Latest / The Breakfast Club / INTERVIEW: Kingsley Ben-Adir Speaks On Bob Marley's Legacy, Fight For Peace, Love Story With Rita + More

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INTERVIEW: Kingsley Ben-Adir Speaks On Bob Marley's Legacy, Fight For Peace, Love Story With Rita + More · The Breakfast Club

• 0:00
  Speaker 1: Wake that hands up in the morning.
• 0:02
  Speaker 2: Breakfast Club, Morning everybody, It's the j n Vy Jess
• 0:07
  Speaker 2: Hilarious Charlamage the guy. We are the Breakfast Club. We
• 0:10
  Speaker 2: got a special guest in the building, Man Kingsley.
• 0:13
  Speaker 3: Did I say that right?
• 0:14
  Speaker 1: Yes?
• 0:14
  Speaker 2: Yes, it's playing Bob Marley in the new movie Bob
• 0:17
  Speaker 2: Marley One Love Story, which comes out Valentine's Day.
• 0:20
  Speaker 1: Welcome, Nice to be here.
• 0:22
  Speaker 3: How you feeling.
• 0:23
  Speaker 1: I feel a good nights weekend of sleeping. I feel back.
• 0:28
  Speaker 4: Are you w into football? We went to the basketball.
• 0:30
  Speaker 4: I watched some football yesterday. Yeah, I was listening to
• 0:34
  Speaker 4: any on my phone.
• 0:36
  Speaker 5: Did you like the halftime?
• 0:37
  Speaker 1: Oh? The football?
• 0:40
  Speaker 6: I'm talking soccer.
• 0:42
  Speaker 1: Football last night. I just I tuned in on my phone.
• 0:45
  Speaker 1: Just see usher.
• 0:46
  Speaker 3: Ok, yeah, yeah I watched.
• 0:47
  Speaker 1: I watched a little bit of the game, but I
• 0:49
  Speaker 1: don't really know.
• 0:51
  Speaker 3: That's how I'm with soccer.
• 0:52
  Speaker 4: Big big deal here, it's big.
• 0:56
  Speaker 1: But I see I was madness. I forgot I had
• 0:59
  Speaker 1: so many hits.
• 1:00
  Speaker 4: Yeah, it just went on and on and then I
• 1:04
  Speaker 4: was back to my when I was eight. When I
• 1:06
  Speaker 4: was eleven, then I was back to when I was sixteen.
• 1:08
  Speaker 4: I was like, wow, he was in full swing.
• 1:11
  Speaker 5: He was.
• 1:12
  Speaker 4: He didn't look like an older guy who was coming back.
• 1:14
  Speaker 4: He looked like it was like.
• 1:15
  Speaker 6: Being he never laught. Like to me, the super Bowl
• 1:19
  Speaker 6: is a celebration, Yeah, you know, a celebration of his
• 1:22
  Speaker 6: his his catalog, his career, you know.
• 1:24
  Speaker 1: What I mean, huge cat man.
• 1:26
  Speaker 6: That's that's beautiful to have a thirty year catalog and
• 1:29
  Speaker 6: be able to go do that crazy on that stage,
• 1:30
  Speaker 6: especially after the residency last last years.
• 1:33
  Speaker 4: Residency on the stage, Okay, because back home is sort
• 1:37
  Speaker 4: of like, yeah, he was a part of my my,
• 1:39
  Speaker 4: my child, of my teens and my twins, and then
• 1:41
  Speaker 4: I feel like he's so disappeared a bit.
• 1:43
  Speaker 5: But the other people that came and then he yeah,
• 1:46
  Speaker 5: it was said, but.
• 1:47
  Speaker 6: Where you likes it?
• 1:48
  Speaker 4: Where they're gone there they're in a cupboard somewhere in
• 1:51
  Speaker 4: the movie. To put him in a box and locked
• 1:55
  Speaker 4: him up.
• 1:55
  Speaker 6: Whoever did that did a great job. Usually used to
• 1:58
  Speaker 6: people with dread locks and they look so stupid.
• 2:01
  Speaker 4: Marris Morris and Carlum and they put they put they
• 2:03
  Speaker 4: were they were prepping that from the same time when
• 2:05
  Speaker 4: I started prepping. So it was like Morris is a
• 2:08
  Speaker 4: he's a dread specialist and you know, it's not even
• 2:11
  Speaker 4: just the hair he did for me. He took all
• 2:13
  Speaker 4: them boys who came from Jamaica. They're all rasta. So
• 2:17
  Speaker 4: he took out their dreads, you know, by hand, and
• 2:20
  Speaker 4: he put them in like sacred boxes, stored them and
• 2:23
  Speaker 4: then redid their put new dreads in their hair. What
• 2:28
  Speaker 4: are like suit the characters from the time. And then
• 2:31
  Speaker 4: when the film was done, he got their dreads and
• 2:33
  Speaker 4: he put them back in. But for a lot of them,
• 2:35
  Speaker 4: it was it was really emotional and they was doing
• 2:38
  Speaker 4: it for Bob because they love Bob and they're all
• 2:40
  Speaker 4: connected to Bob, you know, a lot of them. A
• 2:43
  Speaker 4: lot of the guys who were playing the band members
• 2:45
  Speaker 4: are the children of the actual band members, so they're
• 2:48
  Speaker 4: all rust and they took out their hair for the
• 2:50
  Speaker 4: film and then they put it back.
• 2:51
  Speaker 1: It was a lot, you know, it.
• 2:52
  Speaker 6: Was what do you mean he took the hair out
• 2:55
  Speaker 6: like they got it, what do you mean? Took it out?
• 2:56
  Speaker 4: So like Sheldon came with his own dreads, real real,
• 2:59
  Speaker 4: real dreads, and then Morris took them out, cut them out,
• 3:04
  Speaker 4: like picked them out and left hair there and put
• 3:08
  Speaker 4: dreads in. And then at the end of the film
• 3:11
  Speaker 4: he's taking out them dreads and then put their original
• 3:14
  Speaker 4: dreads back in. So, yeah, the whole dreads thing was like.
• 3:18
  Speaker 4: That was one of the first conversations I had with ZIGGI.
• 3:20
  Speaker 4: It was like, Yo, authenticity of of how Bob speaks,
• 3:26
  Speaker 4: you know, has to be at the forefront of the side.
• 3:29
  Speaker 4: I can't get involved. And he was the same, you know,
• 3:31
  Speaker 4: and and and also the hair. I was like, it's
• 3:35
  Speaker 4: not I ain't got nothing to do with it, but
• 3:36
  Speaker 4: just make sure that if you need to put ten
• 3:38
  Speaker 4: million into the hair, then that's what we need to do. So,
• 3:41
  Speaker 4: you know, it was Yeah, the hair and the hair
• 3:44
  Speaker 4: and the Bob talk was the top.
• 3:47
  Speaker 6: I'm a little slow.
• 3:48
  Speaker 3: How the hell do you put the hair back in?
• 3:51
  Speaker 1: I ain't got a clue.
• 3:53
  Speaker 5: You tutorials on how to put something We're not going
• 3:55
  Speaker 5: to see.
• 3:57
  Speaker 3: Regular hell, because they had they would have to cut
• 3:59
  Speaker 3: it out. You have to cut it out.
• 4:00
  Speaker 7: And then no, no, no, no no sos. You combed
• 4:04
  Speaker 7: them out like you can comb his hair. Yeah, you
• 4:07
  Speaker 7: calmbed them out, and then you people make the likes
• 4:09
  Speaker 7: that I had liket week last week, the girl made
• 4:11
  Speaker 7: them with out of real hair.
• 4:13
  Speaker 5: These are full of these from Amazon like, but you.
• 4:17
  Speaker 1: Know, I didn't know that. I didn't know it was
• 4:20
  Speaker 1: a fame.
• 4:21
  Speaker 4: I met them once the new hair had been put in,
• 4:25
  Speaker 4: so I only knew them with that hair. I only
• 4:26
  Speaker 4: realized when I see them after that they had different dreads.
• 4:29
  Speaker 4: But yeah, it was a whole I don't know how
• 4:32
  Speaker 4: we found him Morris, because he's he's like, you know,
• 4:35
  Speaker 4: he's a.
• 4:36
  Speaker 1: One of a can you know that was in the
• 4:38
  Speaker 1: in the industry.
• 4:39
  Speaker 4: You know, he came and he and then he ended
• 4:40
  Speaker 4: up just taking care of a lot of stuff. You know,
• 4:42
  Speaker 4: he was on set with us every day and he's
• 4:44
  Speaker 4: working on the Shauna now, on all.
• 4:45
  Speaker 1: Of our work.
• 4:46
  Speaker 6: The British accident isn't that much different from the Jamaican
• 4:48
  Speaker 6: accent though, now that I'm hearing you talk, Yeah, because
• 4:51
  Speaker 6: he spent so much time.
• 4:52
  Speaker 1: I don't know, I disagree.
