I added four stills from Viola’s appearance earlier this week on Jimmy Kimmel Live to our gallery.
I came across this beautiful photoshoot for Viola’s film Fences.
Viola Davis Online > 2016 | Fences > Promotional Images
One more day!!!! Only one more day until Season Five of How to Get Away With Murder starts! I have added some new promos to the gallery for your enjoyment!
Last night Viola made an appearance on Jimmy Kimmel Live. In case you missed it … here are clips from the interview!
Viola Davis Dragged a Meeting Out for Free Sushi
Viola talks about her daughter loving the food at Kimmel, explains Oodles of Noodles to Jimmy, and reveals that she once kept a lunch meeting going just to eat more free sushi.
Viola Davis on How to Get Away with Murder & New Children’s Book
Viola talks about ‘How to Get Away with Murder,’ loving her TV apartment, her new children’s book Corduroy Takes a Bow and her favorite part about going to the library as a kid.
New photoshoots from Viola’s recent visit to the Toronto Film Festival to promote her new film Widows.
Viola Davis Online > Outtakes > 2018 > 004
Viola Davis Online > Outtakes > 2018 > 005
Viola Davis Online > Outtakes > 2018 > 006
Viola Davis Online > Outtakes > 2018 > 007
Viola Davis Online > Outtakes > 2018 > 008
Viola did a recent interview with the New York Times where she answers fan questions. She talks about roles that she regrets and the challenges she has faced in her career.
TORONTO — The Oscar-winning actress Viola Davis is the star of the new crime drama “Widows,” which debuted here last week at the Toronto International Film Festival and will be in theaters Nov. 16.
I sat down with Ms. Davis at the Ritz-Carlton to ask her questions from our readers. They wanted to know about past roles, challenges and regrets, and she spoke about what “The Help” lacked and how “Widows” made her feel vulnerable. Here are edited excerpts from her responses.
Can you share either your top three personal or professional challenges that have greatly influenced your career? — Mohun, Dallas
I’d say, No. 1, finding really great dramatic or great roles that I felt were worthy of my potential and talent.
No. 2, always having to prove my ability. I’ve had to do that in sometimes substandard material, sometimes good material, but very very seldom times great material.
No. 3 would be responsibility. The responsibility of feeling like I am the great black female hope for women of color has been a real professional challenge. Being that role model and picking up that baton when you’re struggling in your own life has been difficult. Looking at the deficit and seeing that once you’re on top, you can either take the role of leadership or you can toss it in the garbage and say, “I’m just out to save myself.” I choose to be the leader.
What was the first day of filming with Meryl Streep [for “Doubt”] like? — SNA, New Jersey
Absolutely terrifying, but not because of anything that she was projecting. She could not be any less intimidating. Everything was coming from me, 100 percent. It was a rehearsal. We rehearsed it first because it’s based on a play. So I showed up an hour early, and I just stared at the door waiting for her to come in. And I think I probably ran up to her when she first came through the door, which I’m sure she’s used to, but when I look at it in hindsight I’m very embarrassed.
Have you ever passed on a role and regretted it? — Toti Plascencia, Chicago
I have passed on a lot of roles. There have been one or two that I regretted for maybe a minute, and then I let it go. As I’m growing older, I pass on roles because of my experience of knowing once the movie’s out, I’m going to have to promote it. And I don’t want to promote anything that I don’t believe in.
Almost a better question is, have I ever done roles that I’ve regretted? I have, and “The Help” is on that list. But not in terms of the experience and the people involved because they were all great. The friendships that I formed are ones that I’m going to have for the rest of my life. I had a great experience with these other actresses, who are extraordinary human beings. And I could not ask for a better collaborator than Tate Taylor.
I just felt that at the end of the day that it wasn’t the voices of the maids that were heard. I know Aibileen. I know Minny. They’re my grandma. They’re my mom. And I know that if you do a movie where the whole premise is, I want to know what it feels like to work for white people and to bring up children in 1963, I want to hear how you really feel about it. I never heard that in the course of the movie.
What character has been the toughest to portray? — Lauren McMillen, W.Va.
Rose in “Fences” was difficult because it was difficult translating it to the screen.
Annalise Keating [from the TV series “How to Get Away With Murder”] is tough because I have to go into a realm that is not me. She has a very colorful sexual life. I would not describe myself as being that person.
And Veronica [in “Widows”] was very difficult because she’s got a vulnerability that cost me something as Viola. That has something to do with images onscreen. How many movies have you seen where you see a dark-skinned woman of 53 with her natural hair in bed with Liam Neeson? But I had to get past the fact of what the outside world has not seen, and focus on what the world was.
All of my characters cost me something. I feel like if they don’t cost me anything, then I’m not doing my job.
“In “Widows,” the power of Davis’s performance is that she lets you know, in every scene, that Veronica is living in a world of treachery.”
Steve McQueen’s real-world heist movie gives Viola Davis a powerful role as a crime widow who takes cold-eyed command of her desperation.
Speaking on stage at the Toronto International Film Festival, right before the premiere of “Widows,” his first movie since “12 Years a Slave” (which was five years ago), director Steve McQueen talked about how important it was to set movies in the world of real, recognizable human beings. A lot of us would second that sentiment, yet it’s still not what you expect to hear from someone who’s introducing a heist film. The genre has been around in a major way since the early ’50s, and the template has always been this: When characters get together to plan and execute a robbery, we may see the quiet desperation of their lives, we may taste an ashy undertone of cynical “reality,” but it’s really all about the trip-wire cleverness of the crime itself. Heist movies unfold in a caper-film bubble, and that, one way or another, is their key pleasure.
But “Widows,” as McQueen implied, is another story. It’s a movie in which three women, whose husbands all perished in a robbery gone wrong, band together to steal $5 million, even though none of them has the slightest experience at acting like a criminal. And the web of dire circumstances that lead them to hatch this scheme in no mere set-up — it’s the dramatic heart of the movie. “Widows,” adapted from a British TV crime drama that was first broadcast in 1983, has a script co-written by McQueen and the novelist and screenwriter Gillian Flynn (“Gone Girl,” “Sharp Objects”), and it presents an enjoyably dark and sleazy vision of ordinary lives intertwining with the hurly-burly of street thuggery, local machine politics, and half a dozen other forms of daily corruption.
The movie, set in contemporary Chicago, opens with Veronica Rawlins (Viola Davis) and her husband, Harry (Liam Neeson), who happens to be major crook, kissing the hell out of each other in bed. The simple fact of a mixed-race marriage presented this casually is still startling to see in a mainstream movie, to the point that we can’t help but invest this passionate pair with a certain romantic idealism. But that’s snuffed pretty quickly. Their early moments are intercut with a turbulent chase, seen from the vantage of a getaway van with its back doors banging open, that ends with Harry and his crew being fired on by the police, until the van explodes into flames, killing all the men onboard. So much for domestic bliss.
Veronica is suddenly a widow. More than that, she’s a widow whose husband left her owing $2 million. That’s how much he stole from Jamal Manning (Brian Tyree Henry), who’s running for alderman of his ward, but he’s also a strong-arm crook who demands that Veronica liquidate her assets, including the sprawling penthouse she lives in, to pay him back.
Viola Davis’s commanding performance roots this scenario in icy fear and shock. Veronica can’t believe what’s happened to her (overnight, she has lost everything), and her eyes tell you that she knows it’s just going to get worse. She keeps having flashbacks to her life with Harry, including one where they nuzzle to Nina Simone singing “Wild Is the Wind.” It’s hard not to notice that Davis, her hair cut short, her eyes beams of fury, would be an ideal actress to portray Nina Simone. She has that kind of force.