Delroy Lindo is claiming victory

An actor whose presence has shaped film in theater for more than 50 years. From West Indian Archie and Spike Lee's Malcolm X, to the charming and cruel drug

“kingpin and clockers, to a father guarding an unspeakable secret in the side of house”

rules. For me, Delroy's characters often feel lived in, complicated, and hard to shake. In Ryan Kougler's latest film centers, Lindo plays Delta Slim, a hard drinking, deeply knowing blues harmonica player, and 1930's Mississippi.

Delroy Lindo is nominated for Best Supporting Actor for his role as Delta Slim, his first

Oscar nomination in a 50-year career. Lindo trained at the American Conservatory Theater in San Francisco, and made his name in the theater, Broadway, Yale rep in the Kennedy Center, performing August Wilson and Lorraine Hansbury, before Spike Lee brought him to film audiences. Over the decades, he's moved between stage film and television, from Get Shorty and

Ransum to his turn as the razor sharp attorney in the good fight.

“In 2020, he reunited with Spike Lee for defy floods, playing a traumatized Vietnam vet, returning”

to the jungle to recover buried gold and the remains of a fallen soldier. Delroy Lindo, welcome to fresh air. Thank you. Thank you for having me. Thank you.

I want to set up centers for those who have not seen it and to remind those who have seen the film. So, centers is this haunting southern epic set in 1932, Mississippi, and twin brothers stack and smoke, both played by Michael B. Jordan. And they return home from Chicago to open a tube joint, only to find that their plans are

overtaken by the supernatural evil as vampires, and who do and there's buried trauma and it all converges into this single horror-filled night.

And I want to play the scene where we first meet your character, Delta Slim.

In this scene, stack approaches you at a train station where you're busking and tries to convince you to play at the juke joints opening night, and your hesitant at first until Michael as stack wins you over and stack speaks first. Are you in $20 to come play at our juke tonight? Yeah, I wish I could. I'ma be a mess in this tonight, Simmerz and every Saturday night.

They ain't paying you $20 a night, I know that. You ain't paying no $20 tonight.

“You paying $20, maybe $2.00 tonight, tomorrow night, and we got the debt?”

Nah. I've been a mess in this every Saturday night for the last 10 years. Mess is gonna beat up another 10 years after that, at least. A play and I get as much corn as I can drink. Simmerz and I can't answer more than that.

That's my guest today, Del Rolindo, is Delta Slim and Seniors. You know, there's kind of a rhinus to your character. There's a little bit of humor there. You know, he knows exactly what he's worth, and he kind of is not gonna settle for what he feels like could be a flash in the pan.

I read that in the first draft of the film, as it was written, your character kind of

begins and ends there, and you kind of told the director, Ryan Cougler, like, he needs to be built out more, he's rich, and I want to see him more in the film as I true. So, no, it wasn't that my character began and ended with that first scene. What it was was that the introduction was so dynamic, that what happened in the second half of the screenplay, I was not as present, I was there, but I was not as present.

And since Ryan had introduced the character, my character, Delta Slim. So dynamically, I spoke with Ryan and I said, how can we enhance my presence in the second act of the film and Ryan understood that, and he assured me that we would work on enhancing my presence in the second act, and he did. Talk to me a little bit about your preparation for this man, because there is a knowing,

there's a scene that I love so much, it's where you and Stack, Michael B. Jordan, and preacher Boe are driving through, you know exactly the one I'm talking about, you're driving through the cotton fields, and you start to talk about a lynching, and there's

the story, and then you just freak out in humming.

“And that reminded me so much of my grandfather, and hearing him sometimes he'd talk, and”

then he'd just start humming, and I want to know where that comes from from you that knowing, you know, that you brought to that character.

