A Quote by Peter Morgan

I am drawn to characters so full of internal contradictions. Idi Amin was one. I loved writing him. — © Peter Morgan
I am drawn to characters so full of internal contradictions. Idi Amin was one. I loved writing him.
I certainly don' think I could've played the character [Idi Amin] the same way without being in Uganda. I loved working in Uganda.
He's passing the ball like Idi Amin.
I will retire with the reputation of Idi Amin.
Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay, you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language but in their behavior as well.
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.
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 started by studying Kiswahili to learn the dialect. Then, I studied tapes, documentaries, footage, and audio cassettes of Idi Amin's speeches. And I met with his brothers, his sisters, his ministers, his generals' all kinds of people, in order to try to understand him.
I'm definitely interested in exploring human contradictions. Contradictions are what make us human - it's what defines us as human beings. Contradictions are what make characters interesting, and I've been lucky to be presented with characters who have a lot of contradictions.
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.
I've always been drawn to tormented people full of contradictions.
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.
I submerged myself in all the information that I could find about Idi Amin. I mean, before I left Los Angeles, I was studying Kiswahili. I was working on the dialect. I was studying every documentary and tape of him that I could find - not just visual, but also audiocassettes, even in other languages when he was speaking in other dialects.
It's the camel's nose in the tent. Look at Stalin, Mussolini, Hitler, Mao Zedong, Pol Pot, Idi Amin - every one of these monsters, on seizing power, their first act was to confiscate all firearms in private hands.
Since Idi Amin was from the Sudanese section in the north of Uganda, he was darker skinned. He had more of a blue undertone. So, we did change the coloring of my skin to be closer to his. But otherwise, there were no transformations besides acting.
For me, there is a stigma attached to playing beautiful parts. They are often empty characters whom the action happens around. I'm more drawn to characters with a complex internal life, who have a burning frustration underneath that keeps them going.
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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