"Prada does a really good job of making me feel like a leading man; it makes me feel confident, cool, and mysterious."

— Kelvin Harrison Jr.

In the sprawling landscape of Hollywood's tapestry, where each thread weaves a story and every character tells a tale, Kelvin Harrison Jr. emerges as a standout protagonist. The charismatic actor, celebrated for his versatile performances, takes center stage in the fourth season of National Geographic's Genius series. Renowned for its stylized portrayal of significant figures in history, Genius MLK/X explores the parallel lives of Martin Luther King Jr. and Malcolm X. 

As a seasoned actor, Kelvin shares his insights into the complexities of portraying Martin Luther King as he opens up about the personal connections he discovered with the Reverend. As juniors both Martin and Kelvin grappled with the challenge of finding their place in the world due to the shadows cast by their eminent fathers looming large. MLK Sr. stood as a Baptist pastor and early figure in the Civil Rights Movement, and Kelvin's father is a respected musician with ties to the church. Both figures have set expectations high in their respective communities that their sons will be next. “Next what? This man's great. I don't know if I can get there. I don't even know what the path is,” Kelvin/MLK thought. Yet, in a synchrony of fate, both Martin and Kelvin took a leap of faith. Martin found his calling as a pastor and activist, while Kelvin pursued his passion, dedicated to narrating the inspiring stories of remarkable figures like Martin Luther King, Joseph Bologne, and Jean-Michel Basquiat.

However, Kelvin, despite his success, confesses to an underlying intimidation, viewing his portrayal of these iconic figures as an act of obedience—a calling to inspire and dispel fear. Kelvin offers a poignant exploration of doubt and courage, an invitation to witness not just the portrayal of icons but the shared journey of overcoming uncertainties and answering the profound summons to greatness—to answer a call of duty.

Carl Ayers __ You star in the fourth season of National Geographic's Genius series. The Genius series takes a stylized look into the lives of significant historical figures. Seasons 1, 2, and 3 featured Albert Einstein, Pablo Picasso, and Aretha Franklin, respectively. This season, Genius MLK/X, focuses on the separate and converged lives and timelines of Reverend Dr. Martin Luther King Jr. and Malcolm X, with you playing the esteemed civil rights leader, MLK. What drew you to this project? 

Kelvin Harrison Jr. __ It was interesting because I've watched the show and always appreciated what Genius represents and how it connects the audience to these luminaries who are larger than life. Genius normalizes them, and we get to see how they discover their vocation. I appreciated that about the series because when we look at civil rights leaders, specifically as Black people, we go, “Oh my gosh! How do we participate?” I remember in 2020, when the Black Lives Matter movement was front and center, everyone was freaking out. People were like, “What should we do? What did James Baldwin say? What did Martin Luther King Jr. say? What did Malcolm X say?” We were calling on everybody. When I started researching and reading the scripts, I remember thinking, “Oh, wait a second, these two gentlemen [MLK and Malcolm X] had no clue what they wanted to do either or how to participate.” And that's part of the process. I found it to be really empowering to be a part of that narrative and lay out a little bit of an outline for those who are interested. Yet, I feel intimidated by the task when watching how these two icons, who have gotten us to this place, navigated it for themselves.

CA __ The series often explores the complexities of their subjects. With you portraying Martin Luther King Jr., what were some of the nuances of the character and the script? How did you bring that all to life? 

KHJ __ The script was so good I didn't have to do much. I think the biggest thing was just taking all the human qualities back out of it instead of just going for the result. For example, in the scene when I'm starting the bus boycott in Montgomery, instead of just going for the result, how do I get there? What elements led to that event? What drove it? Where was the passion coming from? Was it from being discriminated against? Was it from my dad and seeing a leader prior to me navigating it? Was it me trying to find a role outside of my dad? Finding my own identity - so is it an identity issue? What does love feel like? What does being young feel like? Starting from there, I tried to find common threads between Martin and myself, threads that feel personal and intimate and then applied them to these significant historical events.

