BEGIN:VCALENDAR VERSION:2.0 PRODID:-//InvisionCommunity Events 4.7.23//EN METHOD:PUBLISH CALSCALE:GREGORIAN REFRESH-INTERVAL:PT15M X-PUBLISHED-TTL:PT15M X-WR-CALNAME:RMWorkCalendar NAME:RMWorkCalendar BEGIN:VTIMEZONE TZID:Europe/London TZURL:http://tzurl.org/zoneinfo/Europe/London X-LIC-LOCATION:Europe/London BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20250330T020000Z RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20251026T020000Z RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT SUMMARY:Come Now Blackfish 05/08/2025 DTSTAMP:20250508T043111Z SEQUENCE:0 UID:266-5-c3fe8195a3dde498d013e477e2142422@aalbc.com ORGANIZER;CN="richardmurray":troy@aalbc.com DESCRIPTION:\n  \n\n\n\n https://www.tumblr.com/richardmurrayhumblr/782 947006872174592/come-now-blackfish-by-richard-murray\n\n\n\n\n referral\n\ n https://www.tumblr.com/richardmurrayhumblr/782947006872174592/come-now-b lackfish-by-richard-murray\n\n\n\n  \n\n\n\n IN AMENDMENT\n\n\n\n Viola D avis on Juilliard\n\n site\n\n https://talkeasypod.com/viola/\n\n\n\n Vide o Link\n\n https://www.youtube.com/watch?v=QuHydabht-w\n\n\n\n Video View\ n\n\n\n \n\n\n\n Transcript\n\n\n\n 0:00\n[Music] this is Talk Easy I'm Sa m\n0:05\nFosso Welcome to the show\n0:12\nBiola Davis Yes Thank you for be ing here Thank you Thank you for having me We're in the Actor's Equity Bui lding Oh my\n0:19\ngoodness This is where I would come every year to do my taxes But the reason\n0:24\nwhy I came to the Actor's Equity Building is they would do your taxes for free Oh really Mhm So I'd get here at\n0:31\n 4:00 in the morning sleep in front of that damn door get my taxes done and mail it You got your actor's equity card\n0:38\nafter doing Joe Turner's Come and Gone right That's right I became a professional actress Well I th ink you\n0:44\nwere 23 at the time 23 Okay So The Building has good but mo stly sleepy\n0:50\nmemories is what I'm hearing So let's try to create a a a better more lasting memory Okay Okay Today around your last\n0:58\nbig action hero film The Woman King Yes You said the story quote resuscitated\ n1:05\nyou I'm dark-skinned I have a deep voice And my whole life I've bee n told that\n1:10\nI'm too strong too masculine We redefine what it means to be feminine in the\n1:15\nWoman King And it liberated me Is it from tha t liberation that you felt well the only\n1:24\nrole to play after the wom an king is the president of the United States\n1:30\nIt wasn't intentional I think that people see your career so much as intentional and what that would mean is\n1:37\nthat you have so much control over your work and ther e are there are no words to\n1:44\ndescribe the business of acting 1% of a ctors make $50\,000 a year or more and\n1:50\nusually those are background actors and only 0.04% of actors are famous You don't get\n1:56\ncontrol o ver your material Every once in a while you have an actor out there maybe the Leonado DiCaprios who could go\n2:03\nout there and say \"I want to wo rk with this director.\" But usually with the\n2:08\nrest of us it's you'r e on a wing and a prayer right But the thing about this\n2:14\nprofession because there's so much deprivation you always want to figure\n2:20\nout w hat to do in order to work So a lot of people copy everyone else's hairsty le\n2:26\nThey copy everyone else's body You know all the women out there trying to lose weight Maybe they get plastic surgery\n2:34\nWho knows But very few people sort of relish in exactly who they are M And do\n2:40\nyou relish in that I have to I don't know how to be anyone else And yes was I \n2:46\nliberated from everything that makes you or defines you as feminin e Yes for the\n2:51\nwoman king But I've been liberated by everything that that define me as being\n2:56\nanything I feel like I define me totally\n 3:02\nI don't want any limits on me my sexuality um my sexiness in terms o f my sexuality\n3:09\nmy voice what I can or can't do at what age I refuse to um limit myself I think\n3:17\nthat's where progressiveness comes in T hat person who's willing to step out on faith and do what it is that they' re\n3:23\ncalled to do Yeah You said that in making this movie that not ev ery film I\n3:28\nmake has to win an Academy Award Oh God Yes But are you sure the Academy should\n3:34\noverlook the scene where you shoot someone in the foot Punch him in the face all while in\n3:41\na red dress Let me t ell you something I do need an award for that damn red dress Listen you\n3 :48\nknow what the award That's the last joke question I'll ask you No you got we got to have some laughs I mean this is this\n3:55\nhas been a I me an that's one of the reasons why I did the movie too I want people to be a ble to get together with\n4:01\ntheir families at home and watch the movie in the same way they commit to Air\n4:06\nForce One Die Hard um Sigourney Weaver and Alien I want them to commit to me\n4:13\nAnd I don't think tha t that is a bad thing I don't think that you know every\n4:18\nmovie I mak e has to make a grand statement even I think sometimes it needs to just be pure entertainment Well\n4:25\nI was thoroughly entertained You made this film uh through your production company Yes And and the mission\n4:32\nst atement of the company is to quote change the landscape It's hard for peop le to see us beyond the narratives\n4:38\nthat are didactic We're trying t o change that So tell me how does G20 fit into\n4:44\nthat mission stateme nt What what what does change look like to you and your production Because first of all because\n4:50\nI'm the lead in a movie Yeah I'm 59 years old and I play the president of the United States with my body my skin\n4:56\ ntone my face and the people in the movie reflect the audience but I'm the center\n5:03\nof the narrative Then you have Ramon Rodriguez You have Pat ricia Rian who is\n5:08\nMexican uh Guadalajara who's directing it It refl ects the audience you know so\n5:15\noften I don't think that we understan d It's like I did a movie one time years\n5:21\nago and my husband we went to see it in the movie theater He said \"You were the only black person i n that town Even when\n5:28\nwe looked in the background in the hardware s tore that you were at there was no one black brown or nothing.