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INT: Jamie Foxx

With the exception of private sexual photos being swiped from his possession and sold to the tabloids (it wasn’t me-- I swear), Jamie Foxx has been having an incredible year. I used to chuckle at his sketch comedy days on In Living Color, and his stand-up routines are always entertaining to watch. But in the course of one year, Foxx has shifted his reputation from ‘funny guy’ to ‘dramatic guy’, even provoking speculation of a possible Oscar nomination for his truly mesmerizing performance in the upcoming movie RAY. In the film, he is so convincing playing the drug-addicted-womanizing-blind-musical-genius Ray Charles, that you may even forget you are not watching footage of Ray himself.

It must have been an unforgettable experience for Foxx, working on the biopic and getting to spend time with Ray, months before he passed away. His performance in this film is likely to open a lot more doors for him and give him the respect he deserves among moviegoers and critics, alike. I also enjoyed watching his performance in COLLATERAL, opposite Tom Cruise, playing a subdued, timid cab driver pushed to the brink. Foxx has illustrated that he can be effective in comedies, thrillers, and dramas. He is really going places and I’m looking forward to coming along for the ride.

JAMIE FOXX

When they first approached you about this movie, what was it inside of you that made you think you could handle the part?

Well, I had done Ray Charles impersonations before. They’d never made it on TV or anything like that. So I knew that I could get into that headspace. But it was still the challenge of ‘Can you really make people believe it?’ When you look at a biopic, it’s really tough to do. When you look at other biopics, it’s like, ‘Wow, that person looks kind of like him, but…’ So the question is, can you go beyond that to where people, when they see it, go, ‘Wow, I’m not seeing Jamie Foxx’? I had a little bit of training in doing The Tookie Williams Story (Redemption) in trying to transform into another person. Then I did Bundini Brown (in Ali). I call it under and over. Bundini Brown was underbite. Just that alone gives you Bundini. So there were all these different things that you would do to try to see if could take what you feel on the inside and have people trip out on it, if that makes any sense.

There’s a thin line between the talent of mimicry and the craft of acting. How did you stay on the right side of it in playing Ray?

It’s called nuance. This whole movie, in order to get to Ray Charles, you had to pray a little bit because everybody knows who Ray Charles is. Young kids, hip-hop kids, I don’t say old people, I say seasoned people – everybody knows who Ray Charles is. The first thing I did was I lost 30 pounds. I walk around at 190, so I was 157 pounds with the help of my trainer. Eddie Murphy said, ‘You’re gonna do good because you got that jaw like Ray Charles. You got that Ray jaw.’ So that was one of the things that worked in our favor. I said, ‘Eddie, I don’t know what that means, but I’m gonna run with it.’ Then, when I put the shades on, it all kind of came together. Then it was a matter of finding the nuance. When we met each other, the things I’d take from him were when he was just sitting there. Right now, we’re all on. But when you’re not on, that’s the realness of it. It’s how he orders his food, how he talks to his kids and how he gets angry, but he internalizes it.

The best Ray Charles thing that I liked was when he’d answer the telephone, when they were calling to tell him that the charges were dropped, because he opens his legs and he sits down. That’s what I’d call a down home way of answering the phone. That’s what you’re feeling in the movie. It’s the nuisance. Once you get that you’re not watching Ray Charles anymore, you’re watching a blind man go through some things, a blind man that is blessed with talent, a blind man that is on a journey, and how is he gonna get through that journey. It’s like at first you’re looking at Ray Charles. But then you look past it, especially when he’s going through the drugs. It’s like, ‘Man, this dude is really going through some things.’ So all of the different things we did were the ingredients we needed to really get that character.

How hard has it been to convince Hollywood that you have dramatic chops?

