You know when you see photos of people who’ve climbed Everest? People often think they pop champagne and cheer. A lot of times it’s just like, I climbed this fucking mountain. I was sort of told by Miles’s nephew that they were going to do a movie about his life and I was going to star in it. And then people started calling, and the energy came this way. I wasn’t out there chasing any Miles Davis movie. I didn’t really want to do a biopic, having been in several of them, famously, including Hotel Rwanda, Talk to Me and The Rat Pack, and won awards for them. I didn’t want to be hampered by facts. I didn’t care about when Miles met Charlie Parker. I didn’t care about when he first heard the birds sing the note that made him think about “B Flat Blues.” Especially with a person like Miles, whose entire life was a canvas to create whatever he wanted—a style of clothes, music, a way of talking, the women in his life—I didn’t want to create some up-and-down story about him.
At its best, the movie plays like some crazy impressionistic mosaic.
When I met with the family, the approaches I heard all felt like different versions of the same biopic. I said, “I can try to do Ray, but do you think he’d really want that?” If someone comes to you with something different, fresher or elliptical, like “Miles is a gangster,” that would be interesting to me. I could see this sort of 1970s movie: snap zooms, push-ins, “Don Cheadle is Miles Davis as Miles Davis in Miles Ahead.” I wanted to make a movie that Miles would have wanted to star in. I drove away from my meeting with the family, got seven blocks and thought, Nobody’s going to do that unless I do. I called them back and said, “I think I have to do it.”
Don Cheadle, 'Playboy', April 2016
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