must have been a moment of incredibly mixed emotions. On Thursday
December 5th, 2013, the London premiere of Mandela:
Long Walk To Freedom took
place. Elba, who stars in this biopic as the great South
was there in the company of
Prince Andrew, his wife and many British luminaries
ó including Mandelaís daughters. Then what had long been feared was
announced: that the medically frail 95-year-old freedom fighter had
died after a long illness.
As the driving force behind the African
National Congressí campaign
against the heinous policy of Apartheid,
Mandela endured prison, illness, and deprivation. When finally
released, Mandela become a revered world leader and a role model
despised by the right wing everywhere. Once he became South Africaís
first post-Apartheid president, he brought a redemptive philosophy
and market-driven economic ideas to a country devastated by
sanctions against its defunct racist government.
Based on the 1994 autobiography
of the same name, Mandela: Long Walk To Freedom chronicles
Mandelaís life as this international icon and revered global leader.
Perhaps because the film ó as written by Oscar-nominated William
Nicholson (Shadowlands, Gladiator, Les Miserables) ó spans so
much of the great leaderís life, it feels a bit too much like a
summation rather than an examination. Yet it works because of Elbaís
The movie transitions from Mandelaís childhood as a herder in South
Africaís rural Cape region
to his days as the first black lawyer and Apartheid resistance
leader. Director Justin
key moments as he evolves from revolutionary to prisoner (he spent a
good part of 27 years on the notorious Robben
Island) and eventually became his nationís first
democratically elected Black President.
As the world now mourns Mandelaís passing and celebrates his legacy,
Elba, in turn, enjoys praise and recognition achieved through years
of hard work. He is known for playing characters of importance with
a sense of authenticity and gravitas.
With Elbaís impressive resume ó The
Wire, Luther, Prometheus, Pacific
Rim and Thor:
The Dark World, among others ó the 42-year-old
actor is making his mark in more ways than expected. Finally after
more than 20 years of film and television work, he has just been
nominated for Golden
both television, for the English legal drama Luther,
and film for Mandela:
Long Walk To Freedom.
Born of a Ghanaian mother
Leonean father, Africa courses
through Elbaís blood which enhanced his understanding of Mandelaís
struggle. Though he started by pursuing a career in music, his
success in BBC television
series led him to his successful film career.
The following Q&A is compiled from two recent appearances Elba made
at the Soho
Apple Store in
promoting both Mandela: Long
Walk To Freedom and Pacific
was it like to take on the role of Nelson Mandela?
It was tough, obviously. There were so many personal challenges that
I had to get over. I didnít believe in Idris playing Mandela. I was
hooked up on the lookalike version of Mandela and Iím West African,
not South African, so there was a whole different cultural thing
that I was aware of. So, to be honest, I was like, ďI donít know if
I can do it.Ē I didnít have the attributes.
When my agent called me about it, I put the phone down because I
thought he was joking. Eventually I came around and Justin
[Chadwick] came to see me when I was making Pacific Rim in Toronto.
We sat down for three nights, hung out and talked about his version
of Mandela. The idea was to highlight this younger, charismatic man
who was the first black lawyer in
all the energy he had, which [Justin] wanted to bring across. He
wanted to show you what Mandela was like when he was my age, 41, to
give some context to where Mandela ends up. I was very much worried
about this role.
Playing an individual who was still around [at the time] and
putting him on screen ó what was that like?
Everything around you was part of the film. 360 degree sets. The
cameras essentially could shoot anywhere. It also meant that the
extras who were part of those massive crowd scenes when we had to do
those speeches. Though half of them were too young to actually
remember Mandela in his prime ó heís very much ingrained into their
They would not allow Idris Elba (laughs)
ó the guy from [Tyler
Little Girls ó to come on stage, do Mandela, and lie to them. That was not
allowed. I wasnít allowed to make mistakes in speeches or forget my
lines. It was a challenge just because I knew he was a real man to
them. I was really nervous about lying to them, but I never had to
because they gave me so much more energy than I could even possibly
give them. That encouraged me and Naomie to make those
speeches as real as they can get.
