A Quote by Forest Whitaker
As an artist, it's a great opportunity to play a character like this [Ugandan dictator Idi Amin in The Last King of Scotland]. And then, as a person, I had never been to the African continent. So, I knew, personally, it would reshape me.
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I'm really excited that people are receiving my performance like this. It makes me feel good, because I've been working really hard. And this character [Idi Amin], I worked particularly hard on. But I don't want to get too caught up in it, because first of all, it could lead to a great disappointment. You never know what's going to happen.
On the very last day of shooting [of The Last King of Scotlang], I remember wanting to get the [Idi Amin] character out of me right away, as much as I could. You literally take a bath to wash him off you. Luckily, I went into another part not so long afterwards, so I was kind of able to push it away a little bit. But speech patterns, and little sounds, particularly colloquial things, like the way you ask questions or might respond, were sticking with me, probably because I'd worked so hard to make it a part of my everyday way of expressing myself.
I found the people to be very kind and generous. It was unique because the crew was mainly Ugandan [filming The Last King of Scotland]. They had never done a film before. So, they were learning the process of making films, but at the same time they were also helping with the authenticity of the film.
What moved us was not so much what would it do for South Africa, but there has been a great keenness on the Continent that the location of the Pan African Parliament must add to its credibility. And, so we said, fine, it's a contribution to this process of the democratisation of the African Continent.
Trying to understand, inside, what it is to be Ugandan was crucial to the character, because there are Ugandan ways of doing things that I was trying to capture. Even if I had made this movie in South Africa, it would not have been the same, because it is so specific to Uganda.
There are people [in Uganda] who hate Idi Amin, a small amount. And then there are the people who really admire him, like a hero. And then there's a large group who say, 'We know that all these murders and atrocities occurred, but he did all these great things.'
I grew up in a country that was in a civil conflict for most of my childhood and adolescence. I saw violence and lived as a teenager through the time of a brutal dictator called Idi Amin. I fled and became a refugee.
Hair is very, very distinctive. I started that with that boxing movie I did, The Great White Hype. The director wanted me to look like Don King, and everybody knew who Don King was. But I didn't want to be Don King. I wanted the man to be Rev. Fred Sultan, so I decided to make him look like Julius Caesar. And from that point on, I just decided, I had this great wig-maker, so I just found hairstyles that I felt would be distinctive for every character. Like an adventure.
I was trying to capture this man's [Idi Amin] energy, and I did a lot of research in studying him. I tried to capture his 'Warrior King' energy inside of me as much as possible.
He's passing the ball like Idi Amin.
Some of the things I have written about are a way of connecting with my father - I know he knew who Idi Amin was, and I know he knew who Longford was. And I know he knew who Nixon was, because shortly before he died, I talked to him about Watergate.
The list of potential candidates for Julius Caesar is quite large. You could go, "Well, he's a Caesar." Idi Amin, or Bokassa in the Central African Empire, or in Zimbabwe, Robert Mugabe coming to power. They have all, at some point in their lives, been candidates for a casting as Julius Caesar.
I certainly don' think I could've played the character [Idi Amin] the same way without being in Uganda. I loved working in Uganda.
Perhaps because my background is theatrical, I have a great affinity with the classics. Hamlet has always been a character of great interest to me and a character I would really love to play. Or a character in a Tennessee Williams play, maybe Tom in 'The Glass Menagerie.'
Olympus has been a much welcomed return to my Shakespearean roots. King Aegeus demanded a much greater range and depth that I've yet had the opportunity to tap on camera. Lab Rats was a wonderful opportunity for me to just go be a goofy buffoon, which I love. It was exhilarating to listen to all the funny lines the writers would come up with on the spot and then get to play them immediately.
Of course, the kids who had never heard of a person called Ben E. King were then aware of the name associated with the song. That gave a tremendous lift to me as an artist.
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