David Oyelowo Quotes

I was sometimes called 'coconut' when I was at school.

One of the things I have an allergic reaction to playing, especially as a black actor, is the mandatory kind of best friend/cop/detective type. You will never see me in that movie.

You can’t have people curating culture in this way when we need to see things in order to reform from them.

I think it's vital to have something outside your acting to keep you rooted in the real world, and help you fill the vacuum. If you have nothing else, it can be unhealthy. For me being a Christian has been invaluable: it simply means acting isn't the centre of my life.

If you merely focus on what we already know, then it's not revelatory. You may as well just go and watch a documentary or a few videos on Youtube, and you're good.

I don't have a tailor, but I do love clothes.

Excellence is the best weapon against prejudice.

Find the audience, be excellent, and you will be fine.

I would make the tea on a Daniel Day-Lewis set just to observe how he crafts roles like he did in 'My Left Foot.' That was the equivalent of seeing Haley's Comet for me. I just couldn't understand how that was possible.

I truly believe that one of the things that has been lacking in the USA is a spirit of repentance about the injustices of slavery and the injustices of segregation and racism generally.

Asher means 'happy and blessed' which embodies my eldest. Caleb means 'stubborn and tenacious dog' and I can't even tell you how much that is my little boy! It was a useful warning.

Considering that I'm British and I talk the way I do, I love it when a director takes a chance on me.

There's a nimble quality to the way a television actor can work. When that muscle gets strong it's a very valuable thing.

I do think opportunity breeds bravery. It's such a competitive profession, no one owes you anything, talent in itself is not enough. I went to drama school with so many great actors who are not doing it anymore and it's circumstantial.

We can't afford to deny our past in a bid to be empowered. But what we can do is contextualize the past.

My parents are very hard working people who did everything they could for their children. I have two brothers and they worked dog hard to give us an education and provide us with the most comfortable life possible. My dad provided for his family daily. So, yes, that is definitely in my DNA.

The wonderful situation that I find myself in now, is that choosing the roles I want is more of a reality for me. As a result, I take it very seriously, because I find this opportunity in film to be a very powerful and influential medium.

I think that having a black president in America has been a seismic shift, in terms of what has been going on racially in America. I think that America is now engaging with how we have come to this point.

I truly believe slavery is why, as a by-product, we still have a disproportionate amount of black men incarcerated in America. It is an extension of that legacy, and that's not going to start to diminish until black people have a new sense of themselves that isn't tied to slavery and feeling inferior. I think the church can be instrumental in that, in terms of repentance, reconciliation and just being more embracing of each other - not just on Sunday, but in life generally.

I gravitate towards anything that feels challenging to me, that feels like it's gonna be saying something a bit different and new to the audience, and anything that moves me. I do movies that I would want to see, so I don't necessarily gravitate towards any genre in particular. I just try and do the best work I can and also try to keep the audience guessing.

I feel television is in a fantastically rich vein of what it's presenting both by opportunity to actors and to audiences.

That's what's so satisfying about acting. You can come as prepared as you like, but there's no accounting for what's going to come at you from the other actor. That's part of the joy and the play of it. If you don't have that it's a different kind of performance.

I truly believe that one of the things that has been lacking in America is a spirit of repentance about the injustices of slavery and the injustices of segregation and racism generally. I truly believe that we cannot come to a place of reconciliation until there is individual repentance and corporate repentance.

I'm very aware of how much movies, literature and art affect culture. They are a reflection of the world around us and they are also a means by which we engage with the world around us.

Whether we like to admit it or not, as artists, we do project our own worldview on to what we do.

At the end of the day, everyone knows what it is to be loved and to aspire to love someone, to want to be loved, the loss of love, or having their love be opposed, whether it is family, friends or politically.

I hear God as an audible voice.

I turned down a lot of easier opportunities in order to go for the things that I really and ultimately wanted to do. And what's really nice is that it's starting to work. I've been an actor for coming up on 14 years now and the level of activity that's taking place now is a culmination of a slow cooker approach to as opposed to a microwave.

Hate cannot overcome hate; only love can do that.

I truly believe that we cannot come to a place of reconciliation until there is individual repentance and corporate repentance.

I love that as a black person I've experienced not being a minority. I think that's helped me to combat the minority mentality people can have here, which can stop them scaling the heights.

I know I had my equivalents in Adrian Lester and Lenny James when I was at drama school. I remember David Harewood doing 'Othello' at the National, and Adrian Lester having done Cheek by Jowl's famous 'As You Like It and Company' at the Donmar. Not necessarily performances I saw, but just the fact they happened was massively encouraging.

I have a bee in my bonnet as to how few black historical figures one sees on film; incredible stories, stories from which we are living the legacy and which just don't get made.

I consider myself a human being, a Christian, a father, a husband, so many things, before being a black person.

The perception of Africa, whether in the U.S. or in Europe, is of a continent that needs help, and cannot pull itself up. That is just not true.

We're not served by only knowing our finest hours through film or media, or in the history that we are taught. I think the only way we have a chance to not make the same mistakes again, is to historically understand the bad behavior and mistakes we've made previously.

I do think how two people dance with each other is indicative of how they feel about each other. It can tell a lot more than a verbal scene.

I certainly don't feel there's a distinction to be made between a television and a film actor. I think there's a distinction between great actors and not so great actors. But I really think if you watch a person working in television give a wonderful performance, that person is f - ing great, because there is no time.

I think what a lot of people don't realize is how much being the leader of this movement weighed upon him. After all, he [Dr. Martin Luter King] was only 39 years-old when he was assassinated, and only 36 during the Selma campaign. He always seemed older than he actually was, and I believe part of that had to do with just how much life he had to live in order to lead this movement.

When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.

You're always looking for roles and other creatives who are going to be challenging to you, because you're always a better actor after the experience.

I'm one of those actors who says, "Point me toward the work that matters to me and I don't care where you're putting it. Television show. Movie. Projected on the back of someone's garage." If that's where the work is that's exciting to me and moving, I want to be there.

One of the occupational hazards of being an actor, the reason why so many actors are insecure, is that the only way we know we're good is when other people tell us.

I know for a fact the reason I'm an actor is because one, two, maybe three people when I was younger saw something that I did, in youth theater or some small play somewhere, and said, "You're good."

Because I was aspirational, I did my work, I was respectful to my teachers, I experienced a lot of bullying from the black kids. My friends were largely white or Asian.

I think until Britain acknowledges just how much of a presence black people had here before the Sixties, then there are certain stories that are not going to be inclusive of what I have to offer.

It's fascinating to work with a company of actors of such different ages, experience and talents. I'm one of a generation brought up on television whose acting is more 'naturalistic', whereas with some of the older generation it's more heightened. But I think there's room for both styles.

There are many, many communities, many ethnic minorities, many civilizations that have been brutalised by others and you have to move on. You cannot perpetually stay in that place of blame, otherwise it's just a downward spiral.

Getting to do what I think was my fifth BBC drama with Nikki Amuka-Bird - we've done 'Shoot The Messenger,' 'Five Days,' 'The No. 1 Ladies' Detective Agency,' 'Born Equal' and now 'Small Island' - was another highlight for me. And filming in Jamaica was great, too.

I am a father, I am very aware of the things that I'm putting out in the world knowing that one day my children will watch the work that I've done. I want to be able to stand by it.