Actors often have complicated relationships with their most famous roles—ones that launch their careers, earn them critical acclaim, or even define their public persona. But for the actors themselves, the experience behind the scenes can be far more nuanced than what audiences see on screen.
Take Morgan Freeman, for example. His portrayal of Ellis “Red” Redding in The Shawshank Redemption cemented his place as one of Hollywood’s most respected actors, but he has admitted that making the film wasn’t the most enjoyable experience. And that’s not the only iconic role that left him feeling conflicted. In fact, Freeman once revealed that one of his favorite scenes of all time came from a role he ultimately regretted taking—despite believing it should have won him an Oscar.
During an interview with Yahoo Movies’ Role Recall, Freeman reflected on some of his most memorable films, including Glory, The Dark Knight, and Se7en. Naturally, the conversation turned to Driving Miss Daisy, the 1989 comedy-drama that transformed him into a bona fide movie star at the age of 52 and earned him his second Academy Award nomination for Best Actor.
Freeman smiled as he reminisced about the film, singling out his favorite scene: the moment when his character, Hoke Colburn, first tries to persuade the stubborn Daisy Werthan (played by Jessica Tandy) to get into his car. He chuckled as he recalled driving slowly alongside her, patiently saying, “I’m just trying to drive you to the store.” As he hummed a few notes of Hans Zimmer’s heartwarming score, Freeman admitted, “Precious moment.” His nostalgia for the scene was undeniable, but his feelings about the role itself were far more complex.
Over the years, Freeman has been vocal about his mixed emotions regarding Hoke Colburn. He never subscribed to the controversy surrounding the film—many critics accused Driving Miss Daisy of romanticizing race relations in the pre-Civil Rights era South—but he did have some initial concerns when he played the role on stage in 1987. However, by the time he reprised the character for the big screen, those worries had faded. To Freeman, the story was ultimately about love. As he told The New York Times, “It kind of reminds me of these French movies about love. It was literally a love story. I maintain it was one of the best jobs I ever had in the movies.”
But that didn’t mean he was entirely at peace with the role. Freeman once confessed to Piers Morgan that he was convinced he would win an Oscar for Driving Miss Daisy—only to lose out to Daniel Day-Lewis for My Left Foot. The disappointment stung, but what frustrated him even more was the way the role shaped his career afterward. Speaking at London’s National Film Theatre in 2000, he admitted, “I think the big mistake was Driving Miss Daisy, actually. The character caught on—this wise, old, dignified black man.”
From that moment on, Hollywood struggled to see him as anything else. Casting directors and audiences alike expected Freeman to embody the same kind, all-knowing mentor in every role. “Some characters become sort of bracketed, identifiable—you and him,” he said, lamenting how difficult it became to break free from the image of Hoke Colburn.
Worse still, the public seemed to project the character onto Freeman himself. People would approach him on the street, assuming he was just as wise and saintly as his on-screen persona. He mused, “Everywhere you go, they’re going to expect some aspect of that character out of you, and if you disappoint them too many times…” He trailed off, implying that it had happened all too often.
Freeman’s relationship with Driving Miss Daisy remains a paradox—one of his most beloved performances, yet also a defining moment that, in some ways, trapped him. It’s a fascinating look at the double-edged sword of success, proving that even the greatest actors aren’t always in love with the roles that make them legends.
