Ten Questions with John David Washington

You played Boy Willie in the Broadway version of The Piano Lesson. Was it a no-brainer that you would play him in the film?

I don’t know if it was a no-brainer! I know I wanted to do it. My father has made it his mission to bring all of August Wilson’s work to the big screen, so I was very much aware of that. It became a real discussion as I was getting more comfortable in doing the play and it just went from there. Luckily, the producers of the film believed in me enough to do it!

How involved was your father as a producer?

My dad respected everybody’s process. I didn’t see him giving any notes. That being said, when he was on set we felt his presence. It was encouraging to see one of the GOATs [greatest of all time]! We had the greats – Michael Potts, Samuel L Jackson, Denzel Washington. When they’re on set you shut up and listen! But if they don’t have anything to say, then you’re doing something good.

How have you found navigating the film industry as the son of Denzel Washington?

My parents have always been supportive. My mum was a piano teacher at nine years old. My father attended Fordham University to study acting. They had this relentless pursuit of excellence in their artistry, so that’s all I knew. And they have both had a great influence on the kind of artist I’m trying to be.

Has it been a challenge to step out of that shadow?

My parents are a huge influence in my life, so they’ve encouraged me to be my own man. And I was already doing that by playing American football professionally. I earned a scholarship, I was a practice squad player for the St Louis Rams. My pursuit was to be my own person and I was encouraged by who I was raised by.

My dad is a GOAT, we felt his presence on set

What did you learn in American football that helped you as an actor?

Sports is a results-based thing. It’s not as subjective as the arts, but there is a discipline. There is also a superstition that I’ve carried, inspired by the paranoia of spending every day thinking I was going to get cut from the National Football League. It’s why I don’t care what number I am on the call sheet; I’m always thinking, “I’ve got to prove myself every day.”

As you mentioned, your father wasn’t the only big name involved in The Piano Lesson — you co-starred with Samuel L Jackson in both the play and the film. What’s he like to work with?

He is an intimidating presence! But he’s welcoming if he respects you, and I felt like I had to earn that respect. He originated the role of Boy Willie in 1987 at Yale Repertory Theatre, so he has a connection to the character. Once I earned his trust, I felt emboldened to be my best self.

How did you find playing that character on screen versus the stage?

[My brother] Malcolm, the director, wanted to open up the play cinematically, so my responsibilities as an actor certainly changed. The movie is telling you what to look at; there are close-ups. Another difference is the nerves, because on stage the show must go on! If you mess up, you’ve got to keep going.

In the 1930s, when The Piano Lesson is set, the Jim Crow laws enforced racial segregation in the southern states of the USA. How did you find getting in the head of a character from that time?

Unfortunately, it was easy, because the scab wounds of those times still affect us today. I just had to think about my grandparents, all my elders, to get into character.

You starred in Christopher Nolan’s Tenet, one of the biggest films of 2020, released during the pandemic. How do you reflect on that experience now?

It was kind of crazy that we put it out during those times. There was a lot of weird stuff going on in general. I was just desperate to work, as I didn’t think I was ever going to work again. I didn’t know what the world was going to look like. I’ll never forget it. I’ll always remember exactly where I was in 2020.

You also turned 40 earlier this year. How have you found hitting that milestone?

When I was 30, I had a midlife crisis. I was panicked! This one, when I hit 40, I was actually in the UK supporting my sister [Olivia]doing Slave Play [at the Noël Coward Theatre]. I felt an ease of comfort. I felt good about who I am, and I understood where I needed to go to continue to evolve as a person. So it wasn’t a crash landing like 30 was. This was more of a smooth take-off.