Will Smith reflects on his transformation after the infamous Oscars slap
Smith described the introspective journey as 'brutal but beautiful' or 'brutiful', ultimately leading to a new era of creativity and self-awareness.
In a candid conversation on BBC's "1Xtra" with host Remi Burgz, Will Smith opened up about the profound transformation he has undergone since the infamous incident at the 2022 Oscars, where he slapped comedian Chris Rock.
Reflecting on the shocking moment, which was televised worldwide, the actor acknowledged that it forced him to take a 'big, strong, honest look at myself".
In the aftermath of the incident, which occurred after Rock made a joke about his wife Jada Pinkett Smith's hair loss, Smith decided to take a step back and engage in deep self-reflection.
'After the Oscars I, like, shut it down for a minute and really went into the internal work,' he explained during the interview.
"All of a sudden, it was like there was a manhole cover over some unexplored areas, and like the manhole cover came off, and it was scary for a minute ... Then all of a sudden all of these new thoughts, new energies and new creativity came through. So, I feel like I'm brand new."
He continued: "I feel like the greatest creative period of my life will be in the next, you know, five to 10 years."
The Academy of Motion Picture Arts and Sciences described Smith's behaviour as 'unacceptable and harmful', subsequently issuing a 10-year ban on his attendance at the prestigious awards ceremony.
Nevertheless, the actor appears to have channelled the turmoil into his artistry, marking his return to music with a new album, "Based On A True Story", which also touches on the Oscars incident.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Daily Maverick
5 days ago
- Daily Maverick
'Where there's no future, how can there be sin?'- the rise of the age of Brutalism
Post-colonialism has given way to Brutalism; social contract to social assault; human rights to human wronging. The world is undergoing a change of age where the future, even the question of whether there is any future, has become extremely uncertain. In June 1977, Malcolm McLaren, the manager of punk rock band the Sex Pistols, stage-managed an enormous ambush. On the late Queen Elizabeth's Silver Jubilee, the Sex Pistols' anthem God Save the Queen made it to number one. In those days, for young people, Top of the Pops was like Sunday church. We waited anxiously to see which group and song would reach No 1 each week. When it was God Save the Queen, the BBC promptly banned the song. In response, the Sex Pistols hired a barge and played it on the River Thames opposite the Houses of Parliament. The police were sent out to commandeer the boat and they were promptly arrested. Prompt was the operative word in the heady days when punk rockers fought the monarchy with music. Cauterise the infection quickly. Or so the establishment thought. What had this motley crew done wrong? In God Save the Queen, an anthem powered by an opening riff to beat all riffs, the Sex Pistols called the Queen's 'a fascist regime'. It wasn't. It was sclerotic and pampered by taxpayers. But the words rhymed, so why not? It was shocking. Believe me. But there was much more to punk rock than exaggeration. One of the lines in the song had much darker implications: 'Where there's no future, how can there be sin?' rasped lead singer Johnny Rotten before adding poetically: 'We're the flowers in your dustbin We're the poison in the human machine We're the future, your future' 'We' were the doomed, thrown-away working-class youth. At a time of rising unemployment, they were in rebellion by making a fashion of torn clothes, Mohican hair cuts and safety pins through their ears and noses. 'Foul-mouthed yobs' the establishment media called them. They made their point and changed the direction of popular music as well as of society. But it didn't end there. Almost 50 years later, the line 'where there's no future, how can there be sin?' reveals a surprising prescience. Looked at carefully, it's an existential statement that may offer a key to understanding the industrial cruelty being inflicted in Gaza and other places that ordinary people are unwilling bystanders to in the world at this moment. For 'sin', not coming from the dispossessed youth, but from the over-possessed elites, is now the name of the game. Post-colonialism has given way to Brutalism; social contract to social assault; human rights to human wronging. The sin pandemic There's a whole lot of sin in the world at the moment. Genocide is sin. Ecocide is sin. Femicide is sin. Infanticide is sin. Democide is sin. What's different is that the sinners have become oblivious to their sinning. They are certainly not sinned against. They don't sugar coat it; they think they are beyond sin. Why? I have been trying to comprehend such a quantum leap in loss of humanity, to work out how elected political leaders and oligarchs have become so brutalised. An epiphany that came to me while walking around Oxford recently. I think I have the answer. The world is undergoing