First of all, thank you for what you just said about your grandfather, because various

people have mentioned to me that that scene and my presence reminds them of an uncle or the grandfather, somebody that they knew, that they knew from their families, and that is a huge compliment, but more importantly than being a compliment, it's an affirmation for the work. To answer your question, it started my preparation for this, started with Ryan sending

me two books, blues people by Amiri Baraka, who was the Roy Jones when he wrote the book, and deep blues by Robert Palmer, and I read those books.

“That was my intro into the world of sinners, and in reading those books, and then referencing”

those books throughout production, I was given an entree into the world's, the lifestyles of these musicians, there was a certain kind of, itinerant quality that they moved around a lot. The constant for them is their music, so that there is this deep-seated connection to the music, and because they are following where the music takes them, that then becomes an intrinsic

part of their lifestyle.

I've heard you say that for characters, you first look at maybe those similarities, and

then you look at the differences, and then you work from there. That's exactly right. That particular scene, though, where you're talking about the lynching, and then you just go into Humming, it's almost, it also signifies something else for me, like sometimes when there are no words for some things, and when there are no words, that's where the blues

comes in, there's where the music comes from, and yet another affirmation for me, Tanya, in terms of how people have received this work, it's incredibly affirming that audiences, many audiences have made the connection between the pain of what I was experiencing, and the

birth of the music, and I certainly was not thinking about that in the moment.

Was it scripted? No. The Humming. Yeah. No, it was not scripted.

It happened organically, on probably the 6/7 take, and what is so beautiful about that moment, and it's retention in the film, it was born of a company of people all working together, and what I mean by that is we had a very specific distance to get the same, we had to find out a matter of real estate, to get the same in. We started a point A, and by the time we got to point B, or point Z, I had to have finished

the monologue, it was a three-page monologue. Within a certain amount of time. Within a certain amount of time, and then we had to turn the car around to an all the equipment around, and go in the opposite direction, and do it again, and then turn around, and come back, and go in the opposite direction, and do it again.

On probably the sixth take, and I'm forever indebted to Mike, playing stack, Mike didn't stop the car. We got to the, what was supposed to be the endpoint, and he veered off into the underbrush, and kept going, Ryan kept the cameras rolling, autumn, derald, Arcapah, brilliant cinematographer. She was right there, we continued filming, and as a result of that, it gave the scene more

“time to breathe, and for us, extra time, more time to be in that moment, and I, it's important”

for me to articulate this every single time I talk about that aspect of the scene. We were very much working in concert, we were very much working as an ensemble at that point. I may have been the conduit for what happened, but Michael B Jordan was right there, a stack, while skating as preacher boy was right there, we were all in the party together, Ryan

kept the cameras rolling, autumn was right there, and the DP, we were all working together,

Now I want to turn to something that happened last week, when Linda went to London to celebrate the film at the Baptist. So Delroy, you've been on a roll.

Can I stop you one second with all the resources?

With all the respect, I'm actually not going to talk about this. No.

“You're not going to talk about it, and why are you laughing?”

I'm laughing because, in the intro, when you said, "Oh, yes, we'll be talking about what happened with that." I saw you chuckle a little bit, because I said, "No, we're not." Tell me why. I have made two comments about what happened, and I feel that, for me, that is all I need

to say, and the comments that I have made, which I will repeat for you.

Can I first tell people what we're talking about?

Absolutely. Absolutely. Please. So, while you and Michael B. Jordan were on stage presenting an award for the Baptist, which is basically the UK's version of the Oscars, very high honors, a man in the audience named

John Davidson, shouted a racial slur, and Davidson has Tourette's syndrome, and is said the outburst was involuntary, and he's apologized, and you have made some comments about

“it, and I want to hear what you have to say about it.”

The only thing that I've said is that at the NAACP Awards, Ryan and I were presenting an award. And right before we went on stage, I said to Ryan that I wanted to just say something. He didn't know what I was going. I said, "Let me just, before we start reading the teleprompter, I have something, I want

to just say." And what I said to the audience were words to the effect that Mike and I, sinners, company of people appreciate all the love and the support that we have received as a result of what happened at BAFTA, and the fact that I could stand there in a room predominately of our people.