\" But\n5:34 \na lot of times movies do not reflect the world\n5:40\nAnd you know once I got to a certain level then I needed to be the change\n5:46\nthat I want ed to see You know it's like that saying you know once you're free it's yo ur job to free others And there\n5:54\nis no that closet in the studios fi lled with scripts for young African-American\n6:02\nactresses for for olde r African-American actresses for any actress of color\n6:08\nthey're they' re not there And so if you don't create them then what you have is\n6:14\n maybe actresses who do one really great movie and then they sit around for another\n6:20\nyear or two until maybe they find something else I don't t hink that people\n6:26\nunderstand the deprivation there is in material An d it's the material that pops\n6:32\nyou So in this scene that people are about to hear your character President Sutton\n6:39\nis negotiating with a group of attackers attempting to destabilize the world economy and corner the market on\n6:45\ncryptocurrency Yeah Odd timing for us to the scene\n 6:51\nYour character speaks first Why would a mercenary take on the G20 Wh at Wait you\n6:59\nyou call me a mercenary lady You fought a war over gaso line I served my country\n7:04\njust as I serve it now Yeah Blindly You se rve it blindly You were used by them then and they're using you now So you \n7:11\nfeel used That's why you terrorize a world and crash markets We wa nt to switch to cryptocurrency So they\n7:17\n[ __ ] This isn't about cryp to You want to crash currencies and get rich\n7:22\nThis seems like someth ing personal What What are you after I'm after you Like we\n7:28\nsaid in D20 you play the president and you're the star of the film Yeah Which mean s like Harrison Ford Yeah In Air\n7:36\nForce One you were number one on t he call sheet Yes But before you went into the film in the middle of the p andemic\n7:44\nas you began writing your memoir you said in one interview \"I had to press a reset button in my life I had a crisis\n7:51\nof meanin g in 2020 You get to number one and that's your life Once I got there it\n 7:58\nfelt like somebody lied to me Yeah What does a crisis of meaning loo k like for\n8:05\nViola Davis A crisis of meaning for Viola Davis I think is probably what it\n8:10\nlooks like to everyone When you set out on the path to become something so you think okay I'm\n8:18\ngoing to become a fa mous actress So that's the goal That's the vision All\n8:23\nright And the n you hit it and they realize that's just not it There is a\n8:29\ndisillu sionment that happens There's an emptiness that happens And to be perfectl y honest there's an isolation\n8:36\nand a loneliness that happens And tha t happened to you Oh totally And it's I I\n8:41\nhave to tell you it sort of hit during after the help but really it really um\n8:47\nreared its ugl y head during How to Get Away with Murder Because here's the thing Whateve r goal you set in life is\n8:54\njust the cosmic carrot to what life is su pposed to be about The cosmic carrot\n9:00\nis the goal but really truly i t's the journey and who you're becoming It's a\n9:06\nquote that I've been using again and again during this whole publicity tour which is your purp ose in life is not\n9:13\nwhat you do It's what happens to people when you do what you do That's it I mean\n9:20\nI always tell people even now when you push your kid and you want your kid to be the top of the top and the best of\n9:26\nthe best you have to know invest some money in mental healt h treatment because\n9:31\nthey're going to need it Because what what's wh at's going to happen is when they are not that thing all the time if\n9:39 \nthey're not accomplishing something all the time they don't they're not going to know how to sit with themselves Mhm And\n9:45\nit's who you are t hat's more important than what you do That was my big\n9:51\nThere's a Ste vie Wonder song Yeah Where he's saying \"Show me how to do like you.\" Yea h Show me how to do it Yeah I\n9:59\nstole that from Alice Walker She open s that She opens The Color Purple with that quote And it took me the longe st\n10:06\ntime to realize that And I realized it was the whole relationsh ip between Sely and Suge Avery where Suge Avery taught\n10:14\nSely how to love herself basically taught her how to you know find home And\n10:22\nI think that's it sounds Kumbaya Listen the show\n10:27\nis called Talk Eas y Yes Kumbaya is just part of the equation Yeah So you do not\n10:33\nneed to apologize for Kumbaya But this book that you wrote Finding Me did feel \n10:38\nlike does feel like an invitation and a gift and an offering to d iscover and\n10:45\nrediscover your younger self Yeah And so I want to und erstand that young version\n10:51\nof you a little bit Like you you born i n 1965 Yep You're delivered by your\n10:56\ngrandmother in her home on the Singleton Plantation in St Matthews South Carolina\n11:02\nYes As the fif th of six children most of your family then relocates to uh Central\n11:08 \nFalls Rhode Island Y a small mill town that was close to two racetracks that\n11:14\nyour father worked at Mhm You were also the first African-Ame rican family to live in that community But come the age\n11:22\nof five yo u meet your older sister Diane for the first time She was maybe 9 years\n1 1:28\nold I think Y when she enters the bathroom with you How does that sc ene unfold as we sit\n11:35\nhere right now How do you see it You know wha t How I see it now was that was\n11:43\nthe first seed of curiosity which