CA __ Paul Winfield, James Earl Jones, Robert Guillaume, Clinton Powell, Courtney Rebates, LeVar Burton, Jeffrey Wright, Samuel L. Jackson, Dexter Scott King, Malik Yoba, Nelson Elias, David Oyelowo. Those are the 12 men who have played Martin Luther King either on TV, in a movie, or on Broadway before you. And now you are the thirteenth man to play this gentleman. What does that mean to you? 

KHJ __ That is wild! [smiles widely] It's a great list of people. I'm excited to be a part of it and add to his legacy. I think the actor's job is to come in and find the things we can relate to as human beings. When we're playing a character, it's not to tell us who this person was or just play the plot, but to find the things that make them a man, that make them something we all as human beings can relate to. Each of those gentlemen strived to show different sides of MLK, different perspectives, and how they, as men, related to Martin. That's what's really special about it - how we all can relate to this man in some way or another, and we just have to find our personal truth in that. It's cool that I get to share my take on it. 

CA __ It's a short but mighty list of actors who have played this luminary. Were there any specific scenes or moments in the series that left an impact on you personally? 

KHJ __ The scenes I found most intriguing were the ones with Martin’s father and the ones with Coretta [Scott King]. There's an interesting theme of identity between father and son with Martin and his dad, which I related to and clung to. If I grew up watching someone achieve greatness, and everyone speaks of them as great, then where do I fit in? Am I to match that or am I to find my own lane? And when do I decide to find my lane? There is a scene where Martin’s talking to his dad, saying he doesn’t necessarily want to be a pastor at Ebenezer [Baptist Church]. You would think that Martin always wanted to be a pastor his entire life but we'll see in the show that he was conflicted because he saw his father doing it so well. Why would I be capable of doing it as well as Daddy King? He's so charismatic, everyone respects him, he's educated, he's made a big life for himself, he's married to my mother, the queen of the house, and we have a level of privilege and wealth. Who says I can do these things? Martin's like, I'm invested in philosophy. I want to learn about the Bible from an intellectual perspective. I'm still trying to discover my spiritual relationship to some of this. I think that was interesting to navigate because, just like Martin, I grew up in the church as well. My dad wasn't a pastor but played the piano in the church. My mom was the choir leader of the church. Besides being a very respected musician, my dad would sometimes preach at the church. So, growing up, everybody was like, “Kelvin Lil Harrison is next.” And I was like, “Next what? This man's great. I don't know if I can get there. I don't even know what the path is.” Then, when I decided to move to LA to pursue acting, I had to make a decision for myself, and that was a conversation. I didn't want to be a musician, the same as Martin didn't want to preach at Ebenezer. I wanted to find my own voice. I wanted to find my own path. That was a big scene. I also liked the scenes with Coretta [Scott King] because you get to see how much of a force and presence she was in Martin’s decision making. She was this grounding touchstone he could always go back to, this compass that knew how to motivate and surround him with the right resources to propel him through some of the obstacles he had to overcome.

CA __ I wanted to explore the parallel between you and Martin because you come from a musical family. And like you said, how Martin had his divergence from the path of his father, you've also had a divergence of your path from your own father. Talk to me about how you decided to go from studying music and studio engineering to acting?

