'A tree never tries to be anything other than a tree. So, it would be a disservice to alter who I am.' - JonathanMajors
: Instead of people seeing that as a contradiction, that’s actually the beautiful paradox. You come from somewhere. You got things you represent. You’re committed to yourself. You got commitments to people in your life who have fed you and watered your garden. But at the same time, you’re your own man. There’s only one Jonathan Majors, and you give a damn about Jonathan Majors.
MAJORS: Yeah. You can’t hide. When the camera’s up, it’s very important that we put forward the truth and give an example of how you want to live. And you’ve got to take up your space. That was our conflict in, right? I was moving in on your son, and then you were trying to take up space. Now we’ve got a film. Now we’ve got problems.MAJORS: Now we got dynamic.
MAJORS: The first act is kind of common. It’s like, “All right, I’m about to do this film.” This film was my first proper offer.MAJORS: No audition. Just, “Spike wants to meet you.” I’m living in Harlem at the time. I said, “Spike Lee wants to meet me? Okay. Sure.” And sure enough, he called said, “Mr. Majors.” And I said, “Mr. Lee.” He said, “Call me Spike.” I said, “Cool.” He said, “Come down to the office.” I said, “Okay.” He said, “Tonight.
MAJORS: Shoot the rehearsal! Let’s go! I felt that, and doubled down on it, because I got into the habit the first day of running to set. My character David was a track star at Morehouse. So I’m like, “Okay, that’s information. That’s research. I’m going to run to set, I’m going to run back, I’m going to run to lunch.” And that became a part of it. David has a very high frequency. It’s all about making his dad proud. And I was trying to make Delroy proud, and I was trying to make Spike proud.
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