a change of age where the future, even the question of whether there is any future, has become extremely uncertain. As climate chaos explodes, as the sixth mass extinction accelerates and now extends even to human beings, a largely uninhabitable earth may be a real prospect within several generations. The evidence is mounting: Nasa data reveals dramatic rise in intensity of weather events | Extreme weather | The Guardian; WMO confirms 2024 as warmest year on record at about 1.55°C above pre-industrial level; Climate change: World's oceans suffer from record-breaking year of heat – BBC News As the Indian writer Amitav Ghosh pointed out in a lecture he gave at Wits University in September 2024, the ultra-rich, while financing Trump and his climate denialism, are simultaneously preparing for the social breakdown that may be one consequence of the climate crisis. Ghosh writes: 'It is well known now that several billionaire tech entrepreneurs like Mark Zuckerberg, Larry Page and Peter Thiel are preparing for an impending apocalypse by building enormously expensive and heavily fortified retreats on remote islands, or in sparsely populated stretches of the United States and Canada. Not to be left behind, a bevy of America's most popular stars, such as Taylor Swift and Tom Cruise, have also acquired cutting-edge apocalypse shelters. Nor are the ultra-rich the only Americans who are investing in doomsday retreats: so great is the demand that a new and rapidly growing industry has emerged to cater to it.' This is the time of survival of the richest. Democratic restraints and rules that took several centuries to establish are being broken with manic abandon. 'Death capitalism'; 'crack-up capitalism'. Call it what you like. The hypocrisies are worthy of Shakespeare. A political establishment that less than 30 years ago impeached a president for lying about having sex in the sacrosanct Oval Office, now enables a deranged president who blatantly abuses the office for private profit and has appropriated to himself the divine right to permit, stoke, arm or directly make wars that threatens millions of lives. For rulers who would be kings, who believe that the future is uncertain, indeed that for billions of human beings whose lives are extremely precarious, the very idea of a future is becoming untenable, moral rules fall away. Sin becomes permissible. Welcome to the new world disorder. Join the resistance. DM


The South African
6 days ago
- The South African
Will Smith opens up about personal growth post-Oscars slap
Will Smith has given a striking new perspective on the infamous Oscars moment when he slapped Chris Rock in 2022. Now, nearly three years later, the actor describes the incident as 'bruitiful' — a mix of brutal and beautiful. The actor reflected on how it forced him to confront authenticity and imperfection in his life and career, according to The Daily Mail. Will Smith spoke on BBC Radio 1Xtra with Remi Burgz . He said the experience pushed him to embrace his humanity rather than cling to an image of perfection. 'Finding that way to be with my humanity — be able to not be perfect but be human and find a higher power in my humanity,' he explained. He added that this acceptance allows him to be 'better than Will Smith,' the idealised version of himself he once sought to project. 'The honesty and authenticity and the broader spectrum of the possibilities of who I am is better than Will Smith,' he said. The slap occurred during the 94th Academy Awards in Los Angeles. Chris Rock had just made a joke about Jada Pinkett Smith's shaved head, a result of her alopecia diagnosis. Will Smith stormed the stage and struck Rock. He then shouted for him to 'keep my wife's name out of your mouth,' shocking the global audience. The incident led to a 10-year ban from the Oscars and widespread backlash. Despite the fallout, Will Smith has continued to work on his career. However, sources say the incident has had lasting consequences. Industry insiders reveal that while Smith still has strong instincts for choosing projects. The slap made it difficult for him to secure big-budget films. His public image took a hit, and some projects were put on hold, costing him an estimated R18 billion (about $1 billion) in lost deals and opportunities. Will Smith has publicly apologised to Chris Rock and the Academy, expressing remorse and a desire to make amends. Chris Rock has not yet accepted his offer. The actor has used the experience as a catalyst for personal growth, focusing on authenticity and imperfection rather than maintaining a flawless public persona. Will Smith's journey highlights the complexities of public accountability and personal evolution in the age of instant global media. His candid reflections on embracing imperfection resonate universally, reminding us that even those at the pinnacle of fame face human struggles and the need for growth. Let us know by leaving a comment below, or send a WhatsApp to 060 011 021 1. Subscribe to The South African website's newsletters and follow us on WhatsApp, Facebook, X and Bluesky for the latest news.