is a very very powerful\n11:48\nword to me And the curiosity was at 5 year s old It was one of the few times we\n11:54\nhad hot water So I was taking a bath and she all I heard was a voice that said \"I\n11:59\nwant to see my baby sister I want to see my baby sister And I got out of the bathtub a nd she stared at me and she\n12:07\nlooked around the house which was we g rew up extremely poor and she said the one\n12:15\nphrase that opened my w orld which is what do you want to be viola\n12:24\nAnd I call that the cal l to adventure M you know I I think that a lot of people\n12:31\nfeel like the call to adventure is I have this great opportunity for you to work yo u know somewhere and make a lot\n12:37\nof money and blah blah blah blah b lah but the call to adventure for me was\n12:42\nwhat do I want to become who do I want to become and is that exactly what the\n12:48\njourney shoul d be I didn't know that I mean of course I was 5 years old at the time but I don't\n12:56\nthink that it matters how old you are I think once the se ed is planted it's\n13:01\nplanted Why do you think she asked you that How do you think she knew to plant the seed They say that every hero and\n13: 09\nhero I but I what I mean by hero is someone Joseph Campbell is anyone who\n13:14\nwants to slay their demons in life That's anybody So that coul d be any of us Any of us because she didn't want to\n13:21\nbe poor She di dn't want to It's it's it's very simple She grew up even um at Singleton\n 13:28\nPlantation for many many years and grew up in segregated schools wh ere she was beaten Had no indoor bathroom No indoor\n13:35\nbathroom And s aw a bathroom for the first time when she was right before she came to liv e with us and she couldn't\n13:42\nbelieve it Her jaw dropped because she saw the possibilities in life And I mean\n13:49\nI think it would be a bet ter question for her But what she did was she passed the baton on to me un knowingly You've\n13:56\ndescribed your childhood at 128 Washington Street as full of rage and\n14:01\nalcoholism Yeah It was a war zone If it was a war zone who were the casualties\n14:09\nI was a casualty My siblings wer e the casualty My mom was the casualty My mom\n14:16\nis now in advanced d ementia And I absolutely absolutely believe that the\n14:22\nlevel of abus e that she endured caused that So you do suffer trauma when you\n14:28\ngr ow up in some level of poverty And when you grow up with you know they say the first enemy of a child is an\n14:36\nunhealed parent And I had two un healed parents And certainly in every community\n14:42\nwe have unhealed p arents But when it becomes the Africanamean community you\n14:48\nhave the one-two punch of family trauma\n14:53\nand cultural trauma A trauma of pe ople that just don't see you a world that\n14:59\njust doesn't see you And I think that was a double whammy for my dad who raged\n15:05\nout of cont rol And I'm just guessing at that because he was not\n15:10\ncurious And s o that he raged What do you mean he wasn't curious He wasn't curious\n15:1 6\nenough to know what was behind that rage and to heal it is what I'm say ing is\n15:22\nit's all we have is curiosity All we have is curiosity to w ake up every single day\n15:29\nwith I don't know you you walk into any si tuation and you you have anxiety to\n15:36\njust say what's that Where's t hat coming from\n15:41\nOr do you just live with it Do you say that you kn ow what I want to live a\n15:47\ntranscendent life I don't want to roll in to my grave being just a sort of mere\n15:53\nthe the crappy version of my self That's what curiosity does It keeps you\n16:00\ngrowing you know and it doesn't m mean that it's perfect growth but it does\n16:05\nmean that y ou're curious enough to know who you are inside that home I want to\n16:12 \nbetter understand how you coexisted and and made it through And to do th at um I\n16:19\nthought you could read from page 70 of your book Oh page 7 0 Okay I have it\n16:25\nhighlighted here Oh my goodness What is page 70 J ust the highlighted parts I think\n16:32\nNo but sometimes we would go to the bar back in the day when parents could take\n16:37\nkids to the bar an d play darts and pool and be treated to Sprite and potato chips These happ y moments would soon be\n16:44\nfollowed by trauma The rage of my dad's al coholic binges violence poverty hunger\n16:51\nand isolation In my child's mind I was the problem I would retreat to the bathroom\n16:58\nput someth ing against the door So no one would come in and I'd sit for an\n17:03\nin ordinate amount of time staring at my fingers and hands and try to erase\n 17:09\neverything in my mind I wish I could elevate out of my body Leave i t One time\n17:15\nwhen I was about 9 years old I succeeded I left it My b ody that is in a manner of\n17:22\nspeaking I floated up to the ceiling lo oking down at myself observing my hair\n17:28\nmy legs and my face Then I faced myself staring directly into me\n17:35\nWow I loved it It was a magi cal secret power Only I didn't see myself as\n17:42\nmagical or powerful I just felt free It was my way of disappearing It was my\n17:49\nhigh I cou ldn't always control this out of body sense But when I could it was\n17:54 \nbeyond fabulous The power to leave my body to be relieved of Biola for a while\n18:00\nwas an everpresent image that followed me for decades How d id you feel reading that\n18:12\nUm you know what I when I look back at um little\n18:20\nViola I never felt safe You know what Even worse than\n18: 27\nthat I felt wrong I felt like whoever was building\n18:34\nme up there in the sky just did everything\n18:40\nwrong Put me in the wrong family p ut me in the wrong\n18:45\ncircumstances didn't make me pretty enough made me too\n18:53\nblack Every aspect of me was wrong I\n18:58\ndidn't see an y evidence in life of\n19:04\nlove I couldn't articulate it at the time I\ n19:09\njust sort of disappeared and numbed cuz that's what you do when yo u\n19:17\ngrow up in violence too You do everything you can to make yourse lf as small as\n19:22\npossible And then I was a bed wetter and then add a dding the poverty\n19:28\nwith that it just felt wrong If I did\n19:34\nha ve a call to adventure it would be to find\n19:41\nself-love to find some to find God who can put the deusex machina That's what\n19:49\nthey call i t in Greek tragedy the god from the machine that would pluck characters ou t of a play And when they\n19:55\npluck them out of the play it was a sign that they were dead But I just wanted to\n20:01\nbe I wanted God to appea r to tell me that I was made with love\n20:11\nor some level of purpose cu z I didn't see any evidence of it None I don't know\n20:18\nif God appeare d but Cesaly Tyson in the autobiography of Miss Jane Pitman did\n20:25\nap pear Yes And she did come down Yes And pluck you Yes 1974 Yes You and your \n20:33\nfamily crowding around the TV Yes What happened\n20:39\nYou know what It's that emoji I don't That emoji I I'm using it more now The\n20:44 \nemoji where the brain is being blown to bits That's what it was It was t he emoji\n20:50\nwhere it was a God moment It was a sermon on the mount It was the burning bush as Elizabeth Gilbert would say It's\n20:58\none of t hose moments where you know the wind stopped blowing because what I saw\n2 1:05\nwas magic I saw excellence and I saw it in a body\n21:11\nof a woman who looked like me who really looked like my mom My mom and her very\n21: 16\nvery similar And I saw evidence of what I wanted to become and that sc ene that you\n21:23\njust read from Yeah In the bathroom disassociating el evating some kind of\n21:29\nmagic trick in that leaving your body becomin g somebody else Yeah Do you think that paired with Miss Tyson's work were\ n21:37\nthe early foundations for you as a young actor\n21:42\nAbsolutely But there was a lot of early foundations Miss Tyson was one of them\n21:48 \nMy sister Diane was one of them Mr Yates my drama teacher was one of the m Mr Aces\n21:55\nwho was the head of the glee club was one of them My sis ter Dolores the birth\n22:00\nof my sister Danielle who I loved more than anything uh you know on the planet\n22:07\nAll of those were signs that ca rried me carried you\n22:12\nto Rhode Island College Having participated i n the Upwardbound\n22:18\nprogram in high school I heard you used to tell people acting is not what I do\n22:24\nit's who I am Oh my god I take that back\n22:29\nI take that back a little bit It is what I do But but at the time it was true At the time it was true because it was\n22:36\nhealing A nd there's one performance that's not in your memoir Yeah That I think rea lly represents your commitment\n22:44\nto becoming an actor I don't know i f you know what I'm going to say Oh my god I I hope you're not going to sa y something\n22:49\nbad but no such thing At some point during college or maybe a little after college you performed this onewoman show\n22:58\nas m usician at a Jones all across Rhode Island You wore a blue dress I don't\n 23:04\nknow if it was as blue as that in the performance And you even did the show once at a basketball court Yep Where one\n23:12\nperson was in th e audience People were playing basketball and I think there was a dog Yep That jumped on me Tell me\n23:18\nabout this performance It was horrible F irst of all it was not a good performance But you know what I\n23:25\nsay that with great pride Mhm Cisoretta Jones She's a opera singer out of Rhod e\n23:31\nIsland I think in the 19 turn of the 20th century which I can't even sing And\n23:38\nI think I sang 14 songs I was told you were going to sing a couple of them for us today My god No But you know you know\n23:46 \nwhat though Here's the thing You really do learn through\n23:52\nfailure You really do Because I remember my sisters came to see it and they were\ n23:58\nlike \"That was awful.\" They said \"Did you even hear yourself?\" I mean it was\n24:04\nawful And I remember I felt so bad But here's the t hing I got up and I did it\n24:11\nagain And it was still bad but a little bit better And then I did it again\n24:17\nAnd I did it again And I think that what happens with all of that\n24:26\nis by the time I got to the fi nal performance it was a final performance where it was just an audience o f one and\n24:33\nit was greatly improved Was that at the basketball court No the basketball court was maybe four people Okay The final\n24:41\nperf ormance was one person And if you're willing to go through the\n24:48\npai n and work with fear I think there's some beautiful discoveries\n24:54\nth ere And the beautiful discovery I made is I had it in\n25:00\nme I had the tools to live better to work myself through failure It wasn't\n25:06\nthe performance that mattered That's just a cosmic carrot It's the journey in \n25:11\ntaking out everything that I had within me to keep\n25:17\ngoing And for me that's proof positive\n25:22\nof God's love I call it God's lov e for me because he gave me the courage to\n25:27\nknow that there was som ething even better with even within a performance that probably I wasn't e ven right for\n25:35\nI love that story and I don't know it's not in the b ook but I I love that story because if you're going to do it you're\n25:43 \ngoing to do it anywhere anytime for anyone at any place at a basketball\ n25:49\ncourt dog barking people playing pickup in the background even in a blue silk\n25:54\ndress That's you either do or don't It's\n25:59\nthe d oing it that's the beauty of it In many ways it's the only thing that real ly matters That's it Do you show up\n26:06\nShow up You showed up to um yo ur audition to Giuliard and said \"Um I have\n26:14\n45 minutes for this a udition.\" Uh-huh Is that true That is true And they said\n26:19\n\"What?