What was ultimately the biggest challenge?
I think playing the range realistically from around 20, which was
practically impossible, to around 70. Mapping out the whole
journey. Things happened to his body, mind, voice, in that whole
time. That was the biggest journey, trying to figure it all out
in this six-month shoot.
We shot out of sequence. Some days, or some weeks, Iíd be the
older Mandela and others, Iíd be the younger Mandela. Pulling it all
in and making sense of it was the biggest challenge for me.
there any point during filming that changed you in any way?
The film definitely changed me. Understanding who that man is
deepened my own perspective of myself and the world. Itís hard for
me to talk about it in a tribute sense in a situation like this
because thereís so much to talk about. Hopefully that film impacts
and educates the audience, but for me, it was a life changing film
You mention the voice, capturing that memorable Mandela cadence...
It was a lot of studying. Iím a natural mimic. If I hang around
someone for long enough, I start to understand what theyíre doing
with their voice and their cadence and speech. Ironically enough
though, my dadís voice is not too dissimilar. Heís from
Africa, which is a slightly different accent, Sierra
Leone. People who come from Africa and speak English have such an
interesting cadence ó itís broken up ó so almost everything you say
sounds noble. Itís amazing.
With Mandela, it was something that I was in tune to with my ears
and I could sort of understand a little bit. When Mandela was
younger, he had a very high-pitched voice, stuttered, and spoke very
quickly. As he got older, he slowed it all down and realized the
power of poise and silence and really settled into his chest with
this really nasally sound. I just paid attention to all of that and
tried to emulate it.
Youíre also a musician.
I love African music. Iím West African. I love hearing contemporary
new African music. When I was doing this fashion show, I picked some
tunes from [Malian musicians]
Amadou and Mariam.
And youíve deejayed as well.
Actually, I play a lot of house music and this summer, Iím going to
be in Ibiza, Spain,
for the whole summer doing a residency. If you come out on a Friday
or a Saturday, Iíll give you the works. (laughs)
you signed on to do Pacific
Guillermo del Toroís project,
did he assign you homework to get into what the filmís going to be?
Itís more than just reading material. He took the actors,
one-by-one, and weíd have these massive sessions with him talking
about the history of where [the story] came from in his head. He
took us through the history of the characters, the history of the
robots. My character is dipped in Japanese culture so I had to learn
a lot about that.
Originally in the script, the character was named Sensei,
believe it or not. In the redraft, he was called Stacker
Pentecost. I had to learn a little bit about Japanese culture
in the way my character moved. When he was called Sensei,
he moved in a kind of zen-like way but as he changed in the script,
he became that guy.
Guillermo was very hands-on with actors, heís got shitloads of
information to tell you and heíll tell you every little beat. When
weíre shooting, Guillermo is very pedantic and detailed. If he puts
it there and you move it here, heíll be like, ďCut!Ē Heís that
Well your character in the film is also very controlling.
Yeah, I do whatever the fuck I like. In terms of that character,
Guillermo gives you a lot of license but heís also the boss. He
knows exactly what he wants.
has a very international cast ó Guillermo is Mexican, Charlie Hunnan,
an Australian, and you being British, what is it like working with
such an international group?
That was part of the DNA of what Guillermo wanted to do. He wanted
an international cast because the problems of the Kaiju is an
international problem. So he wanted it to feel like [that] if the
world had to come together, this is what it would look like. It
wouldnít be American or English, it would just be one army. I think
that was imprinted in the DNA of the whole script and showed up in
the choreography of doing scenes where you are piloting a giant
robot and fighting aliens from the sea.
Guillermo likes actuality so [though] thereís a lot of green screen,
the actual mechanism like the robotís head where the soldiers would
be inside, was actually built on a soundstage. It was this huge
replica of a robotís head that sat on a gimbal and the gimbal would
move according to how it would move if we were actually in the
Then, they put us in this suit, which took about 45 minutes to put
on, and then they put us in a harness and myself and the other actor
would be in this treadmill situation and we had to move in tandem.
That was the hardest shit to ever do. You got this thing moving, you
got frames all around, wind coming at you, you felt like you were
really in that thing.
