly. True. Oyelo's background 00:21:10.579 --> 00:21:14.079 UK, Nigeria, gives him this innate grasp of different 00:21:14.079 --> 00:21:17.400 cadences, cultural nuances. He can tap into a 00:21:17.400 --> 00:21:20.079 British spy, an American lawman, an African immigrant. 00:21:20.099 --> 00:21:22.500 With authenticity. Completely. His craft is so... 00:21:22.380 --> 00:21:24.359 finely tuned, it just transcends those boundaries, 00:21:24.440 --> 00:21:27.059 he's not easily typecast. He's a true chameleon, 00:21:27.359 --> 00:21:30.099 adapting his whole persona, voice, body, emotion 00:21:30.099 --> 00:21:32.019 to whatever the story demands. Makes him one 00:21:32.019 --> 00:21:33.680 of the most versatile actors out there today. 00:21:33.980 --> 00:21:35.680 Let's shift gears slightly and talk about a whole 00:21:35.680 --> 00:21:37.839 other side of his artistry, where you don't even 00:21:37.839 --> 00:21:40.359 see him, but his presence is undeniable. The 00:21:40.359 --> 00:21:43.500 invisible artistry. David Oyelow's voice acting. 00:21:43.720 --> 00:21:46.380 Oh yes, a fascinating part of his work. He's 00:21:46.380 --> 00:21:48.500 brought historical figures to life just through 00:21:48.500 --> 00:21:52.269 audio, like Olata Equiano in Grace Unshackle, 00:21:52.349 --> 00:21:54.990 the Olata Equiano story. That was a radio play 00:21:54.990 --> 00:21:57.329 based on Equiano's autobiography. That's right. 00:21:57.430 --> 00:22:00.190 A really important historical text, Equiano's 00:22:00.190 --> 00:22:03.130 story. And voice acting demands such a specific 00:22:03.130 --> 00:22:05.069 skill set, doesn't it? Totally different. You 00:22:05.069 --> 00:22:07.750 have to convey everything, emotion, character, 00:22:08.029 --> 00:22:10.789 narrative, just with your voice. No visual aids. 00:22:11.269 --> 00:22:13.170 For someone like Equiano, you need to capture 00:22:13.170 --> 00:22:17.190 his voice, his pain, his resilience. Joe. transport 00:22:17.190 --> 00:22:20.509 the listener purely through sound. And his wife, 00:22:20.750 --> 00:22:23.369 Jessica, was in that too, playing Mrs. Iquiano. 00:22:23.710 --> 00:22:25.730 Yes, that family collaboration again, a lovely 00:22:25.730 --> 00:22:28.069 touch, especially for such a significant story. 00:22:28.549 --> 00:22:30.829 It's pure acting, really, relying solely on the 00:22:30.829 --> 00:22:33.029 vocal instrument to create that vivid mental 00:22:33.029 --> 00:22:35.789 picture. And his talent extends big time into 00:22:35.789 --> 00:22:38.109 audiobooks. He narrated John Le Carie's The Mission 00:22:38.109 --> 00:22:41.589 Song back in 2007, and the praise was just... 00:22:41.450 --> 00:22:43.789 Off the chart. Oh, the Audiophile magazine review. 00:22:43.950 --> 00:22:45.849 It's famous among audiobook fans. Tell us about 00:22:45.849 --> 00:22:47.930 it. It was pretty poetic, wasn't it? It really 00:22:47.930 --> 00:22:49.890 was. They said, and I'm paraphrasing slightly, 00:22:50.509 --> 00:22:53.190 think of David Oiloa as a single musician playing 00:22:53.190 --> 00:22:55.789 all the instruments in a symphony. Wow. That 00:22:55.789 --> 00:22:58.880 is essentially what he manages. Can it really 00:22:58.880 --> 00:23:01.119 have been only one man in the narrator's recording 00:23:01.119 --> 00:23:03.960 booth? This virtuoso performance makes that seem 00:23:03.960 --> 00:23:06.640 impossible. That's incredible praise. Really 00:23:06.640 --> 00:23:08.819 captures the artistry involved. It absolutely 00:23:08.819 --> 00:23:11.140 does. It's far more than just reading. It's performing 00:23:11.140 --> 00:23:14.200 every character distinctly, setting tone, managing 00:23:14.200 --> 00:23:17.799 pace, conveying subtle emotion. It's an amazing 00:23:17.799 --> 00:23:22.960 skill. And then a huge moment in 2015. He voiced 00:23:22.960 --> 00:23:26.400 James Bond. Yes. In the audiobook of Trigger 00:23:26.400 --> 00:23:29.380 Mortis by Anthony Horowitz, a truly groundbreaking, 00:23:29.579 --> 00:23:31.640 culturally significant move. The first black 00:23:31.640 --> 00:23:34.119 actor to officially voice Bond. The very first. 