KHJ __ Oh wow, no one ever knows that! As you said, I only knew music growing up. In New Orleans, there was Hollywood South, but it wasn't as vibrant as it is today. I went to school because I was trying to do the "safe" thing. I was like, I'm going to do studio engineering, which will make me feel like I can depart from being a musician or a performing artist and be more behind the scenes where I feel safer. It was my sneaky way of transitioning out of what my parents did. But on the side, I was auditioning for different things. I went to an audition with a buddy and ended up getting a role, so I signed up for an acting class. There, I met an actor who referred me to an agent, and the agent started submitting me on things. One of the things was [the movie] 12 Years a Slave. It feels like a lifetime ago! [smiles] At that time, I was also applying for “real” jobs because I was scared that acting might not work out and I needed to pay for college. I got a job at a timeshare and went through three days of orientation. On the third day, I got the audition for 12 Years a Slave, and I had to tell my boss, “Can I get off of work early because I have this callback? I am an aspiring actor, and I haven't really done anything except an extra in the movie Ender’s Game. Can I go and audition for this movie?” And he said, “If you leave, you're fired and you can't come back.” It was a moment where I had to say, “Okay, do I take the leap of faith that this can work out and bet on myself, or do I stick with the status quo? Do I stick with this safe option that makes me feel comfortable, might appease my parents, and appears as the more straightforward path to success in our very bland idea of what success looks like?” I took the leap of faith; I left and lost the job. I went to the audition, and two hours later, I got a call saying that I was in the movie. That was my first real credit. That's how I got my SAG card. And to this day, I'm victim number two, and I still see people go “Kelvin Harrison Jr. in 12 Years a Slave” after everything I've done. That was a big calling card, and it reminds me so much of Martin in the sense that Martin had to take so many acts of faith, leaps of trusting God, trusting himself and the process, and hoping that he landed on his feet. That's brave. I had to use my little bitty story to get me through that MLK bravery [laughs]

CA __ Faith the size of a mustard seed! [laughs] You take something small and it turns into something so big. It's great how you found that parallel between you and MLK! What aspects of the Martin Luther King Jr. character are you most proud of?

KHJ __ I love his gentleness. Martin was a sensitive guy. I have this book called The Papers of Martin Luther King Jr.; it's a huge book with a bunch of letters. I read the letters he wrote when preparing for his sermons, and you get to hear [in the series] the things he chooses to talk about, even at a young age, before the big speeches we all know. In the series, we look at the topics he discussed and how he viewed life. You could tell he was a fragile and gentle person. He had to grow into this big, powerful voice and this knowingness to be a representation for the people. It didn't come naturally to him. He had to grow into it. I think that's why he was able to show love and not be quick to anger when some people were disrespecting him, pushing him away, or ignoring him. Martin was still showing so much grace. That element of him, to be a Christian, to be Christlike in the face of so much adversity, is his trait I respect the most. Incidentally, it is also the trait he is most critiqued about. I think that's braver than yelling and wagging your finger at everybody.

"There's a lot of people who will have plenty to say about your career and your craft but you have to follow your heart. "

CA __ Indeed, it takes strength to be quiet sometimes. So, what do you hope audiences will take away from your portrayal and the overall storytelling of Genius MLK/X?

KHJ __ I want people to overcome their feelings of imposter syndrome. When I was first asked to play MLK, I initially passed because I thought, “There are enough people who have played Martin Luther King Jr.; Dr. King doesn't need my help. I don't even think I'm qualified to do this.” Then they came back and asked me to just take the meeting. So, I reread the script, and I found myself crying. I had never thought of him as somebody who didn't fully believe in himself, but everybody around him believed in him. Coretta was telling him, “God has big plans for you,” the dad was saying, “God has chosen you,” and I was like, “Why do these people keep choosing me? Leave me out of this!” It's about this yearning to run away from what you've been called to do because you're scared. I think so many people are dealing with imposter syndrome, this feeling that I'm not worthy of stepping into this moment, I'm not worthy of stepping into the fullness of what I'm here to do in this world. And we lose so much creativity, so much storytelling, and so much leadership. I want people to see that the feeling we have when we are afraid of stepping into our power isn't real. I want people to be inspired by it like I did. I told everybody at the [National Geographic] Genius team that I didn't want to do this, but y'all have called me to do this, and God has called me to do this, so this is an act of obedience. I want to walk in obedience and see what comes out of it. And I've grown so much. I hope that my testimony is something that everyone else can identify with as they watch Martin deal with his personal testimony of becoming Dr. Martin Luther King Jr. Does that make sense? 