Daily Maverick
20-06-2025
- Daily Maverick
Materialists — Save the date for a witty but biting take on modern relationships
Past Lives filmmaker Celine Song pairs glossy romance with uncomfortably sharp insights on modern dating in Materialists, where a love triangle is shaped by Dakota Johnson, Pedro Pascal and Chris Evans. For the second consecutive year, cinemagoers are being treated to a romance that is more than its shiny exterior and good-looking cast suggest it will be. Last year, it was the Blake Lively-starring It Ends With Us, where the pretty people love triangle actually incorporated toxic relationships, domestic violence and repeated patterns of abuse. Now, in 2025, we have Materialists, which presents as a sleek and smart romantic comedy, only to pierce through the facade like a boba tea straw to reach the juiciest bits at the bottom: sharp-tasting insights about modern dating that can be tough to swallow. Then again, Materialists is released by A24 (in the US at least) and written, directed and produced by acclaimed playwright-turned-filmmaker Celine Song. Song's 2023 big screen romance Past Lives was nominated for Best Picture and Best Original Screenplay at the Oscars, and was celebrated for its nuanced exploration of the human condition, specifically the complexities of past and present love, which can exist simultaneously. The point is that neither Song nor A24 sticks to the conventional. There's always something creatively ambitious and artful flowing through the veins of their projects, and Materialists is no different. Though it centres on matchmaking, Materialists is no breezy and cute Hitch clone. Lead character Lucy (Dakota Johnson) is a successful matchmaker in New York City. While she's great with a sales pitch about finding love, Lucy approaches dating like a business investment. All her behind-the-scenes discussions are about assets, value, probability and maths. She has no interest in relationships of her own, until the wedding of one of her clients — the peak achievement of her profession — brings both dashing millionaire Harry Castillo (Pedro Pascal) and Lucy's struggling actor ex John (Chris Evans) into her life. Who will our heroine choose? Will the film stick to genre expectation, with a 'love is all you need' message, or will it chart its own course? Materialists doesn't dabble with its decision for too long actually, resulting in a final act that feels drawn out, and low on energy. Before that, though, the film excels at showing what dating has become in the 21st Century – a mix of mercenary entitlement and desperation, with marriage the end goal, no matter what. Settling is fine; just make sure it results in you walking down the aisle and coupled up. In Materialists, Song has characters vocalising the unsaid, admitting their most selfish drives in ticking off this particular life box. Viewers should be aware that Materialists is a romantic comedy in the same sense that restaurant series The Bear is considered comic. The humour arrives in momentary pricks. It's dark, sharp and entirely dialogue delivered. Lucy's clients act like they're ordering off a restaurant menu, and while hobbies and political views may get a mention, the vast majority of partner wants are appearance-based and materialistic: age, height, body type, income. No compromise. No consideration of character. It's a shocking and sad commentary on what makes someone a viable life companion today. And yet Song doesn't simply slap a judgment on these superficial priorities. Once more, she presents and then unpacks them, largely through the self-aware character of Lucy. Is it wrong to want financial security? Are you a bad person if love and hope of better days aren't enough to keep you in a relationship? Johnson is an acquired taste as a performer, owing to her subdued delivery (especially in comparison with the warm and effortlessly charismatic Pascal and Evans), but it makes sense for the character of clinical and cynical Lucy. There's also the bonus meta pleasure of remembering that Johnson was Anastasia Steele in the Fifty Shades films, a woman won over through lavish acts of affection despite her partner's constant red flag behaviour. Lucy appreciates demonstrations of wealth, but her eyes are always wide open, looking out and inward as she assesses her response. There's a sense that critics may appreciate Materialists more than mainstream audiences, because of the film's cerebral and contemplative nature, versus being powered by passion in keeping with romcom tradition. That said, anyone should be able to appreciate the film's perceptiveness, however uncomfortable it is to look in the mirror held up by Song — one that seems gilded from a distance but is actually quite grubby and dirt-flecked on closer inspection, like even the most perfect appearing life. Materialists may be more glossy and escapist than Past Lives, but its observations still ring true. DM