Chiwetel Ejiofor on Directing Biopic ‘Rob Peace,’ How Mary J. Blige Helped ‘Galvanize’ the Film Post-Pandemic and Joining the ‘Venom’ and ‘Bridget Jones’ Families

As a die-hard fan of Chiwetel Ejiofor, it’s truly captivating to delve into the mind of this multitalented artist. His unique approach to creative pursuits, characterized by an organic, intuitive process and deep emotional connection, is both inspiring and relatable. It’s a testament to his versatility as an actor, director, and writer that he can effortlessly slip into various genres and characters with such grace.

A quick look at Chiwetel Ejiofor’s upcoming film projects reveals a diverse and busy lineup, including a superhero series (“Venom: The Last Dance”), a reprisal of a popular romantic comedy (“Bridget Jones: Mad About the Boy”), an adaptation from Stephen King (Mike Flanagan’s “The Life of Chuck”), and a directorial debut by a renowned actress (Scarlett Johansson’s “Eleanor the Great”). This suggests that the actor has an incredibly packed schedule ahead.

Despite being occupied in front of the cameras, this British actor – famously recognized for his roles in movies like “12 Years a Slave,” “Love, Actually,” and “Doctor Strange” – has miraculously found moments away from them. Six years after his critically acclaimed directorial debut, “The Boy Who Harnessed the Wind,” he’s back with his second directorial project, “Rob Peace,” which hit theaters this week under Paramount Pictures.

Based on Jeff Hobbs’ 2014 book “The Short and Tragic Life of Robert Peace,” the movie portrays a factual account. The story revolves around Peace, a young man (portrayed by newcomer Jay Will) who was exceptionally talented in science and hailed from Orange, New Jersey. He pursued a major in biochemistry at Yale University, but despite his immense potential, he struggled to overcome institutional obstacles related to race, housing, education, and the criminal justice system. During his time at Yale, Peace helped support his father Skeet (played by Chiwetel Ejiofor) by dealing drugs in an attempt to overturn a double homicide conviction. Tragically, Peace was killed in a drug-related shooting at the age of 30.

Despite not deliberately seeking a second project to direct, the chance to delve into this intriguing tale, as Ejiofor described it, “full of something rich to grapple with,” was hard to pass up. One of his early choices for casting was Mary J. Blige in the role of Rob’s mother, Jackie Peace. Interestingly, Blige’s dedication to the film proved crucial in resurrecting the project, as it had been put on hold during pre-production due to the pandemic.

As I converse with EbMaster, I express my admiration for my own approach to creative decision-making. This method of mine is rooted in organic growth, guided by the impressive showcases of a fresh talent from Juilliard. The early influence that sparked this preference was the intriguing variety in role choices displayed by the iconic Cary Grant. Moreover, I find myself rekindling my connection with the Working Title romantic comedy universe, a journey that began more than two decades ago in “Love, Actually.”

How did you first get involved in “Rob Peace”? I heard that it was actually Antoine Fuqua who brought it to you, is that right?

Absolutely, you’re correct. I recall reading the book approximately a decade ago, soon after its publication, and it profoundly impacted me due to Jeff Hobbs’ actions portrayed in it. The narrative was deeply empathetic and insightful, offering a nuanced perspective on his friend’s experiences while also shedding light on a balanced understanding of what he had endured. It served to connect some dots in my mind that were previously fragmented, particularly regarding race, education, criminal justice, housing, and their intersections. Remarkably, Rob’s story within the book seems to tie all these issues together, with him at the heart of it all. After reading the book, I reached the conclusion that the rights had been lost. However, a couple of years later, Antoine Fuqua and Jeff Hobbs’ wife, Rebecca Hobbs, approached me. They were impressed by “The Boy Who Harnessed the Wind” and were keen to discuss adapting the book into a film and directing it. Naturally, I was eager to be involved in this project.

Had you been actively looking for another project to direct after “The Boy That Harnessed the Wind”?

As a film enthusiast, I’ve found myself drawn to the intriguing aspects of life, often pondering ideas that could translate into an engaging cinematic experience. The decision to invest such a significant amount of time and energy into a project is never taken lightly. However, when the opportunity presented itself, I couldn’t help but feel drawn in by the rich potential it held. It was a challenge I knew I wanted to embrace.

There’s a lot of universality to the story, but it’s also very American in terms of Rob’s upbringing in New Jersey and the specifics of the issues that he grappled with. How did it feel as an Englishman coming in to write and direct this?

In my exploration, I focused on investigating the project, locating the site, and gradually grasping the intricacies of the environment. Interestingly, England bears some resemblance to certain parts of the United States. Initially, I visited Jackie Peace, Rob’s mother, at her home where Rob spent his childhood. Later, I also spent time with people associated with St. Benedicts, the school Jackie worked tirelessly to afford for Rob’s attendance. Surprisingly, we ended up filming there as many of the teachers knew Rob. This provided us with ample opportunity to delve into that particular world. Furthermore, I frequently visited Yale University to gain insights not only into Rob’s past dynamics at the institution but also to understand current perceptions and how they differ from his past experiences.

How did you find your Rob in Jay Will?