CA __ It definitely makes sense. It makes sense and it rings true. It's interesting to hear you say that you have struggled with imposter syndrome, that this may not be the role for you, but your career is ten years old. True, it's relatively short, but you've done so much in your tenure. You have 25 films, 8 TV shows, and a music video under your belt, and two projects on the way. So, for someone to still feel those butterflies or fleeting moments of unreadiness for a role, you've proven that you are ready. You've proven that you are here for it. And I think that's why they come to you: you've shown and proven yourself already. Throughout your career, you've worked with a range of directors. What is the most valuable lesson you've learned from collaborating with so many different creative minds?

KHJ __ When we start in this business, we don't really know the craft. We learn how to have an objective. We learn how to find the obstacles in the conflict of a scene. We learn how to break down the script and create an interesting performance. Those are all things we learn. But the playfulness of it isn't something we learn. We do that as children. I found that in the beginning, I had learned the craft, and I started throwing my craft around everywhere, but I forgot how to play because I was so obsessed with being good enough. Director Baz Luhrmann was one of the big turning points; Baz told me, “Let's just have fun. I'm glad you did all your homework but let's play.” What I learn every time I walk on these sets is allowing myself the freedom to be a kid doing skits as I did in my parents’ living room when I was six. That's where the magic happens. 

CA __ So, as you are learning to revert to the purity of your craft, is there any specific role or genre that you're looking to explore next? 

KHJ __ I explore anything that moves me. At the end of the day, I'm just looking for characters I find compelling. I know everyone is like, “Why is he always doing all these biopics?” The reality is that the biopics come to me. I think there are lessons for me to learn because I have a real problem with imposter syndrome, and that’s something I have to work on. What you said is true; it’s still a young career, so I am pacing myself. I'm finding what's coming to me, what's speaking to me. I tend to take two to three projects a year and think about them as albums. The first album was about stories of coming of age. The second album was about icons, people I admire, people that I aspire to be like. Then my next one is about love stories. There could be love stories that may be biopics, love stories that may be genre, and love stories that might be a heist movie or action film. But it has to have some depth. 

CA __ I love that you went in that direction because I wasn't even thinking of roles, but more so things outside of acting, like producing and directing. Do you have any aspirations to do that as well?

KHJ __ Not so much directing. I think there are too many directors and not everyone possesses that gift. If my time comes and it feels right, then I will do it. Once again, I'll act out of obedience, but I don't know if that's in the cards yet. I am producing the Basquiat film with my director from Luce, Julius Onah. I really enjoy producing. I'm kind of a big-picture guy to a fault. Some directors get annoyed with me because they're just like, “Oh, Kelvin wants to produce and direct himself.” And my answer is, “I'm just being a team player.” [laughs]

CA __ The Kelvin Show, starring Kelvin, written, produced, and directed by Kelvin. [laughs] You are definitely a creative person. It's not limited to just acting. As you mentioned earlier, you come from a musical family. How does your musical background influence your acting, and vice versa? 

KHJ __ The musical background I've been running away from for ten years won't leave me. My dad told me to look at Jamie Foxx. He said, “Jamie got an offer from playing a musician. He started as a musician and he'll always be looked at as a musician.” He's a very talented musician. My dad said, “You can't run away from it. Sometimes it's going to be your calling card.” And I was just like, “Whatever, bro! You just want me to do this jazz thing so bad!” What I learned from that time was more so about discipline and finding your voice in any art form. My dad always told me, “If you don't have anything to say, then don't play.” I always think about those words when I'm choosing a role and also when I'm prepping for a role. Some of the questions I ask myself are: what do I have to say? What does the character have to say? Where do the two overlap? And, when the character has something to say that I didn't know I wanted to say or perhaps I disagree with, and so I need to find that thing about them. It's a lot about listening and responding. And that's what music is. It's about listening. Then, we have a reaction, which is a response. I just kind of treat it like that. It's a conversation. 