• 4:54
  Speaker 4: I feel like I feel like, you know, the wind right,
• 4:58
  Speaker 4: like the Black the Black Commune in London anyway was
• 5:03
  Speaker 4: you know, it's a huge Caribbean culture and I feel
• 5:06
  Speaker 4: like a lot of Jamaican dialect has seeped in to
• 5:10
  Speaker 4: London culture. So you know, the way we grew up
• 5:14
  Speaker 4: talking was half Cockney, half Jamaican and that's kind of
• 5:16
  Speaker 4: what the slang is in the UK. But the patois
• 5:21
  Speaker 4: really for me, it's a different language.
• 5:24
  Speaker 1: You know. I'll tell you what. We could be in here.
• 5:29
  Speaker 4: With two guys from Jamaica who have like from somewhere
• 5:34
  Speaker 4: I don't know, and they could talk for five ten
• 5:37
  Speaker 4: minutes and we won't have a clue what they're saying. Yes,
• 5:39
  Speaker 4: And I found myself in that situation a bunch of times,
• 5:42
  Speaker 4: and I was like, well, this is a whole this
• 5:45
  Speaker 4: is a whole thing. This is not something where I
• 5:46
  Speaker 4: can just like take nine months and learn Jamaican. It
• 5:49
  Speaker 4: just was never going to be one of those ones.
• 5:51
  Speaker 4: So we had a whole operation in place. You know,
• 5:54
  Speaker 4: we had like nine specialists on set. We had Jamaican
• 5:57
  Speaker 4: linguists from the university. They wrote my script and the
• 6:01
  Speaker 4: way that I talk in a in a phonetic language
• 6:05
  Speaker 4: made by Frederick.
• 6:06
  Speaker 1: Cassidy, and so it really it really did.
• 6:08
  Speaker 4: You know, Like there's part like I had I took
• 6:10
  Speaker 4: months to kind of translate everything Bob was saying.
• 6:13
  Speaker 3: I was in time into this film.
• 6:15
  Speaker 4: Yeah, I was misinterpreting things Bob was saying, you know
• 6:18
  Speaker 4: what I mean it's misinterpreting things he was saying. I
• 6:21
  Speaker 4: wasn't just not understanding. There was things that I thought
• 6:23
  Speaker 4: I understood. And then actually I get Jamaican to come
• 6:26
  Speaker 4: out into my house and help me translate, and he's going, no, no, no,
• 6:29
  Speaker 4: this is saying something else. You're an example in our
• 6:33
  Speaker 4: found with Bob would say this thing when he's saying
• 6:35
  Speaker 4: I found where you know, I found where you know,
• 6:38
  Speaker 4: and he's saying in a in a form where so
• 6:41
  Speaker 4: it was just a connecting sentence. My little things like
• 6:44
  Speaker 4: that in the middle of conversations throw you you know,
• 6:47
  Speaker 4: and like I mean in a in a form where
• 6:52
  Speaker 4: you know, it's just like it's just an expression.
• 6:55
  Speaker 1: That he and Bob took the way that Bob talked
• 6:57
  Speaker 1: you know what I mean.
• 6:57
  Speaker 6: So I still don't know what that meaning. You said
• 6:59
  Speaker 6: it three times in a form where.
• 7:02
  Speaker 5: So it would be like from a standpoint of.
• 7:04
  Speaker 1: Exactly right, exactly, And I was like, without Jamaicans, there's
• 7:08
  Speaker 1: no way that I was going to be able to
• 7:11
  Speaker 1: translate something I mean. And the list goes on.
• 7:13
  Speaker 4: I mean, I had hundreds of pages of Bob talk
• 7:15
  Speaker 4: where I'm like, I don't know what I don't know
• 7:17
  Speaker 4: what he's saying.
• 7:18
  Speaker 5: So would you say that was the most complicated part
• 7:21
  Speaker 5: of the role.
• 7:22
  Speaker 1: Yeah, for sure. For sure. Obviously the music I'm starting
• 7:24
  Speaker 1: from scratch.
• 7:25
  Speaker 4: But with the music, I'm I was always like, I
• 7:29
  Speaker 4: just get as far as I can get to, you know,
• 7:31
  Speaker 4: and then you can do things with the camera and
• 7:33
  Speaker 4: there's going to be a lot of support there. But
• 7:35
  Speaker 4: I guess with the with the Patois, there was a
• 7:39
  Speaker 4: moment where I thought, oh, let me see how far
• 7:42
  Speaker 4: I can get with this, and then a few months
• 7:44
  Speaker 4: in I was I was emailing, tough, gone and we
• 7:47
  Speaker 4: need a lot of help, Like, I'm not going to
• 7:51
  Speaker 4: be able to just come in and willing nearly. Patois.
• 7:53
  Speaker 4: It's not it's not. It's not one of them things there.
• 7:56
  Speaker 4: And I'm like, just because I've grown up with Jamaicans,
• 7:59
  Speaker 4: just because you know, it don't mean anything really like
• 8:03
  Speaker 4: the language. You could spend ten years trying to prep
• 8:06
  Speaker 4: Bob and still have a way to go. And Bob's
• 8:10
  Speaker 4: coming from he born in the country, grew up in Trenchtown,
• 8:12
  Speaker 4: and then traveled. So there's the Patois. But then there's
• 8:16
  Speaker 4: how Bob talked, and how Bob talked. No one talked
• 8:19
  Speaker 4: like him. So yeah, it was a journey, but there
• 8:23
  Speaker 4: wasn't a day on set where I wasn't surrounded by
• 8:26
  Speaker 4: people who knew. So I felt good, like we were
• 8:29
  Speaker 4: never going to move on unless it was right. So
• 8:32
  Speaker 4: and that was the one thing I felt like I
• 8:33
  Speaker 4: can fully take care of. I can't take care of
• 8:36
  Speaker 4: like looking exactly like Bob. Bob's five seven, I'm six too,
• 8:40
  Speaker 4: you know, there's so many physical differences between us. And
• 8:44
  Speaker 4: he's a genius, he's a musical genius, so like, but
• 8:47
  Speaker 4: his voice and how he spoke, and the authenticity of
• 8:51
  Speaker 4: that as like the whole cultures in the way that
• 8:53
  Speaker 4: Bob talks, Like the way that he speaks has to
• 8:55
  Speaker 4: be reflected. There's no there can be no dumbing down
• 8:58
  Speaker 4: of it, like there's no whitewashing it, you know, and
• 9:02
  Speaker 4: then let's let's let's do it how Bob talks. And
• 9:05
  Speaker 4: then afterwards, when he's in post production, you can figure
• 9:07
  Speaker 4: out how much people understand and how much they don't.
• 9:09
  Speaker 3: What made you audition for this?
• 9:12
  Speaker 1: At first thought? At first I was.
• 9:16
  Speaker 4: I thought there must have been a mistake of some sort,
• 9:18
  Speaker 4: you know, just one of them auditions where I'm like
• 9:20
  Speaker 4: I'm mixed, so I guess everyone mixed is auditioning for this,
• 9:25
  Speaker 4: and it was silly, and so I must have passed
• 9:28
  Speaker 4: on it just thinking it was like a general you know,
• 9:30
  Speaker 4: hundreds of us doing it. And then it just started
• 9:32
  Speaker 4: coming back that the Marley family were involved, which I
• 9:36
  Speaker 4: didn't know. And then I heard that ray of dunking
• 9:39
  Speaker 4: Richard and I saw an early cut of it, and
• 9:41
  Speaker 4: I was like, after family are involved, and there's there's
• 9:43
  Speaker 4: nothing to lose, you know, let me let me throw
• 9:46
  Speaker 4: something out there and then at least we can have
• 9:48
  Speaker 4: a conversation if they want, but nothing to lose, and
• 9:51
  Speaker 4: I audition and Ziggy wanted to meet me, So really
• 9:53
  Speaker 4: it was it was really spending time with the family
• 9:57
  Speaker 4: and understanding that they wanted to do a kind of
• 10:02
  Speaker 4: tribute to their dads.
• 10:03
  Speaker 1: You know.
• 10:03
  Speaker 4: It was a kind of love letter to their dad,
• 10:05
  Speaker 4: and they wanted to share with the fans aside to
• 10:07
  Speaker 4: Bop that people don't necessarily know, which is that he
• 10:11
  Speaker 4: was a human being, you know, which was that he
• 10:13
  Speaker 4: was a guy who went for a lot and man struggled.
• 10:16
  Speaker 6: And so I think they talk about his revolution and
• 10:19
  Speaker 6: that revolution a lot, but you don't get to see
• 10:21
  Speaker 6: what fueled him being a revolutionary.