\ " They said \"Um the first You\n26:24\naudition a lot at Jiuliard It has a at the time it had a 3% um acceptance rate\n26:30\nSo the first room I au ditioned and it I was so nervous at the time but I said \"I\n26:36\nonly h ave 45 minutes I have to get back to the theater in Providence I have to g et on the train It's 4-hour trip.\" And\n26:42\nso they talked amongst the mselves after seeing my audition And then they stopped\n26:47\nall the aud itions that they had There were like it seemed like hundreds of kids there and they took all their\n26:53\nchairs All of the teachers took all their chairs into the big big um it was\n27:00\na it was a rehearsal room It wa s the biggest think room 103 I remember the room 103 They took all their c hairs in\n27:08\nthere because in in at Giuliard you audition for a differ ent set of teachers like maybe five auditions You're there\n27:15\nall day sometimes two or three days So all of them took their chairs into one roo m to see me and I knew I had gotten\n27:23\nin You know what I what I miss about myself at that\n27:29\ntime I'm just thinking about this that I kne w that I knew that I knew\n27:36\nthat I was good I think that as you get go along the\n27:43\nimposttor syndrome can take over more and that's beca use you're exposed to the\n27:49\nworld and no one could tell you the sort of hyperbiblical level of confidence you\n27:55\nneed when when when you' re at that level of your profession You know you almost\n28:02\nhave to ha ve an arrogant level of confidence which I do not have But at\n28:07\nthat point I knew I was good I knew I\n28:13\nwas going to get in I I just did And there's something about that that I miss\n28:19\nI could take a slive r of that now So you're saying the performer that was in\n28:26\n$50\,000 of college debt was more confident than EGOT winner\n28:33\nViola Davis Ye ah What the hell does that mean When I say\n28:39\nconfident too is you al ways want to be better Okay you do I'm contradicting\n28:47\nmyself a litt le bit What I'm about to say I'm I'm not mad at the imposttor\n28:53\nsynd rome I think that people I think it's um underrated actually\n29:01\nOkay But at the time I didn't even have imposttor syndrome I just knew that I\n 29:06\nknew that I knew that I was great I did Now that the world has gott en to me it's\n29:12\nlike oh I could have been better Oh you know this Oh you know yeah I got the he got but you know I could have done this\n29:18 \nbetter I could have done that better Now Viola herself which is differen t than\n29:23\nViola younger Now this is not the work This is just me\n29: 30\nWay more self-love Mhm Those are two different things That's the trade -off Yeah At Giuliard what was the objective\n29:38\nof their training Wer e they shaping you into a good actress or a perfect white actress Definite ly a perfect white\n29:46\nactress And what does that look like What it lo oks like it's technical training in order to deal with the\n29:52\nclassic s in order to deal with the Stinbergs and the O'Neals and the check\n29:57 \noffs and the Shakespeare I totally understand that to get your voice eve rything and but what it denies is the\n30:05\nhuman being behind all of th at I feel that as a black actress I'm always being\n30:13\ntasked to show that I have range by doing white\n30:18\nwork So if I can master I don't k now Blanch Dubois in Tennessee Williams you\n30:25\nknow street car named Desire which I'd love to see by the way I would love to see it too I did i t in class once I\n30:31\nlisten and listen I could do the best I can with Tennessee Williams but he writes for fragile white\n30:38\nwomen Beautifu l work but it's it's not me or do a fabulous job playing I don't\n30:45\nk now Hermione in Winter's Tale in Shakespeare but we don't put those same\n 30:51\nparameters on white actors You know you can have a white actress wh o's 54 55\n30:57\nyears old which is a great age to play Mama in Raising t he Sun\n31:02\nIs she going to be able to pull off Mama and Raising the Su n Is she going to be able to pull off Bonita Is she going to\n31:08\nbe ab le to pull off Molly in Joe Turner's Come and Gone when Molly says I ain't going south and make me believe it\n31:16\nThey don't have to do that So for those four years at Giuliard all the white actor has to do is play all white\n31:25\ncharacters That's not me Me I'm tasked to only do\n31:31\nt he classics and no black um writer is included in those classics And then once\n31:37\nI leave Giuliard guess what Most of what I will be asked to d o\n31:44\nare black characters which people will not feel that I am black enough So then\n31:50\nI'm caught in a quagmire this sort of in between pl ace of of sort of not\n31:57\nunderstanding how to use myself as the canva s\n32:03\nGiuliard It was an out-of- body experience because once again I did not\n32:08\nthink that I could use me Me needed to be left at the fron t door Even though me\n32:14\nwas what got me in there you was what also d elivered you to the work of August\n32:21\nWilson Yes When you leave colle ge speaking of a playright that's not often\n32:26\ntaught Yeah in school People know you from Fences Mahraini King Henley II but\n32:36\nyour first Tony nomination came from your turn in Seven Guitars Yes Um in the\n32:42 \nmid '9s I think it was Yes But on the subject of\n32:47\nwhiteness was t here a Q&\;A you had after one performance where there was a certain\n3 2:54\nresponse from someone that that made you that opened your eyes to to the\n32:59\nconditions in which you were working Yes It was in San Franci sco at ACT You mean\n33:05\nliberal San Francisco Liberal San Francisco Yo u know sometimes the liberal or you\n33:11\nknow conservative is just a ma sk for um something else But um it was after a\n33:19\nperformance and one of the um audience members raised their hand and said \"Why\n33:25\nshoul d we care about Floyd school boy Barton which is the main subject the\n33: 31\ncharacter in Seven Guitars who's a blues singer who's just come out of jail He comes out of jail He makes a hit He has\n33:38\na hit record and he's about to be um he's about to be famous and he gets\n33:43\nkilled It' s a tragedy And in the end this audience member said \"I didn't feel\n33:4 9\nanything Why should we care about him?