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In Hollywood, there's always a Next Big Thing -- you know, that promising young thespian poised on the edge of mainstream success. In recent years Anthony Mackie, and most notably Terrence Howard have captured this mantle place of attention from critics and fans alike. Now, Afro-British actor Chiwetel Ejoiofor (pronounced Ch(ew-it-tell Edge-e-o-four), can also lay claim to that distinction.

With a growing body of roles that includes works by Stephen Frears (“Dirty Pretty Things”), Spike Lee (“She Hate Me,” “Inside Man”), and even Woody Allen (“Melinda and Melinda”), Ejiofor consistently demonstrates his worth as an actor of merit. After you factor in his most recent performances in last fall’s “Serenity” the recent “Inside Man” and the newly released “Kinky Boots”, it becomes clear that he’s an outright movie star as well.

Born in London of Nigerian parents, the 31-year old actor recently sat down with the Robertson Treatment. To talk about his acting chops and what’s it’s like being comfortable in his own skin.

Robertson Treatment: How long did it take for you to get completely comfortable wearing all the clothing you had to wear for this role?

CHIWETEL: It took quite a long time. It was up until, I think, almost when we started really shooting it. We had quite a long period of rehearsals and choreography and getting used to all the different aspects of it, and a number of meetings with Sammy Sheldon, who did all the costume design, and Trefor Proud, who did the hair and makeup. So there was a lot of preparation time, and then also putting together the music and choreographing stuff with the rest of the guys doing all the numbers. But it took all the time that we had, really, to really feel completely sort of comfortable and almost become a kind of idea, or sort of second nature, and just sort of turning up and getting into the makeup chair and the transformation beginning. And just sort of shocking moments along the way. I think when I first had my eyebrows waxed, I was pretty disturbed. [laughs] But then all of that was sort of geared towards creating this kind of character which all of that sort of helped do, really. Even the trepidation and the sort of nervous energy was all a great part of learning about Simon and Lola and the character research, in its own way.

RT: How did you approach the character?

CHIWETEL: I just wanted to make sure that Lola was somebody that people could...that was very true to her...like, had distinction from the people in the factory, and very, very different from anybody else in the environment, but also was a very real person that everybody could sort of related to and understand and sort of realize that the differences between them, if you like, were only sort of very surface ones, and actually, in the end, everybody had the opportunity to sort of realize that what brought them together was greater than what separated them. And I wanted that to happen, but I wanted it to happen sort of honestly, I guess, and not feel sort of forced, or not feel like you'd ever think that these people somehow could never sort of relate to Lola because she was too outlandish or too kind of wild, or too sort of much, I suppose. So I guess that's how I looked at it.

RT: Lola makes a distinction between drag queen and transvestite. How much understanding do you have of that world now?

CHIWETEL: Yeah, I mean, there are as many different reasons as there are people. I think in this story, it was very important, to me anyway, just to make sure that it is a very...It's a very specific tale. And it has its own questions and its own answers, and it's a tale about fathers and sons, obviously, and about the nature of masculinity, and what is the distinction between transvestitism and drag queens and so on. But it's a very individual story, and there are very sort of psychological reasonings, but they are in no way a sort of generalization of everybody's reasoning behind transvestitism and cross-dressing. And I feel like I got a very good and in-depth sort of understanding of the scene and the distinctions within the scene and so on. So in that sense, it was very interesting. But like I say, in no way is the film supposed to reflect the kind of general transgender world. It's a very specific story, I think.

RT: Is there a different acting discipline in England that allows you to be more fearless than most actors in Hollywood?

CHIWETEL: I don't know. I mean, I guess in the end, it's a kind of a complex question because, you know...I read the script, I really enjoyed the character, and I didn't feel that I had in any way set myself up as an actor to be categorized as a single thing anyway. And I never felt that people who were coming to see films that I was in had any reason to assume that they were going to get a certain kind of product. So it never felt risky to me because there was nothing for it to be risky against. So I was very happy. I loved the character and I really enjoyed the message of the film and the story of the people, and I was a fan of Julian's work. So yeah, it was sort of a no-brainer. I was thrilled to be inv

RT: Does it take a certain amount of security or comfort with yourself to do this kind of role?