A black people, because it's at the NAACP Awards, and the NAACP Awards, I could stand there and feel safe, feel loved, feel supported, and just simply affirm the love and the support that they have given us, and I just wanted to officially formally say thank you to our people and to all of the people who have supported us as a result of that incident.

And then the second thing I was at the AFTA party, the BAFTAs, and I don't know what I was

thinking, but a gentleman came up to me at the AFTA party and said, "He introduced himself and said, "I'm with that any fair." Now I should have told me, this is a journalist right here. He said, "We've had it even fair." It didn't occur to me, this is a journalist, but what I said to him was, "Look, it would have

been nice if somebody from BAFTA had a spoken to Mike and I." Yeah. That's all I said, and that's all I am going to say. Oh, I'm sorry, there was one other thing that I said, I'm sorry, I said it was an example of something that could have been, that started out negatively becoming a positive

from the standpoint of the love and support that we had received. And I received a text, a biblical text that I want to just share with you on the verse over the day is my wife sends verses, affirmations, various people, being out overcome of evil, but overcome evil with good, Romans 12, 21, a negative turn into a positive, which essentially is what I didn't quote that Bible passage.

I wish I had told her that, "When she sent me this, God, I wish I had said that." Don't worry, I feel like that's an answer to my question.

“When I saw the clip of that, I think like a lot of people, because I've had quite a few”

conversations about this with people, we immediately looked to your face, and we were searching your face. And of course we're searching your face, we're searching Michael B. Jordan's face, but we're searching your face because you are a renowned actor who's been around for a long time, and so so many of us kind of look to you on how what I respond to that, and how

is this man who is an elder who we look up to, how is he responding to it?

on one, and you're talking about this thing, that's a very real thing, yes, to have someone with Tourette syndrome, blur that out, that's a whole other thing, but in general, your relationship with that word.

Michael and I spoke on, this is Tuesday, Michael and I spoke on Sunday, for the first time,

just amongst ourselves, after it happened, yes. After it happened, this past Sunday, Michael and I spoke, and it was interesting, because

“we both had a similar individually, we both had similar responses, because you have to understand.”

We had jobs to do, we were the first presenters of the evening, and we had to read that teleprompter, and we both did exactly that. Now, my wife says that I adjusted my glasses, she said she knew where I adjusted my glasses, something exactly internally, I was not aware that I had adjusted my glasses, but there was a nanosecond, a nano of a nano of a nanosecond, when I'm thinking, wait, did I

you see what I thought I heard? But then, and it truly was a nanosecond, one had to read the teleprompter and get on with presenting the award, so, you know, there was no time at all, I processed in the way

that I processed in a nanosecond, Mike did similarly, and we went on and did our jobs.

So, yeah, that makes sense. You know, what's also kind of ironic is the connection to the word, because of the character that you play played on the good fight. How about that? Sure.

Yeah, it's power, this word, the inward, who gets to say it, what happens when it's used for a long time, and I actually want to play a clip that went viral even before the baffed us. This has been a thing. Way before the baffed.

Yes. It's of you, as your character, Adrian, Boseman, on the good fight, and you're encouraging a white television host to say the inward on air. Let's listen. Now, I see racism against whites every day, every single day, yet I'm a racist for pointing

that out. Adrian, what's your take? Take on what?

“What Chuck just said, is racism just a one-way street?”

I think that's either opinion. Look at your firm, Adrian, you get the benefit of no-bid contracts because you're an African-American firm, now, as a white lawyer, what am I supposed to think of that? I don't, no. I think Chuck is pointing on a double standard here, Adrian.

But take hip hop. We talked about this on the show before. You have African-American rappers saying, "Inward this and inward that, but a Caucasian can't." So say, "What?

Say the word you want to say." I'm not saying that. I want to say it. I'm just saying that I can't. So you can't.

Say it, say it right now. I will say it.

Oh, this is a critical, you know we can't.

