Like the pastors and storytellers in his life he credits with igniting his early artistic spark, Jonathan Majors is given to spinning bright bursts of vividly detailed yarns.
With high-profile film and television projects on the horizon, Jonathan Majors stars as Mont opposite Jimmie Fails in art-house hit"The Last Black Man in San Francisco."
Majors’ infectious energy contrasts his schedule of late. Just 72 hours earlier the 29-year-old landed home in New York City after spending several months in Southeast Asia filming Spike Lee’s Netflix drama “Da 5 Bloods,” about four veterans who return to Vietnam to wrestle with ghosts of the past. “That’s the beauty of being an actor. You’re kind of a journeyman. It goes back to [‘The Last Black Man in San Francisco’]: You find out that ‘home’ is right there. Right here,” he said, touching his hand to his chest. “If you think, ‘I’ve got to get back to New York, I’ve got to get back to Atlanta, I’ve got to get back to L.A.’ — you’re lost. If you can’t find peace inside, you’ll never be at peace.
From the outside they may appear to be an odd couple, two misfits on the periphery of a community that itself has been pushed to the periphery. To Majors, Mont was “one of the bravest characters I’ve ever read.” His is a gentle strength, and one to whom Majors lends an idiosyncratic grace. “It felt like this very ancient tale,” said Majors of an opening scene in which Jimmie and Mont sit on the outskirts of San Francisco listening to the film’s Greek chorus .
“What Jonathan created with Mont was this observer who sees people at their best and their most complex, and I think that’s a part of San Francisco at its best,” Talbot said. “It’s trying to see all sides of people. People have done certain things in their life that maybe they regret, but there are other sides of them that are gentle and vulnerable.”
“You’ve got to know what that wind feels like when it hits you,” he added. “You’ve got to know how your legs will burn after you’ve walked up X amount of hills, or how to brace yourself so you don’t trip down them. … You’ve got to know that stuff, and you’ve also got to know the people that live there … you can’t just put it on for the character.”
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