00:23:34.259 --> 00:23:36.019 Think about the cultural weight of that character, 00:23:36.200 --> 00:23:39.339 the fan expectations. It was a bold choice, widely 00:23:39.339 --> 00:23:41.900 celebrated, and really redefined possibilities 00:23:41.900 --> 00:23:44.119 for Bond in the audio world. Another barrier 00:23:44.119 --> 00:23:46.720 broken, in a way. And he's done animation, too, 00:23:46.859 --> 00:23:48.660 reaching different audiences, aging Callus in 00:23:48.660 --> 00:23:52.579 Star Wars Rebels. Yep. From 2014 to 2018, Imperial 00:23:52.579 --> 00:23:55.920 Security Bureau Agent Alexander Callis, a really 00:23:55.920 --> 00:23:57.900 complex character, actually, who evolves a lot, 00:23:57.940 --> 00:24:00.019 became a fan favorite. Interesting. And he voiced 00:24:00.019 --> 00:24:02.740 a classic Disney villain, too. He did. Scar. 00:24:03.220 --> 00:24:05.259 In season two of The Lion Guard, which connects 00:24:05.259 --> 00:24:08.319 to The Lion King, he put his own menacing spin 00:24:08.319 --> 00:24:10.940 on a very famous character. And something completely 00:24:10.940 --> 00:24:13.119 different, the tiger in The Tiger Who Came to 00:24:13.119 --> 00:24:15.759 Tea. Chuckles. Yes, the Channel 4 adaptation 00:24:15.759 --> 00:24:19.279 in 2019. Charming. So from a shifting Star Wars 00:24:19.279 --> 00:24:22.799 baddie, to an iconic Disney villain, to a gentle 00:24:22.799 --> 00:24:27.140 children's book character, the range in his voice 00:24:27.140 --> 00:24:29.920 work alone is staggering. It really is. It shows 00:24:29.920 --> 00:24:32.839 how adaptable his vocal instrument is, inflection, 00:24:33.140 --> 00:24:34.519 characterization for totally different roles, 00:24:34.819 --> 00:24:37.039 genres, age groups. He creates these distinct, 00:24:37.380 --> 00:24:39.619 instantly recognizable personalities just with 00:24:39.619 --> 00:24:42.940 sound. Even when unseen, his voice performance 00:24:42.940 --> 00:24:44.920 creates these vivid characters that audiences 00:24:44.920 --> 00:24:46.680 connect with, whether they're kids or dedicated 00:24:46.680 --> 00:24:48.720 sci -fi fans, really shows another dimension 00:24:48.720 --> 00:24:51.140 of his talent. It's fascinating, isn't it? Bringing 00:24:51.140 --> 00:24:54.420 so much depth just with voice. What does this 00:24:54.420 --> 00:24:57.799 invisible artistry really tell us about his talent, 00:24:58.180 --> 00:25:00.200 maybe in a way his live action work doesn't? 00:25:00.380 --> 00:25:02.900 Well, it highlights that pure character embodiment, 00:25:03.160 --> 00:25:05.720 stripped bare of visuals. It relies entirely 00:25:05.720 --> 00:25:09.700 on vocal nuance, pitch, Timbre, rhythm, accent, 00:25:09.900 --> 00:25:12.660 and this imaginative leap to fully inhabit someone 00:25:12.660 --> 00:25:16.099 using only sound. It shows Oyelo's incredible 00:25:16.099 --> 00:25:18.900 ability to create a world, a persona, through 00:25:18.900 --> 00:25:21.500 sound alone. In live action, the visuals do a 00:25:21.500 --> 00:25:23.900 lot of work. In voice acting, it's all in the 00:25:23.900 --> 00:25:26.079 breath, the timing, the articulation. A different 00:25:26.079 --> 00:25:28.619 kind of exposure of skill. Exactly. It proves 00:25:28.619 --> 00:25:30.500 his performance isn't just about his physical 00:25:30.500 --> 00:25:33.079 presence, but this intrinsic ability to craft 00:25:33.079 --> 00:25:35.579 compelling, vivid personalities that resonate 00:25:35.579 --> 00:25:38.180 right in your imagination. It shows his skill 00:25:38.180 --> 00:25:41.079 as a storyteller in its most kind of unadorned 00:25:41.079 --> 00:25:43.140 form. Okay, let's move into the heart of global 00:25:43.140 --> 00:25:45.660 cinema and his growing influence behind the scenes. 00:25:45.859 --> 00:25:48.559 Hollywood and beyond. David O 'Yello's film career 00:25:48.559 --> 00:25:51.380 and production ventures. He started making waves 00:25:51.380 --> 00:25:53.759 pretty quickly with strong supporting roles in 00:25:53.759 --> 00:25:56.019 big studio films. Yeah, getting that wider exposure. 00:25:56.440 --> 00:25:58.039 We saw him in Rise of the Planet of the Apes 00:25:58.039 --> 00:26:01.220 in 2011. As Steven Jacobs, yeah. The Help, the 00:26:01.220 --> 00:26:03.240 same year, playing Preacher Green. A memorable 00:26:03.240 --> 00:26:07.769 part. Lincoln in 2012. as Ira Clark, Red Tails 00:26:07.769 --> 00:26:10.549 playing Lightning Little, and Jack Reacher, too, 00:26:10.890 --> 00:26:13.950 as Emerson. Quite a run of big films. It was. 00:26:14.250 --> 00:26:16.829 And these were roles in major productions, putting 00:26:16.829 --> 00:26:19.470 him alongside A -listers, working with top directors. 