\" Uh was he famous It's not like he's BB\n33:55\nKing you know Um so why should we care about him He's not in the history books\n34:01\nHe's not in the history books And for me tha t's something deeper It's a huge\n34:07\nproblem I have with narratives Wh at is it I think that people have a hard time\n34:12\nsitting with a black character for 2 hours whether it's in a movie or whether it's in a play I think they're okay with\n34:20\nit if it's an allegory if we're not reall y representing a human\n34:26\nbeing okay If we're representing an idea ma ybe they will maybe they'll carry it\n34:32\nokay because then they can be they can look at it academically They can attach it to a politic or somet hing Absolutely\n34:39\nRight Um maybe they could do it if it's not deep i f it's maybe a\n34:46\ncomedy but to have someone sit with you like you wo uld in All My\n34:54\nSons Death of a Salesman you know there is a sort of \n34:59\nbering for our worth in narratives that if I made it into a\n35:0 5\nhistory book then I can know as maybe someone white I'll know that you' re\n35:13\nworthy of my time in the theater Me being worthy of anyone's ti me in the\n35:19\ntheater is me breathing Tony Morrison coined the\n35:25\ nphrase the white gaze And the reason why she coined it is because she sai d every\n35:31\ntime she pen to paper she had an imaginary white character on her shoulder that kept saying \"Write for me\n35:38\nMake me understan d it I don't understand it Make me understand it.\"\n35:43\nAnd so she fel t that every time she read any work even if it were The Invisible\n35:49\n Man or Frederick Douglas's autobiography she said the reason why she knew it\n35:54\nwasn't written for her is because they were explaining things t hat you wouldn't have to explain to her\n36:01\nOkay She even felt that Fr ederick Douglas was holding something back when she got her first review f or Schula in\n36:07\nNew York Times a glowing review but the one aspect of the review that really\n36:13\nthrew her was the writer said she could be brilliant if she only had white\n36:18\ncharacters in it M I want to be s een as human as human as fragile as messy as\n36:27\nmuch of a paradox as any character in Tennessee Williams or Anton Czechov or\n36:33\nEugene O'N eal And I think that I want you to sit with\n36:38\nme even if I have five minutes of a silent moment because of what is\n36:44\nhappening in my lif e As author Miller said in view from the bridge about Eddie\n36:51\nhe's l ike he may be a despicable character but something is happening to\n36:57\ nhim and attention needs to be made Attention needs to be made with us I'm \n37:03\nmany things beyond my blackness Your artistry\n37:08\nin that pla y Seven Guitars I never got to see it I think I was three or four at\n37:1 5\nthe time Yeah\n37:22\nParents could have taken me maybe Yeah exactly Um I want to hold like how you saw your purpose and your artistry in\n37:29\ nthat moment working long long hours in these theater productions that wer e paying you okay but you know can't buy\n37:38\nhome And to do that um I want to set up a scene Mhm in the play which is set in\n37:44\na Pittsburg h tenement in 1948 where you play Vera the sometimes\n37:49\ngirlfriend to the 1940s blues musician Floyd who's trying in this scene to\n37:55\ndesp erately get Vera back Yeah In the production you played Vera Mhm And um I\ n38:01\nthink it was Keith David Keith David Yeah Who played Floyd But I'd like to swap roles for today and um see if we\n38:08\ncan read this scene together Um okay here we go\n38:16\ndoing a scene opposite of you as some one who's not an actor is um horrifying\n38:26\nUh thankfully this is most ly you talking in this scene Yeah And I'm playing Floyd I mean Okay Ready\ n38:34\nI want to say yeah but what am I saying yeah to Another heartache Another time for you to walk out the door with\n38:40\nanother woman You w as there too Vera You had a hand in\n38:46\nwhatever it was Maybe all the times we don't know the effect of what we do but we cause\n38:51\nwhat hap pens to us Sometimes even in little ways we can't see I went up to Chicago with Pearl\n38:58\nBrown cuz she was willing to believe that I could take her someplace she wanted to go that I could give her\n39:05\nthings that she wanted to have She told me by that it was possible Even\n39:12\nsometi mes when you question yourself when you wonder can you really make the mus ic work for you Can you find a way to\n39:18\nget it out into the world so it can burst in the air and have it mean something to\n39:23\nsomebody Sh e didn't know if I could do that if I could have a hit record but\n39:29\n she was willing to believe it Maybe it was selfish of her Maybe she believ ed for all the wrong reasons But that gave\n39:35\nme a chance to try So y eah I took it It wasn't easy I was scared But when them\n39:41\nred lights came on in that recording studio it was like a bell ringing in the boxing match And I did it I reached down\n39:49\ninside me and I pulled out what ever was there I did like my mama told me I did my best And I figured nobo dy could fault\n39:56\nme for that Then when they didn't release the recor d Pearl Brown left She thought she had believed wrong\n40:04\nI don't faul t her for that But I never lost a belief in myself Then when they released the\n40:11\nrecord I realized I didn't have nothing but a hit record I co me back to you figuring you\n40:17\ncouldn't say no to a man who had got a hit record