Sure you can, this is America, both of them say it. All right, I think we can move on.

“Why move on when you want to say it, both of you want to say it?”

Okay, this makes you laugh the funny thing about it is people really thought this was real or a very long time. It's gone around. I remember singing, thinking, "I need to know what context that was in, but it's actually from a show."

Why do you think, I mean, first off, there's something about watching a black man who's like saying, "Just say the thing that we're all thinking and we know that you're thinking, you want to say, say it." But what was going through your mind in that scene and why do you think it has taken such hold?

It's taken hold because the sentiments contain in the scene are real, which is to say that the black person, I know we all know, I assume, that behind closed doors, there's not such decorum that is exercise, behind closed doors, it is said, it is probably said liberally and there is this hypocritical, what I was pointing out, rather than me being the hypocrit. They will hypocrites because the fact of matters, you know, you want to say it, and you

say it behind closed doors, you know what you do. So I think that the reason that it took hold, as you say, is because the sentiments in the scene are very, very real. Our guest today is actor Delroy Lindo, we'll be right back after a break, I'm Tanya Mosley,

This is fresh air, I'm Tanya Mosley, and my guest today is actor Delroy Lindo. He's nominated for an Academy Award for Best Supporting Actor for his role as Delta Slim and Ryan Cougler's Centers. He's also known for his collaborations with Spike Lee and Malcolm X, Crickland, Clockers, and Defive Bloods, and for his role as Adrian Boseman on the CBS series The Good Fight.

Before the break, we were talking about a racial slur shouted at Lindo and Michael B. Jordan at this year's Baffdas, and the weight of that word in his life and work.

“Do you remember the first time you, someone called you the Inward?”

I don't, but I do remember the first time I was othered because of the color of my skin.

And interestingly, I'm writing a memoir right now. Plug, plug, plug, plug that will be out in 2027, and I reference this incident in the book. I do remember very, very clearly what happened and my other confusion. How old were you? Five.

Oh. So I was born in England, and my mom was a nurse, and I'm Jamaican. My mom went to England as part of a movement of Caribbean people from the Caribbean to England,

and they became known as the Wind Rush Generation.

“As a result of the boat, called the Empire Wind Rush that transported approximately 300 Jamaican,”

mostly Jamaican men from the Caribbean to England in June of 1948. My mom arrived into England in 1951. So very, very the beginning of the Wind Rush movement. I was born very soon thereafter, and because my mom was studying to be a nurse, they would not allow her to have an infant child with her on campus.

So as a result of that, I was sent to live with a white family in a white working class area of London.

And this wasn't just daycare, or daycare.

No, no, I lived with them. I lived with them. Very loving family.

“By the way, I was loved, I was cared for.”

But as a result of living with this family in this all white neighborhood, I went to an all white elementary or primary school. And I was literally, I mean, literally, the only black child in an all white school. So one afternoon after school had ended, I was playing with one of my playmates. I thought he was one of my, I thought he was a playmate.

And we had exchanged garments. I had, I was wearing, like his sweater, I had it tied around my neck, and he was wearing my sweater on my jacket, tied around his neck, and we were pretending to be superheroes. Right? And we were on this patch of grass, and we had our hands out, like Superman, and we were flying

around him, and having great fun, and at a certain point in our game, a car pulls up, and this kid that I was playing with, goes over to the car, and has a very short conversation with who ever was in the car, which I now know was his parent, his father. He comes back, and he tears, he throws my garment that he had been wearing around his neck, he throws it at me, and grabs what I'm wearing, his garment that I'm wearing around

my neck, and grabs it from me, he throws my garment at me, grabs my garment for me and says, "I can't play with you." And that was the end of the game. That was the end of the game, but you know this thing about that story, and the fact that you're so young, five years old, you couldn't have known the full weight of that.

It took you time, but it's a story that is stuck with you because you knew that that was a signal of something. Well, it was a signal of my undesirability, right? So the answer to your question was not necessarily specific to being called the N word,

These are n-prints. Big time.

