In an era where truth often feels besieged and media fragments into countless pieces, a reliable, authoritative voice is invaluable. Enter Morgan Freeman, an actor whose roles have included a U.S. president, Nelson Mandela, and even God himself. Freeman also succeeded Walter Cronkite as the voice of the CBS Evening News intro. If John Gielgud’s voice was once likened to a “silver trumpet muffled in silk,” then Freeman’s could be compared to deeply resonant, smoothly polished wood.
Freeman attributes his iconic voice not to a natural gift, but to rigorous training from a voice and diction coach during his community college days in Los Angeles. “When you speak, do it clearly, emphasize your final consonants, and work on lowering your voice,” Freeman shares, dressed sharply in a light jacket during a video call from New York. “People generally speak in higher pitches than necessary because they don’t relax their voice. That’s what he taught me. His name was Robert Whitman, unforgettable.”
However, at 88, Freeman finds that his distinctive voice isn’t entirely his anymore. The film industry is currently grappling with artificial intelligence that can clone the appearances and sounds of actors. James Earl Jones, for example, agreed to allow AI to replicate his voice for Darth Vader after retiring from the role. Freeman, however, has not consented. “It irks me,” he admits. “Like any actor, I don’t want to be imitated by a fake. It’s not just about appreciation; it’s also how I make my living. If it’s done without me, it’s theft.”
Has his voice already been used without his permission? “Indeed, my attorneys have been quite active on this front,” he reveals. Are they pursuing these cases? “Many, yes, quite a few.”
Freeman also expresses disapproval towards Tilly Norwood, a completely synthetic AI actor introduced in September, arguing that she cannot replace real actors. “People dislike her because she’s not real, and she displaces genuine actors, which won’t bode well for film or TV… The union’s role is to ensure actors continue to work, so this presents a definite conflict.”
Freeman is promoting the third installment of the Now You See Me series, titled Now You See Me: Now You Don’t, where he reprises his role as Thaddeus Bradley, previously a villain and now a mentor, sharing a grand mansion filled with secrets and illusions near Budapest. Contrary to embracing AI, the director Ruben Fleischer chose to incorporate real magicians to teach the cast genuine magic tricks.
From his modest beginnings—his father a barber and his mother a teacher—Freeman was born in Memphis, Tennessee, and spent his formative years near Greenwood, Mississippi. He was captivated early on by the magic of cinema, particularly by Saturday matinee cowboy serials.
By the age of 12, he had already won a statewide drama competition, and during high school, he was involved in a radio play in Nashville. “I had the most supportive teachers,” he recalls. “One of them told me, ‘You can go anywhere and do anything you want.'”
However, there was a time when another path seemed possible. “I never doubted my passion for acting, but as a teenager, I was intrigued by flying. After high school, I joined the air force, aiming to become a fighter pilot.”
That aspiration ended abruptly when he realized during a training session that flying was not his destiny. “That realization came while I was in a cockpit at Norton Air Force Base, just a short bus ride from Los Angeles. It seemed like fate had other plans.”
Freeman’s film career spans over a hundred movies, from Amistad and Seven to Unforgiven and The Dark Knight, including a notable stint of 780 episodes on the children’s show The Electric Company in the 1970s. His Hollywood breakthrough came at nearly 50 years old with the 1987 film Street Smart, earning him an Oscar nomination for his portrayal of a ruthless pimp.
Subsequently, he starred in Driving Miss Daisy and Glory, both set against the backdrop of significant historical events. His role in these films established him as a prominent figure in the industry. “When a performance is well-received and endures, people remember you for it, which is gratifying,” he notes. This is particularly true for his role in The Shawshank Redemption, which, despite its initial box office failure in 1994, later gained monumental popularity on home video and is now highly ranked on the IMDb Top 250 chart.
Freeman mulls over the film’s enduring appeal: “It’s a story about the deep bond between two men, their trials, and the hope and resilience they find in each other while in prison. It’s captured the imaginations of people worldwide.”
At first, the movie struggled because audiences couldn’t recall its name. “It was always, ‘That great movie… The Shank or something.’ Without word of mouth, you’re sunk. It’s that simple.”
Over the years, Freeman has lent his voice to numerous documentaries and played various authoritative figures, from God in Bruce Almighty to a wise inmate in Shawshank. “I’ve played roles with a lot of gravitas, though I’ve done comedies too. But I’m okay with how people perceive it,” he chuckles. “Interestingly, after playing God, people really bought into it. I’d walk into a room, and they’d whisper, ‘God just walked in.’ I try to keep that in perspective and avoid the pressure.”
Freeman won an Oscar for Best Supporting Actor for his role in Clint Eastwood’s Million Dollar Baby (2004). He was again nominated for his portrayal of Nelson Mandela in Invictus (2009), a film about how Mandela used rugby to unite post-apartheid South Africa. “When Mandela was asked who should play him if his book was made into a film, he named me,” Freeman shares. The producer of the movie facilitated their meeting, allowing Freeman to spend valuable time with Mandela, which he describes as an absolute joy.
He recalls Mandela’s humility even after seeing the film: “He wondered if now people would remember him. He remained as humble as he had been throughout his 27 years in prison.”
Despite some flops, like Brian De Palma’s The Bonfire of the Vanities, Freeman remains philosophical about his career. “I’ve always aimed to do quality work. Whether a project succeeds or fails, you learn from it and move on.”
Freeman also voiced his support for Barack Obama’s 2008 presidential campaign and later for Hillary Clinton at the 2016 Democratic National Convention. He has openly criticized terms like “Black History Month” and “African American,” advocating for a more inclusive approach to history. “I’m a Black man, that’s who I am. I’m not African, and that’s the end of the discussion,” he asserts.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
