He’s still taking a bow!
Netflix is set to air a new Chadwick Boseman special exploring his creative process, The Grapevine reports.
Last year, actor Chadwick Boseman passed away at 43 after a private battle with colon cancer. His death left the world stunned and legions of fans and colleagues mourning the loss of one of Hollywood’s brightest stars. Since then, Boseman has been honored several times and taken award season by storm after the release of his final performance in Ma Rainey’s Black Bottom, making history as the first Black actor to be nominated for a posthumous Oscar award. Now, Netflix is airing a new special, taking a deep dive into Boseman’s creative process.
Chadwick Boseman: Portrait of an Artist showcases the actor’s “extraordinary commitment to his craft in an intimate look at the Oscar-nominated actor’s artistry, and the acting process which informed his transformative performances.”
The special features several of Boseman’s peers and friends, including Spike Lee, Viola Davis, Danai Gurira, Taylour Paige, and Phylicia Rashad. The trailer opens up with a quote from the late star, saying, “I am an artist. People call me an actor. I wouldn’t necessarily call myself an actor. I would call myself an artist.”
Davis speaks about Boseman’s diligence and how he inspired so many around him on set. “You know you have to step up when you’re in his presence. He’s looking at your work, and he’s really hyper-focused on the craft-on the process. That’s Chad,” she reflects in the trailer.
Chadwick Boseman’s collaborators invite us into a conversation about his extraordinary artistic process.
— Strong Black Lead (@strongblacklead) April 13, 2021
Chadwick Boseman: Portrait of an Artist Special premieres April 17. pic.twitter.com/LL4PlWHzdK
All of those who knew Chad have raved of his craft and the unique way he brought so many stories to life. This new film is a way to honor him.
Chadwick Boseman: Portrait of an Artist aired April 17th on Netflix and will be available for a limited 30-day period.
Photo Courtesy of Axel Koester/The New York Times