• 10:23
  Speaker 4: Yeah, yeah, no, yeah, and that he and that at
• 10:29
  Speaker 4: this time with the film set, like he was just
• 10:32
  Speaker 4: going for a lot, you know, he had he had
• 10:35
  Speaker 4: the weight of the world on his shoulders. And I think, yeah,
• 10:37
  Speaker 4: it was really the family, like the family's involvement and
• 10:41
  Speaker 4: an understanding that authenticity was really most important for them
• 10:46
  Speaker 4: and for the studio and for me. So you know,
• 10:48
  Speaker 4: I was just being in service to them.
• 10:50
  Speaker 6: The kids didn't weren't upset about you playing the father,
• 10:53
  Speaker 6: Like none of didn't wanted to play the role.
• 10:55
  Speaker 1: No, no, I think Skip, I think Skip or this
• 11:00
  Speaker 1: to play the younger Bob.
• 11:01
  Speaker 4: And it didn't work out to find Bob. It's the
• 11:07
  Speaker 4: thing about casting. You know, so many stories and people's feelings,
• 11:11
  Speaker 4: you know, get.
• 11:11
  Speaker 1: Hurt and stuff.
• 11:12
  Speaker 4: But when you're when you're when you're on the inside,
• 11:14
  Speaker 4: you're like, oh, it's not the conspiracy that everyone thinks,
• 11:18
  Speaker 4: you know, or ziggy and that they want to play
• 11:20
  Speaker 4: their dad and they're older. You got they needed to
• 11:23
  Speaker 4: find someone to play Bob between thirty three and thirty
• 11:27
  Speaker 4: six years old, and that's that's pretty you know, it
• 11:32
  Speaker 4: can be tricky and so but no, I don't.
• 11:35
  Speaker 1: I don't. I don't know Ziggy Ziggy in the family.
• 11:37
  Speaker 1: They approved it, and so I was.
• 11:40
  Speaker 4: Like, all right, cool, if he's if he's like, that's
• 11:42
  Speaker 4: what he was not wanting, and you know, I'm here
• 11:44
  Speaker 4: to help.
• 11:44
  Speaker 2: Did you ever want to quit because you said it
• 11:46
  Speaker 2: was difficult with the hair, difficult with the patois.
• 11:48
  Speaker 3: Did you ever say, you know what, maybe the same
• 11:50
  Speaker 3: for me?
• 11:51
  Speaker 1: Yeah?
• 11:51
  Speaker 3: I did at what point.
• 11:53
  Speaker 4: Very close to filming, But now I was like, if
• 11:56
  Speaker 4: I pull out this, you know, it's not just me,
• 11:59
  Speaker 4: it's all money that's gone into pre production, and it's like,
• 12:02
  Speaker 4: if you.
• 12:02
  Speaker 1: Want to work again, I wouldn't advise that I did.
• 12:06
  Speaker 4: I did have a moment, you know, a couple of weeks,
• 12:10
  Speaker 4: a couple of weeks before we started, I was just like, boys,
• 12:15
  Speaker 4: there's a mountain to climb, you know, and all of
• 12:17
  Speaker 4: the music and the stems were coming in and songs
• 12:20
  Speaker 4: were changing, and I was like, yeah, just one day
• 12:25
  Speaker 4: at a time.
• 12:26
  Speaker 1: It's just one day at a time.
• 12:27
  Speaker 4: And really, really what happened was we got to set
• 12:32
  Speaker 4: and Neville Garrick's there. It was Bob's like close close
• 12:35
  Speaker 4: friend who was with Bob the whole time, you know,
• 12:38
  Speaker 4: the whole time Bob was creating Exodus and touring Exodus,
• 12:41
  Speaker 4: never was with him, Never was in the room with
• 12:43
  Speaker 4: Bob writing down the songs when Bob was composing them,
• 12:47
  Speaker 4: and never was on stage all of them concerts, and
• 12:49
  Speaker 4: never was with me every day on set.
• 12:51
  Speaker 1: So I felt like.
• 12:54
  Speaker 4: If Neville didn't like sign, he's going to tell me straight,
• 12:57
  Speaker 4: and he did a lot of times.
• 12:59
  Speaker 1: So I just always felt science not right. We've got
• 13:01
  Speaker 1: the time to.
• 13:02
  Speaker 4: Like stop and figure it out. And really it's only
• 13:05
  Speaker 4: this is just a tribute to Bob to try and
• 13:07
  Speaker 4: find a little bit of his spirit and his essence.
• 13:09
  Speaker 4: I feel like everyone involved knows that you can't copy
• 13:12
  Speaker 4: Bob and you can't be Bobby's kind of too big
• 13:15
  Speaker 4: in a way. So it was just there was an
• 13:18
  Speaker 4: understanding that this is just an interpretation of, you know,
• 13:23
  Speaker 4: his vulnerability and his feeling and what some of what
• 13:25
  Speaker 4: he might have been going through at that time, and
• 13:27
  Speaker 4: you know, just to celebrate him a little bit.
• 13:30
  Speaker 6: How much how much hated you need because you got
• 13:32
  Speaker 6: a lot of hold.
• 13:33
  Speaker 1: You underneath the fingers, got a lot of head.
• 13:36
  Speaker 6: Kingsley Paul I got big, yeah, yeah, a lot of hair.
• 13:41
  Speaker 5: I'm just like.
• 13:43
  Speaker 1: I got a big head. Yeah yeah, this coming big
• 13:46
  Speaker 1: head at school. Yeah but what so what do you mean.
• 13:52
  Speaker 3: To say?
• 13:53
  Speaker 1: Let me tell you something.
• 13:53
  Speaker 6: I'm happy that this movie is coming out on Valentine's
• 13:56
  Speaker 6: Day because it's not just a story about Bob. It's
• 13:59
  Speaker 6: a love story Bob. And read it like that's what
• 14:02
  Speaker 6: I liked about it. How did you feel about that?
• 14:05
  Speaker 1: Yeah? I didn't really know. I mean that sort of
• 14:08
  Speaker 1: evolved as we were shooting.
• 14:09
  Speaker 4: Yeah, Lashana and I we were working seven months leading
• 14:14
  Speaker 4: up to filming, and I guess that's the thing with films.
• 14:17
  Speaker 4: You shoot three and a half four hours and then
• 14:19
  Speaker 4: they cut it down to two. So all the things
• 14:21
  Speaker 4: that's stay in and don't stay in and how they
• 14:23
  Speaker 4: kind of tweak it and and kind of make it
• 14:25
  Speaker 4: is you know, it's over to them after you, after
• 14:27
  Speaker 4: you wrap, but it is.
• 14:28
  Speaker 1: It's it's a it's a love.
• 14:30
  Speaker 4: Story between them and but more that kind of unconditional
• 14:33
  Speaker 4: love when you've known someone for that long and you've
• 14:35
  Speaker 4: shared all that experience, and the love that is expressed
• 14:39
  Speaker 4: when you're not talking, you know, and when there's no words.
• 14:43
  Speaker 1: But yeah, it is that.
• 14:44
  Speaker 6: And she was his motivation a lie, because I mean,
• 14:46
  Speaker 6: one thing, I didn't even know. I can't be giving
• 14:48
  Speaker 6: the movie away because it's a biopic. But when I
• 14:51
  Speaker 6: didn't know she got shot at the house too.
• 14:53
  Speaker 1: Yeah, they shot in the head.
• 14:54
  Speaker 6: Yeah, I did that until the movie.
• 14:56
  Speaker 4: I dread the bullet got lodged in one of the dreads. Yeah,
• 14:59
  Speaker 4: I might as that.
• 15:00
  Speaker 1: Man.
• 15:01
  Speaker 4: They really went in and shut up that place. You know,
• 15:04
  Speaker 4: they really nearly died. And that was what was really
• 15:07
  Speaker 4: for me when I was reading the script, I was like,
• 15:11
  Speaker 4: how mad is it that out of that trauma of
• 15:13
  Speaker 4: that event, you know, within a few months, Bob's created
• 15:17
  Speaker 4: one of the greatest albums of all time. And there's
• 15:19
  Speaker 4: a connection between that. There's a connection between that that
• 15:23
  Speaker 4: the significance of that trauma and then the intensity of
• 15:26
  Speaker 4: creativity and then coming to London and a kind of exile,
• 15:29
  Speaker 4: and then just going in and then all the surviving
• 15:32
  Speaker 4: band members who I spoke to, who we've sadly lost,
• 15:35
  Speaker 4: you know, since we started filming Neville and Tyrone, they
• 15:39
  Speaker 4: all said I was like, what was it like working
• 15:41
  Speaker 4: with Bob at that time? And it was like it
• 15:43
  Speaker 4: was intense. It was intense, like he wasn't playing, you know,
• 15:46
  Speaker 4: he wasn't messing around, and so yeah, that I found
• 15:50
  Speaker 4: that interesting that like, right, I nearly died and then
• 15:54
  Speaker 4: within you know, twelve weeks, fourteen weeks, they were up
• 15:57
  Speaker 4: and running and touring. That's kind of that was Bob's five.