CHIWETEL: I don't know. I think for me, the question would be in a sense, if...what would complicate my relationship I think in a lot of ways to being an actor and so on, was if I was to read a script that I really liked and a character that I really liked and yet...and you know, with a cast and a crew and a director that I wanted to work with, and not do it...and I think that finding an answer to why I wouldn't do it would be such a complicated sort of process that would, in some ways, really deconstruct why I wanted to be an actor in the first place. So I don't know, but that would be a kind of weird position. But in the sense of doing a project like this where I was aware that it was going to be a stretch, and I was aware that it involved quite a lot of work and preparation...one feels kind of nervous about it, but also that's a very exhilarating and exciting part of the process. And certainly I became an actor just to kind of get involved in different worlds and different scenes and just sort of understand various different vibes and genres.

RT: Did you have a favorite scene to shoot?

CHIWETEL: Well, I love the stuff in the clubs. In some ways, that was...I mean, there's always going to be in a script a few scenes that...they're always in the back of your mind, and you're always thinking, "Well, I've got to go and do that scene." And I think for me, a central part of Lola was always songs, and these costumes, and whatever, and this club, and the kind of the drag show. And we'd spend a lot of time working on the different looks and so on. And so when that sort of came around, I was excited and I was nervous and everybody there, all the background people, were of that world, so I felt that...and I think that they didn't...At that time, when we first started doing the shows, people weren't sure what this was going to be in a sense. So they didn't know whether this was going to be some sort of pastiche, whether it was some sort of spoof. So people were sort of gently cynical about the whole thing in a perfectly reasonable way. So I was thrilled that everybody, once they saw what we were doing, kind of just really got into it. And then you know, we just had a great time doing the show. So I enjoyed that.

RT: Tell us about Children of Men, the Alfonso Cuaron movie that you’re shooting now?

CHIWETEL: Yeah, it's...Well, that's it. It's Children of Men, it's Alfonso Cuaron's film. It's sort of set a short time in the future with general sort of political societal collapses as well as these issues of fertility that have created a very enraged and complex society, and it's based on the Peter James novel. Alfonso, I think, has adapted and written a terrific script, and a really good cast of people have come together to shoot the film. And I think he's an amazing director. And I think the work that we were doing on the film is just exceptional. It's one of those things that I don't think anybody's ever really seen before, and I think it's really going to be quite interesting to see when it comes out. I play, along with Julianne Moore, the heads of an anti-government group that is sort of existing on the fringes of society, and we sort of try to get the allegiance of Clive Owens' character.

==============

Best Bets; Home Entertainment - “Don’t Trip… He AIn’t Through With Me Yet” (Code Black Entertainment)

Original King of Comedy Steve Harvey returns to the concert stage with a hilarious new stand-up routine entitled “DON'T TRIP.... HE AIN'T THROUGH WITH ME YET”. Recorded live in Atlanta during Bishop T.D. Jake’s 2005 MegaFest event, Harvey showcases his signature humor as he pokes fun at everything from the rituals of a church service to the interesting characters in the congregation. B+

Best Bets: Automotive Spin 2006 Cadillac XLR

The Cadillac XLR is an impressive vehicle. In fact, it could be said that it is a vehicle that defines the very definition of what is a luxury car. First know that The XLR is a definite head turner with its sleek, aerodynamic exterior, state of the art features and ultra-smooth handling. The XLR is an immediate standout among the Cadillac fleet not just because it’s one of its most expensive models, but also one of the best luxury cars across the board. .

Wow Factor: WOW is written all over this $80,000+ car. With only a few thousand produced each year, the Cadillac XLR bestows status on whoever’s driving it. You’ll feel like a rock star every time you get behind the wheel of this car which also earns high marks taste as well.

Ride: Once it gets going, the XLR accelerates very nicely and carves through sharp turns with exact precision. The steering is precise, brakes powerful, and with the added Magnetic Ride Control system, the car can adapt to road conditions with microchip speed. Its 4.6-liter, Northstar V-8 produces 320 horsepower; that runs from 0-60 mph in about 5.8 seconds.

Comfort: Stacked with safety and luxury features, including side air bags, stability control, optional adaptive cruise control, in addition to air-conditioned seats and keyless ignition, all adds to the XLR plush ride.

Amenities:

* 4.6L 320 hp Northstar V8

* Magnetic Ride Control, StabiliTrak, 18-inch aluminum wheels, Magnasteer steering

* Power retractable roof, Keyless Access, Adaptive Cruise Control, memory package and more

Spin Factor: This car is a true winner for driver who seek a quality ride and also a quality statement. Clearly the type of car for the price-no-object crowd, the XLR is a very good value for its price tag.