It helped us as actors because we didnít have to imagine how
uncomfortable that would feel. We had it for real. It was a really
good experience in that sense. In science fiction, a lot of films
are made with CG but this film, a lot of the real stuff, you can
tell the difference. Thereís a lot of real sets and real shit going
Did you rehearse much or just suit up, get in the gimbal and weíre
We rehearsed it a lot. We rehearsed some of the set sequences
because the robots fight in a certain pattern, whether itís punching
or kicking, and the actor in the suit has to do that at the same
time when we put it together so we had to rehearse that a lot. It
was really difficult.
What did you think when you found out that your character was
re-named Stacker Pentecost?
First thing is that heís religious and Iím thinking heís some sort
of a preacher or a guru. But the name was definitely the best
character name I think Iíve ever had. Stinger
a good name but Stacker Pentecost thatís the shit.
the film you do a
Henry V-like monologue ó thereís a line where you say, ďToday,
weíre canceling the apocalypse.Ē You donít get lines like that too
When I read the line, I have to admit that it sounds better than it
actually reads. When I read it, I was like, ďWhat? Canceling the
apocalypse? Who speaks like that?Ē
When youíve got 600 extras, this body suit and armor, these big
robots next to you with that haircut, you feel the words. The words
suddenly came to me. Canceling the apocalypse, I felt it. When I
read it, I was like, ďI donít know if I can say that.Ē
Did you love sci-fi growing up? Thereís a lot of anime work
[referenced] here where you donít necessarily need to be familiar
with it but if you are, you get something extra out of the film.
I was into Star
Wars: The Empire Strikes Back, growing up. That
was me and sci-fi. When I got [to do] this film, it was definitely
an education for me. Graphic novels, the history; I remember Godzilla but
that was about it for me. It was a process of learning how deep this
world is with Guillermo.
Then, thereís Thor:
The Dark World.
You reprise playing Heimdall, the guardian of the Rainbow Bridge
which was severed in the first one, you were out of a job but
Heimdall is back.
Yeah, Heimdall is back and a version of the Bifrost is
Did you get to keep his helmet?
No, man. When I woke up in the morning, my neck was always crooked.
I needed a massage. That helmet looks fantastic but is very
difficult to wear.
still as important as it was when it came out and has become a
touchstone for intellectual discussion on the medium [television].
Did you realize how good this series would be?
In short, I didnít. The way The
pitched in the beginning was that it was a procedural cop show. When
I read it, I realized there was much more to it but I didnít realize
how important it was to modern day television.
I didnít realize it would end up being a reference point for the
rest of my life but I knew that the writing was good. I knew we were
going to see a part of the world that doesnít get any shine and I
knew the actors we put together were real and authentic and not just
The producers had a very definite vision for it. It took me
a year because it was even after the first season that I realized
that this show has got legs to a wider audience than I had first
Was there an episode where you saw that it was more than what you
originally thought was happening?
When I was shooting, none of that realization came to me. It was
literally two years afterwards when people are screaming, ďWhereís
Wallace?Ē I realized that it was really penetrating an audience.
How many times a month do you hear ďWhereís Wallace?Ē
About four years ago, I would probably hear that about 58 times a
month and now itís about six or seven times. These are rough
And then thereís Luther.
Can you talk about season three?
Well Luther is
back for season three. We open in London in July and
then itís September in
America. Iím really excited about this season. The show has evolved.
With first season, we didnít know where we were, who Luther was. The
second one, we started to understand that and in the third one now,
we understand it a little bit more.
Iím really proud of it and, yes, Alice is back causing all kinds of
trouble. Luther is evolving. Itís a different kind of Luther. In the
second season, Luther was contemplating suicide every day and in
this season, heís moving on from that. Iím excited.
When you worked on the creepy Obsessed,
did you look at Fatal
a reference in terms of how you maneuver the characters?
I donít think I did it consciously. In the back of our minds, we
understand that Fatal
the archetype film in that category but didnít reference it
deliberately, even if it certainly was in the back of our minds as a
benchmark of a great film that has been done. So, no is the short
Is there any credence to talks about you playing James Bond?
