As a fan and admirer of Viola Davis, I find her work both inspiring and thought-provoking. Her ability to bring complex characters to life, particularly those that reflect the humanity and struggles of Black people, is truly commendable. The roles she chooses often resonate deeply with me, as they speak to my own experiences and the experiences of many in our community.
As an actor, Aunjanue Ellis-Taylor has never regarded the camera as her ally.
Ellis-Taylor expresses that she’s often perceived it as an adversary, due to its seemingly intrusive nature, while she sits comfortably on a couch in a West Hollywood hotel, discussing her new role in “Nickel Boys.
Movie sets resemble construction sites in the sense that they serve as creative workspaces where filmmakers meticulously construct entire worlds from scratch. Amidst all the noise of hammering and crew members adjusting lights, actors are asked to undergo a transformation and engage in a profoundly human interaction with a large prop or machine that is just inches away from them. However, they must then manage not to focus on it during their performance.
The movie “Nickel Boys,” where she portrays Hattie, the caring grandmother of a boy unjustly imprisoned in a harsh reform school, posed an unusual predicament. Director RaMell Ross filmed this intense drama with an unconventional visual approach, having Viola Davis look directly into the camera rather than interacting with human co-stars. “Upon getting this role, I needed to develop a bond with it. I had to foster an intimate connection and fully accept it.
For an Emmy and Oscar-nominated actor, adjusting to the complex setup of the experiment proved challenging. However, Ellis-Taylor discovered that the sense of solitude and loneliness it evoked mirrored Hattie’s struggle for justice for her grandson in the story – a reflection of her reality. “Nickel Boys” is adapted from Colson Whitehead’s 2020 Pulitzer Prize-winning novel, which dramatizes incidents at the actual Dozier School for Boys, where over a hundred students lost their lives due to abuse.
The Amazon-produced MGM movie has been garnering attention on the awards circuit, receiving a Golden Globe nomination for Best Drama Film, victories at the Gotham Awards, a spot on AFI’s top 10 films list, and numerous accolades from critics groups. Meanwhile, Ellis-Taylor is set to receive the Social Impact Award at the Critics Choice Association’s Black Cinema and Television Celebration.
2023 has been a successful year for actress Marsai Martin, as “Nickel Boys” marks her fifth film release this year. The other films include Lee Daniels’ “The Deliverance,” Titus Kaphar’s “Exhibiting Forgiveness,” Tina Mabry’s “The Supremes at Earl’s All-You-Can Eat,” and Ava DuVernay’s “Origin” (which debuted in December 2023 and expanded in January). Her diverse roles showcase her remarkable talent, as she portrays a reverend conducting an exorcism, a devoted mother encouraging her adult son to reconnect with his recovering-addict father, and a lively member of a trio of lifelong friends.
Ellis-Taylor shares her reason for choosing roles that portray extraordinary Black women. She finds herself captivated by these characters, and they allow her to step outside of her usual self on screen. These roles delve into various facets of Black womanhood, and if there’s a common theme, it’s that they all represent “difficult” or “inconvenient” women. Ellis-Taylor elaborates, saying these characters are often challenging for the political or cultural systems in their lives.
Ellis-Taylor has had an impressive streak, but she’s not certain if her abundance of substantial roles will continue. “I can’t assume it will,” she admits, “and I have no idea what may come next.
In 2021, Ellis-Taylor received her initial Academy Award nomination for the film “King Richard”, yet she expressed that the industry failed to follow up with intriguing role proposals after this recognition.
To set the record straight, let me express candidly, no, I can’t say yes. When I consider the multifaceted roles that actresses like Nicole Kidman, Cate Blanchett, Kate Winslet, and Julianne Moore receive, it’s a reality I won’t experience the same depth and variety. Frankly, this is a source of great frustration for me.
As Ellis-Taylor meets with EbMaster in mid-November, she’s pondering whether to accept a fresh assignment. The offer is appealing, yet she wonders if her motivation is genuine interest in the subject matter or fear that such a big chance may not present itself again.