00:26:19.890 --> 00:26:22.509 What's key there is how compelling he was, even 00:26:22.509 --> 00:26:24.529 in supporting roles. He always makes an impression. 00:26:24.950 --> 00:26:27.769 Always brings gravitas, depth, even with limited 00:26:27.769 --> 00:26:30.650 screen time. Whether it's a military guy, a preacher, 00:26:31.130 --> 00:26:35.019 a detective, he stands out. That phase was crucial 00:26:35.019 --> 00:26:37.059 for building his filmography, approving he was 00:26:37.059 --> 00:26:40.259 reliable, impactful, could elevate any project. 00:26:40.640 --> 00:26:42.460 Earned trust. And there's that great story about 00:26:42.460 --> 00:26:44.880 middle of nowhere in 2012, how he got that script. 00:26:44.960 --> 00:26:47.700 Pure chance, right? Oh, the plane story. It's 00:26:47.700 --> 00:26:49.660 classic Hollywood serendipity. I'll do it again. 00:26:49.900 --> 00:26:52.740 Apparently, he was on a flight, and the person 00:26:52.740 --> 00:26:54.980 next to him just happened to be a friend of the 00:26:54.980 --> 00:26:58.130 director, Ava DuVernay. No way. Yeah. And somehow 00:26:58.130 --> 00:27:00.009 the script got passed to him right there on the 00:27:00.009 --> 00:27:02.410 plane. Talk about being in the right place at 00:27:02.410 --> 00:27:04.750 the right time. Amazing. And the film did well. 00:27:04.970 --> 00:27:07.799 It did very well critically. premiered at Sundance 00:27:07.799 --> 00:27:10.559 to great acclaim. It's a powerful indie drama 00:27:10.559 --> 00:27:12.819 about a woman whose husband is incarcerated. 00:27:13.400 --> 00:27:15.559 His role showed he could shine in character -driven 00:27:15.559 --> 00:27:19.420 pieces, too, and crucially. It started his collaboration 00:27:19.420 --> 00:27:22.720 with Ava DuVernay. Exactly. That chance meeting 00:27:22.720 --> 00:27:25.960 kicked off a really pivotal, creatively brilliant 00:27:25.960 --> 00:27:28.160 partnership. He also worked with Lee Daniels 00:27:28.160 --> 00:27:30.460 again around that time. Yes, he reunited with 00:27:30.460 --> 00:27:32.940 Lee Daniels, first for The Paperboy in 2012. 00:27:33.000 --> 00:27:34.779 That was pretty gritty, right? Went to Cannes. 00:27:34.880 --> 00:27:38.059 It was. Intense, stylistically bold, competed 00:27:38.059 --> 00:27:40.660 for the Palme d 'Or, which is huge. Then they 00:27:40.660 --> 00:27:42.200 worked together again straight away on The Butler 00:27:42.200 --> 00:27:46.500 in 2013. Ah, The Butler. Big ensemble cast, historical 00:27:46.500 --> 00:27:49.599 sweep. Huge film. Emotionally charged, resonated 00:27:49.599 --> 00:27:52.299 widely, explored generations of African American 00:27:52.299 --> 00:27:55.519 history. Oyelowo played Louis Gaines, the politically 00:27:55.519 --> 00:27:58.500 active son. A central role. Absolutely central 00:27:58.500 --> 00:28:02.380 to its emotional core. Earned him an NAACP Image 00:28:02.380 --> 00:28:05.220 Award nomination. Working with Daniels twice 00:28:05.220 --> 00:28:08.259 like that showed real trust, creative synergy, 00:28:08.559 --> 00:28:10.779 bolstered his standing significantly. But the 00:28:10.779 --> 00:28:12.660 landmark collaboration, the one that took his 00:28:12.660 --> 00:28:15.279 film career to another level, has to be Selma 00:28:15.279 --> 00:28:18.779 in 2014, with Ava DuVernay directing. Selma. 00:28:18.940 --> 00:28:20.980 Portraying Martin Luther King Jr., arguably his 00:28:20.980 --> 00:28:23.140 most iconic Selm role. Without a doubt. Selma 00:28:23.140 --> 00:28:25.640 was more than a film. It felt like a cultural 00:28:25.640 --> 00:28:27.819 event. Came out during renewed conversations 00:28:27.819 --> 00:28:30.339 about civil rights, racial justice. And playing 00:28:30.339 --> 00:28:33.039 Dr. King. The pressure must have been immense. 00:28:33.400 --> 00:28:35.299 Unimaginable. It's not just about resemblance. 00:28:35.440 --> 00:28:39.160 It's embodying his spirit, his oratory, his moral 00:28:39.160 --> 00:28:42.140 authority, the sheer weight he carried. Oyelalo's 00:28:42.140 --> 00:28:44.660 portrayal was just masterful, universally hailed. 