Last year, when Jay graduated from Juilliard amidst the COVID-19 pandemic, he didn’t have a traditional showcase for his talent. It was a challenging time as everything shifted online, making it difficult for people to truly appreciate live performances. However, I received a link to one of his virtual showcases where he acted in a scene from “American Gangster.” Watching him, I couldn’t help but think, “He has great taste.” There was something incredibly natural and effortless about his performance that made me want to watch it repeatedly.

And it’s his first lead role?

Absolutely, his performance was truly impressive considering the challenges he faced. Leading a movie like this isn’t a walk in the park; I’ve experienced that myself. Therefore, I was mindful of the hardships he might have encountered and the grueling nature of the role. Yet again, I must say, he excelled beyond expectations.

And you’ve also got the wonderful Mary J. Blige playing Jackie Peace. Tell me how that came to be.

As a movie enthusiast myself, I must say that Mary J. Blige played an indispensable role throughout the entire filmmaking journey. She joined us early during pre-production, just before the pandemic struck. Despite the sudden halt, she was one of the few cast members who truly embraced the script.

Similarly to “The Boy That Harnessed the Wind,” you are playing a father, in this case Rob’s father Skeet Douglas. Is that just a coincidence?

Initially, I didn’t intend to take on the role when I began the process, as it somewhat mirrored “The Boy Who Harnessed the Wind.” However, during my first meeting with Jackie Peace, she commented that I resembled Skeet, which sparked some thoughts. As I contemplated, I recognized that the character fit within my acting range and the actor I had in mind for the role would be aware of my capabilities. This realization led me to understand that I was best suited for this part, particularly since I would also be directing the actor based on my vision for the character. Eventually, I accepted that I should take on the role, a decision I’m sure everyone else had anticipated before me.

Following you experience making “The Boy That Harnessed the Wind” and the hugely positive reaction to the film, was there kind of an eagerness to get back in the director’s seat as soon as you could? And, if so, how did you juggle that world with also clearly being a very busy actor?

Frankly, I find my approach to be quite natural and instinctive. When it comes to acting, directing, and writing, I haven’t consciously made an effort to force anything. Instead, I follow a more intuitive path and try to grasp how I perceive the world. There are several aspects that pique my curiosity, but I always feel the need for a connection to something deeper. I need to sense a momentum and a bond with a project, character, or story, which then propels me forward. So, it’s not that once I completed “The Boy Who Harnessed the Wind,” I immediately wondered what was next. Instead, I finished it and waited to see where the journey would take me next.

On the acting front, you’ve got an incredible busy slate of films coming out. You’re back in the superhero world with “Venom: The Last Dance” and “The Old Guard” sequel, returning to Working Title rom-coms with “Bridget Jones: Mad About the Boy,” have a Stephen King adaptation in Mike Flanagan’s “The Life of Chuck” and Scarlett Johansson’s directorial debut “Eleanor the Great.” It’s a phenomenally eclectic mix! Is that something you enjoy?

As a cinephile, I must say it’s been a whirlwind of activity, yet incredibly rewarding. The diversity in the projects I’ve been involved with has been truly captivating, allowing me to explore distinct creative realms. This streak of material seems exceptionally unique and special. I’m absolutely thrilled about “Venom: The Last Dance,” collaborating with Kelly Marcel and the inimitable Tom Hardy. Immersing myself in that universe is an exhilarating prospect, especially given the exceptional talent involved. And let me tell you, “Bridget Jones” is simply delightful. Renée’s performance in this role is nothing short of extraordinary. It’s a refreshing change of pace for me, and that’s something I find incredibly engaging. Scarlett’s film is a masterpiece, while Mike’s film is equally captivating. So, it’s been a truly enriching period.

I think you’re probably one of just a handful of actors I can think of who audiences wouldn’t be surprised to see in any genre of movie. It must feel great to be in that position.

From a young age, even before I contemplated becoming an actor, Cary Grant had captured my heart. My earliest memory is watching him in “Holiday” alongside Katherine Hepburn when I was barely ten. It struck me then that they were engaged in something called acting. What intrigued me most about Grant, however, was his uncanny ability to adapt to various genres with such fluidity. He was equally convincing in comedies, romantic comedies, and intense thrillers. His versatility made it impossible to pigeonhole him into a single category. As I delved into stage work, the allure of donning multiple roles, sometimes within the same production, became an essential aspect of my understanding of acting. Thus, as a professional actor, I’ve been fortunate to emulate this versatility across different genres and film styles. It’s a trait I aspire to carry forward into screenwriting and directing.

How did it feel joining the “Bridget Jones” family?

Delightful! In a manner of speaking, the “Love, Actually” universe, which seems like it’s always been a part of me in some way, feels more like a familiar home than ever before. Jumping into it at an alternate perspective was truly enjoyable. These films exude such a heartwarming atmosphere; they’re hilarious, captivating, superbly acted and impeccably crafted. As a result, the foundation for storytelling is simply extraordinary. They tackle contemporary issues with a touch of humanity while also offering insightful commentary on our world. Yet, their optimism, hopefulness, and often idealistic outlook are what I admire most. And that’s exactly why I cherish it.

2024-08-16 13:47