She acknowledges, “I’ve been telling myself things like, ‘Do I really have the right to make decisions?’ and ‘Go on, take that job!’ That’s the voice I’m hearing.” She explains that she’s concerned about making choices out of fear might impact her future work. However, it’s important to realize that there might not be numerous other opportunities available for her in the future.
Ellis-Taylor has noticed and personally encountered a widespread “absence of interest in understanding the lives of Black women, which permeates every aspect — politically, in the arts and entertainment industries, and everywhere else.” For instance, following a recent screening of “Origin” at her former university, Brown University, a man expressed that Ellis-Taylor’s portrayal of Isabel Wilkerson, author of the book upon which the film is based, was the first time he had ever seen a Black woman scholar depicted on screen.
As a passionate cinephile, I wholeheartedly echo these sentiments: Black women are radiant beyond measure, yet the lens through which we’re often viewed is distressingly narrow. Yet, it’s not despair that fills me, but rather, exhilaration at the prospect of contributing to broadening this perspective. It’s a privilege and an adventure to be part of such transformative work.
Read on as Ellis-Taylor reflects on her standout year.
I read that you approached RaMell Ross — did you already have “Nickel Boys” in mind when you reached out?
I hadn’t realized he was making “Nickel Boys,” but after watching “Hale County, This Morning, This Evening,” I was left in awe. And the sensation of being amazed was mirrored by a sense of recognition. I had never felt this in any story or documentary centered around Black life in the South before. Regardless of the medium, I’ve always felt like an outsider looking in – as if I were watching work created by someone who dropped in, snapped a few photos, and moved on. With this piece, however, I sensed a connection. I thought, “Who are my relatives? I must meet this person, and they need to understand the impact of their filmmaking when it intersected with my own experiences.
So, that’s why I called the general office number at Brown [where Ross is an associate professor in the visual art department] and asked to speak to him — with no success. Then I found his email that he never checks, but I just had to tell him how I felt. I felt witnessed in a way that I had not before. You can witness something from afar, but I felt someone was amen-ing my existence, meaning, “I get it. I get you. I’m here with you.” That’s what I felt from him. And then, a couple years later, I hear rumors of [“Nickel Boys”] happening and they came to me.
Ross used a similar form of POV in “Hale County,” but doing it in a narrative film is bold and experimental — especially as his narrative feature debut. What was it like being a part of and contributing to that process?
I hadn’t realized the script required such a daring performance until my first day on set. Frankly, I had no idea. When I initially read it, I assumed there might have been something overlooked since the director was new to filmmaking. [I thought,] “Perhaps I should discuss this with him.” Upon arriving, however, I discovered that the boldness was intentional – there was no backup or additional footage planned. It was just me. At that moment, I was taken aback, saying, “Wow.
What was that process of learning to embrace it?
The situation wasn’t straightforward. Nothing typically is. In some instances, I had to act out a scene with someone where there was no real connection, and I had to work hard for any form of connection. Eventually, it became incredibly isolating, quite solitary. Yet, at a certain point, I understood that this was how the character felt. Hattie is lonely; she’s on her own, and in a way, it made portraying her emotions more authentic.
This summer, “The Deliverance” hit No. 1 on Netflix and got everybody…
Mad. Say it. Everybody was pissed off [laughs].
But it was still so enjoyable — though I was skeptical about watching because, after growing up in the Black church, I don’t really engage with things about possession. But this felt like a chance to engage with something based on a true story that also was specific to Black life, especially as it relates to demons. What was your experience of “The Deliverance”?
I enjoyed portraying Apostle Bernice, as there were several preachers who advised their congregations against watching the movie, some even labeling it as demonic. The controversy surrounding it was quite intriguing. What attracted me to the role was the unique perspective on how Black communities handle supernatural occurrences compared to white communities. I found it hilarious, amusing, and well-executed for that reason. That’s why I wanted to be a part of it.
Lee tasked me with collaborating with Apostle Louis Dickens, a Black spiritual leader. He primarily carries out his work, particularly in West Africa, focusing largely on Ghana. Although it wasn’t part of my spiritual upbringing or religious background, this ministry was unique to me because it involved Black individuals taking charge of their salvation, rather than relying on someone in a clerical role coming in to do the job for them.