CA __ So how do you get into your creative modes? Are there any rituals or routines that you follow?

KHJ __ Not really. It just depends on the character. I've seen other actors in a trailer next to me, and I love to listen to my favorite actors prepare for a part. It's fascinating. They all do different things. You wouldn't believe what some of these people are doing. I'm not gonna name names, but if they read this, just know I'm listening to y'all next door and y'all getting real weird in there. [laughs] But I like to do voice work. I often work with a dialect coach. Even when it seems it might be my voice, I try to find something specific to that character. I do my little touchstones and a vocal warmup. I stretch and go over my lines. Most of the time, though, I spend time playing with the character throughout the day. I think that's my thing. You don't know if you're talking to Martin or Kelvin throughout the day. I try to blur the line, and it starts to be clear in the beginning, but by the end, you don't know what's happening anymore. That's my exercise to see if it's working.

CA __ We’ve talked about you acting, but now you’re on the other side of the camera, producing Basquiat [Samo Lives]. What is your process for that?

KHJ __ We just did another script revision, and I don't want to say too much because we're still working on it, but it's coming along. Right now, it’s a lot of research into Basquiat’s life. There is a lot of traveling and meeting the people in his life. Finding those things that make you think, “Oh, this is what Jean-Michel meant when he said this in that interview. Oh, this is what that moment was.” And then we infuse these nuances into the material and find other team members that complement the world we're trying to build. It's taking these raw elements and making something out of it. I used to do pottery growing up. I was a visual artist as a kid, and I used to paint and sculpt. It's fascinating because it is so much about feeling and intuition - just being really present as to what you are feeling in that moment. I find that producing has been a little bit like that. I may walk away from that sculpture that day and later come back with something new. I can add to it and reshape it into something I originally didn't think I would make. That's what it's been like.

CA __ It's amazing that, on screen, you're Martin, and behind the screen as a producer, you're working on Basquiat because both of them are very prevalent in today's culture. Everyone's talking about Martin Luther King and civil rights with everything that's happening in the world, and Basquiat has reemerged at the forefront of culture over the past few years, especially for the younger generation. How did you become part of this project about Basquiat? 

KHJ __ I was working with Julius [Onah, director] on Luce. We loved working together. Luce was one of my favorite films that I've made. At the time I was working on [the movie] Elvis, he called and asked, “What do you think about a film about Jean-Michel Basquiat?” And I answered, “I love Jean-Michel Basquiat. What do you mean, what do I think? I think you should make a movie.” And he said, “What do you think about playing Jean-Michel Basquiat?” And I was like, “What?!? I would love to play him. Would you ever let me play Jean-Michel Basquiat?” He said, “Of course. Are you stupid?” [laughs] So, I said, “All right, let's make a movie. I'll make a deck and an outline, and we'll start writing the script. We'll figure out where we go from there.”  So, in the last three years, we came together and traveled together. He and the writer wrote the script, and we just developed it from the ground up. It's just been the best experience ever.

CA __ There are people who are cooks, and there are people who are chefs. It seems that when it comes to creativity, you're a chef. You have your hands in a lot of things, from music to acting, and now producing, but you also have your head in fashion. How would you describe your own personal style and how do you approach fashion as a form of self-expression?

KHJ __ Honestly, it goes back to acting. I just like to dress up. I have a great stylist, Michael Fisher, and we've had such great collaborations over the last couple of years. He'll pull out a rack of designers clothes, and we would have a chat with my publicist on the direction, “All right, we're doing a press tour for Chevalier, but I'm shooting O'Dessa, so my hair is blue now, I've lost 40 pounds, and pierced my ears. Let's create a whole character for this that also still feels like Chevalier. So, let's combine Lenny Kravitz with Prince with a period thing, but a little bit like emo punk.” And I get to create this persona. Fashion, to me, is how do we create a moment? How do we do the most? How do we make this fun for everybody? Because red carpets, premieres, and press are entertainment. That's why I'm in the entertainment business. I like to tell stories! That's why I take my work really seriously, as I take my entertainment really seriously. That's where fashion comes into play in my personal life. Everyone on the MLK set made fun of me, “You have the weirdest outfits, bro!” [laughs] I would show up in the morning wearing these crazy French workwear jumpsuits with these eccentric hats and a lot of Prada. And they'd be, “This is our MLK!” [laughs] That was kind of fun. But other than that, I'm in shorts and t-shirts most of the time.

