New England

The room hums with the kind of electric familiarity that only exists between artists who have spent decades in the trenches of their own making. When Viola Davis sits down with Amy Poehler, there is no pretense, no Hollywood gloss—just the raw, rhythmic cadence of a woman who has navigated the distance between the poverty of Central Falls, Rhode Island, and the rarified air of the EGOT circle. The conversation begins not with accolades, but with the presence of Julius Tennon, Davis’s husband and producing partner, who sets a tone of radical transparency. Their partnership, forged in 1999 on the set of City of Angels while passing medical props, serves as the emotional anchor for everything that follows. It is a narrative of survival, credit scores of 500, and the quiet dignity of a man who knew who he was long before his wife became a global icon. The burden and beauty of the East Coast grit There is a specific kind of armor forged in the New England corridor, a mixture of directness and perceived roughness that Davis and Poehler dissect with nostalgic precision. For Davis, growing up in Rhode Island meant navigating a landscape where "plain spokenness" was the primary language. She describes a childhood defined by the paradox of deep love and systemic dysfunction, where she would go to school smelling of the realities of poverty, yet carrying an internal world of immense creative ambition. This regional toughness isn't just about the accent—the "bubblers" and "pocketbooks"—it's about a refusal to hedge. Davis admits that even now, she "negotiates" her words in real-time to avoid stepping on toes, a survival mechanism from an industry that often demands Black women remain palatable while they are being exceptional. This grit transitioned into her training at Juilliard, where the institutional pressure to "kill" her accent felt like a form of erasure. She recalls the trauma of practicing the word "father" for hours and having a pencil placed in her mouth to monitor her tongue placement. It was a rigorous, often dehumanizing process that aimed to turn her into a blank slate for classical theater. Yet, the irony isn't lost on her that the very things the academy tried to polish away—the deep voice, the grounded presence, the inherent "Blackness" of her cadence—became the very tools that allowed her to master the works of August Wilson. In Wilson’s writing, she found a home where she didn't have to shrink herself to fit into a George Bernard Shaw or William Shakespeare mold. Challenging the industry obsession with male desirability When the conversation shifts to The Woman King, Davis becomes particularly animated about the subtle and overt ways Hollywood attempts to water down female power. Produced through their company, JuVee Productions, the film was a battleground for authenticity. She reveals the "appalling" notes received during production—suggestions for less dirt and more lipstick, or looser, "prettier" curls for warriors. These requests exposed the industry's deep-seated anxiety regarding women who do not prioritize the male gaze. Davis argues that the value of beauty in film is almost always tied to male desirability rather than capability. By playing an Agojie warrior, she finally felt "total possession" of her body, not as an object of desire, but as a vessel of strength. This reclamation of the body extends into her hilarious and biting critique of Hollywood love scenes. Davis describes them as the "nightmare" of the call sheet, a time when audiences should just go to the bathroom because they aren't missing anything real. She recounts the absurdity of filming sex scenes for How to Get Away with Murder, where makeup artists were tasked with covering her stretch marks with heavy foundation, only for the makeup to end up all over the sheets. Her solution? Writing characters with "guts" or physical imperfections, so the scenes become about organic connection rather than the performative removal of a shirt to reveal six-pack abs. For Davis, the "truth" of a character is found in their messiness, not their airbrushed perfection. The Meryl Streep effect and the pursuit of excellence Despite her status as one of the greatest living actors, Davis remains a student of the craft, evidenced by her endearing account of working with Meryl Streep on Doubt. She describes a version of herself that was "brutally shy" yet so starstruck she followed Streep around the set, unable to engage in small talk beyond commenting on the quality of Streep's skin. This vulnerability highlights a core theme in Davis's life: the distinction between ego and ambition. She praises younger actors like Timothée Chalamet for having a "spirit of excellence" and being openly ambitious. To Davis, ambition is a healthy drive to extract the best from oneself, whereas ego is the mistake of thinking your presence is the event itself. This pursuit of excellence is what led her to jump out of a plane at age 57. In a bid to be "cool" for her daughter, Davis faced the ultimate terror of a tandem jump in Hawaii. Falling through the air, swearing through every second of the descent, she realized the absurdity of the act—her daughter’s parting words were a request for her wigs and money if she didn't make it—but also the necessity of it. It was a metaphorical leap that mirrored her career: doing the thing that terrifies you because the alternative is stagnation. Whether it's co-writing a provocative novel like Judge Stone with James Patterson or standing toe-to-toe with Denzel Washington, the goal is always to move toward the person she could become. Living the clean bravery of the sixties As Davis enters her sixties, the narrative reaches a point of quiet resolution. She describes this decade as a time when "your life is finally yours." The pressures to be thin enough, smart enough, or pretty enough for the world's consumption have evaporated, replaced by a "clean bravery." She reflects on the definition of hell: the moment on your last day on earth when the person you became meets the person you could have become. For Davis, the work now is to bridge that gap entirely. She is no longer the shy girl from Central Falls who couldn't speak in public; she is a woman who has won the skit contest of life and is now looking back at the teachers, like Mrs. Cody, who saw her potential even when she was covered in the scent of her own struggle. The lesson learned throughout this sprawling, eighty-minute odyssey is that safety and connection are the only real currencies that matter. Whether it's Julius Tennon grabbing a baseball bat to hunt for "intruders" in the attic (who turned out to be missing saltine crackers) or the freedom to admit to a 500 credit score, Davis’s life is a testament to the power of being "seen" in real-time. She has moved beyond the need for the EGOT to define her, focusing instead on who she loves and what she leaves behind. In the end, Viola Davis isn't just an actress; she is a mirror, asking us to look past the spectacle of our own lives and find the grit, the gut, and the grace buried underneath.