Q&A with Tyra Ferrell

Exclusive Interview by Karen Beishuizen
Photos courtesy of Tyra Ferrell

Tyra Ferrell is an American actress. She is best known for her roles in the movies “Boyz n the Hood”, “Jungle Fever”, “White Men Can’t Jump”, and “Poetic Justice”. She has been nominated for two NAACP Image Awards. She is currently involved in nonprofit work through the Equal Justice Project and the Courtroom Accountability Project, focusing on legal advocacy and systemic criminal justice reform. She has a professional aspiration of becoming a director. She would love to direct a film or theatrical production that explores racial and social justice themes, leveraging historical accounts or real-life stories to educate and inspire through a new creative lens.

KB: Did you always want to be an actress growing up?

My passion for acting traces back to elementary school when I eagerly volunteered to narrate stories during class. My early storytelling experiences, particularly the tale “Blue Beard,” were inspired by my mother’s vivid storytelling and singing. These formative experiences, bolstered by my teachers’ encouragement to narrate and perform at school events, planted the seed for my acting career, setting me on the path to pursue the arts.

KB: Who were your acting idols as a kid, and are they still your idols?

Growing up, I admired the dramatic presence of Bette Davis, Joan Crawford, and Susan Hayward in classic black-and-white films. Their portrayals of strong, complex characters deeply influenced my early aspirations. As I matured, my admiration expanded to include the talents of Marlon Brando, Anne Bancroft, and Geraldine Page, each reflecting a unique style that influenced my perspective on acting. As I got older, I started to see actresses like Teresa Graves in “Get Christie Love,” who made history as the first black actress to lead her own hour-long drama series on television, and of course, Diana Ross’ stellar performance in “Lady Sings the Blues.” Seeing these actresses on screen reinforced my belief that I could be a part of the entertainment world. Their impactful roles and the barriers they broke down further shaped my appreciation for diverse acting styles and the potential of film and television to effect change.

KB: How did you get the part as Brenda Baker in “Boyz in the Hood”?

Landing the role of Brenda Baker began with a remarkable audition where director John Singleton immediately recognized my fit for the part. This role was significant as it came at a crucial time in my career when everything I touched turned to gold. There’s a saying, “Timing is everything,” and at this particular time, I was successful in every endeavor—putting “everything in the can,” as they say in the film world. My interviews were intense, and the collaboration everywhere I went was embraced. In the 90s, all my dreams came true with what I wanted to achieve on the big and small screens, making this role a significant milestone in my career.

KB: How was it working with Spike Lee on his movie “Jungle Fever”? How did you get the part as Orin Goode?

Working with Spike Lee on “Jungle Fever” was a pivotal experience due to Spike’s unique directorial approach and the substantive content of the film. I auditioned for the role of Orin Goode. This process engaged me in discussions about race and character complexity and highlighted Spike’s hands-on and thought-provoking directing style. This dynamic interaction with Spike during the audition process allowed me to dive deep into the character’s nuances. It contributed to a filming experience that was both intellectually and artistically rewarding.

KB: You played Rhonda in “White Men Can’t Jump.” How did you get the part, and how was it working with Wesley Snipes and Woody Harrelson?

Auditioning for Rhonda in “White Men Can’t Jump” was one of the highlights of my career. The audition process was intensive and involved deep interactions with the film’s director, Ron Shelton. Working alongside Wesley Snipes and Woody Harrelson was exhilarating; both brought their unique energies to the set, making the filming process memorable and enjoyable. Wesley, known for his intensity and dedication, and Woody, with his light-hearted and positive energy, complemented each other well, and their dynamics added a rich layer to our interactions on and off camera.

KB: You played Jesse in “Poetic Justice,” your second time working with the late great John Singleton. What kind of man was he, and how was working with him?

John Singleton was a visionary director who was passionate and focused. In “Poetic Justice,” he wrote the character of Jesse with me in mind, which allowed me to explore a powerful and sensual role. Our discussions often ventured into politics and social issues, reflecting our mutual commitment to using film as a medium for social commentary. Singleton’s support was a significant
catalyst in my career, making our collaboration both pivotal and enriching.

KB: Are there any people out there you would love to collaborate with or people you wish you had?

I would love to collaborate with filmmakers and actors like Ava DuVernay, Viola Davis, and Jane Fonda, who integrate their political convictions with their artistic expressions. These figures create impactful art and strive to effect social change, aligning with my goals in my career and personal advocacy efforts.

KB: If you could star in a movie or theatre play, what would you choose and why? Who would be the director and co-star, and why them?

Given the choice, I would prefer to star in a theatre play due to its intimate and immediate connection with the audience. I would be thrilled to work under Ava DuVernay’s or Spike Lee’s direction, with Viola Davis as a co-star. This combination of thoughtful directing and powerful co-starring would elevate the theatrical experience, allowing for compelling character portrayals by serious actors.

KB: What are you currently up to, and is there something you have not done yet but would love to do?

I am currently involved in nonprofit work through the Equal Justice Project and the Courtroom Accountability Project, focusing on legal advocacy and systemic criminal justice reform. A professional aspiration I am eager to fulfill is directing. I would love to direct a film or theatrical production that explores racial and social justice themes, leveraging historical accounts or real-life stories to educate and inspire through a new creative lens.

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