CA __ That underscores the necessity for a strong wardrobe stylist for the movie. You come there in your hats and jumpsuits… and a lot of Prada. Prada has seemed to put a lot of backing behind you recently. 

KHJ __ I love working with them. Prada has such a singular, clean, and elegant style, especially with this new collection. The designs exude a futuristic essence, yet, simultaneously, there’s a sleekness that harmonizes with the sophistication of the 70s. Wearing their suits makes me feel like Bruce Wayne. I always tell people I want to look like Dustin Hoffman in Kramer vs. Kramer. I love those high-waisted pants, a small waist, bell bottoms, some cool boots and broad shoulders. I'm a short guy, so I like things that make me look longer. Prada does a really good job of making me feel like a leading man; it makes me feel confident, cool, and mysterious. And that's my whole thing. It's like, you know me, but do ya?

CA __ Recently you shot their campaign. How was the experience?

KHJ __ It was the most magical experience. I went to Milan, and Verde [Visconti] told me they hadn’t shot at that studio in probably 15 years. It was where all the big fashion campaigns and big fashion moments were shot at the time. It felt really magical. You never think you would be given opportunities like that, especially as a Black boy from New Orleans. It does not compute. So, it was such a privilege to bring to life some of the characters the collection highlights.

CA __ Well, that's a great accomplishment. You know, actors, musicians, athletes, artists, they all want that position. They all want that Prada collaboration. Of course, Prada is a heavy staple on the red carpet. You mentioned working with your stylist, Michael Fisher, to develop your appearance wardrobe, especially when you're overlapping appearances while working on one project but promoting another. How do you two collaborate on what to wear and where to wear it?

KHJ __ The first conversation is always, “How do you want to be perceived at that moment? Where are we going?” It always starts with the where. For example, we're currently working on the MLK premiere in London. “Okay, well, it's London. It's MLK. Do we want to hint at MLK? Do we want to hint at the next project we have coming up?” I like to do this thing where I want to honor the moment, but at the same time, I want to expand the universe in which the audience can see me. I remember I was getting ready to do MLK, but I had the Toronto Chevalier premiere. I had the cornrows for Chevalier, but I wanted to do a black suit and a mustache to hint that I'm about to play MLK so I am transitioning. And I wanted people to start digesting that information, so when it comes, there's already familiarity with it. There's a language and flow to all of it. I think about it like if Beyoncé is putting out an album; there's gonna be a look, an aesthetic, a hair, and an artwork that's going to match what's coming up. It's going to lead and prepare you for this big moment. I’m doing the same thing as we prepare for the MLK premiere; I’m preparing the viewers for my next project that's coming out and what I'm working on next. It becomes a little bit of a universe and it's the Kelvin's universe, you know? 

CA __ So how do you find that balance of playing dress up for these red carpets and then going back to your shorts, t-shirts, and bucket hats? Is it a wild transition where it's night and day, or do you, over time, weave your red carpet ensemble into your regular wardrobe? 

KHJ __ I wouldn't weave them in, but they give me the pieces sometimes. So if I get to keep it, then I'm going to wear it. You know what I mean? [Stylist] Michael Fischer makes fun of me because every time I put on a new outfit, he's like, “He's finding the character. Give him a moment.” [laughs] I have to feel it out, and then it becomes a part of me. Just like every character I play, each one teaches me something about myself, and we become one at a certain point. Now, I’ve divorced many of those characters, but a piece of them stays with me. Clothes are very similar. If I go on the red carpet, and I'm trying to sell a look, some of those pieces, if I felt good in them, I want to incorporate them in my life. 