• 16:01
  Speaker 4: You know, he worked, He was a workerman. He was
• 16:04
  Speaker 4: up before the sun.
• 16:06
  Speaker 2: We went to Bob only growing up as a kid,
• 16:07
  Speaker 2: did you know all the music and know everything about him?
• 16:10
  Speaker 3: Was a lot of this you learned as.
• 16:12
  Speaker 4: Like I learned everything about Bob for the first time.
• 16:16
  Speaker 4: I felt I felt like I knew him just because
• 16:19
  Speaker 4: I've always known him.
• 16:20
  Speaker 1: I don't even know when. I don't even know when
• 16:22
  Speaker 1: I really first heard Bob, because Bob's.
• 16:25
  Speaker 4: Just always been in the house and not in hill.
• 16:26
  Speaker 4: Carnival was a big thing growing up, and I was
• 16:28
  Speaker 4: getting Cannibal from when I was like three, three four
• 16:31
  Speaker 4: years old. But once I started checking in, I was like, well,
• 16:36
  Speaker 4: I really don't know anything about this guy other than
• 16:39
  Speaker 4: that I knew he's half white, you know, like he's
• 16:42
  Speaker 4: mixed and he's mixed. That was it, Like I didn't
• 16:47
  Speaker 4: really understand that he's really from the ghetto, Like he
• 16:51
  Speaker 4: really grew up in Trench Town, and yeah, there's a.
• 16:53
  Speaker 1: Lot of sides to Bob.
• 16:55
  Speaker 4: So I say, I found out everything for the first
• 16:57
  Speaker 4: time through his friends and through his family. I spent
• 17:01
  Speaker 4: a lot of time with people who grew up with
• 17:03
  Speaker 4: Bob before he was famous, which was some of my
• 17:06
  Speaker 4: most interesting conversations. You know, Lego, I've spent time with
• 17:10
  Speaker 4: him on Orange Street and in his studio, just talking
• 17:12
  Speaker 4: about the old time. But watching them remember Bob, watching
• 17:16
  Speaker 4: them remember him with such funness and sadness and love.
• 17:21
  Speaker 4: You know, it's really just trying to get the information
• 17:23
  Speaker 4: I'm trying to get from them is like what was
• 17:24
  Speaker 4: Bob Black when he was on his own? What was
• 17:27
  Speaker 4: Bob Black when he was like feeling down? Like what
• 17:29
  Speaker 4: was Bob Black when he was having a rough day?
• 17:31
  Speaker 4: Like the idea of him as an icon and all
• 17:34
  Speaker 4: of that, that's there the sound bites. Everyone wants to
• 17:37
  Speaker 4: tell you. They want to tell you all the fun
• 17:38
  Speaker 4: bits that you've seen and you've seen them in the documentary.
• 17:40
  Speaker 4: Saying it, but trying to understand just like his like
• 17:43
  Speaker 4: his humanity, Yeah, just so I can connect him as
• 17:47
  Speaker 4: a human being and not like a hero.
• 17:51
  Speaker 1: Like that's a given. You know, that's a given.
• 17:55
  Speaker 5: Did you do all of the singing in the movies?
• 17:57
  Speaker 1: I sung everything. I sung everything on set. Yeah, yeah, yeah,
• 18:00
  Speaker 1: Which it was never the plan for me to sing
• 18:03
  Speaker 1: in the film. We're always going to use Bob Stems
• 18:05
  Speaker 1: because people want to listen to Bubb, they want to
• 18:07
  Speaker 1: listen to me, right, And no one can sing that Bob.
• 18:10
  Speaker 4: You can't sing that Bob because he's singing from such
• 18:13
  Speaker 4: it's so rough, but it's so from here that it's
• 18:17
  Speaker 4: actually it's actually his commitment to what he's saying that
• 18:22
  Speaker 4: creates that energy as well as his tone and all
• 18:24
  Speaker 4: of those things. So you can't really copy it as
• 18:27
  Speaker 4: beautifully as all his sons can sing.
• 18:29
  Speaker 1: No one can actually get his match.
• 18:31
  Speaker 6: So, and he was an ordained messenger, Like I feel
• 18:34
  Speaker 6: like he was divinely appointed to be a messenger.
• 18:37
  Speaker 1: That's what his name meant, right, like nes to the messenger.
• 18:40
  Speaker 4: Yeah, and Bob felt like he was in service, you know,
• 18:43
  Speaker 4: he felt like he was he was in service to
• 18:46
  Speaker 4: his majesty.
• 18:46
  Speaker 1: You know. So he's singing, he's singing for his life
• 18:50
  Speaker 1: in a way.
• 18:50
  Speaker 4: You know, it's it's about Yeah, it's about spreading the
• 18:53
  Speaker 4: message and all.
• 18:54
  Speaker 1: Of his songs, you know, when you clock all it.
• 18:55
  Speaker 1: When I started translating the lyrics of all of his song,
• 18:57
  Speaker 1: I was like, Row.
• 18:59
  Speaker 4: God is really in all of this, all of his
• 19:02
  Speaker 4: music jamming like all of them songs he's talking about God.
• 19:05
  Speaker 4: You know, it's really fascinating. But yeah, I sung, I sung.
• 19:11
  Speaker 4: I sung everything because like emotionally speaking in the face,
• 19:16
  Speaker 4: if you're not singing, I don't think. I didn't feel
• 19:19
  Speaker 4: like I could pretend. But also that Bob woke up
• 19:22
  Speaker 4: every day and and wrote songs, I felt was like
• 19:26
  Speaker 4: if I was playing a footballer and I never kicked
• 19:28
  Speaker 4: the ball. So I just wanted to learn to just
• 19:30
  Speaker 4: understand what the feeling with the instrument is and the
• 19:33
  Speaker 4: feeling of just the feeling of it, you know.
• 19:37
  Speaker 1: And then in the room we did some.
• 19:39
  Speaker 4: Acoustic stuff and Ziggy was supposed to come and dub it,
• 19:41
  Speaker 4: and he left my voice. So there's a bit of
• 19:44
  Speaker 4: me singing in the film, which was never planned. But
• 19:46
  Speaker 4: I had months of singing lesson, so I'm glad they came.
• 19:49
  Speaker 5: To the level of expertise. Was your voice on before
• 19:52
  Speaker 5: not great at least that?
• 19:55
  Speaker 1: Yeah?
• 19:56
  Speaker 4: No, no, no, not great at all? Not great at all.
• 19:58
  Speaker 4: You've got to look after your instrument man. Those singers,
• 20:00
  Speaker 4: they got to look after their voices. You know, it's
• 20:02
  Speaker 4: like steaming and all of that stuff.
• 20:05
  Speaker 6: What was your conversation with with Reader, Like, because she's
• 20:08
  Speaker 6: the EP of the film.
• 20:08
  Speaker 1: Right, Shana spent most time with Riar. I see.
• 20:15
  Speaker 4: I see her the other day at the premiere in Jamaica,
• 20:18
  Speaker 4: and I just went over to her and I kissed
• 20:20
  Speaker 4: her hand and stuff, and then she just she rubbed
• 20:22
  Speaker 4: her hand up in the back of my head and then
• 20:23
  Speaker 4: slapped me on the back of the head.
• 20:26
  Speaker 1: How big.
• 20:27
  Speaker 4: I don't know what I meant, but I think she's
• 20:30
  Speaker 4: coming in on my bald head, maybe my big head.
• 20:34
  Speaker 1: Yeah now, but she's really It's cool.
• 20:37
  Speaker 4: I didn't I didn't spend too I was mainly with
• 20:39
  Speaker 4: Ziggy and Shanna spent a lot of time with Sidela
• 20:42
  Speaker 4: and Rita, and I spent time with Ryan and Steven
• 20:45
  Speaker 4: and a lot of Bob's friends and people who worked
• 20:47
  Speaker 4: with him. But yeah, obviously our first thing is don't
• 20:50
  Speaker 4: looking that and.
• 20:50
  Speaker 1: That, Bob.
• 20:51
  Speaker 6: I think you did a great job as Bob personally,
• 20:55
  Speaker 6: but I feel like there's something the movie didn't capture
• 21:00
  Speaker 6: and I think it was the urgency of the moment,
• 21:03
  Speaker 6: meaning the concert, because there was so much leading up
• 21:06
  Speaker 6: to it, like the people didn't want him to do it.
• 21:08
  Speaker 6: He got shot, Reader got shot, Dan got shot. It
• 21:12
  Speaker 6: was kind of like it was kind of antichomactic in
• 21:14
  Speaker 6: the movie.
• 21:14
  Speaker 1: Happened in the first concept First concept.
• 21:18
  Speaker 4: Yeah, I mean all I can say is like what
• 21:20
  Speaker 4: we're saying before we shoot. I shot four hours and
• 21:24
  Speaker 4: twenty minutes, four and a half hours of movie.
• 21:27
  Speaker 1: You know, I created maybe like.
