Oge began writing blog post in 2017 after finishing his Secondary Education at Saint Patrick's Secondary School Enugu. He attended Zhejiang University of science and technology at the department of Digital Media Technology also currently schooling at Enugu State University of science and technology (ESUT) In the department of Geology and Minning. Oge Ebube has many works in Music and he is currently writting a short novel 'Je suis Prisoner: I'm a Prisoner'.
Email: ogeebube@validnewstoday.com
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Below in this post, ValidNewsToday will be exploring on the Jonathan Majors talks about biographical film Devotion, so keep reading below to see #Jonathan #Majors #talks #biographical #film #Devotion
Black Reel Awards Black Reel Awards nominee Jonathan Majors recently chatted with Gold Derby’s Denton Davidson about Sony Pictures Releasing’s biographical film “Devotion.” He takes on the role of a real-life person, Ensign Jesse Brown, the first Black naval officer in the 1950s, alongside Glen Powell as Lieutenant Junior Grade Tom Hudner. “When I read the script, I was just bowled over by how heroic he was in battle and outside of battle,” he explains. Majors discusses the depth of inspiration, improving from his own experiences, and having to partake in flight school for the blockbuster hit. Currently, the actor can be seen in theaters as Kang the Conqueror in Marvel’s “Ant-Man and the Wasp: Quantumania” and his next project will be as Damian Anderson in “Creed III.” He received a Best Drama Actor Emmy nomination in 2021 for “Lovecraft Country.” Watch the full video above and read the complete interview transcript below. Denton Davidson: I am Denton Davidson for Gold Derby here with Jonathan Majors who stars in “Devotion,” an inspirational true story about a pair of US Navy fighter pilots who risked their lives during the Korean War and become some of the Navy’s most celebrated wingmen. Jonathan, you played Jesse Brown, who is a true American hero. He broke down a lot of barriers. He’s the only Black person in naval flight officer training at the time. This is the 1940s. I had never heard of him before, and that’s why films like this are so important. I’m curious if you had heard of him and what were your first thoughts when you were offered this role? Jonathan Majors: Well, I hadn’t heard of him until I read the script. And when I read the script, I was just bowled over by how heroic he was in battle and outside of battle. I mean, this is pre MLK, pre Malcolm X. The Civil Rights movement is needed, but not anywhere close to beginning in that way. And so he was a true maverick, a true trailblazer. And there’s some correlations and connections between us. The fact that he was from Mississippi, and though Mississippi and Texas where I’m from are not the same place in any way, but there’s a certain mentality with the communities that we both grew up in. And he was just so heroic what he’s done and what he did. And he brought himself from the fields of sharecropping to the sky. And was not just a naval aviator, which is near impossible, he was the best naval aviator at the time. And it’s very rare that I do a piece and I look at a character and I go, oh wow, I think I just played my hero. And this was definitely that singular case. DD: Does it feel different as an actor when you’re playing a real person, or at least for this one, you don’t feel like you really have to imitate anything because we don’t know his personality. But does it feel different as an actor when you’re playing a real person for you? JM: Well, you’re still trying to get the room. You’re still trying to get to the truth, but the steps are a bit different. With a character fiction, you’re activated to use your imagination a great deal and kind of paint that way. And then when you get a character who was a living, breathing person and made real impact in a life, and in Jesse’s case history, it’s more inspiration rather than the form of imagination where you look to see, okay, what is inspiring this person to do this? How are they inspiring me? And then in the case of Jesse, where there was so little. There’s no recordings, there were a lot of write-ups. And so you got to look at his actions. And that in many cases is, I mean, as you know, just living life. It doesn’t matter what someone says. Actually, it doesn’t even matter what someone says about you. What you do, the physics of it, you got from point A to point B. The things you do are the most important things, and therefore you can be inspired by that. And that inspires the outline and the foundation of the character for Jesse. DD: There are some powerful moments where he’s looking at himself in the mirror, and he recites really every awful racist negative thing people have said about him all his life. And he keeps a journal and keeps all of it written down. What was it like filming those moments and did that get to you at all filming that? JM: Well, you want it to get to you. It has to because if it gets to me, it’ll get to you. And it’ll touch the audience and move the audience. And my hope was that in that moment we could take them through the same ritual that Jesse was going through. And a couple things are happening in the scene. I’m going through something, Jesse’s going through something, and the audience is going through something. And then there’s a fourth character, which is the reflection of Jesse. That’s who the scene is between. There’s actually two people in the scene. There’s Jesse, and then there’s the reflection while we’re playing it in the mirror. And yeah, it did get to me, but it had to. And primarily because if I hurt, they hurt. And then if I heal, they heal. Mirror neurons, isn’t it? Mirror neurons. Interesting, because in the moment and when people see the picture, it’s really important. It’s not important to me, I don’t care how you really look at it, but when you look at it in this totality, you see that the arc of it is, yeah, it’s emotional and there’s a breaking, but there’s also a pretty immediate rising of a phoenix that happens. And then chiefly, there’s an acknowledgement of it, which then puts steel inside of him and allows him to do what he needs to do to continue his personal life mission. You said something that he wrote down every single, that is not nearly every single negative pejorative, racial, bigoted thing that’s been said to him. That was probably just last… All of that from that moment is just thinking about the context of it. It’s probably, I know there’s a flight school, flight training comment in there, but the interesting part was, and the melding of the actor and the character really come together there is because that was what’s said in the film is an improvisation of what was on the script. And I was improving from my own personal experience, marrying that with Jesse’s experience. And again, in Texas, Mississippi, et cetera, two little Black boys trying, one trying to get on the movie screen and one trying to get in the air. There are some correlations. So one is a bit more ambitious to be clear, just a bit more ambitious. So you have to go there and say things that do hurt so you can actually heal. And you don’t shake it off. You heal from it when it’s over with. DD: And in terms of the technical aspects and being a pilot, what sort of things did you have to learn before getting into this role? Was that all in the script for you or did you really have to go through a lot of that? JM: I mean, we did it. I mean, Black Label, which is our producers, and Glen Powell was quite instrumental in it as he’s a pilot, an actual pilot, J.D. Dillard, who is the son of a naval aviator. His father was second African American Blue Angel, which is an extremely, extremely prestigious and skilled fleet. So I don’t like to pretend as little as possible. And they set the playground up. So yeah, I got to do a lot of flight school, a lot. I got to do my share of it, what was necessary. And had the Corsair manual, which is the hero plane as you see us fly around in the film. And I memorized that to the best of my ability, studied it properly the way Jesse would’ve, the way all the 32s would have. And yeah, we got up in those planes and we flew, and we put some hours in. And the maneuvers, I mean the opening sequence that you guys will see, that’s in camera. We did that whole sequence from take-off to landing is in camera. And as beautiful as it is, it is quite intense for somebody who doesn’t fly planes. It’s not your commercial Delta flight. These things are, I mean, it’s a miracle, a flight is. And how would you say that? The acknowledgement of the miracle in your body is not as divine as you may think it is. I mean, there’s a lot of chaos that’s happening, you know…
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