The biggest challenge for an actor is not the work, but the waiting

Countries & Cities · Published 10 October 2026 · Updated 25 October 2026 Swipe more like this →

In short: Kobna Holdbrook-Smith MBE has built a versatile career across film, television, and theatre. Yet, he argues that the true test of an actor is not the performance itself, but how one maintains fortitude and mental stability during the inevitable, quiet periods between roles when the work simply stops.

For Kobna Holdbrook-Smith, a career spanning over two decades in film, television, and stage, the most difficult aspect of the profession is the downtime. During these gaps, the lack of work can erode confidence and lead to feelings of uncertainty. Holdbrook-Smith describes this as a period requiring active emotional management to stay alert and avoid the temptation to regret his career choice. He finds that re-settling into his purpose only occurs when a new opportunity to tell a story arises, reminding him why he chose this path.

Beyond the internal struggle, Holdbrook-Smith emphasizes the necessity of collaboration. He views acting as an inherently social endeavor where relying on others is essential. Engaging with people—rather than focusing solely on oneself—is not only a professional requirement but a way to maintain health and avoid the depletion that comes with loneliness. This openness to human influence, he suggests, provides the raw material that an actor can later express in their work.

The reality of the industry remains complex, particularly regarding equity. Holdbrook-Smith acknowledges that being a black actor involves distinct obstacles compared to his white counterparts. While he notes that various initiatives have made the landscape more equitable than when he graduated—a time when he felt there was often only room for one black actor in the ascendancy compared to fourteen white actors—he maintains that the challenges are still objectively harder. He chooses to understand this reality rather than accept it, advising young actors to persist despite the potential for frustration.

His technical approach to the craft is equally disciplined. Before rehearsals, he conducts an objective analysis of his scripts, documenting every detail about his character from four distinct perspectives: what the writer says, what others say, what the character says about themselves, and what the character does. He also insists on learning lines thoroughly before rehearsals begin, arguing that true creative play is impossible if one is still struggling to recall the text.

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