but you did And that made me see that you wanted more than Pea rl\n40:24\nBrown I'm here saying I can give it to you Try me one more time and I'll never jump\n40:32\nback on you in life I got to thinking and I w ent down to the Greyhound bus station\n40:39\ntoo Here See that See what d oes that say It\n40:44\nsays one way Chicago to Pittsburgh It's good for o ne year from date to purchase\n40:50\nI'm going to put that in my shoe Whe n we get to Chicago I'm going to walk around on it I hope I never have to use it\n40:58\nWell that's all right I forgot all about that scene I\n41:0 4\ncan tell one person has won a Tony Award Oh in this conversation\n41:11 \ndid the music begin to work for you Did it burst into the air into the\n 41:17\nworld when you got the role in Doubt Oh most\n41:23\ndefinitely Tha t's when it burst in the air because I love that description of art I I th ink that's I love that line I\n41:30\ntry to use it all the time and I alw ays misquote it You can take that with you today\n41:37\ncuz that's what y ou want with your art You want it to mean something to someone\n41:42\nAut hur Miller says it I write so people can feel less alone\n41:49\nI mean I think that there's probably a lot of young actors coming up now who just w ant the awards and they want the\n41:55\nmoney Um but really a true artist wants it to\n42:00\nsort of burst in the air and they want it to sort of shift people shift how you\n42:07\nthink about yourself and the world I me an that's the goal It's a lofty\n42:15\ngoal but it's a goal nevertheless You wrote a 100page biography for that\n42:20\ncharacter in doubt Yeah A c haracter that appears in the movie for less than 10 minutes Yeah Tell me h ow you go about\n42:28\nunpacking a character like that Before you go unpa ck how you go about unpacking any character from that period\n42:35\nonwar d I will say that one of the things that I always do is first of all they\ n42:41\nsay in acting you have to be an observer and a thief The observing part comes from life and\n42:48\nthe thief probably comes from looking at other actors work but the observing I\n42:53\nalways have to think of som ething in my life that I can compare it to I was lost\n43:00\nbecause I di dn't understand the woman who would allow her son to stay with a man that she that could possibly be\n43:07\nmolesting him and just say at least he' s mentoring him when his father all the\n43:15\nfather does is beat him I just didn't understand that I felt it was uh too\n43:21\nstark too allegor ical I I I didn't get it\n43:27\nWhat happens for me is when I get a chara cter the reason why I write is the more I write I think I can unlock\n43:3 4\nsomething What's their favorite color What's their first memory Now if it's written within an inch of its life a lot\n43:40\nof times it's alread y in there I only had 8 minutes so I had to make up something And then I a sk people\n43:46\nquestions of course because what I need to find out is w hat is the driving need\n43:52\nin their life What do they live for Do the y want to be\n43:58\nloved Do they want to have control And I remember um an acting\n44:04\nteacher of mine cuz I I I kept trying to figure out and one of the things she said is Biola maybe she leaves her son\n44:13\nin th at situation Here's a big aha moment because she has no choice\n44:21\nWha t are you telling me\n44:28\nI'm talking about the boy's nature now not an ything he's\n44:35\ndone You can't hold a child responsible for what God g ave him to be\n44:42\nI'm only interested in actions Mrs Miller But then t here's the boy's nature\n44:48\nLeave that out of it Forget it then You wa nt forcing people to say\n44:58\nthings My boy came to your school cuz the y were going to kill him in a public\n45:05\nschool His father don't like him He come to your school kids don't\n45:10\nlike him One man is good to him this priest Then does a man have his reasons\n45:19\nYes Everybody doe s You have your reasons but do I ask the man why he's good to my\n45:29\ns on No I don't care\n45:39\nwhy My son needs some man to care about\n45:45\ nhim and to see him through the way he wants to go And thank God this educ ated man with\n45:52\nsome kindness in him wants to do just that This will not do It's just till\n45:57\nJune I'll throw your son out of this school Why would you do that if it didn't start with him Because I will\n46:03\n stop this You'd hurt my son to get your way It won't end with your son Thr ow the priest out then I am trying to do just\n46:11\nthat Then what do yo u want from me Merryill Streep your co-star said the\n46:17\ndirector made you go back and reshoot that scene re-shoot the next day again\n46:23\nan d again and again and again Mhm And I wonder did that\n46:29\nrepetition h ow did you use that How did you continue doing that scene over and\n46:34\ nover Because just doing it once seems like it would take a whole lifetime to\n46:39\nproduce that kind of work Well um that's my theater training I 've done plays for\n46:45\nover a year again and again and again I've done four-hour plays I've done one woman shows I have over a 40-year career\n4 6:53\nSo he could have done it 50 times and I would have been able to do i t over and over again And you were unflapable in\n47:00\nthat I was pretty unflapable You know what I'm an actor who stays in\n47:05\nmy lane What d oes that mean I'm not trying to be like anyone else\n47:12\nI wasn't tryin g to be like Adrien Lennox who you know who auditioned for the part She au ditioned for the part and she was\n47:19\nyou know she originated the part Fantastic actor Great I'm not trying to\n47:24\nbe like anyone else I'm j ust trying to do what I do And um I did not see it did\n47:32\nnot throw m e And I didn't have enough experience in my life up until that time to hav e\n47:40\nthe sort of wisdom for it to throw me I just thought that this i s just