British - Actor | July 10, 1974 -
I'd never really considered film. If I'd thought about film more growing up, I probably would have changed my name. I had no concept of my name in lights.
Chiwetel Ejiofor
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I wouldn't be the same actor if I couldn't do theater.
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I love the theater community and theater life, and would love to figure out the distinctive differences between Broadway and the West End.
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Sometimes television can just jump from one bit of plot to the next, and the words fill in the in-between.
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It's hard to tell the story if you're not involved yourself, emotionally.
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Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.
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You do as much research as you can for any project.
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I've always been a believer in research. It's great to have an instinctual human reaction to a character, too, of course, but it has to be countered with knowledge and understanding.
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The idea of making a film - a film that I had certainly never seen before - about the slave experience was a huge responsibility. It's a project that requires a wider understanding of the geopolitical nature of the slave trade, of historical and modern-day racism.
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It's hard to maintain a life when you do a play. You feel you have to pretend to go through a normal day, knowing that in the evening you'll be doing this.
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I wanted to be an actor ever since I got on stage for the first time, aged 13. Before that, I thought I might follow in the medical footsteps of my parents: my father was a doctor, my mother a pharmacist.
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I had done a couple of auditions for 'Amistad' and didn't feel it was going to go any further - and then the call came about heading to Los Angeles to work with Steven Spielberg. It was surreal: exciting, challenging, overwhelming.
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