CA  __ Is there any particular piece in your wardrobe that you really love?

KHJ __ I have these Miu Miu plaid pants that are very flowy and comfortable. I can dress them up or down as they are versatile. I can wear them with sneakers or Prada loafers. I can put a t-shirt on with it or a tank top over it. They're just the best pants that I always pull out. Oh, and lately, I've been wearing these sneakers that are a New Balance collaboration with Miu Miu. [shows sneakers] They are just great!

CA __ We've talked about a favorite piece, but tell me about a favorite moment or outfit you've worn on the red carpet.

KHJ __ Ooh, favorite outfit that I wore on the red carpet. Mmmhh, I’d have to go back to Prada. I wore a double-breasted Prada suit with braids for the Chevalier premiere at the TIFF [Toronto International Film Festival]. I loved that look; it was classic, and the braids gave it an edge.

CA __ What advice would you give to someone looking to develop their own unique sense of style? 

KHJ __ When I have kids, I think I will be one of those parents that's like, “Whatever you feel like putting on, put it on.” And sometimes those kids look crazy. But that's when they can start to see for themselves what's working and what's not. It's like food. You might be intolerant to certain things, but you have to try to eat them for a period of time to understand. How does this affect my body? Does this work for me? Same thing with haircuts. I've tried all kinds of different hairstyles. Some of them just do not work. I was looking at some photos the other day and was like, “My Lord, who let me do this?” Some of them were horrible, but I did it anyway because you have to try. I think for anybody that's trying to figure out their personal style, you’ve got to try everything. Then you start to see what works and what you feel good in. 

CA __ For years, we've heard the term "I Got Next." And now, you no longer have next because you're there. You've laid the groundwork for those who now have next, so what advice would you give to the emerging talent out there?

KHJ __ I still feel like I'm saying, “I Got Next,” [laughs] but in my journey of screaming from the mountaintops, I would say you’ve got to follow your heart. At the end of the day, there are a lot of people who will have plenty to say about your career and your craft, but you have to follow your heart. We have no idea what's going to work for you. When I first started, I never thought I would have a career like this. I was very content with the idea that I was going to stay in New Orleans and maybe do day-player roles here and there while working with my dad. I was good with that. Things started happening one step after the next. When I first started, I screen tested for this show called Famous in Love, with Bella Thorne and Georgie Flores. I was so excited to be on that show. I remember thinking, “Man, I'll get to act!” I think it all comes back to the purity of just wanting to act. I remember when the next thing came, I didn't get the job. Then two more jobs came and they were a movie called Mom and Dad with Nicolas Cage and It Comes at Night. I remember everybody was saying I should take the Nicolas Cage movie. I recall reading the script of It Comes at Night and I was bawling, but I hadn’t gotten the offer for It Comes at Night yet. So I was about to pass on a movie that I had an offer for as a young actor trying to get some money and a career going for a movie that I might get. I was like, I gotta follow my heart. Had I not passed on Mom and Dad and waited for It Comes at Night, I would have never done Waves. Had I not done Waves, I would not have the relationship with [director] Trey [Shults]. If I had not done It Comes at Night, half of my career wouldn’t have happened. Avy Kaufman would have never met me. I would have never gotten Monster or Monsters and Men. So many things would have been different in my life, if I had not taken that leap of faith. It was all about “What do I feel?” So you gotta follow your heart. Everyone's trying to strategize and play the game to the best of their ability and intellectualize it, and it all comes back to who you are and where you are supposed to be from your gut.

Photography Kevin Sinclair, Fashion Editor Oretta Corbelli, Interview Cal Ayers, Grooming Amber Burgin, Lighting Technician Mickel Garrett, Production David Gargiulo, Talent Kelvin Harrison Jr. with Presse Public Relations