• 21:33
  Speaker 4: Seven eight nine different concept things. There's five or six
• 21:36
  Speaker 4: songs that are not in the film. There are deleted scenes,
• 21:39
  Speaker 4: there's all of that game on. So like when it
• 21:40
  Speaker 4: comes down to the cut, I'm not in the edit,
• 21:42
  Speaker 4: you know, Like I can't. My job is to come
• 21:45
  Speaker 4: in as an actor, and I understand what Bob's psychology
• 21:48
  Speaker 4: is from a human standpoint, so I can play Bob
• 21:51
  Speaker 4: in any film. In fact, I told them when I
• 21:53
  Speaker 4: first started this, I read it once and I was like,
• 21:55
  Speaker 4: I don't need to read this, and it just needs
• 21:57
  Speaker 4: six months with me and Bob, you know, So I
• 21:59
  Speaker 4: need to get ready so I can play Bob in
• 22:01
  Speaker 4: any film in any scene. You send me any scene
• 22:05
  Speaker 4: and I'll tell you how to interpret Bob within within
• 22:08
  Speaker 4: that scene.
• 22:09
  Speaker 1: And really, as an.
• 22:10
  Speaker 4: Actor, you've got to give up that need to control
• 22:13
  Speaker 4: everything because you can't.
• 22:14
  Speaker 1: There's just too many departments.
• 22:16
  Speaker 4: It's like there's costume, there's hair, there's light, and there's props.
• 22:19
  Speaker 4: And then you start becoming an expert in the world
• 22:22
  Speaker 4: that you're supposed You start noticing things around you, and
• 22:25
  Speaker 4: there's a moment where you go like, and I'm bad
• 22:27
  Speaker 4: for it, you know, I want to do everyone's job
• 22:29
  Speaker 4: for them, and like a sign I have to figure out,
• 22:32
  Speaker 4: and I just go, I'm just an actor. My job's
• 22:35
  Speaker 4: to come in and play the damn scene and that's
• 22:37
  Speaker 4: it and try and elevate in the best way that
• 22:40
  Speaker 4: I can.
• 22:41
  Speaker 1: So, yeah, I hear you. I hear you. But you know,
• 22:44
  Speaker 1: I'm not an editor.
• 22:46
  Speaker 6: NFL like, you know, even though it shows the rise
• 22:49
  Speaker 6: of Bob Marley in a lot of ways, Bob Marley
• 22:52
  Speaker 6: was on the run, like he had to get maker.
• 22:54
  Speaker 6: He you know, he couldn't deal with the trauma that
• 22:57
  Speaker 6: that was there anymore.
• 22:58
  Speaker 1: Yeah, yeah, you know what I mean, one hundred percent.
• 23:00
  Speaker 4: And for me, the movie was for me, it was
• 23:04
  Speaker 4: about trauma and safety. You know, when I'm as an actor,
• 23:07
  Speaker 4: you're reading sat In trying to go where's the what's
• 23:09
  Speaker 4: the subtext here? Like if they're and and and zigging
• 23:12
  Speaker 4: the family again? To me, we want to make that
• 23:14
  Speaker 4: and deep. So I'm going with, if you want to
• 23:16
  Speaker 4: make that and deep, then I need to understand Bob's trauma,
• 23:19
  Speaker 4: because that's all that. That's all it means. Deep means
• 23:22
  Speaker 4: just like connecting to the root and so understanding Bob's
• 23:28
  Speaker 4: experience as a child and the manifestation of that in behavior,
• 23:33
  Speaker 4: So like like, what does it mean to do that?
• 23:38
  Speaker 1: What does it mean when you don't trust people when
• 23:43
  Speaker 1: you're grown up? Do you know what I'm saying? When
• 23:44
  Speaker 1: you've grown up in the streets? So that that's I'm
• 23:46
  Speaker 1: trying to clock Bob in those terms, and then trying
• 23:49
  Speaker 1: to see how it connects into the music. He doesn't
• 23:53
  Speaker 1: sing with his eyes open ever, really is always closed.
• 23:58
  Speaker 1: What does that mean? They're the things I'm thinking, like,
• 24:02
  Speaker 1: you can stand on stage, he sings from here and
• 24:05
  Speaker 1: so there's something about all of that. But safety really,
• 24:10
  Speaker 1: to me, I was like, what does it mean to
• 24:13
  Speaker 1: not feel safe? You know?
• 24:15
  Speaker 4: What does it mean to hap? What does it mean
• 24:17
  Speaker 4: to nearly die and what does it mean then that?
• 24:20
  Speaker 4: And that needs to come through every scene that I
• 24:22
  Speaker 4: mean in the film Bob's relationship to safety, we all
• 24:26
  Speaker 4: want to feel safe as well, Like on a human level,
• 24:29
  Speaker 4: I feel like we're all on some sort of journey
• 24:32
  Speaker 4: towards wanting to feel connected, love together, seen, appreciated. And
• 24:39
  Speaker 4: I was like, Bob must have felt those things too,
• 24:42
  Speaker 4: so peace, love and unity spreading it to the world.
• 24:45
  Speaker 4: But like, where was Bob back with those things in himself?
• 24:47
  Speaker 4: Where was Bob back with his inner peace? Where was
• 24:50
  Speaker 4: Bob back with.
• 24:51
  Speaker 1: His with his sense of unity within himself?
• 24:54
  Speaker 4: How safe did he feel? Because out of trauma can
• 24:58
  Speaker 4: come mad creativity, and we're will pick up on the
• 25:00
  Speaker 4: magnetism of it, you know, we'll all pick up on
• 25:02
  Speaker 4: the energy of that vibration because that trauma mixed with
• 25:06
  Speaker 4: all of that talent, Bosh, it's gonna come with some energy.
• 25:10
  Speaker 4: And that's what we see in love, you know. So
• 25:14
  Speaker 4: I don't know what I'm talking about now.
• 25:17
  Speaker 7: But I imagine that it's it's probably almost impossible to
• 25:22
  Speaker 7: capture all of that in one movie.
• 25:24
  Speaker 5: Anyway.
• 25:24
  Speaker 7: It's like you're sure the things that you're talking about
• 25:27
  Speaker 7: you know, leading up to him being what made him
• 25:29
  Speaker 7: a revolutionist? You know what I'm saying, It's probably like
• 25:32
  Speaker 7: that would be part two and part three.
• 25:34
  Speaker 1: There's twenty films you can make about Bob.
• 25:36
  Speaker 4: You could do Concrete Jungle. I want to go straight
• 25:41
  Speaker 4: to the end. You know, you could do the whole
• 25:42
  Speaker 4: Africa story.
• 25:43
  Speaker 6: Yeah. I wanted to hear more about it because.
• 25:46
  Speaker 4: Yeah, and I feel like a lot of people, everyone's
• 25:50
  Speaker 4: going to come in with their own expectation of what
• 25:52
  Speaker 4: they want to see, because everyone has their own idea
• 25:55
  Speaker 4: of who Bob Miley is to them.
• 25:58
  Speaker 1: And trust me, I'm that guy. Like I'm the worst critic.
• 26:02
  Speaker 4: When it comes to these things. I'll be the first
• 26:04
  Speaker 4: person to say, like, why is this English guy playing Bob?
• 26:08
  Speaker 4: That's me when I'm at home. So I get it.
• 26:11
  Speaker 4: I fully, fully get it. But this is a project
• 26:14
  Speaker 4: made by the family. Everything went through them, and this
• 26:18
  Speaker 4: is their tribute to their father, and this is what
• 26:21
  Speaker 4: they want the world to know about their dad. I
• 26:24
  Speaker 4: show everything, and I had every difficult conversation I needed
• 26:27
  Speaker 4: to have with them about everything, to the point where
• 26:30
  Speaker 4: I wasn't always popular popular among two the family everyone
• 26:35
  Speaker 4: because I'm coming in I want to. I'm trying to
• 26:38
  Speaker 4: get into Bob's I have the responsibility of playing him
• 26:42
  Speaker 4: and wanting to truthfully get into his headspace. So I
• 26:45
  Speaker 4: have to ask all the questions, you know, And it's
• 26:48
  Speaker 4: when I'm working, it's like there's never a moment like
• 26:51
  Speaker 4: we got it and now we can all just have
• 26:53
  Speaker 4: a good time.
• 26:53
  Speaker 1: On set. It's a constant investigation to the last day.
• 26:57
  Speaker 1: If something doesn't feel right on set, stop, we stop.
• 27:02
  Speaker 1: And if no one knows the answer, let's listen to Bob.
• 27:05
  Speaker 1: So the one thing I could take full control of
• 27:07
  Speaker 1: is how Bob talks. And no one listened to him
• 27:10
  Speaker 1: more than me.
• 27:11
  Speaker 4: I listened to Bob every day for nine months, and
• 27:14
  Speaker 4: Sodella sent me files that only the family have got
• 27:18
  Speaker 4: where Bob's having conversation with people that no one's heard before.
