Page 562 - Guildhall Coverage Book 2020-21

But a lot of things that are made in the UK are made with American production
companies. For example, I May Destroy You was a BBC/HBO co-production; Gangs Of
London was Sky Atlantic/AMC. So there is an international feel to most of the work that
we make. But in terms of opportunities, particularly for black artists, that varies.

Obviously the African American narrative means something very specific, which
potentially is not reflected in the work we make here in the UK. I feel like black British
culture is really coming to the fore, especially over the last few generations, in quite a
dominant way. It’s starting to take up space – it’s actually being afforded space – to
express itself in ways that move outside of stereotypes. I feel like there is more range,
nuance and imagination around those stories, and that’s the reason why I think my
generation of actors at least feel more comfortable staying here.

LJ I do think that, to a greater or lesser extent, America was just doing it sooner than us.
When I first came over to the States, I landed a really lovely, complicated – as you say,
nuanced – African American character: it wasn’t that they’d created a white character
and decided to cast it black, it was fully created as an African American character. I
think there are more options now for black people – but I also think there are more
options for everybody, because there is just so much content at the moment. I
remember seeing a story about TV shows that are either being cancelled or being
renewed, and I thought, “I’ve never heard of these shows and they’ve been on for five
years!”

PE I was in all of those ones.

LJ [laughing] That’s where I knew you from! I think it’s a really exciting time to be a
black actor or a black artist in the world at the moment. I am really happy that is
something I can say and believe. There is the possibility of achieving all that you would
want to achieve in this business. That’s not to say it’s as good as it’s going to get,
because it absolutely needs to get better.

PE We need to see that reflected in all echelons, and in all mediums of entertainment –
that’s as much off-camera as it is on-camera. I still find it shocking how surprised I am
when I see someone who looks a certain way who is working in the camera department,
or working in production. I feel like we can really trick ourselves into thinking that the
job’s been done when we see someone playing a part – but that is the first floor of the
department store, and we’ve got to get all the way to the top floor to truly have change.
That’s something that has come to light in a big way when we hear big corporations,
institutions, organisations, talking about their response [to BLM] and their anti-racist
commitments this year. This has happened a lot, especially since the killing of George
Floyd, but it hasn’t been reflected in the actual lifeblood of the organisations. That’s
what needs to be challenged. It takes more than just the cosmetic change: it has to be
DNA deep.

LJ It would be funny if we said all of this and then went, “It’s a really bad thing.
Something bad is happening, and we should be doing everything we can to stop it. But I
want it to just be me and Paapa out there working, and for everybody else to be
unemployed and bitter!”

PE We all know that’s the subtext, really.