The James Bond thing is a massive rumor thatís taken legs. Iím
definitely glad to be an actor that people would like to see in that
role but it isnít going to happen at this point. If it did happen,
that would be great.
you develop accents for a role, do you have to think about it?
People say that my American accent is so good but the truth is I
that lived in America for four years before I ever got a role
playing an American. And when I got here my accent was awful. I
couldnít get a job for shit. I went up for Boris
in that film Brown
my accent was awful.
Now, when I speak to English actors that want to do American, I ask
if theyíve ever spent time in America or if they know any Americans
or know any history about America. If they donít, that is where you
If you understand a culture, you understand the way they speak, how
they communicate, and then you understand how to manipulate your
mouth to talk like them. I always thought it was just something easy
to learn phonetics by listening or learning from a voice coach, but
for me, it was more about understanding the culture to be able to
speak that way.
When Iím doing a film, for example, Nelson Mandela, that role and
accent is so well known but I had to understand who his people were,
who his family was, the tribe that he comes from. If I can
understand that then I can understand the way he speaks. Thereís a
lot of work that goes into accents. Iím doing a film in England
where Iíll be playing someone with a real street Eastern accent.
Thatís not my real accent so I have to put some thought to that to
make that sound convincing.
Were you excited when Guillermo said itís fine if you sounded
As soon as you tell someone you have an accent, they say, ďOh yeah.
I hear it now.Ē Now, my work is doubled. I have to work extra hard
to make it sound convincing.
Whatís the difference between doing American or British films?
European dramas tends to be a lot darker than American ones. Crime
thrillers and English drama has a history with whodunits and over
the years, theyíve gotten darker and stranger. In America, itís
starting to head that way.
Drama producers are given license to be a lot darker in Europe; they
are more open minded to that darkness in drama, but America is still
more set in its own [style] but itís changing. Cable TV is
definitely changing that. AMC
[and] Showtime make
more provocative, darker and less safe drama. Itís about what
audiences can take. English audiences can take a little bit more at
old were you when you started making movies?
I started making films when was about 21 years old but when I was
about 12 years old I decided I wanted to be an actor.
In one of your best films, Sometimes
your performance about the Rwandan genocide is so raw and graphic.
How did that affect you and make you a better actor?
Iíve said it to the press at the time, that film was one of the
first I did after The Wire, and it absolutely changed my goals as an
actor. I wanted to be a star but after I did that film, it was more
important to play characters that moved me.
Rwanda was quite reluctant to see that film get made and shot there
because that tragedy was only 10 years old. When we went there as
actors, we felt a little disrespectful because there were people
still dealing with the trauma to their families and their cities. It
moved beyond just an acting job, learning an accent and learning a
language, it almost became my duty to do it right.
The film takes a journalistic approach and is very hard to watch.
Itís not like Hotel
Rwanda, which is a good film, but a little more
of a movie. It did change my roles in that I realized that I was
fortunate to have been involved in shows like The
Wirethat keeps pushing the characters to say something
and go through something.
How often are you offered roles with complex characters that
challenge you as an actor?
Actually, I donít get offered those roles a lot. But one day, this
gentleman wrote to me and he [had] wrote this script called
Legacy; he was a first time director, and sent
the script. I loved it, we raised the money and made the film. That
was the last time something like that happened. Iím an actor, I like
to be challenged. There are great opportunities for me but not all
of them are challenging.
What are your favorite characters to play?
Honestly, characters that take me away from myself as much as
possible. I donít want to recognize myself in it at all. I donít
have a favorite type but I think the more challenging, the more
crazy the characters are, the better it is for me to play.
Is there anyone you really want to work with on a movie that you
There are a million good actors and filmmakers I really want to work
with but I havenít been able to. Iím not just saying it because Iím
in New York but Spike
one. Weíve threatened to work together a number of times and Iím
hoping that itíll happen.
The good thing about stepping up the ladder as an actor is that
[opening] those doors become easier. You tell a director that you
really like their work and sometimes some synergy form there. Iím
excited about that climb because I really get to choose the roles
and choose the people I work with.
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