• 27:20
  Speaker 4: So I know how I know what Bob's spiritual emotional
• 27:24
  Speaker 4: point of view is because I'm hearing him say it.
• 27:27
  Speaker 4: So if I see a scene and I'm like Bob would,
• 27:30
  Speaker 4: Bob needs to be saying this now as it relates
• 27:32
  Speaker 4: to God, as it relates to spirituality.
• 27:35
  Speaker 1: So for me, sometimes, you know, my job is just
• 27:43
  Speaker 1: the character. You know, it's the character.
• 27:46
  Speaker 5: Which was executed very well.
• 27:47
  Speaker 1: Thank you so much.
• 27:48
  Speaker 7: I appreciate these past couple of years, you played like
• 27:51
  Speaker 7: different characters though you played Barack Obama.
• 27:54
  Speaker 5: You you played.
• 27:56
  Speaker 7: Malcolm X in One Night in Miami, basketball in a
• 28:00
  Speaker 7: Barbie movie.
• 28:01
  Speaker 5: Yeah, and Bob Marley. How mentally is that? Like, how
• 28:06
  Speaker 5: how is that mentally to switch?
• 28:08
  Speaker 4: Like I don't find I don't find the switch, and
• 28:11
  Speaker 4: I feel that No. Yeah, for me, it's just more
• 28:14
  Speaker 4: it's a it's a preparation thing and then five minutes
• 28:18
  Speaker 4: before action, I just need to concentrate and make sure
• 28:21
  Speaker 4: I've done my homework.
• 28:23
  Speaker 1: I don't know what I'm doing, you know what I mean.
• 28:24
  Speaker 4: I don't feel it's Yeah, you want to be able
• 28:29
  Speaker 4: to I think as well, just coming up as a
• 28:31
  Speaker 4: as a working actor, you have to be ready when
• 28:34
  Speaker 4: you need to be ready. So there's not that luxury
• 28:37
  Speaker 4: of like, I'm doing this role and now I've got
• 28:41
  Speaker 4: six months to prepare on my own. It's like someone's
• 28:44
  Speaker 4: dropped out. You've got two weeks to prep one night
• 28:47
  Speaker 4: at Miami. So you just have to get ready, you know.
• 28:50
  Speaker 4: It's like you finished Secret Invasion on the twelfth of
• 28:54
  Speaker 4: March you're starting Barbie on Monday, so you just.
• 29:01
  Speaker 1: Thank you. Yeah, yeah, I enjoyed that. I enjoyed.
• 29:05
  Speaker 4: I enjoyed playing that role because the reason why I
• 29:08
  Speaker 4: took it wasn't because the writing was great at all.
• 29:10
  Speaker 1: It has nothing to do with the writing.
• 29:11
  Speaker 4: They just sent me two little teaser scenes, one with
• 29:13
  Speaker 4: Samuel at the end and one with Ben Mendelssohn, and
• 29:17
  Speaker 4: I was like, Oh, this guy really wants everyone to burn.
• 29:20
  Speaker 1: You know, there's no I feel like he's gone in
• 29:23
  Speaker 1: his mind.
• 29:23
  Speaker 4: He's gone like power hungry, power hungry, but also just
• 29:28
  Speaker 4: like he's only going to feel I don't think he
• 29:32
  Speaker 4: feels anything other than when he sees other people experiencing
• 29:37
  Speaker 4: the pain that he feels subconsciously or not. So like,
• 29:42
  Speaker 4: he only feels alive when I see you in as
• 29:45
  Speaker 4: much pain as I feel in myself. And I was like,
• 29:48
  Speaker 4: I don't I've never been offered that kind of role,
• 29:50
  Speaker 4: so I just have to take it, regardless of what
• 29:53
  Speaker 4: show it is or you know, what it's in. But
• 29:56
  Speaker 4: it's fun. It's fun to play that because he's just
• 29:59
  Speaker 4: got a bag of seat, it's bag of dark secrets.
• 30:01
  Speaker 6: What about the backlash that comes with being a British actor,
• 30:04
  Speaker 6: getting to play American icons like President Obama, like Malcolm Xican,
• 30:08
  Speaker 6: even playing you know, in a Jamaican icon like Bob Marley.
• 30:11
  Speaker 6: People do not like that, like you're stealing.
• 30:14
  Speaker 1: All the roles. I hear it, I hear it again.
• 30:18
  Speaker 1: I feel like.
• 30:26
  Speaker 4: When you each casting situation is different. So when it
• 30:32
  Speaker 4: comes to opportunity, the first question is has everyone had
• 30:37
  Speaker 4: an opportunity to audition? Has everyone who should had an
• 30:42
  Speaker 4: opportunity to put their foot in the door where they
• 30:45
  Speaker 4: get to put their best self forward? And then what
• 30:51
  Speaker 4: only like and where it just depends on the casting
• 30:55
  Speaker 4: is that each situation is different. So some people can't
• 30:59
  Speaker 4: get their first, second, third, fourth, fifth, sixth choice all
• 31:03
  Speaker 4: busy not available. Seventh choice would be amazing. He's not
• 31:09
  Speaker 4: finishing the job till February. When these films go, when
• 31:13
  Speaker 4: they get that green light, there's a moment where they're
• 31:16
  Speaker 4: trying to make it. Now they're not waiting for anyone,
• 31:19
  Speaker 4: so it's really becomes about availability. I will always make
• 31:25
  Speaker 4: I told I said, when they came to me with Bob,
• 31:27
  Speaker 4: I was like, you have you been on a world
• 31:29
  Speaker 4: wide search?
• 31:30
  Speaker 1: Yes? We have, go on another one really make sure
• 31:35
  Speaker 1: you know when it came out.
• 31:36
  Speaker 3: Would you say that, like, make sure it's not me?
• 31:38
  Speaker 1: Well, yeah, because you want to make sure, you want
• 31:41
  Speaker 1: to make sure, Yeah, exactly. You want to make sure
• 31:43
  Speaker 1: I'm the best person I'm not because I've been in
• 31:45
  Speaker 1: that situation before. I couldn't get an audition for any
• 31:48
  Speaker 1: of those London things like Kid Oldhood or Top Boy
• 31:52
  Speaker 1: or any of that. The casting directs at home they
• 31:54
  Speaker 1: would never see me.
• 31:54
  Speaker 4: For that role because they see me like the Bridgeton guy,
• 31:58
  Speaker 4: whereas I'm like, no, no, oh no.
• 32:00
  Speaker 1: That's how I grew up.
• 32:02
  Speaker 4: I just went to a drama school that knocked my
• 32:04
  Speaker 4: accent out of me for eight years, and I've just
• 32:06
  Speaker 4: had to try and find it back some bullshit English
• 32:09
  Speaker 4: institution that told us that we couldn't talk the way
• 32:11
  Speaker 4: that we were supposed to talk. So it really really
• 32:15
  Speaker 4: depends on the car I think. To talk about this
• 32:18
  Speaker 4: as a whole becomes really difficult. I can only talk
• 32:21
  Speaker 4: for the specific examples of the castings that I've been in,
• 32:26
  Speaker 4: and I tell you straight. Andre Holland dropped out of
• 32:28
  Speaker 4: one night in Miami and Regina had two weeks to
• 32:31
  Speaker 4: cast it, and then there was three of us, and
• 32:35
  Speaker 4: then the guy who I was up against. He didn't
• 32:37
  Speaker 4: have the experience to hold the film in the way
• 32:39
  Speaker 4: that I did because of his age. He would have
• 32:41
  Speaker 4: been a twenty seven year old Malcolm and it didn't
• 32:42
  Speaker 4: make sense. They did not want to put me in
• 32:45
  Speaker 4: that role. It was just because the film is about
• 32:47
  Speaker 4: to go. They need to get it going, you know.
• 32:51
  Speaker 4: And really, I can talk for Bob and I can
• 32:53
  Speaker 4: talk for that and that's it, you know. Like so
• 32:57
  Speaker 4: I just got to make sure that when I'm going
• 32:59
  Speaker 4: in for some my thing is who have you seen?
• 33:02
  Speaker 1: Why are you coming to me? You know?
• 33:04
  Speaker 4: And I think the family came to me because our
• 33:06
  Speaker 4: first conversation was about the emotional vulnerability of Bob.
• 33:10
  Speaker 1: That's it. That's it.
• 33:12
  Speaker 4: No mimicry, no impersonation, no trying to like be him
• 33:17
  Speaker 4: or copy him.
• 33:18
  Speaker 1: This is a this is a this is a love
• 33:20
  Speaker 1: letter to your father.
• 33:21
  Speaker 4: So I'm going to try and tap into his feeling
• 33:22
  Speaker 4: a little bit, and that's it, just a little bit
• 33:25
  Speaker 4: of his essence, and I'm done.
