David Oyelowo on Queen of Katwe and Who Gets to Tell Stories

In a 2016 conversation following a screening of Queen of Katwe, Ben Horowitz interviews actor David Oyelowo. The film, directed by Mira Nair and based on Tim Crothers’s book, tells the story of Ugandan chess player Phiona Mutesi. [Source: a16z](https://a16z.com/podcast/a16z-podcast-mastering-the-game/).

Oyelowo plays Robert Katende, the mentor who taught chess to children in Kampala. He says the film was a labor of love and values the chance to share images of African people that audiences do not often see.

He argues that many films about Africa have been told through outside perspectives and white protagonists. As someone with Nigerian roots, he wants audiences to see African people exercising their own agency.

Oyelowo credits Disney executive Tendo Nagenda with championing the project and director Mira Nair with bringing her perspective and long connection to Uganda. He sees the people making decisions behind the camera as part of what shapes whose story reaches the screen.

Horowitz says the film depicts poverty without making sadness the entire story. Oyelowo agrees that hardship should not be denied, but says joy, family, ingenuity and love also belong in the picture.

Oyelowo recalls a colleague reflecting on the contrast between her material comfort and the joy she had witnessed in Uganda. He offers the anecdote as a personal experience, not a general rule about people living in poverty.

Horowitz asks why Oyelowo chose the role when he had other career options. Oyelowo says he admires Katende and wanted to make him feel like a full human being rather than an idealized figure.

The actor describes cinema as a cultural tool that can educate, bring joy and prompt reflection. He wants to use his opportunities to portray Black experiences and support women’s perspectives with more complexity.

Asked about learning African American history, Oyelowo recalls roles in Red Tails, The Butler, The Help, Lincoln and Selma. He says working on the films gave him an unexpected education and a stronger connection to those histories.

They discuss details that made the film feel rooted in place, including Katende’s distinctive shirts and a team greeting. Oyelowo says learning such details helped him appreciate the people and setting.

Horowitz asks about working with Lupita Nyong’o. Oyelowo praises her talent and generosity, and says her performance makes the character believable within Katwe’s everyday setting.

He also argues that recognizable performers can make a studio more willing to finance a film. Opportunities to develop talent and opportunities to greenlight projects reinforce one another.

The conversation turns to the difficulty Black actresses can face even after major awards. Oyelowo argues that bias affects which roles are offered and that decision-makers from different backgrounds can help projects reach production.

Oyelowo says sustained excellence can help challenge prejudice, while recognizing that this does not make the path easy. He points to Nyong’o’s stage work as one way she continued building her career.

Horowitz asks how a studio known for franchises came to support this film. Oyelowo says the project did not have an obvious Hollywood comparison, which made both its production and marketing unusual.

He returns to the contributions of Nagenda, Nair and the cast, arguing that their prior work helped create the opportunity. He hopes the film’s reception will make it easier for more studios to support similarly varied stories.