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You found your way back to an instrument.ĭid you have to learn how to play the tenor saxophone for “Sylvie’s Love”? The same preparation I need to get ready for a football game or football season, I’ve brought that to acting. I advise people all the time, get your kids into sports because sports shaped my life - from discipline and patience and hard work and falling down and needing to get back up and not complaining. I wanted to just start creating the projects so people can say, oh, OK, he does know what he’s doing.ĭo you often take lessons and experience from your football career and apply them to your acting career? I wasn’t just coming out of Yale or Juilliard. It’s an identity crisis, like, do I have any more things to look forward to in life? All the traumatic things you tell yourself. You go through this period of soul-searching when you finish doing something that you’ve done for the last 20-something years of your life. While I was still in the N.F.L., but I didn’t make the decision until probably a year after. player when you got bit by that bug, or was this after your career? He’s an ex-athlete who has reinvented himself as an actor, taking the kinds of dramatic roles young up-and-comers take when they’re trying to build buzz on the festival circuit, not the easy cameos in high-profile action movies.Were you still an N.F.L. Nnamdi Asomugha isn’t a superstar cashing in and he isn’t playing himself. Showbiz is littered with sports superstars capitalizing on their fame by starring in movies - your Shaqs, your Jim Browns, your Lebrons James - a phenomenon that probably predates movies themselves, dating back to the days when sports page heroes like Babe Ruth played themselves on Broadway. More often they simply leverage one form of stardom for another. We’ve seen athletes become stars, sometimes even stars who act (occasionally even passably), but how many athletes have truly become actors? Now that we’re on the subject, the “becoming” part is also debatable.

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Nnamdi Asomugha definitely isn’t the first former pro athlete to become an actor, but he just might be the best at it.

Now, after doing Sylvie’s Love, the romantic scripts are the ones that are coming in.’ - W Magazine, Brooke Marine

‘But it’s funny, I played a Trinidadian in a film called Crown Heights, and right after that I started getting a bunch of scripts for the Jamaican guy or the Caribbean guy.

‘That was not in my wheelhouse at all,’ he said. Though Asomugha never saw himself as the romantic lead, ever since he starred as Robert in Sylvie’s Love, romance scripts have been pouring into his inbox. So I’m proud of the fact that I was able to play this role, despite all the challenges that you probably wouldn’t even know that I had going into it’. You can’t show a certain level of vulnerability, which I don’t agree with, but we’ve developed it over time and there was another wall that I had to break down. ‘I think there’s another wall as a Black man that we have where it’s like, you gotta really be macho. So there was that wall that I had to chip through,’ he said. No matter what happens, if you lost the game, you have to get the facts without getting outside of yourself. ‘You can’t really show emotion or vulnerability. ‘As a football player, as an athlete, there’s sort of a wall that we develop over time,’ he went on. (Paul Thomas Anderson’s “The Master” is another exception.) This quality of immobility has a social and fundamentally political significance: the sculptural bearing of people reflected their awareness of being seen, the rigid norms that they’d internalized, the sense of wary constraint and stringent judgment (whether abstractly moral or religious) that held people still until they took the existential leap into action. With their graceful, virtually choreographic poise, Thompson and Asomugha revive the lofty art of dynamic stillness, which is exemplary of classic cinema, certainly through the mid-sixties, but which very few period movies capture. ∿rom the very beginning of the movie, its confected artifices, in the manner of Hollywood studio movies of the period, are as prominent as the stars: when Sylvie is waiting outside Town Hall, her pleated teal dress and white gloves and clutch are as photographically arresting as her searching gaze, just as the narrow marble lobby, with its ornate metal fixtures, is as active as Robert’s confident stride from the studio to the street.

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