How's the writing for the memoir going, because, you know, I'm so fascinated, I'm deeply

obsessed with memoir, and I love reading them, but one of the things that I know about it is that it breaks you wide open, you're able to see parts of yourself that you

“have a process, how was that process been for you, and how do you hold these stories?”

Because you said it's going to open your book, for instance. That means that that was an imprint that has carried you throughout your life, you know? Yep. It's been healing, actually. I'm not denying that it has opened me up.

I've been compelled to scrutinize myself, and that's, I'm using that word very advisedly,

scrutinize. It's a scrutiny. It's an examination of oneself, but in my case, because a very, very, very significant part of what I'm writing has to do with re-examining my relationship with my mom.

“So my mom is a protagonist in my memoir.”

It's not, and I'm told by my editor, and by my publisher, that one of the attractions to what I'm writing is that it is not a classic quote unquote celebrity memoir. I'm examining history, I'm examining culture, I'm taking a, I'm looking at certain passages of history through the lens of the Windrush experience. Let's take a short break.

My guest is Delroy Lindo, nominated for his first Academy Award for his role as a Blues

Musician, Delta Slim, and Ryan Coogler's Centers. We'll continue our conversation after a short break. This is fresh air. This is fresh air, and today I'm talking with actor Delroy Lindo. He's nominated for an Oscar for his performance in Centers, which leads all films this

year with 16 Academy Award nominations. Before the break, we were talking about his life growing up in the UK with his mother as part of the Windrush generation. You went to get a master's degree, right, and study this.

“This was that, and that wasn't that long ago, right?”

No, 2014. I got a master's from NYU in 2014. I came to formal education late. I got my undergrad degree in 2004 from San Francisco State University, and I got my master's from NYU in 2014.

I wanted to delve deep into your mother's experience in the Windrush. I had to, I had to, because, you know, it's interesting. I heard myself say that, and I didn't know I was going to say that. I had to, I had to do that. You had to, because...

I had to, because my mom deserved it, and not only is my mom deserving, all by extension, all the people of the Windrush generation are deserving, because that is a story. Stories about Windrush are not part of global cultural lexicon. Menzerit with its impact. The people of Windrush changed the definition of what it means to be British.

There are all these black and brown people. There to four members of what used to be called the British Commonwealth, and they were invited by the British government to come to England, the United Kingdom, to help rebuild the United Kingdom in the aftermath of the destruction of World War II. My mom was part of that movement.

Yeah, yeah. They helped rebuild construction, construction industry, transportation industry, critically, the health industry, the NHS, the National Health Service. My mom was a nurse, and when I was going into the reason that I went into NYU was because

I wanted to write a screenplay about my mom, because I looked around, and I thought, "Where

the feature films that have as protagonist a Caribbean female, a black female, where are they?" Now, there may be some out there, and I've seen one not directed by a black person. But I wanted to address that, I wanted to correct that in what I see as being an imbalance. What's your mom's name?

My mom's name is Anna Cynthia Monkreef. Sometimes she would go by Luna Monkreef, and that's all over the story.

“But my answer to your question is why do I need to do this?”

Is because my answer is my mom deserves a story about her. And my editor said to me last week, I'm pretty certain it was in the aftermath of what happened, a bathed, and the various stories had surfaced on the internet. Essentially, people just give me love, just just. And my editor sent me a text and she said, "Your mom would be so proud."

And I know she's proud, I know she is. And did she pass? 1996, I was in New York, I was at four seasons hotel, on 57th Street, doing a junk

“it for a film that I had done called, I think was ransom, and I'm digressing, the answer to your question is my mom passed in 1996, that's the answer to your question.”

I talk a lot. I'm talking to you, so you're answering the things that I'm asking you, but you're not wondering, what did you want to say? I want to say that five bloods when I was doing, and I don't want you to forget your question. I was doing a round of press for the five bloods, which was doing COVID, and so therefore a lot of the most all of the interviews and interactions with the journalists and press were virtual.

