IN CONVERSATION WITH FEHINTI BALOGUN

interview by JANA LETONJA

Fehinti Balogun is an actor, writer, and activist whose work bridges art, intellect, and impact. Known for his magnetic screen presence and thoughtful storytelling, he most recently starred opposite Ewan McGregor in Showtime and Paramount+’s ‘A Gentleman in Moscow’. Currently, he stars in the Apple TV+ series ‘Down Cemetery Road’, which premiered on 29th October, marking another major moment in a career defined by range and purpose. Beyond the screen, Fehinti is an impassioned climate activist and creator of ‘Can I Live?’, a groundbreaking self-written performance blending spoken word, hip-hop, and documentary to explore his personal journey into environmental justice. 

‘A Gentleman in Moscow’ was such a beautifully layered adaptation. What drew you to the role of Mishka, and how did you approach building that friendship with Ewan McGregor’s character?

I had worked with the director before on ‘I May Destroy You’, and it was actually him that suggested me for the role. I had originally gone up for a different character that I also liked. But when I got to meet Mishka, I knew there was so much to explore. I wanted it as soon as I got the sides. A period piece in Russia with a character who has depth and complex relationships, it was a dream. Building the friendship on screen was easy, Ewan is such an approachable and open actor. Finding a shared language and care came naturally.

Mishka’s arc is deeply poetic, both tragic and resilient. Did you see parts of yourself reflected in him?

I think Mishka is deeply empathetic and passionate with a strong sense of justice, and I think in that we are similar. We are both deeply affected by injustice, sometimes to our own detriment. However, I think I have more self-control than he does, which might also be to my detriment, especially in a situation where immediate action is needed more than something thought through. 

You’ve performed across theatre, television, and film. What do you find each medium gives you creatively?

They are so different. Theatre gives me immediate feedback, a shared heartbeat and connection with the audience that fills you with adrenaline. There is nothing like a live audience and knowing from the beginning where you’re going in terms of the character journey and then working intricately on the bits in-between.

But I have for the last few years done more TV and film than theatre. I find that every time I’m doing something on screen, I am still discovering and learning the craft of it. The same is true with theatre, but the exploration on stage is more known to me. It’s how I started and how I trained, but with screen there is a whole different language I’m still discovering. For one, when filming, you’re doing your performance out of order, sometimes months between filming the same sequence. There is a craft to this, the way of sustaining the energy and character between shots. You have to think big picture and small all at the same time, whilst also thinking about the storytelling on the screen, the eyelines, the language you use to work with the crew around you. The ecosystem is very different, and it’s sometimes too easy to go on auto and just play the scene in front of you without the greater context. However, this is slightly easier with film than TV. With film, the journey of the character, like a play, is decided and script changes, in my experience, haven’t been as extreme. Whereas with TV, there are changes happening all the time, coming thick and fast, so adapting your performance whilst being ready for new changes is also a new set of skills I’m developing.

So in summary, each medium gives me new and interesting ways of making a believable character and building my skill as a storyteller.

‘Down Cemetery Road’ marks another exciting project. What can you tell us about your character and what attracted you to this series?

My character in ‘Down Cemetery Road’ is another complex and interesting individual, and I feel so lucky for it. He’s the kind of character I’ve watched in series like ‘Luther’ or ‘Killing Eve’, and thought “God, I would kill to play something like that”. Amos Crane is an assassin who is just very good at his job. He struggles with empathy and when he wants to get something done, he will stop at nothing to achieve it. 

You’ve worked on major productions like ‘Dune’ and intimate stage plays like ‘Walden’. How do you shift gears between blockbuster storytelling and more personal, character-driven work?

I think with big movies the first thing I always have to work out is what is my character’s role in this story? Is it to drive the plot forward? Is it to bolster the scene? Is it to change the plot? When I’ve got this, it helps me become less precious about myself as the actor, and I start thinking about the project as a whole, and work to do what’s best for that, especially if I’m a smaller part. Because sometimes for the sake of the scene, I just need to walk from A to B at the right angle. That’s all there is to it and that’s what serves the film, not me working out why I’m doing that. The same I think can be true of theatre, especially with a big budget, big cast or avant-garde work. But with the small cast kitchen-sink plays, every movement has personal meaning for me. If a question is asked, there will often be an important clue into the character and story. For me, that will be an important part of the continued discovery of doing the play over and over again. 

As both a performer and a writer, how do you decide what stories deserve to be told, and in what form?

I don’t know if I can decide what deserves to be told. But I can choose what I think is right for me. When I started writing, it was always because I had to. There was something I needed to say to the world. This need became two TED Talks, two plays and a whole lot of other ideas. The form in which these ideas take depends on how I think I can  get it made and get it to connect with an audience. And when it comes to what I act in, I tend to go for things I connect with or excite me in a way. I love a complex character, but I also love an opportunity to delve into something different. There are a whole host of creatives that I am desperate to work with, so the scope is quite open.

