At the Red Sea International Film Festival, the iconic Viola Davis delivered an electrifying and deeply personal conversation that left the audience profoundly moved. Hosted by the eloquent Carmen Almond Thompson, the event showcased Davis at her most unguarded, sharing intimate reflections on her craft, her legacy, and her determination to forge new paths in the industry.
Davis began by delving into her approach to acting, offering unexpected insights into her process. She described the delicate balance between immersing herself in a character’s truth while maintaining a healthy personal boundary. For Davis, this isn’t about distance—it’s a technique born out of necessity. “You have to go home,” she said with disarming candor, emphasizing the importance of her family and personal life. This balance, she explained, is what allows her to dive into the most harrowing roles, including emotionally fraught moments when inspiration is replaced by sheer technical skill.
An unexpected revelation came when Davis described her philosophy as an actor: “The actor is an observer and a thief,” she said, crediting her ability to study life, people, and even her own emotions as the wellspring of her art. She shared a vivid anecdote about drawing inspiration for her transformative portrayal of Ma Rainey from a woman she observed in a Texas church, whose strikingly unconventional makeup and demeanor reminded her of the raw and unapologetic beauty that rarely makes it to the screen. Davis used this memory to ground her performance in truth, pushing past Hollywood’s sanitized portrayals to honor the real lives behind her characters.
One of the evening’s most unexpected moments came when Davis discussed her experience in How to Get Away with Murder. While audiences often perceive Annalise Keating as a bold and fearless character, Davis revealed that the role required an extraordinary act of bravery on her part. She fought against typecasting, advocating to strip the character of Hollywood gloss—insisting, for instance, that Annalise remove her wig on-screen to expose her natural hair. “If I take off the wig and the makeup, they’ll have to deal with the woman behind the mask,” she explained. It was a decision that marked a watershed moment for representation on network television, proving that authenticity could resonate just as powerfully as polished perfection.
Another highlight was Davis’s candid recounting of her time filming The Woman King in South Africa. She described the surreal experience of working alongside a dynamic cast while immersed in a landscape brimming with wildlife. “There were elephants, lions, and giraffes everywhere,” she marveled, painting a vivid picture of the unique challenges and joys of the production. The project, Davis revealed, was the culmination of an arduous eight-year journey to bring the story to life—a testament to perseverance in an industry where many worthwhile projects are abandoned. She drew a poignant parallel between this professional triumph and her personal resilience, recalling how moments of courage in her own life, such as intervening during a family dispute as a child, proved to her that “I have it in me.”
Throughout the conversation, Davis didn’t shy away from the challenges of working in an industry still grappling with issues of race and representation. She spoke about her production companies, Juvie Productions and JVL Media, as vital tools for amplifying underrepresented voices and fostering an ecosystem of change. The passion behind these ventures was clear: for Davis, the work is not merely about creating opportunities for herself but laying a foundation for future generations of storytellers.
When an audience member from South Africa asked Davis how she managed to overcome systemic limitations, her response was raw and inspiring: “You’ve got to jump afraid,” she said. Acknowledging the inevitability of fear and detractors—even within one’s own circle—she underscored the importance of taking risks and surrounding oneself with supportive people who “protect your flame.” Her words resonated deeply, affirming the universal struggles of those daring to chart their own paths.
In a particularly moving moment, Davis tackled the subject of forgiveness, which she has openly explored in her memoir, Finding Me. She described forgiveness as a decision to “let go of the hope for a different past” and shared how the act of releasing anger and resentment allowed her to move forward with her life. “At a certain point, your life is on you. You now have the baton,” she said, her voice steady with conviction.
As the evening wound down, Davis reflected on her artistic legacy with a humility that belied her towering achievements. She framed her work as an act of communion with audiences, a sacred agreement to present the messy, unvarnished truth of humanity. “The goal is to help people feel less alone,” she said, noting that the awards and accolades, while meaningful, pale in comparison to the bravery it takes to craft and share that truth.
The conversation ended with Davis reaffirming her commitment to telling stories that matter, no matter the genre or collaborator. Her only criterion, she said, is honesty: “I just want a good, honest, naked, truthful story.” It’s a sentiment that perfectly encapsulates the essence of an evening that felt less like a celebrity Q&A and more like an invitation to join Davis on her ongoing journey of self-discovery and artistic integrity.
The Red Sea International Film Festival could not have asked for a more luminous and transformative guest. Viola Davis left the audience with not just her words, but a challenge—to live boldly, to embrace discomfort, and to honor the truths that define us all.
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