• 33:27
  Speaker 6: It's okay to say you good, It's okay to say
• 33:29
  Speaker 6: I'm better than everybody else, It's okay to say I
• 33:30
  Speaker 6: get these roles because I'm a.
• 33:31
  Speaker 1: Great I don't think that's true. I don't think that's true. Like,
• 33:36
  Speaker 1: I don't think that's true. I just don't. I don't.
• 33:41
  Speaker 4: I don't, well, at least, I don't see it like that,
• 33:44
  Speaker 4: because you're only as good as the work you put
• 33:47
  Speaker 4: in on the day. You're you're two seconds away from
• 33:50
  Speaker 4: being really really bad if you switch off. And that's
• 33:53
  Speaker 4: the way that I I go with everything. It's starting again.
• 33:57
  Speaker 1: You know.
• 33:58
  Speaker 4: It's not like I went into Barb with the same
• 34:00
  Speaker 4: energy I went into Bob. Because it's about the work
• 34:03
  Speaker 4: and it's about the craft.
• 34:04
  Speaker 1: That's just me. Maybe I need to chill out a
• 34:06
  Speaker 1: little bit.
• 34:07
  Speaker 7: But a critic of yourself, like you could seem to
• 34:09
  Speaker 7: be even like, you know, hard on yourself about things.
• 34:12
  Speaker 5: You ever give yourself bad reviews?
• 34:15
  Speaker 1: Yeah, yeah, no, I'm learning.
• 34:17
  Speaker 4: I'm learning to be much kinder because it's you know,
• 34:20
  Speaker 4: you can just get tiring for yourself. But yeah, I know,
• 34:23
  Speaker 4: I feel like, yeah, I feel like it's the work
• 34:29
  Speaker 4: and it's the experience. You know, for me, it's about
• 34:31
  Speaker 4: the experience of the shoot. You know, who who's going
• 34:34
  Speaker 4: to the experience of making Bob was two years getting
• 34:39
  Speaker 4: to know.
• 34:39
  Speaker 1: Him with his friends and family before filming.
• 34:45
  Speaker 4: Yeah, and even up until now, just spending time with
• 34:48
  Speaker 4: the people who loved him or love him and knew him.
• 34:51
  Speaker 3: But you did the work.
• 34:52
  Speaker 1: Yeah, so like what a joy.
• 34:54
  Speaker 4: You know, Like, regardless of the film and whatever happens
• 34:58
  Speaker 4: with it, for me, that's two years of my life.
• 35:01
  Speaker 4: That's my life with them, you know, and I'll cherish
• 35:03
  Speaker 4: that to you. So for me as well with work,
• 35:08
  Speaker 4: it's as much about the experience as well. It's like
• 35:09
  Speaker 4: when I see that Secret Invasion thing, I was like, yeah,
• 35:11
  Speaker 4: this is ten days with Samuel Jackson on set taking
• 35:14
  Speaker 4: the job just for that. I just want to be
• 35:17
  Speaker 4: around him for ten days, you know, And it was
• 35:19
  Speaker 4: ended up being three four months, and then I get
• 35:22
  Speaker 4: to learn from him.
• 35:24
  Speaker 1: You know, what did he teach you?
• 35:25
  Speaker 6: What was the lesson that he told you?
• 35:27
  Speaker 1: Pro pro and like.
• 35:30
  Speaker 6: Great cursor too, fantastic.
• 35:32
  Speaker 4: Love person and funny and funny. But when he's on
• 35:35
  Speaker 4: the floor, you know, when we started doing some of
• 35:38
  Speaker 4: those scenes, when he gets excited and wants to turn
• 35:41
  Speaker 4: it on, it becomes really exciting because you're like, Sam
• 35:46
  Speaker 4: can do it.
• 35:47
  Speaker 1: You know, he's one of the greats and I don't know,
• 35:51
  Speaker 1: I don't know how to summarize a word what I
• 35:53
  Speaker 1: got from him, but it was definitely like, you know,
• 35:56
  Speaker 1: I really really enjoyed being around him and Ben Mendelssohn
• 35:59
  Speaker 1: as well. Those two were the reasons why I took
• 36:01
  Speaker 1: the job.
• 36:01
  Speaker 4: I was like, I'm definitely gonna be able to learn
• 36:03
  Speaker 4: Sam from these guys, you know, and Sam. Sam's very kind,
• 36:07
  Speaker 4: like very very kind. He's got so much time for
• 36:11
  Speaker 4: like young people around. He has a heightened awareness of
• 36:14
  Speaker 4: like I mean, he's been famous for how long man
• 36:17
  Speaker 4: he can't go anywhere, but he still makes the time
• 36:19
  Speaker 4: for everyone. And he said, Sam likes to do one
• 36:22
  Speaker 4: take or two takes, you know, one and done. Sometimes
• 36:25
  Speaker 4: I need eight or nine and he's there. He's that
• 36:28
  Speaker 4: you take as much time as you need. I'm right
• 36:31
  Speaker 4: here and it'll be on his feet every time. And
• 36:33
  Speaker 4: I love that because a lot of actors will go
• 36:34
  Speaker 4: back to the trailer, they go home, and they'll get
• 36:36
  Speaker 4: their standing to come in and act with you. Sam
• 36:38
  Speaker 4: did not leave me once. Yeah, so I really appreciated that.
• 36:43
  Speaker 4: And uh, just funny, funny.
• 36:45
  Speaker 6: Did did Ziggy really remember a lot of stuff because
• 36:47
  Speaker 6: he was young then? Like seeing. I'm thinking about in particular,
• 36:51
  Speaker 6: was the shooting that happened, you know.
• 36:53
  Speaker 1: Yeah, the drive by.
• 36:54
  Speaker 6: He remembered that.
• 36:55
  Speaker 4: They've got they've got Yeah, Ziggy's got memories, Yeah, Tigg
• 36:58
  Speaker 4: He's got memories. And that bit of the air put
• 37:00
  Speaker 4: at the end somehow when his dad come back, Ziggy
• 37:04
  Speaker 4: made it to the airport and no one knew how
• 37:06
  Speaker 4: he got there. At like nine years old, he heard
• 37:09
  Speaker 4: his dad was coming and he found himself like running
• 37:12
  Speaker 4: in the crowd, running in the crowd, and no one
• 37:14
  Speaker 4: knows how he got there. He can't remember how he
• 37:16
  Speaker 4: got there, but he was there. So I was about
• 37:18
  Speaker 4: getting that moment in.
• 37:19
  Speaker 6: But they really happy, like Bob, Bob saw him in
• 37:21
  Speaker 6: the Yeah.
• 37:22
  Speaker 1: Yeah, yeah, I believe so.
• 37:24
  Speaker 4: But the the That's why a lot of my conversations
• 37:27
  Speaker 4: with Neville, with Tyrone and with Lego, like the guys
• 37:32
  Speaker 4: who are Bob's age, who remembering him like I would
• 37:36
  Speaker 4: remember my power, you know, they were really the stories
• 37:40
  Speaker 4: about Bob's personality and is feeling around the time. You know,
• 37:45
  Speaker 4: all my information came through them as it related to that.
• 37:49
  Speaker 4: You read all the books and then he's like, isn't
• 37:51
  Speaker 4: that and you can find in these books really apart
• 37:53
  Speaker 4: from timelines, you know, but Lego and Lenny, Lenny Dread.
• 37:58
  Speaker 4: There's a guy called Lenny Dread who came over from
• 38:01
  Speaker 4: Saint Kitts when he was like sixteen seventeen, and he.
• 38:04
  Speaker 1: Camped outside Bob's mom's house.
• 38:06
  Speaker 4: In Miami because he had a vision that he wanted
• 38:08
  Speaker 4: to work for Bob one day. So he just went
• 38:11
  Speaker 4: and stayed outside the house for weeks and Bob was
• 38:13
  Speaker 4: on tour, and then Bob came back one day and
• 38:15
  Speaker 4: he told Bob that he had a dream that he
• 38:17
  Speaker 4: wanted to work for him.
• 38:18
  Speaker 1: Man still works in the house today. Wow. And I
• 38:20
  Speaker 1: spent three hours with.
• 38:21
  Speaker 4: Him in Bob's my mass and he took me into
• 38:23
  Speaker 4: you know, Bob's room at the time, so where they
• 38:25
  Speaker 4: would have had all family birthdays and everything like that.
• 38:28
  Speaker 4: And I had a four hour conversation with him where
• 38:30
  Speaker 4: he was telling me like what Bob was like and
• 38:32
  Speaker 4: his energy and everyone in and then those were the
• 38:36
  Speaker 4: things that I think I absorbed in some way, you know,
• 38:39
  Speaker 4: from those guys. Yeah, Lenny Dread and Dessi and Lego
• 38:45
  Speaker 4: was great.
• 38:45
  Speaker 6: What about when Bob was dealing with you know, the
• 38:48
  Speaker 6: cancer that ultimately took his life. In the movie, it's
• 38:52
  Speaker 6: played in like a really nonchalant way.