‘Can I Live?’ is such a unique project, blending art, activism, and identity. What inspired you to create it?

My mum. She was so angry with me when I got into climate activism. At first, I thought it was just a generational difference, but as I explored it, I realised my mum had some important points of view. She was worried about my safety as a young black man protesting against a system that actively didn’t care about me. She also noted that the majority of the people I was protesting with were white, and the way these systems see us is very different. I then explored how these systems have treated her, and that the main ways people of colour in this country learn to survive is to ‘keep your head down, do your work and don’t get into trouble’. Actively protesting goes against all these principles. So, ‘Can I Live?’ was a way of understanding and exploring all these things, to speak from my mother’s perspective, in the most interesting, colourful and creative way I could.

The show captures the tension between caring deeply about the planet and surviving within systems that make that difficult. Why is representation and inclusion so vital in environmental activism?

Because climate change is just a symptom of the problem, not the problem itself. Colonialism and capitalism are at the heart of this beast. The effect of those things is far and wide, and without understanding that we talk about climate change in isolation, we can therefore never come up with real solutions. For example, we could come up with a new technology that pulled carbon from the air and created clean air, but under our current value systems, this technology would most likely never be released in the most polluted areas, due to those areas already being neglected. Those areas are also populated by some of the most marginalised and disenfranchised communities, and in London, those communities are mostly populated by people of colour, which further perpetuates environmental racism. Not to mention the fact that the countries being the most affected by climate change are the ones who have been historically stolen from to create the wealth that countries, like the United Kingdom, are based on. That wealth went on to fund the industrial revolution, which further perpetuated the climate crisis and the systems that are causing our current day problems.

How do you choose roles or projects that align with your personal values while still pushing you creatively?

I consult with people I trust. I talk about the project, what it would mean for me, if it excites me, or if it allows me to do something else I’m really passionate about. I’m always weighing it up and making the best choice I can.

The entertainment industry is changing rapidly, especially in how it approaches diversity and responsibility. Where do you see the most meaningful progress happening?

Meaningful is an interesting term. We are at a point where we need everything, everywhere, all at once. Yes there are things that have a massive structural affect, for example, investing in new fossil-free technologies for filming, switching from diesel generators to HVO fuel, reusing and repurposing sets, reusing and repurposing costume, beef-free days, using aviation only when absolutely necessary, investing in train travel and ride shares, with added days to the schedule to adjust for the extended travel time, and therefore adequate resting time to prepare for filming. But there are also huge cultural shifts that have to happen to support those structural shifts happening.

We must stop equating our value as performers and workers with how many resources we consume. In an industry where it is so easy to feel neglected and uncared for, the win can often come from consumption and exclusivity, because the cost and effort need to achieve those things can feel like care. But we also know that abuse and neglect can still occur when you stop becoming valuable to the project or those more powerful to you, so can that really be called care? We need to move from us valuing exclusivity as a way of showing status. Waste and unnecessary consumption needs to become uncool and unsexy. Working with your team and leading in sustainable, equitable and reasonable practices needs to be normalised. This doesn’t mean we can’t have nice things, it means we invest in the things that are needed, and in turn, that energy becomes money and that money makes the most sustainable and reasonable choice more achievable for everyone, as well as more luxurious and comfortable, because it has been given the investment.

You are a founding member of Green Rider. A campaign to help the industry become more sustainable. Could you tell us about it?

Green Rider is a movement of actors, agents and producers shifting the TV and film industry towards a fairer and healthier way of working. Launched in August 2023, we have helped break down old-fashioned hierarchies on set and cut pollution by up to 80% on productions like ‘The Capture’, ‘Wolf Hall’ and ‘Gangs of London’. We managed to achieve this by using what we call ‘a handshake agreement’, which is a non-contractual agreement between the production and the newly hired actor, making commitments to what they can do on this production to make it more sustainable. This both encourages braver and bolder sustainability decisions on set from both sides, and increased teamwork from all production. There are more details on our website www.green-rider.org. It’s an amazing campaign and I’m really proud of what we are achieving. 

You’re balancing acting, writing, and advocacy. What do you hope the next chapter of your career looks like?

What an amazing question. I would love to continue playing interesting and complex characters and perhaps leading a show. I’m currently working on writing my next film, so I would love to get that into production in the next few years. As for campaigning, I would love to see Green Rider become an industry standard and for the culture change to solidify. It would be a dream to be part of the fundamental positive changes in our industry that help create positive changes in the world. 

TEAM CREDITS:

photography KARIS BEAUMONT
grooming JENNIE ROBERTS