00:28:45.000 --> 00:28:47.619 He captured King's humanity, his struggles, his 00:28:47.619 --> 00:28:50.480 power. Astonishingly authentic. And the backstory 00:28:50.480 --> 00:28:52.000 there is interesting too. It wasn't always going 00:28:52.000 --> 00:28:53.940 to be Duvernay directing. Right. Lee Daniels 00:28:53.940 --> 00:28:55.700 was originally attached, but he moved on to the 00:28:55.700 --> 00:28:58.039 butler. It eventually landed with Duvernay and 00:28:58.039 --> 00:29:00.339 Oyelalo, and that pairing just proved creatively 00:29:00.339 --> 00:29:03.180 electric. profoundly impactful. Such a shame 00:29:03.180 --> 00:29:05.779 that other project they planned, Americana, didn't 00:29:05.779 --> 00:29:08.960 happen. Yeah, the adaptation of Chimamanda Ngozi 00:29:08.960 --> 00:29:11.960 Adichie's novel, with Lupita Nyungo too, highly 00:29:11.960 --> 00:29:14.660 anticipated. Scheduling conflicts, apparently 00:29:14.660 --> 00:29:17.759 a real shame. Shows even promising projects face 00:29:17.759 --> 00:29:20.859 hurdles. But 2014, the year Selma came out, was 00:29:20.859 --> 00:29:23.420 also when he took a huge step towards controlling 00:29:23.420 --> 00:29:26.920 his own narrative. Yoruba Saxon productions. 00:29:27.200 --> 00:29:29.700 Yes. Founding his own independent production 00:29:29.700 --> 00:29:32.500 company, that's a pivotal moment. A clear signal 00:29:32.500 --> 00:29:35.299 of ambition beyond just acting. Absolutely. It 00:29:35.299 --> 00:29:37.799 marks that shift from interpreter to initiator. 00:29:37.960 --> 00:29:40.779 He wants to actively shape the projects, especially 00:29:40.779 --> 00:29:42.799 stories that might struggle to get made otherwise. 00:29:42.880 --> 00:29:44.819 Like a United Kingdom. His company co -produced 00:29:44.819 --> 00:29:47.700 that, right? Yes. Yoruba Saxon co -produced Nightingale, 00:29:47.920 --> 00:29:50.700 Captive, Five Nights in Maine, and significantly 00:29:50.700 --> 00:29:53.799 a United Kingdom in 2016. He starred in that, 00:29:54.079 --> 00:29:56.119 too, as Soretzi Kama. The first president of 00:29:56.119 --> 00:29:58.809 Botswana. and his marriage to Ruth Williams. 00:29:59.430 --> 00:30:02.450 Exactly. A powerful true story about interracial 00:30:02.450 --> 00:30:05.670 marriage, political struggle. Oyelowo really 00:30:05.670 --> 00:30:07.430 championed that film. This move into production 00:30:07.430 --> 00:30:11.089 shows that expansive vision, empowering himself 00:30:11.089 --> 00:30:13.430 to be an architect of storytelling, championing 00:30:13.430 --> 00:30:15.569 diverse voices. And his film career just keeps 00:30:15.569 --> 00:30:18.609 going strong. Recent stuff includes big projects, 00:30:18.730 --> 00:30:21.190 personal ones. He was with George Clooney in 00:30:21.190 --> 00:30:23.589 The Midnight Sky on Netflix. DeFi, yeah, 2020. 00:30:23.829 --> 00:30:27.130 Did voice work for Peter Rabbit 2 in 2021? appeared 00:30:27.130 --> 00:30:29.809 in that fun mystery. See how they run in 2022. 00:30:30.250 --> 00:30:32.630 Keeping busy. And then a massive development 00:30:32.630 --> 00:30:35.789 for Yoruba Saxon, a first look deal with Disney 00:30:35.789 --> 00:30:39.190 in 2021. Huge. That's a major vote of confidence 00:30:39.190 --> 00:30:40.910 from one of the biggest studios in the world. 00:30:41.109 --> 00:30:43.390 What does a deal like that mean? It means direct 00:30:43.390 --> 00:30:46.410 access to Disney's resources, their distribution 00:30:46.410 --> 00:30:49.130 network, global reach. It's a game changer for 00:30:49.130 --> 00:30:50.910 an independent company. And the first film from 00:30:50.910 --> 00:30:53.750 that deal sounds amazing. The Return of the Rocketeer. 00:30:53.880 --> 00:30:56.700 Yeah, a Disney Plus sequel. He's producing with 00:30:56.700 --> 00:30:58.940 his wife, Jessica, and Brigham Taylor. And what's 00:30:58.940 --> 00:31:01.059 really exciting is that he might star too. Playing 00:31:01.059 --> 00:31:03.960 who? The potential role is a retired Tuskegee 00:31:03.960 --> 00:31:07.220 Airman who takes up the rocketeer mantle. Wow. 00:31:07.619 --> 00:31:09.920 Taking a beloved franchise and giving it this 00:31:09.920 --> 00:31:13.140 fresh, historically resonant amble. Exactly. 00:31:13.200 --> 00:31:17.000 It's about building that legacy of diverse. empowering 00:31:17.000 --> 00:31:19.720 stories, reflecting a broader range of experiences 00:31:19.720 --> 00:31:22.720 within established worlds. That sounds incredible. 00:31:22.839 --> 00:31:24.480 And he's still acting in other things, too. John 00:31:24.480 --> 00:31:26.940 the Baptist and the Book of Clarence. Day 23. 