• 38:56
  Speaker 5: You know, he was telling them, yeah, y'all.
• 39:02
  Speaker 6: Talking about is the icon? Some people don't you don't
• 39:06
  Speaker 6: know the door And if I don't know, it's Bob Marley,
• 39:12
  Speaker 6: come on.
• 39:13
  Speaker 1: Yeah, I don't think that.
• 39:14
  Speaker 4: I don't give too much away because everybody, no, no.
• 39:17
  Speaker 1: You're good.
• 39:18
  Speaker 6: But but the nonchalantness of it all, it also reminded
• 39:23
  Speaker 6: me of just being a man and how a lot
• 39:24
  Speaker 6: of men don't want to go to.
• 39:26
  Speaker 4: Yeah, it wasn't written like that, okay, And that's what
• 39:27
  Speaker 4: I'm saying about acting process. For me, I was like
• 39:32
  Speaker 4: when you're from the ghetto like that, and I've grown
• 39:35
  Speaker 4: up with guys and I have a bit of it
• 39:36
  Speaker 4: in myself. Whereas to me it was like, well, what
• 39:40
  Speaker 4: happened was that he didn't check it for a number.
• 39:42
  Speaker 1: Of years and the line really is them can kill me.
• 39:50
  Speaker 1: So if you understand the language of.
• 39:51
  Speaker 4: That scene, like we we readjusted it to to make
• 39:56
  Speaker 4: sense for Bob's mentality at that moment, you you know,
• 40:00
  Speaker 4: I think that the next diagnosis in New York three
• 40:03
  Speaker 4: years later was slightly different, and they wanted to impose
• 40:06
  Speaker 4: the script that I originally read, sort of imposed nineteen
• 40:09
  Speaker 4: eighty one on nineteen seventy seven. I was like, where
• 40:13
  Speaker 4: was Bob actually out in seventy seven, which is that
• 40:16
  Speaker 4: he was on job, you know, he was working.
• 40:17
  Speaker 1: He had time for that, you know. And listen.
• 40:20
  Speaker 4: I shot that film with Ziggy, and it was a
• 40:25
  Speaker 4: mad day because suddenly I'm in this doctor's office and
• 40:30
  Speaker 4: I was like, raw, this actually happened, you know, and
• 40:32
  Speaker 4: his son's looking at me, you know. And I had
• 40:36
  Speaker 4: to take a couple of moments because there were versions
• 40:38
  Speaker 4: of the scene where I did crack and I would
• 40:41
  Speaker 4: call Ziggy over and I'd say, Ziggy, I don't know
• 40:43
  Speaker 4: if these are my tears or your dad's tears. But
• 40:46
  Speaker 4: if they're not, I don't know. You know, if I'm
• 40:50
  Speaker 4: crying for him, I'm crying.
• 40:51
  Speaker 1: I don't. I don't want to. You can't just put
• 40:53
  Speaker 1: Bob Marley in a film and have him cry down
• 40:56
  Speaker 1: the film. You know. It's not that Bob's not that
• 40:59
  Speaker 1: he's not an American dad.
• 41:02
  Speaker 4: You have very very specific political, spiritual, religious beliefs, and
• 41:06
  Speaker 4: it's the only thing he talks about. From nineteen sixty
• 41:10
  Speaker 4: nine to the first interview. I heard all the way through,
• 41:12
  Speaker 4: Bob saying the same thing.
• 41:13
  Speaker 1: Alice alassiea dad.
• 41:16
  Speaker 4: So Bob's tears, I'd ask people, there's not many reports,
• 41:23
  Speaker 4: so it's not about an oscar moment. It's like the
• 41:26
  Speaker 4: truth is it's not. So I said to Ziggy, you
• 41:30
  Speaker 4: make this call when you get to the edit. But
• 41:32
  Speaker 4: I'm going to give you a few different versions of this,
• 41:36
  Speaker 4: you know. And I love what they did up in
• 41:37
  Speaker 4: the room when he's just there and you can't even
• 41:39
  Speaker 4: see his face, but you just hear it and then
• 41:42
  Speaker 4: he cracks on Bosh back to the work. So that
• 41:46
  Speaker 4: to me felt true to Bob. That felt true to that,
• 41:53
  Speaker 4: It felt true to the guy, the guy I know
• 41:57
  Speaker 4: from the gheto.
• 41:59
  Speaker 7: You know, emotions aren't really coming from the audience pretty much.
• 42:02
  Speaker 7: The tears really come from.
• 42:05
  Speaker 1: As I was crying for him on the day because
• 42:07
  Speaker 1: his son's looking at me, and I'm like, yeah, that
• 42:09
  Speaker 1: must have been what must have been like for him,
• 42:13
  Speaker 1: Like the loneliness of that moment and going raw, like
• 42:18
  Speaker 1: everything is coming in And that's why you just see
• 42:21
  Speaker 1: me looking up like that, because when I don't want
• 42:23
  Speaker 1: to cry, you know, it's that mm hmm. I want
• 42:30
  Speaker 1: you to see me crying.
• 42:33
  Speaker 5: You know, Send me the movie.
• 42:38
  Speaker 6: Send me the movie.
• 42:40
  Speaker 2: When the movie comes out this Wednesday, it looks like
• 42:43
  Speaker 2: a globe my head, my head, bringing back to my childhood.
• 42:48
  Speaker 1: I was like, I used to get my head, used
• 42:49
  Speaker 1: to get terrorized, and I used to get men. Another
• 42:52
  Speaker 1: guy get him being head and I had a meathead.
• 42:55
  Speaker 1: And then some kids of me.
• 42:57
  Speaker 3: Kids to me, probably the meaning you imagine, want to.
• 43:02
  Speaker 1: My boys and they come out they're just Terrorizing's just terror.
• 43:12
  Speaker 5: Yeah, Jesus Christ, it ain't little amen to it.
• 43:17
  Speaker 1: Head.
• 43:18
  Speaker 6: But no, the movie is really good man. I think
• 43:20
  Speaker 6: you did a great, great job as Bob. I don't
• 43:22
  Speaker 6: have anything to reference it to, you know what I mean,
• 43:25
  Speaker 6: because I didn't grow up in.
• 43:26
  Speaker 1: The air Obama. Yeah no, I feel.
• 43:28
  Speaker 3: Like you cap.
• 43:28
  Speaker 6: There's an essence you captured for sure.
• 43:30
  Speaker 1: Thank you.
• 43:30
  Speaker 2: I appreciate, appreciate, and everybody go out and check it out.
• 43:33
  Speaker 2: It comes out this Valentine's Day of perfect Valentine's Day thing.
• 43:38
  Speaker 6: It's a love story. Man, between reading Bob, it really
• 43:41
  Speaker 6: it really is.
• 43:42
  Speaker 3: And Kings, we appreciate you for joining us.
• 43:43
  Speaker 1: I'm so nice to be I'm finding this show.
• 43:46
  Speaker 4: I've been watchings on YouTube all the time, so I'm
• 43:48
  Speaker 4: happy to be thank you.
• 43:50
  Speaker 6: How hands on with Brad Pitt this No Plan B
• 43:52
  Speaker 6: with production company.
• 43:55
  Speaker 4: D and D D and Jeremy around Brad busy filming.
• 43:59
  Speaker 4: He's the to see her.
• 44:01
  Speaker 1: I don't say that, no, no, no, the overseer of
• 44:04
  Speaker 1: his company.
• 44:04
  Speaker 6: Yeah, I don't still don't like that.
• 44:11
  Speaker 1: No no, no, no, no, no no no.
• 44:13
  Speaker 4: I didn't mean that Brad's company is with DDY and Jeremy.
• 44:17
  Speaker 1: But Dy and Jeremy were with us.
• 44:19
  Speaker 4: Brad oversees them, you know what I'm saying. But like
• 44:23
  Speaker 4: he's one of many executive producers on this the overseer
• 44:26
  Speaker 4: of this project is tough Gon and the family, you
• 44:29
  Speaker 4: know what I mean, Brad and de Dy and Jeremy
• 44:32
  Speaker 4: to come with a hell of a lot of experience,
• 44:34
  Speaker 4: you know as it relates to these movies and the
• 44:36
  Speaker 4: pre production and the making of it and the coming
• 44:38
  Speaker 4: out of it.
• 44:39
  Speaker 1: So yeah, there's.
• 44:41
  Speaker 6: Yeah, stories, I really do does more stories about that era?
• 44:46
  Speaker 1: Really? Yeah, Yeah, there's a lot, there's a lot there,
• 44:48
  Speaker 1: you know, We'll see.
• 44:50
  Speaker 2: Let's look to the family and we appreciate you for
• 44:52
  Speaker 2: joining us. Thank you guys, it's the Breakfast Club.
• 44:55
  Speaker 3: Good morning, nice.
• 44:56
  Speaker 1: Wake in the morning. The Breakfast Club