============

Visit: www.Robertsontreatment.com

Email: syndicatedcolumn@robertsontreatment.com




	Click Here By Gil Robertson (April 20, 2006) Email to a friend \| Print Friendly In Hollywood, there's always a Next Big Thing -- you know, that promising young thespian poised on the edge of mainstream success. In recent years Anthony Mackie, and most notably Terrence Howard have captured this mantle place of attention from critics and fans alike. Now, Afro-British actor Chiwetel Ejoiofor (pronounced Ch(ew-it-tell Edge-e-o-four), can also lay claim to that distinction. With a growing body of roles that includes works by Stephen Frears (“Dirty Pretty Things”), Spike Lee (“She Hate Me,” “Inside Man”), and even Woody Allen (“Melinda and Melinda”), Ejiofor consistently demonstrates his worth as an actor of merit. After you factor in his most recent performances in last fall’s “Serenity” the recent “Inside Man” and the newly released “Kinky Boots”, it becomes clear that he’s an outright movie star as well. Born in London of Nigerian parents, the 31-year old actor recently sat down with the Robertson Treatment. To talk about his acting chops and what’s it’s like being comfortable in his own skin. Robertson Treatment: How long did it take for you to get completely comfortable wearing all the clothing you had to wear for this role? CHIWETEL: It took quite a long time. It was up until, I think, almost when we started really shooting it. We had quite a long period of rehearsals and choreography and getting used to all the different aspects of it, and a number of meetings with Sammy Sheldon, who did all the costume design, and Trefor Proud, who did the hair and makeup. So there was a lot of preparation time, and then also putting together the music and choreographing stuff with the rest of the guys doing all the numbers. But it took all the time that we had, really, to really feel completely sort of comfortable and almost become a kind of idea, or sort of second nature, and just sort of turning up and getting into the makeup chair and the transformation beginning. And just sort of shocking moments along the way. I think when I first had my eyebrows waxed, I was pretty disturbed. [laughs] But then all of that was sort of geared towards creating this kind of character which all of that sort of helped do, really. Even the trepidation and the sort of nervous energy was all a great part of learning about Simon and Lola and the character research, in its own way. RT: How did you approach the character? CHIWETEL: I just wanted to make sure that Lola was somebody that people could...that was very true to her...like, had distinction from the people in the factory, and very, very different from anybody else in the environment, but also was a very real person that everybody could sort of related to and understand and sort of realize that the differences between them, if you like, were only sort of very surface ones, and actually, in the end, everybody had the opportunity to sort of realize that what brought them together was greater than what separated them. And I wanted that to happen, but I wanted it to happen sort of honestly, I guess, and not feel sort of forced, or not feel like you'd ever think that these people somehow could never sort of relate to Lola because she was too outlandish or too kind of wild, or too sort of much, I suppose. So I guess that's how I looked at it. RT: Lola makes a distinction between drag queen and transvestite. How much understanding do you have of that world now? CHIWETEL: Yeah, I mean, there are as many different reasons as there are people. I think in this story, it was very important, to me anyway, just to make sure that it is a very...It's a very specific tale. And it has its own questions and its own answers, and it's a tale about fathers and sons, obviously, and about the nature of masculinity, and what is the distinction between transvestitism and drag queens and so on. But it's a very individual story, and there are very sort of psychological reasonings, but they are in no way a sort of generalization of everybody's reasoning behind transvestitism and cross-dressing. And I feel like I got a very good and in-depth sort of understanding of the scene and the distinctions within the scene and so on. So in that sense, it was very interesting. But like I say, in no way is the film supposed to reflect the kind of general transgender world. It's a very specific story, I think. RT: Is there a different acting discipline in England that allows you to be more fearless than most actors in Hollywood? CHIWETEL: I don't know. I mean, I guess in the end, it's a kind of a complex question because, you know...I read the script, I really enjoyed the character, and I didn't feel that I had in any way set myself up as an actor to be categorized as a single thing anyway. And I never felt that people who were coming to see films that I was in had any reason to assume that they were going to get a certain kind of product. So it never felt risky to me because there was nothing for it to be risky against. So I was very happy. I loved the character and I really enjoyed the message of the film and the story of the people, and I was a fan of Julian's work. So yeah, it was sort of a no-brainer. I was thrilled to be inv RT: Does it take a certain amount of security or comfort with yourself to do this kind of role? CHIWETEL: I don't know. I think for me, the question would be in a sense, if...what would complicate my relationship I think in a lot of ways to being an actor and so on, was if I was to read a script that I really liked and a character that I really liked and yet...and