With “Exhibiting Forgiveness,” you worked with celebrated artist Titus Kaphar in his feature directorial debut. He told me that because he was less experienced with directing than you and the rest of the cast are as actors, much of your conversations were about finding personal connections to the characters versus him giving you direction. What was it like working with him on a story that sprung from his own life experiences?
In this role, I’m playing a character who is his mother on stage, right before his eyes – quite an extraordinary experience! Though I’ve portrayed the mothers of well-known figures in the past, they weren’t present. However, what makes it even more challenging is that he’s the one directing me. In essence, my goal was to give my best performance for him.
He had expansive conversations — and not one-sided ones, like “Let me tell you about my life.” It was more like “Let’s talk about our shared experience.” So when we got on set it was a very rich, deep well to pull from because of those conversation I talked about my alienation from, my Black church experience being a queer woman and being a woman. And he talked about his and what that was like. He talked about why he needed to do this story at this moment in his life that is so personal. It’s not a memoir and it is.
In conversation with a woman currently penning her memoirs, she shared an insight she received, “You essentially need to revert to the person you once were. You’re evaluating your past self, but to accomplish that, you must transform back into that individual.” The film “Exhibiting Forgiveness” could be seen as a reflection of this approach in memoir filmmaking: the protagonist was forced to confront and revisit the aspects he was trying to escape. It was a complex process we were involved with.
What stands out about “The Supremes at Earl’s All-You-Can Eat”?
I was thrilled to collaborate with Sanaa Lathan, and had long desired the opportunity to work alongside her. While we hadn’t previously interacted professionally, I have always admired her immensely and thought highly of her talent. Consequently, when the chance finally arose, I was overjoyed!
I seldom collaborate with female characters in my work. My stories often center around male characters. However, the projects like “The Deliverance” and “The Supremes” stood out to me because they highlighted a female culture and community, which was rare and refreshing. These productions portrayed Black women as friends, not enemies or rivals, which is something I don’t often see in media. Instead of the usual drama, it was a joyful depiction of Black womanhood camaraderie. In essence, these works celebrated Black female friendship.
You’re receiving the Social Impact Award from Critics Choice — which speaks to the idea that the films you do speaks to Black people’s humanity and makes an impact on how we are seen. How do you see your on-camera work as an extension of the work you do as an activist?
I’ve had hard conversations about “Nickel Boys.” People have said, “Where’s the hope in it?” or “It’s hard to watch.” We are giving witness and an account of something — a brutalization against American children that happened in a school by adults who were essentially charged to be providers and caregivers for these children. And it wasn’t just the school and the people who were the teachers; it was a community of folks who profited from this brutality. It should be hard to watch.
Regarding hope, it seems we’ve grown accustomed to enjoying movies that explore dark themes like hell, believing they can uplift us. However, this is a luxury we shouldn’t take for granted. It’s not Ramell’s responsibility to instill hope because doing so would be misleading. Instead, I believe Ramell is a filmmaker who values and pursues truth above all else. In a culture that often accepts deceit, the truth becomes dangerous yet thrilling. I think this is what motivates Ramell.
It seems to me that people may not necessarily yearn for hope; instead, they seek exoneration. “I’m not accountable for the tragedy that befell those children.” Reading a book like “Nickel Boys” should not evoke such feelings, as its portrayal doesn’t leave room for that, and I believe this is quite challenging for many people.
The responsibility lies with us, as we now have knowledge about what befell those children. This awareness has sparked our curiosity, prompting us to ask, “What transpired with their families? Are they receiving justice? Are there similar occurrences happening elsewhere in the nation? For it wasn’t only at the Dozier school where this took place; it continues, doesn’t it? I fervently hope that no child I am acquainted with will ever experience such hardships. How does this manifest or appear in other aspects of our society, where children are treated unjustly and their abusers go unpunished? We are the beacon of change.
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2024-12-10 03:18