James Earl Jones speaking at UCLA 4/28/1971

From the archives of the UCLA Irv and Xiaoyan Drasnin Communication Archive. Digitized 2013.

The views and ideas expressed in these videos are not necessarily shared by the University of California, Irv or Xiaoyan Drasnin, or by the UCLA Department of Communication.

Summary of Q&A generated by Grok 3beta------------------------------------------------------------
Here’s a condensed summary of the main questions and answers from the James Earl Jones interview. Timestamps are approximate from the provided transcript.
1. Intro & Context (00:00:00 - 00:02:52)
Summary: Bob Elias introduces Jones, known for The Great White Hope, Othello, and upcoming film The Man. Q&A replaces readings due to Jones’ nightly Othello performances. Jones prefers no readings and may shift to film after this stage run.
2. Stereotyping as a Powerful Actor? (00:03:25 - 00:04:52)
Q: Does playing strong roles like Jack Johnson and Othello stereotype you?
A: Some stereotyping occurs, but Jones sees it as theatrical norm. He enjoys role variety unless confined unhappily.
3. Stage vs. Film Effectiveness? (00:04:55 - 00:07:53)
Q: Why was The Great White Hope less impactful on film vs. stage?
A: Stage engages audiences directly, stirring imagination. Film, while good for complexity, felt secondary to play-goers. Jones aims to reach non-theater audiences via film.
4. Black Dialect in Great White Hope? (00:07:57 - 00:10:53)
Q: Did Sackler’s fabricated dialect demean black people?
A: Jones defends Sackler’s poetic invention, not real black speech, and finds it effective, not demeaning, unless used to belittle.
5. Preparing for Othello? (00:11:01 - 00:14:11)
Q: How did you research Othello amid past performances?
A: Jones studied films (e.g., Olivier’s), productions, and psychology texts. He favors film for layered performance, citing Welles’ techniques.
6. Weaknesses of Great White Hope Film? (00:14:32 - 00:15:08)
Q: What are the film’s flaws?
A: Jones hasn’t fully analyzed it yet, only seen it in screening, eager for public response.
7. Primal Therapy Experience? (00:15:27 - 00:17:25)
Q: (Implied) Thoughts on primal therapy?
A: In his fourth month, Jones feels emotions tied to childhood stuttering, using acting as defense. Therapy helps acknowledge fear.
8. Playing Macbeth or Hamlet? (00:19:01 - 00:20:20)
Q: Would you do Macbeth or Hamlet?
A: Jones loves Hamlet’s modernity, fears Macbeth. Prefers quiet experimentation, then filming, over commercial stage.
9. Black Female Roles? (00:20:30 - 00:22:06)
Q: Prospects for black female leads?
A: Jones cites actresses like Foster and Tyson, noting male roles must diversify first, despite chauvinistic undertones.
10. Jim Brown as Actor? (00:22:12 - 00:23:56)
Q: Opinion on Jim Brown’s acting?
A: Fine actor, better footballer. Jones reflects on his Oscar nod, seeing acting as a fresh start each role.
11. Critics’ Impact on Othello? (00:24:17 - 00:28:16)
Q: Did critics affect your Othello?
A: Critics panned his fifth Othello as a “wounded animal.” Jones values self-awareness over their input, aiming for new interpretations.
12. NY vs. LA Audiences? (00:30:19 - 00:32:04)
Q: How do NY and LA audiences compare?
A: Both are middle-class subscribers, not radicals he’d target. NY slightly more leftist, but both miss his ideal audience.
13. Carrying Characters Post-Performance? (00:32:27 - 00:35:39)
Q: How much of a character stays with you?
A: Actors drop characters after dialogue. Jones relaxes to let roles dominate, finding long stage runs unhealthy vs. film.
14. Emilia’s Role in Othello? (00:35:41 - 00:37:15)
Q: What’s Emilia’s function?
A: Jones loves her as oppressed yet pivotal, exposing Iago, a dramatic twist in Shakespeare’s deception study.
15. Critics’ Value? (00:37:19 - 00:38:27)
Q: Why do public heed critics but actors don’t?
A: Public needs guides; Jones finds critics’ art lacking, rarely informative for his work.
16. Nat Turner or Malcolm X Roles? (00:38:31 - 00:39:29)
Q: When will you play Nat Turner or Malcolm X?
A: Soon, he hopes, but studios delay these “hot” projects, fearing poor execution.
17. Great White Hope Factual Basis? (00:40:04 - 00:41:57)
Q: How factual is it?
A: Little is true. Real Johnson had more women, travels (e.g., Spain, Russia), and exploits simplified for unity.
18. End of the Road Publicity? (00:42:18 - 00:43:58)
Q: Why little publicity?
A: Bad, unclear reviews and limited release hurt it. Jones regrets not playing his role more mysteriously.
19. Black Audience Reactions? (00:44:13 - 00:46:17)
Q: Do you consider black audience response in role choices?
A: Yes, alongside all audiences, but as a “mercenary actor,” he prioritizes real characters with meaning, even controversial ones.