And I had done an interview with a journalist up in San Francisco. And when the article came out, and I'm saying this for a very particular reason, when the article came out, she referred to me as "The Garryless Deliver in Indom." I didn't know a Garryless man. Yeah, look it up. I had to look it up.

So I looked it up and it said, "Accessively, talkative."

“Well, that's so funny, because the thing that I think about you is you're very intentional with your words and language that you use, and I want to know where that comes from.”

I noticed that when I hear you talk every time, I said, "Oh, yeah, he's taking the moment to make sure he's finding the right words." I hope so. I hope so. Ironically, it is a result of how I was educated. And the irony is, I was educated in England, four, five, six years ago, I found a note pad in my garage. I say, book that I had written when I was probably 13 or 14 years old, I was in high school, and I looked at what I had written.

This was decent writing for the first time.

And so, even at that age, I apparently had a relationship to the language, and England's language was always one of my favorite subjects in school in high school.

So, I think it probably comes from the way that I was educated, and then having become an actor, and my domain is words. Yeah. So, I try to be careful. And you want to be understood. Really be careful to hand the stood.

That's so interesting about finding your 13-year-old self in your writing and saying, "Okay, this was really kind of cool. This was good."

You spent a significant amount of time the first few years of your life in the UK, and then you lived in Canada for a while, then you all moved to the Bay Area.

Yes.

“You don't have an English accent, did you ever?”

Of course I did. Yeah.

And somebody, I get asked this fairly frequently, you don't have English accent.

And then somebody, I was recently asked, "Could you do it? Could you do it if you were asked to?" And I had this joke, and I say, "My mantra, yeah, I can do it if they pay me." But yes, I had an English accent, and yes, I could still pull it out right now if you needed me to. I'm not going to. There's a part of me that's waiting for, and I have no clue if this will ever happen. And if it doesn't happen, it's fine. It really and truly is fine.

But there's a part of me that's waiting to be offered a piece of work that will permit me to use that London accent. The other thing is, similarly to, you know, I don't speak with a Jamaican accent, but I'm able to speak with a Jamaican accent. You know anybody who saw Western NRG, I was using a Jamaican accent there. And I did a film called "Wonderous Oblivion" in London in 2001, and I was playing Jamaican man in that. And that actually is when I discovered, when you rush, during their rehearsals for that film.

“But I remember one of the people from the office, from the production office, came on set.”

One day, and she was watching the work, and I overheard her say, because I was speaking with a Jamaican accent in the film, and I overheard her saying, "Oh my God, he can do it."

My guest is Delroy Lindo, nominated for his first Academy Award for his role as a blues musician, Delta Slim, and Ryan Kougler's Centers.

We'll continue our conversation after a short break. This is fresh air. And today I'm talking with actor Delroy Lindo. He's nominated for an Oscar for his performance in Centers, which leads all films this year with 16 Academy Award nominations. Okay, let's talk about the Oscars now. And I'm actually going to get into, I want to talk about this conversation by first talking about the five bloods, because it's one of, I will say it's one of my favorite movies.

I mean, gosh, if I want to release Decry, I will turn on that film. One of your most celebrated roles was Paul, a traumatized Vietnam vet unraveling in the jungle, a man carrying decades of rage and grief.

When the nominations came out for the five bloods, and your name wasn't there, I've heard you say that you were deeply disappointed.

That might qualify as the understanding of the year. Okay. I actually, my representatives at the time called me the morning, and I thought they were joking. When they said your name wasn't on. Yeah, the guy said it didn't happen that.

You were so certain. I had been made to feel certain because of all of the talk outside of me was, you're going to get an nomination, you're going to get an nomination, you're going to get an nomination. So I got drawn into that.

“And I remember the gentleman who said, "No, I didn't happen, man."”