00:31:27.039 --> 00:31:28.900 Yeah. After that short film that got an Oscar 00:31:28.900 --> 00:31:30.980 nomination. Right. Best live action short film 00:31:30.980 --> 00:31:34.460 nom at the 2024 Oscars shows commitment to quality 00:31:34.460 --> 00:31:36.700 storytelling in all formats. And role play in 00:31:36.700 --> 00:31:40.079 2024. He keeps delivering. Prolific is the word. 00:31:40.279 --> 00:31:42.640 His recent work blends commercial appeal with 00:31:42.640 --> 00:31:45.680 real artistic integrity. He's not slowing down, 00:31:45.740 --> 00:31:48.380 always seeking challenges, whether it's biblical 00:31:48.380 --> 00:31:51.359 figures or acclaimed short films. It's a career 00:31:51.359 --> 00:31:53.700 that's both strategic and artistically driven. 00:31:53.799 --> 00:31:56.160 He's going to be relevant for a long time. So 00:31:56.160 --> 00:31:58.960 thinking about this evolution, how does having 00:31:58.960 --> 00:32:01.180 his own production company, being a producer, 00:32:01.920 --> 00:32:04.200 really empower him to shape the narratives he 00:32:04.200 --> 00:32:06.299 cares about rather than just waiting for parts? 00:32:06.490 --> 00:32:08.589 It's the ultimate creative agency, isn't it? 00:32:08.769 --> 00:32:11.089 Self -determination. As an actor, you're often 00:32:11.089 --> 00:32:13.349 reacting, waiting for scripts, fitting into someone 00:32:13.349 --> 00:32:15.589 else's vision. As a producer, especially with 00:32:15.589 --> 00:32:17.950 his own company and a Disney deal, he becomes 00:32:17.950 --> 00:32:20.650 a progenitor of stories, not just an interpreter. 00:32:20.789 --> 00:32:22.730 He gets to choose the stories. Actively seek 00:32:22.730 --> 00:32:25.769 them out. Champion untold stories, underrepresented 00:32:25.769 --> 00:32:28.269 voices. Make sure the narratives he believes 00:32:28.269 --> 00:32:31.210 in get made and made with authenticity, depth, 00:32:31.750 --> 00:32:34.900 impact. He can identify gaps. Develop projects 00:32:34.900 --> 00:32:37.059 from scratch, ensure inclusion on both sides 00:32:37.059 --> 00:32:39.559 of the camera. Give some control. Unparalleled 00:32:39.559 --> 00:32:42.700 control over his creative output. Prioritizing 00:32:42.700 --> 00:32:45.500 projects that align with his values, his interests. 00:32:46.019 --> 00:32:48.160 It allows him to leave a much more significant 00:32:48.160 --> 00:32:51.339 personal mark. He becomes a true cultural architect. 00:32:51.660 --> 00:32:53.579 And it's clear his work resonates not just with 00:32:53.579 --> 00:32:56.140 audiences, but within the industry. Which brings 00:32:56.140 --> 00:32:59.940 us to a shelf full of honors. David Oyelowo's 00:32:59.940 --> 00:33:02.160 awards and accolades. He certainly got quite 00:33:02.160 --> 00:33:04.759 the collection. The overview is impressive. A 00:33:04.759 --> 00:33:08.380 Critics' Choice Award, two NAACP Image Awards, 00:33:08.740 --> 00:33:11.220 nominations for three Golden Globes, two Emmys, 00:33:11.539 --> 00:33:15.140 a SAG Award, a BAFTA. That's a serious list spanning 00:33:15.140 --> 00:33:18.259 British and American awards, TV and film. And 00:33:18.259 --> 00:33:21.180 then adding that Royal Seal of Approval appointed 00:33:21.180 --> 00:33:23.019 an Officer of the Order of the British Empire 00:33:23.019 --> 00:33:27.470 and OBE in 2016 for services to drama. Yes, the 00:33:27.470 --> 00:33:30.849 OBE is huge, a national honor from the UK, recognizing 00:33:30.849 --> 00:33:33.730 outstanding achievement or service. It shows 00:33:33.730 --> 00:33:35.930 his cultural impact being formally acknowledged 00:33:35.930 --> 00:33:37.890 at the highest level in Britain. It's a testament 00:33:37.890 --> 00:33:40.170 to his contribution. Going back to Selma, that 00:33:40.170 --> 00:33:43.789 iconic role. He won the NAACP Image Award for 00:33:43.789 --> 00:33:46.710 Outstanding Actor in a Motion Picture. That must 00:33:46.710 --> 00:33:48.950 have been particularly meaningful. Immensely 00:33:48.950 --> 00:33:52.289 so. Coming from the NAACP, an organization focused 00:33:52.289 --> 00:33:54.349 on celebrating achievements of people of color 00:33:54.349 --> 00:33:56.990 for that role. It acknowledges both the artistry 00:33:56.990 --> 00:33:59.690 and the cultural significance. Hugely important 00:33:59.690 --> 00:34:01.910 win. And he got Golden Globes and Critics Choice 00:34:01.910 --> 00:34:04.390 nominations for it too. Right. Widespread critical 00:34:04.390 --> 00:34:06.789 consensus. His performance as Dr. King wasn't 00:34:06.789 --> 00:34:09.030 just good. It was exceptional, transformative. 00:34:09.570 --> 00:34:12.449 He embodied King's spirit, struggle, legacy. 