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Kravitz
Mobley
KW: How did you enjoy making Mad Max: Fury Road?
Boys of Alabama, Macy Gray, The Dave Matthews Band, Jack Johnson, Peter Wolf, Madonna, The Fugees, and many others. Mobley, a college grad who majored in music and minored in education, has conducted workshops at the Berklee College of Music. He’s also served as
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ZK: It was good. It was really intense. It was a very long process. It was a six- month shoot in Africa. And it was crazy. I mean, the stunts were kind of crazy, and they were all shot at real speed. The costumes were insane and the conditions were really harsh. So, it was a very intense film to make, but well worth it.
KW: Is it fair to assume that making Mad Max was more like shooting Insurgent than your other new films? ZK: In some ways, yes, but I don’t even know if I can compare it to Insurgent. Mad Max is kind of like a beast of its own.
KW: What interested you in Good Kill, which is an excellent film? There, you play drone co-pilot Suarez, who is a pretty complicated character with an intriguing arc. ZK: Thank you so much. When I read the script, it read like a science fiction film. And Andrew [writer/director Andrew Niccol] is known for sci-fi. But when I spoke to him, he said this picture was 100 percent factual, which blew my mind. I realized then how little I knew about the drone program. And I felt that, if I knew so little about it, there must be others who should be educated about what’s going on. So, first, I wanted to be a part of the project because I thought it was an important story to tell. On top of that, it’s rare to find roles for strong, young, feisty women, especially in a military film. And I love that Suarez ends up being the moral compass of the story, and that she’s also brave enough to stand up to all these men.
KW: I also thought you were great in Treading Water. What made you decide to play the love interest in that offbeat romantic dramedy? ZK: I just found that story so bizarre. [Laughs] It’s a very sweet love story wrapped around an outlandish premise.
KW: They say it takes 90 days to get in the groove of a new job. Do you feel like you’ve been getting enough time to prepare for each new project? ZK: This might surprise you, but I do feel like I have, because the shooting of all these films was spread out, for the most part. They just happen to be coming out at the same time.
KW: How do you prepare for each new role? ZK: It kind of varies. I don’t have a method yet. It depends on the script and the character I think I need. I’ve worked with acting coaches, researched roles, and channeled different parts of myself. It’s on a case-by-case for me, right now.
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Haley
musical director at Paige Academy, a private school in Roxbury, where he taught music there as well as third and fourth grade math for many years. “It was a great fit for me at Paige Academy. There’s a great amount of dance, theater, music that the students do as well as educational programming. It’s a great institution,” Mobley says. In addition to being a member of the Innocent Criminals,
Mobley also tours with Damian Marley as a percussionist/drummer and performs with his own band, Leon Mobley and Da Lion. He also is a Signature Series artist with the company Remo, who has manufactured and marketed a Mobley custom-designed djembe since 1983. Considered a master drummer by his peers in the music industry and around the world, the power of the drum continues
to call him. “The power of the drum is the language,” he says. “No matter what culture you go to you will find a drum, but you won’t find other instruments like a lute or flutes. You don’t find those in every culture but a drum you find everywhere. The communication, the language of the drum, the power of the drum speaks to everyone, no matter where you come from.”
IF YOU GO
very amazing place. I think as a human being I was thinking a lot about that kind of stuff, just philosophically and spiritually thinking, “Why this?” Those big questions I think that we all ask ourselves. And that’s really where it came from.
make decisions and you better work with your actors. I put the actors first and I always do. When I was young I was always about the camera, and all about the fun, you know the toys. You realize, I think at some point that none of that matters and all that really matters is the performance. I think being decisive and putting the performance first has been my big lessons as a director.
I’ll See You in My Dreams opens on Friday,
continued from page B4 wrote it so fast I didn’t even think about it. I was just like writing it. Once we were done, I was like “Who can play this?” And, then I knew that Blythe was only really my first and only choice.
The universal themes of the film are life, love, loss. For someone so young, what prompted you to think about these things? BH: As you get a little bit older, well, I am young. I think you hit 30 and you’re suddenly like “I can’t drink all night” or “People around me are getting sick or dying.” Animals die. I think up until your twenties
May 29 at the Coolidge Corner Theatre. For show times go to www.coolidge.org. you can kind of pretend like nothing ever goes wrong. Some people can really get through unscathed for a long period of time. I think I was one of those people and then I lost a few friends and I lost some family members. We’re so aware of what’s going on in the world too, right now. We’re so plugged in. Ten years ago we were not as plugged in as we are now. Every little tragedy that happens, if we choose to read about it, we can. This world is a very weird and dark place but also it’s a
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BH: I think I’ve become more decisive. I understand what I’m up against. I understand the world in which I’m operating. I’m not at a David Fincher-level of operating. I’m always in a small world where time is money and we don’t have much time or money. So you better go quick and you better
What do you hope that audiences take away from the film? BH: I really hope that they take a sense of hope from it. Again, it can be a rough ride but it’s a good one. I hope they laugh and cry. I love laughing and crying in a good movie.
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FOR TICKETS AND INFORMATION PLEASE VISIT WWW.THEWILBUR.COM The Fellowes Athenaeum Trust Fund has released a
REQUEST FOR PROPOSALS FOR COMMUNITY PROGRAMS at Dudley Branch of the Boston Public Library Send an email to fellowestrust@yahoo.com to receive the RFP and to find out more about how to apply. Technical Assistance Sessions are required for new applicants and will be held on: June 6, 2:00-4:00p.m. and June 11, 5:30-7:30p.m.
The proposal deadline is on July 10, 2015
ALL YOU CAN EAT JAZZ BUFFET BRUNCH Bring your appetite and leave satisfied with a feast that includes: a carving station, jambalaya, scrambled eggs, grits, waffles, turkey bacon, breakfast links, ham, fried chicken, BBQ ribs, rice and beans, collard greens, candied yams, mac and cheese, fresh fruit, assorted desserts and many other special items just for Dad. ADULTS...29.95 KIDS (5-12)...17.95
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the intersection of friends, food, and music
KW: At just 26, you already have a solid background in various fields: acting, singing and songwriting, modeling and designing. Which feels the most comfortable, and what direction do you hope to take in the near future? ZK: Music and acting are the most prominent. But I don’t like to compare them, since they’re both very, very important to me.
Since your first film The New Year in 2010, how have you grown as a filmmaker?
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