you know, with a cast and a crew and a director that I wanted to work with, and not do it...and I think that finding an answer to why I wouldn't do it would be such a complicated sort of process that would, in some ways, really deconstruct why I wanted to be an actor in the first place. So I don't know, but that would be a kind of weird position. But in the sense of doing a project like this where I was aware that it was going to be a stretch, and I was aware that it involved quite a lot of work and preparation...one feels kind of nervous about it, but also that's a very exhilarating and exciting part of the process. And certainly I became an actor just to kind of get involved in different worlds and different scenes and just sort of understand various different vibes and genres. RT: Did you have a favorite scene to shoot? CHIWETEL: Well, I love the stuff in the clubs. In some ways, that was...I mean, there's always going to be in a script a few scenes that...they're always in the back of your mind, and you're always thinking, "Well, I've got to go and do that scene." And I think for me, a central part of Lola was always songs, and these costumes, and whatever, and this club, and the kind of the drag show. And we'd spend a lot of time working on the different looks and so on. And so when that sort of came around, I was excited and I was nervous and everybody there, all the background people, were of that world, so I felt that...and I think that they didn't...At that time, when we first started doing the shows, people weren't sure what this was going to be in a sense. So they didn't know whether this was going to be some sort of pastiche, whether it was some sort of spoof. So people were sort of gently cynical about the whole thing in a perfectly reasonable way. So I was thrilled that everybody, once they saw what we were doing, kind of just really got into it. And then you know, we just had a great time doing the show. So I enjoyed that. RT: Tell us about Children of Men, the Alfonso Cuaron movie that you’re shooting now? CHIWETEL: Yeah, it's...Well, that's it. It's Children of Men, it's Alfonso Cuaron's film. It's sort of set a short time in the future with general sort of political societal collapses as well as these issues of fertility that have created a very enraged and complex society, and it's based on the Peter James novel. Alfonso, I think, has adapted and written a terrific script, and a really good cast of people have come together to shoot the film. And I think he's an amazing director. And I think the work that we were doing on the film is just exceptional. It's one of those things that I don't think anybody's ever really seen before, and I think it's really going to be quite interesting to see when it comes out. I play, along with Julianne Moore, the heads of an anti-government group that is sort of existing on the fringes of society, and we sort of try to get the allegiance of Clive Owens' character. ============== Best Bets; Home Entertainment - “Don’t Trip… He AIn’t Through With Me Yet” (Code Black Entertainment) Original King of Comedy Steve Harvey returns to the concert stage with a hilarious new stand-up routine entitled “DON'T TRIP.... HE AIN'T THROUGH WITH ME YET”. Recorded live in Atlanta during Bishop T.D. Jake’s 2005 MegaFest event, Harvey showcases his signature humor as he pokes fun at everything from the rituals of a church service to the interesting characters in the congregation. B+ Best Bets: Automotive Spin 2006 Cadillac XLR The Cadillac XLR is an impressive vehicle. In fact, it could be said that it is a vehicle that defines the very definition of what is a luxury car. First know that The XLR is a definite head turner with its sleek, aerodynamic exterior, state of the art features and ultra-smooth handling. The XLR is an immediate standout among the Cadillac fleet not just because it’s one of its most expensive models, but also one of the best luxury cars across the board. . Wow Factor: WOW is written all over this $80,000+ car. With only a few thousand produced each year, the Cadillac XLR bestows status on whoever’s driving it. You’ll feel like a rock star every time you get behind the wheel of this car which also earns high marks taste as well. Ride: Once it gets going, the XLR accelerates very nicely and carves through sharp turns with exact precision. The steering is precise, brakes powerful, and with the added Magnetic Ride Control system, the car can adapt to road conditions with microchip speed. Its 4.6-liter, Northstar V-8 produces 320 horsepower; that runs from 0-60 mph in about 5.8 seconds. Comfort: Stacked with safety and luxury features, including side air bags, stability control, optional adaptive cruise control, in addition to air-conditioned seats and keyless ignition, all adds to the XLR plush ride. Amenities: * 4.6L 320 hp Northstar V8 * Magnetic Ride Control, StabiliTrak, 18-inch aluminum wheels, Magnasteer steering * Power retractable roof, Keyless Access, Adaptive Cruise Control, memory package and more Spin Factor: This car is a true winner for driver who seek a quality ride and also a quality statement. Clearly the type of car for the price-no-object crowd, the XLR is a very good value for its price tag. ============ Visit: www.Robertsontreatment.com Email: syndicatedcolumn@robertsontreatment.com Copyright 2006, Robertson Treatment Click for the latest entertainment headlines Click for the latest Obama - Political headlines Speak Out Currently, 0 comments have been made on this story. View Comments or Post Comments.	Chiwetel Ejiofor ... Powered by Mochila
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