You know what? I never really factor Hollywood into anything. I’m a black actor, so I can’t really control what Hollywood thinks. I gotta go do my thing, and my jokes have got to be funny. Whatever I do has got to be great. When I first got on In Living Color, I noticed it was not like I thought it was going to be. If you weren’t on time, if you got there at 10:01, you’d have to explain that one minute. It was a serious situation. Keenan Ivory Wayans was like, ‘The reason I’m on you so tough Jamie, is because when you’re mediocre you’re not gonna make it as an African American actor or actress or comedian or singer.’ He said, ‘You’ve gotta be top of the line all the time.’ I ran into Keenan at the Comedy Awards and he’s still echoing the same thing. He said, ‘You’re doing what I told you to do. Try to stay at the top of your game.’ So you never worry (about convincing Hollywood of anything).

You’ve got to blaze, in a sense, your own trail. It’s like hip-hop. It’s like how hip-hop pulls everything. It’s like, man, Fortune 500 companies are calling Puff. ‘What do we do? How do we sell this project?’ It’s basically that mentality that we all have as young cats out there in Hollywood. You’re never gonna convince anybody. The only thing you can do is stay true to the art. I’ll drop another name, a white man’s name-- Lorne Michael, from Saturday Night Live. I was asking him, ‘How come people fall off?’ He said, ‘Jamie, they don’t fall off. It’s the projects that you choose. If you choose the right projects, you don’t have to worry about anything as long as you do that.’

You’ve moved into drama and, it seems, away from comedy. How important is comedy to you?

Hey man, I have to let them know every day, ‘Don’t sleep on me.’ All those comics out there that think I’ve gotten soft and I’m doing the dramatic stuff, I had to go to the comedy awards and let them know I still got that comedy sword. We were at the ESPYs not too long ago and I had Cedric the Entertainer, and I had to keep the heat up on him. So it’s a fair competition between all the comedians right now. We really have a great community right now. We just honored the whole Wayans family for what they’ve contributed and all the comedy they’ve given us. It’s a great time right now for comedians, because we are stepping into other roles and doing other things, but we’re still keeping our comedy side fresh. I ran into Chris Tucker at the Ray Charles tribute a couple of nights ago. He’s coming down to Laughapalooza. That’s where I’m getting like 60 comedians and we’re gonna go all night, every five minutes another comedian.

Taylor Hackford said Ray was tough on you, before he gave his blessing to you playing him. Can you talk about that?

First, I met Ray and he said, ‘Oh, let me check these fingers out. Let me check out these fingers. You got strong fingers, oh yeah.’ So we sat down at dual pianos. He was playing one piano and I was playing the other, and we were singing the blues. He said, ‘If you  can play the blues, Jamie, you can do anything.’ He’s singing, ‘All, right-right,’ and we’re singing the blues back and forth. Then he said, ‘Well, how about this?’ And he goes into Thelonious Monk. It’s like the equivalent to riding a mechanical bull when you’ve had too many drinks. Then you just fly all the way out to the bar.

Then I hit a wrong note and he said, ‘Now why the hell did you do that?’ He was very serious about it-- he wasn’t laughing. I said, ‘Well, I don’t know.’ He said, ‘You didn’t know what?’ I said, ‘Well…’ And he said, ‘Notes are right underneath your fingers.’ I started listening to him as he was speaking and he was very serious. His music is his harmony. If it’s off, his whole life is off. He said, ‘The notes are right underneath your fingers, Jamie. You’ve just got to take time out to find them, young man.’ So I used that as a metaphor through the whole movie, that our life is notes underneath our fingers, and we’ve just got to figure out which notes we want to play to make our music. So that’s what we started doing right there. I said, ‘Okay, I’m gonna play the right Ray Charles notes and then I’m gonna play this Ray Charles story.’

And did you get the notes right when you were there with Ray?

It was after I got the Thelonious Monk riff that he said, ‘There it is! That’s what I’m talking about. Now come on.’ When I finally got it, he jumped up and he slapped his thighs and he said, ‘The kid’s got it.’ And he walked out. That’s when I knew we had it.

Can you talk about the importance of Ray’s wives in his life?