00:34:12.849 --> 00:34:15.530 Those nominations cemented him as a leading dramatic 00:34:15.530 --> 00:34:18.400 actor. But here's the amazing thing. Selma wasn't 00:34:18.400 --> 00:34:21.590 his only big awards contender that year. Nightingale, 00:34:21.730 --> 00:34:24.150 the HBO film. The one man show, yeah. That also 00:34:24.150 --> 00:34:26.690 brought major accolades. He won the Critics' 00:34:26.809 --> 00:34:29.190 Choice Television Award for Best Actor in a Movie 00:34:29.190 --> 00:34:32.030 Miniseries for it. Incredible. And the nominations 00:34:32.030 --> 00:34:34.309 just piled up for Nightingale. That's true. A 00:34:34.309 --> 00:34:37.309 Primetime Emmy nom, Golden Globe nom, another 00:34:37.309 --> 00:34:41.489 NAACP Image Award nom, Satellite Award nom, all 00:34:41.489 --> 00:34:44.150 for that one performance. The sheer volume of 00:34:44.150 --> 00:34:46.130 recognition for Nightingale in the same year 00:34:46.130 --> 00:34:48.909 as Selma is just astonishing. It highlights his 00:34:48.909 --> 00:34:51.730 incredible range. Two totally different roles, 00:34:51.989 --> 00:34:55.150 different platform. Exactly. One, a huge historical 00:34:55.150 --> 00:34:57.909 epic. The other, this intimate. claustrophobic, 00:34:57.909 --> 00:35:00.170 psychological piece. To get top level recognition 00:35:00.170 --> 00:35:03.070 for both simultaneously, that's rare. It proved 00:35:03.070 --> 00:35:05.130 his brilliance wasn't just in grand portrayals, 00:35:05.150 --> 00:35:08.110 but also in these deeply nuanced, intense character 00:35:08.110 --> 00:35:10.550 studies where he carried everything, solidified 00:35:10.550 --> 00:35:13.590 him as consistently brilliant, versatile. And 00:35:13.590 --> 00:35:15.530 that recognition continues right up to now, his 00:35:15.530 --> 00:35:17.989 performance in Lawman. Bass Reaves got him another 00:35:17.989 --> 00:35:20.190 Golden Globe nomination just this year, 2024. 00:35:20.489 --> 00:35:22.349 Keeping that trajectory going. And we shouldn't 00:35:22.349 --> 00:35:25.409 forget that foundational award. The 2001 Ian 00:35:25.409 --> 00:35:28.250 Charlson Award for Henry VI, way back at the 00:35:28.250 --> 00:35:30.889 start. Plus things like a Royal Television Society 00:35:30.889 --> 00:35:33.789 Award, another satellite award earlier on. What's 00:35:33.789 --> 00:35:36.150 really striking is the consistency right from 00:35:36.150 --> 00:35:38.150 the beginning with the Ian Charlson celebrating 00:35:38.150 --> 00:35:40.969 that pioneering classical work through to Bas 00:35:40.969 --> 00:35:44.590 Reeves now. It's not just isolated peaks, it's 00:35:44.590 --> 00:35:48.760 sustained excellence across decades, mediums, 00:35:48.980 --> 00:35:50.739 genres. Isn't that a flash in the pan? No way. 00:35:51.019 --> 00:35:53.480 It's the mark of an artist who constantly hones 00:35:53.480 --> 00:35:56.099 his craft, takes on new challenges, and delivers 00:35:56.099 --> 00:35:58.679 work that genuinely resonates critically and 00:35:58.679 --> 00:36:01.039 with audiences. That consistent stream of honors 00:36:01.039 --> 00:36:03.900 tells you everything about the quality, the impact, 00:36:03.980 --> 00:36:07.579 the enduring power of his work. So beyond the 00:36:07.579 --> 00:36:09.619 spotlight, the awards, let's touch on the man 00:36:09.619 --> 00:36:12.139 himself. Beyond the limelight, David Oyelowo's 00:36:12.139 --> 00:36:14.820 personal life and values. There's a deep personal 00:36:14.820 --> 00:36:17.369 side that clearly informs his choices. Absolutely. 00:36:17.409 --> 00:36:19.550 Understanding that is key. He's married to actress 00:36:19.550 --> 00:36:22.170 Jessica Oyelowo. They met at LAMDA. Yes, they 00:36:22.170 --> 00:36:24.730 did. Shared foundation right there. Must be invaluable 00:36:24.730 --> 00:36:27.409 in that industry. They have four children and 00:36:27.409 --> 00:36:29.289 they made that big move from Brighton in the 00:36:29.289 --> 00:36:32.869 UK to LA. Reflects the demands of a global career, 00:36:32.889 --> 00:36:35.550 doesn't it? Meeting at drama school means they 00:36:35.550 --> 00:36:38.050 inherently understand the craft, the dedication, 00:36:38.309 --> 00:36:41.670 the lifestyle. Raising four kids while navigating 00:36:41.670 --> 00:36:45.070 that world requires a strong partnership. The 00:36:45.070 --> 00:36:48.110 L .A. move speaks to where the major film opportunities 00:36:48.110 --> 00:36:50.610 often are. And we know he follows a pescetarian 00:36:50.610 --> 00:36:54.369 diet. Right. A small detail, maybe, but it adds 00:36:54.369 --> 00:36:56.630 to the picture of someone thoughtful, making 00:36:56.630 --> 00:36:58.949 conscious choices in his personal life, just 00:36:58.949 --> 00:37:01.489 as he seems to professionally. Paints a picture 00:37:01.489 --> 00:37:03.550 of someone grounded in family and principles. 