And I thought he was kidding, I thought he was filming my leg. I was going that morning to get a COVID shot. I was in New York, I went to this facility on 96th Street. And I got my shot, I came out, and my phone rang and it was spike. And we talked and we commiserated. I've said this in the past, but I'll say it now, just officially spike.

If you hear this, man, it meant the world to me that you called me. And then we had that conversation, it meant like everything, bro. Because I was, I was really, so yes, I was disappointed. Because, I mean, you put your foot in that role. I mean, like, you know.

You and his butt. And when he's my big toe, I put my foot in that thing. Well, you're now nominated for an Oscar for Best Supporting Actor for Centers for Stoff Congratulations. Thank you very much, I appreciate it. You know, it's the highest honor for an actor.

And yet, it's sometimes, it's like, a biggest curse for a black actor. How do you, how do you hold that very true tension?

It's like you've hit the ceiling. I worked with Lou, Lou Gossett some years ago. And Lou, for me, was one of the greats. Lou Gossett Junior was one of the great actors with a capital G. And he won an Oscar.

And 1983. So yes, an officer in the gentleman.

“And I think he told me he didn't work for a year after that.”

I've heard Halle Berry speak about her disappointment after she won the things her career. And I don't want to miss quote because I do not know Halle Berry. Nobody has said this. She said this even on this show. She didn't quite. Things didn't happen for her the way she thought.

But what I will say, and this is important. I am not and I will not view it as a curse because I am claiming the victory in this process. The matter what happens. And what does that mean? It means that just as after the disappointment of five birds I had to pick myself up and keep going.

And that was something that Spike and I talked about. You got to keep working man. Something that I said to my son after he suffers a disappointment on the basketball court.

“Because my son is very similar to me. He likes to win.”

He does not like to lose. Hey man, you got to pick yourself up. You got to pick your head. Keep your head up bra.

There's always a next game.

And what I had to tell myself on the heels of five blows was I got to keep working. So, in terms of this moment, absolutely and claiming as much as I can, the joy of this moment. I'm not saying I don't have trepidation. I do. It's the reason I was not listening to the broadcast this year when the nominations were announced. I did not want to set myself up.

Oh wow, yeah. But I'm claiming the victory, Tanya. And what that means for me is attempting as much as I can. To 45 myself. And no in my heart that I will continue working as an actor.

I absolutely will.

I have never taken my marbles and gone home as it was also whatever disappointments.

The vicissitudes of the industry. And I want to believe and I want to claim that I will not do that now. I will continue working. I pretty God this doesn't. That is something that I would tell any, any young person, young actor, young practitioner of any craft in the face of disappointment.

“Yes, you have the choice of taking your marbles and going home if you want to.”

What would that get you? You have to keep moving forward. And that is what I will do. Don't worry, Linda, this has been such a pleasure to talk to you so much. Thank you so much.

I really appreciate it. Thanks for having me. God bless you. Thank you. Thank you very much.

Delroy, Linda. He's a veteran actor with a 50 year career.

And he's just received his first Academy Award nomination for Ryan Kougler's Centers.

If you'd like to catch up on interviews you've missed. Like our conversation with Jesse Buckley, the star of the film HamNet, who's nominated for an Oscar for her performance. Or with legal scholar Rick Hasson on Trump's plan to push legislation that would change how every American citizen registers to vote and votes. Check out our podcast. You'll find lots of fresh air interviews.

And to find out what's happening behind the scenes of our show and get our producers recommendations on what to watch read and listen to. Subscribe to our free newsletter at whuye.org/freshair. (Music) Fresh air executive producer is Sam Brickler. Our technical director and engineer is Audrey Benton.

Our interviews and reviews are produced and edited by Phyllis Myers, Roberta Shorock, Ann Marie Baldenado, Born Crimsel, Theresa Madden, Monique Nazareth, Susan Yacundee, and Abelman and Nico Gonzalez-Wisler. Our digital media producer is Molly C.V. Nesper. They are a challenger directed today's show. With Terry Gross, I'm Tonya Mosley.