You know what? I think the one with Della Bea was the most significant relationship, because she was the one that weathered all of the storms. I mean, how strong is this woman to go through that? On film, to us, it looks wild and sometimes we laugh or we giggle, and we say, ‘Oh, that’s Ray being him,’ but that was a tough, tough thing for a woman, being married to a man who is so complex, who knows he is a genius, who knows he is to be protected. But at the same time there were a lot of things that she had to go through. Even now, to this day, she still has her dignity. She wasn’t like, ‘I want to be in the limelight’ or ‘I need to have my story told.’ She’s still, in a sense, in the background being that strong woman. So that relationship alone for Ray Charles was, to me, just incredible. Even until he passed he was still with this woman.

Ray’s mother was a huge factor in his life. Your grandmother was a huge factor in your life. That’s part of the traditional southern upbringing, right?

Of course. Anybody who was brought up in the south, you were brought up in the real world. When I come to New York, I can’t believe how many buildings there are, how much concrete, how much steel, how many people. I’m like, ‘My goodness!’ When I’m in Los Angeles., it’s too nice. It’s sunshine. It’s palm trees. Everybody’s happy. In the south, even right now, when we’re dealing with the political situation, there’s a real dose of how people really feel. For the longest time, racism had been in certain people for so long that’s just how it was. Ray Charles was the first one to stick his hand out and try to stop that domino, that racial domino, that ignorant domino, that ‘I’m better than you’ domino, and that’s what I tried to do when I was coming up. If you think about it, the way Ray put things in perspective, he said, ‘Oh, whites only bathroom, coloreds only bathroom. I can’t see that. I just need to use the bathroom.’

Bill Cosby told a story the other night where Ray Charles was playing the Playboy Jazz Fest and the whole orchestra was white. And Cosby walks up and says (in Cosby voice), ‘Do you know that the whole orchestra is white?’ Ray says, ‘Funny, they don’t sound white.’ So, I would say that I also wanted to bridge that gap, that boundary of the railroad track. In my city, the railroad track separates the black side from the white side. The only time I saw white people was when someone was going to jail or an insurance man came by. That’s how you learned your acting skills-- that was my acting class. When that insurance man came to the door my mother said, ‘Go tell him I ain’t here.’ I’d say, ‘Well, I told him that last month.’ And she’d say, ‘Well, you’d better make something up.’ So I’d say, ‘My mother…’ And that was my first acting job. ‘Granny says she ain’t here.’ So Ray Charles and I have all these different similarities in that southern upbringing, that southern way of talking to women. I consider myself a southern gentleman.  I have that certain way of being country-dumb. When I’m in L.A., yeah, I do all the L.A. things. I know it’s the west coast. I said, ‘Oh man, I love it,’ but I know on the inside I’ve got something else working, too. So there were a lot of different similarities with Ray.

You seem to become Ray in the film. Are you the type of actor who remains in character when the camera stops rolling?

No, no. CCH Pounder taught me one thing. She said, ‘Characters are like putting on a coat. You put the coat on while you work, you take the coat off after it’s over.’ You need that freshness. I know people who stay in character, and it’s the worst thing in the world. You can’t go out. They’re still in their character and the character residue is too much. I like to go do it, flip it on like a light switch and then flip it off. Then, when we come back in the next morning I flip it back on. That’s what keeps things fresh for me.

Your work in this is Oscar-caliber, and much of your future work will probably be judged against what you’ve done here. Does that make you nervous?

Oh yeah. That’s what I’m telling everybody. This is the Cinderella time right now. Everybody’s saying, ‘Oh, we love ya,’ but it’s like flying out of Los Angeles. When you fly out of Los Angeles it’s pretty and everything is nice and then the pilot comes on and says, ‘We’re having a little weather over…’ So we’re coming up to weather, I’m sure, as far as the different projects we’ll choose. But to be honest with you I’ve got a couple of decent projects that, for now, I can sit back and say, ‘This are going to be, still, some great things.’ So it’s great right now. It does make you a little, not nervous, you never get nervous, but I go back to my man and ask that question and go back to what Keenan said: ‘You just gotta make sure it’s top dog.’

Source: JoBlo.com

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