00:37:03.989 --> 00:37:06.090 And one of those core principles seems to be 00:37:06.090 --> 00:37:08.510 his devout Christian faith. This comes up quite 00:37:08.510 --> 00:37:10.630 often in relation to his work. Yes, he's spoken 00:37:10.630 --> 00:37:12.909 openly about it. Particularly about playing Reverend 00:37:12.909 --> 00:37:16.599 Martin Luther King Jr. He felt God called him 00:37:16.599 --> 00:37:19.360 to that role more than just a job. That's how 00:37:19.360 --> 00:37:22.000 he's described it He said something like I always 00:37:22.000 --> 00:37:24.119 knew that in order to play dr. King I had to 00:37:24.119 --> 00:37:26.400 have God flow through me because when you see 00:37:26.400 --> 00:37:28.619 dr. King giving those speeches you see that he 00:37:28.619 --> 00:37:31.199 is moving in his anointing That's a really powerful 00:37:31.199 --> 00:37:33.639 perspective on acting it is it's not just acknowledging 00:37:33.639 --> 00:37:36.500 faith. It's a deep spiritual conviction guiding 00:37:36.500 --> 00:37:39.420 his artistic process. Portraying King wasn't 00:37:39.420 --> 00:37:42.360 just a professional task for him. It was a sacred 00:37:42.360 --> 00:37:45.679 vocation, a spiritual responsibility. Must have 00:37:45.679 --> 00:37:47.380 infused the performance with something extra. 00:37:47.559 --> 00:37:49.860 You'd imagine so. A unique sense of purpose, 00:37:50.340 --> 00:37:53.510 authenticity, commitment. It suggests acting 00:37:53.510 --> 00:37:55.989 for him isn't just technique, but about channeling 00:37:55.989 --> 00:37:58.769 something greater, especially in roles with such 00:37:58.769 --> 00:38:01.849 immense historical and moral weight. His art 00:38:01.849 --> 00:38:04.590 and spirituality seem deeply intertwined. Adds 00:38:04.590 --> 00:38:06.750 another layer to understanding him, and his personal 00:38:06.750 --> 00:38:08.909 life also shows this real commitment to civic 00:38:08.909 --> 00:38:12.329 duty, the values he portrays. He has dual British 00:38:12.329 --> 00:38:15.289 and Nigerian citizenship. Yes. But then he and 00:38:15.289 --> 00:38:17.590 his wife became naturalized U .S. citizens in 00:38:17.590 --> 00:38:21.090 July 2016, a very deliberate principled move. 00:38:21.670 --> 00:38:24.070 Why did they decide to do that? His reason is 00:38:24.070 --> 00:38:26.230 incredibly powerful and directly linked to his 00:38:26.230 --> 00:38:28.809 work. It really shows that sense of civic responsibility. 00:38:28.969 --> 00:38:30.849 What did he say? He explained it very clearly. 00:38:31.070 --> 00:38:34.190 He said, essentially, I did a film called Selma 00:38:34.190 --> 00:38:36.690 that film centers on voting rights. I've lived 00:38:36.690 --> 00:38:39.880 here nearly 10 years. To be walking around doing 00:38:39.880 --> 00:38:41.760 a film about voting rights and telling people 00:38:41.760 --> 00:38:44.119 to vote and you can't vote yourself is a little 00:38:44.119 --> 00:38:47.480 hypocritical. I decided it's time to do it. Wow. 00:38:48.099 --> 00:38:51.599 Talk about walking the talk. Exactly. A profound 00:38:51.599 --> 00:38:53.880 link between his art and his personal sense of 00:38:53.880 --> 00:38:56.219 duty. It wasn't just about getting citizenship. 00:38:56.599 --> 00:38:59.159 It was about aligning his actions with the fundamental 00:38:59.159 --> 00:39:02.460 values he was promoting on screen. Truly exemplary. 00:39:02.650 --> 00:39:05.050 A remarkable example. And we should also note 00:39:05.050 --> 00:39:08.710 his engagement with wider global issues. In October 00:39:08.710 --> 00:39:11.170 2023, it was reported he expressed solidarity 00:39:11.170 --> 00:39:14.070 with Palestine during the Gaza War. He signed 00:39:14.070 --> 00:39:16.250 a letter, part of a group called Artists for 00:39:16.250 --> 00:39:18.929 Ceasefire, urging President Biden to call for 00:39:18.929 --> 00:39:21.230 an immediate ceasefire. Right. And it's important, 00:39:21.230 --> 00:39:23.510 as we discussed this, to present it as an objective 00:39:23.510 --> 00:39:26.010 report of his actions. It illustrates him using 00:39:26.010 --> 00:39:28.550 his public platform. Leveraging his visibility 00:39:28.550 --> 00:39:31.440 for advocacy. Precisely. It shows his personal 00:39:31.440 --> 00:39:33.699 convictions translating into public action on 00:39:33.699 --> 00:39:36.019 critical global issues. It demonstrates that 00:39:36.019 --> 00:39:38.179 sense of responsibility extending beyond his 00:39:38.179 --> 00:39:41.059 craft. Using his voice for humanitarian concerns, 00:39:41.340 --> 00:39:44.280 advocating for peace. It's part of how many public 00:39:44.280 --> 00:39:46.440 figures choose to engage with the world today. 00:39:47.460 --> 00:39:49.440 Okay, as we wrap up this deep dive, let's just 00:39:49.440 --> 00:39:52.420 take a moment to reflect. The breadth and depth 00:39:52.420 --> 00:39:56.659 of David Oyelowo's career. It's... Truly incredible. 00:39:56.880 --> 00:39:58.719 It really is. He's clearly so much more than 00:39:58.719 --> 00:40:01.559 just an actor. He's a storyteller, a cultural 00:40:01.559 --> 00:40:04.579 trailblazer, a really thoughtful individual whose 00:40:04.579 --> 00:40:07.460 work is just deeply connected to his personal 00:40:07.460 --> 00:40:09.880 values. Absolutely. You trace it from his unique 00:40:09.880 --> 00:40:12.619 roots at Yoruba royalty, the multicultural upbringing, 00:40:12.860 --> 00:40:14.980 fostering adaptability right through to the groundbreaking 00:40:14.980 --> 00:40:18.119 roles on stage, screen, audio. He's consistently 00:40:18.119 --> 00:40:20.530 pushed boundaries. artistically and socially. 00:40:21.050 --> 00:40:23.429 His whole journey just radiates this rare mix 00:40:23.429 --> 00:40:25.969 of huge talent, unwavering dedication and real 00:40:25.969 --> 00:40:28.849 integrity. It lets him bring these complex, often 00:40:28.849 --> 00:40:31.050 vital characters to life with such authenticity 00:40:31.050 --> 00:40:33.570 and power. His career really is a testament to 00:40:33.570 --> 00:40:35.809 an artist who is both incredibly skilled and 00:40:35.809 --> 00:40:38.610 deeply principled. Skilled and principled. That 00:40:38.610 --> 00:40:41.389 sums it up well. And maybe here's a final thought 00:40:41.389 --> 00:40:44.099 for you. our listeners to chew on as we finish 00:40:44.099 --> 00:40:46.820 up. Go for it. In this world we live in, with 00:40:46.820 --> 00:40:49.059 so much information, so many different viewpoints, 00:40:50.019 --> 00:40:52.039 what responsibility does an artist like David 00:40:52.039 --> 00:40:54.760 Oyelowo carry through the deliberate choices 00:40:54.760 --> 00:40:57.420 he makes, the roles he takes, the stories he 00:40:57.420 --> 00:41:00.500 produces, his personal actions? Is it just to 00:41:00.500 --> 00:41:04.260 entertain or also to inform, inspire, maybe even 00:41:04.260 --> 00:41:06.659 challenge how we see things? That's a great question. 00:41:06.739 --> 00:41:09.639 And what kind of legacy does that kind of multifaceted 00:41:09.639 --> 00:41:13.079 approach actually What does it invite us maybe 00:41:13.079 --> 00:41:15.500 to think about regarding our own potential impact? 00:41:15.659 --> 00:41:18.559 Well, it's a legacy that definitely goes beyond 00:41:18.559 --> 00:41:20.800 just entertainment, doesn't it? It's about shaping 00:41:20.800 --> 00:41:23.340 culture, shifting perceptions, building empathy, 00:41:24.079 --> 00:41:26.599 contributing to a more nuanced, compassionate 00:41:26.599 --> 00:41:28.920 understanding of who we are collectively. His 00:41:28.920 --> 00:41:32.219 choices, both on screen and off, feel meticulously 00:41:32.219 --> 00:41:35.260 crafted, but also deeply felt. They invite us 00:41:35.260 --> 00:41:37.820 to really consider the powerful impact art and 00:41:37.820 --> 00:41:41.099 activism can have when they're genuinely intertwined. 00:41:41.500 --> 00:41:43.840 It's a legacy of thoughtful, meaningful engagement 00:41:43.840 --> 00:41:46.710 with the world. through the transformative power 00:41:46.710 --> 00:41:49.230 of story. Beautifully put. Thank you for joining 00:41:49.230 --> 00:41:51.389 us on this deep dive into the truly fascinating 00:41:51.389 --> 00:41:54.070 world of David Oyelowo. We hope you're leaving 00:41:54.070 --> 00:41:56.750 not just better informed, but maybe, like us, 00:41:57.250 --> 00:41:59.550 genuinely inspired by the journey of this extraordinary 00:41:59.550 --> 00:41:59.929 artist.