what\n47:45\npeople do when they do a scene with Meryill Street It goes incredibly well\n47:51\nYou receive an Oscar nomination In the afterm ath you talked earlier about\n47:56\ngetting to a place on How to Get Away with Murder where you had that crisis of\n48:02\nfaith a little bit Yeah Yeah And I'm curious in How to Get Away with Murder and In Widows Um you s aid both\n48:09\nShondaanda Rimes and Steve McQueen saw something in me th at other filmmakers did not Mhm What did they see an\n48:18\nexplorer that the industry seemed to be ignoring They saw me as a woman\n48:26\nUsually I'm just seen as mama you know with no sexuality with no\n48:37\nmess Yea h They saw me as a woman and they saw me as a complicated\n48:42\nwoman An d um I think notoriously women who look like me are seen limited like\n48: 48\nthat And we always have to bear the weight and the responsibility of i t Like why don't you lose some weight wanted to\n48:55\nmake your voice hi gher wanted to do something different with your hair As if your worth and your personage should be\n49:03\nbothered Our job as artists is to show yo u hum a\n49:10\nhuman being Human beings are vast It's only in\n49:16\nmov ie and TV land where only the guy the guy who gets the girl the girl alway s\n49:23\nhas to look cute the first scene If the guy is cute the woman ha s got to be cute\n49:28\nIf if there is a great best friend then she's usu ally overweight She's really\n49:33\nreally funny And my thing that's not my world I don't understand that world The\n49:39\nworld is way more vast than that And it's our job to be the conduit to bring\n49:46\nthe audience that truth And I think that's what Shondaanda Rimes and that's what um an d Pete Noalk who is a\n49:54\nshowrunner of uh was the showrunner of How t o Get Away with Murder and Steve McQueen saw in me What did it feel like\n 50:00\nto be seen Feels free\n50:05\nman You know when other people see yo u then it forces you to see\n50:11\nyourself You know after a while when a culture defines you um your family\n50:18\ndefines you you become trapped in definition and\n50:25\nlabels Somewhere in there is you You know you'r e in there somewhere but you\n50:30\ndon't even know who you are anymore Y ou sort of filter it into a\n50:36\nprofession in order to get the job And then all of who you are gets\n50:42\nsort of left in a room somewhere bec ause it you feel like it has to look\n50:48\na certain way No it doesn't S anford Meisner says the most\n50:54\nimportant question an actor can ask i s why I'm going to redefine that question\n51:01\nI think the most importa nt question anyone can ask is why And then when you\n51:06\nget to the end of why the most really powerful question you can ask is why not\n51:13\nW hy can't I be the weight I am now Why can't I have muscular arms Why can't I\n51:20\nhave a deep voice Why can't I be a love interest Why do I have to be 35 Why\n51:27\ncan't you be that confident performer that you were a t Giuliard\n51:33\nWell the world hadn't gotten to me yet Yes Okay So now it's gotten to you Now\n51:38\nthe world has gotten to me This is what it looks like to be got to Yes This is what it looks like to be got to I tell \n51:43\nyou it looks pretty damn good Well well thank you very much But w hat I needed to do is press the pause button and work on\n51:52\nthe other part of me You know the thing about it is I I\n51:58\nremember every time I would do a really great performance I would feel so jazzed and so happy and then go\n52:05\nhome And Viola didn't feel like anything if she wasn' t working If she wasn't on\n52:11\nstage doing a monologue that made every body cry and stand up and throw flowers then she was worthless\n52:20\nAnd as soon as I stepped off the stage it was like unplugging a phone or and and the phone losing its\n52:29\ncharge The rest of my life looked like a wasteland And I've realized once again\n52:37\nis the reason why I wanted to be a great actress is because I just wanted to be\n52:45\nsomebody But that ain't it It's just not\n52:51\nit And I think you know Joseph Campbel l talks about slaying dragons and going\n52:58\nout there and with mentors and allies and then you finally get to that inmost\n53:03\ncave where you come face to face not with God but with yourself\n53:11\nAnd what I reali ze is I was always worthy\n53:17\nI didn't have to do anything for that It 's not the power cord\n53:23\nanymore It's just not So what is I'm the pow er\n53:31\ncord I am Every single day when I wake up and\n53:36\nput my fe et on the floor my job is to not betray myself\n53:42\nActing is just one aspect of who I am And every single time I betray myself\n53:49\nthat's it It's like I've unplugged myself once again It's what gives my life meanin g which by the way what gives\n53:57\nmy life meaning is my story Complete ly embracing\n54:02\nit you know I'm worthy Who knew I didn't\n54:08\nthin k that I I my big thing is okay the bed wetter B viola who would chuck a\n 54:14\nfinger all the time and call people [ __ ] [ __ ] at six years old It was the hardest sentence to write in\n54:20\nthe book by the way No one wanted me to open the book with [ __ ] [ __ ] were my favorite words when \n54:26\nI was growing up But I wanted to capture little Viola Little Viol a was fantastic\n54:37\nShe did not betray herself ever She was extremely\ n54:45\ninappropriate She was extremely rough around the edges She\n54:54\ nsmelled She was unruly She had three pink slips and four\n55:00\nwhite sl ips Disciplinary action and you know and every single day was in\n55:08\nd etention But she was Viola She was alive And every single time I feel like \n55:15\nI have to go back to heal her she's sitting on some bench somewhe re imaginary bench saying \"You don't have\n55:21\nto heal me I'm perfectl y fine I'm waiting for you to heal yourself so we can just sit and just sq ueal about this\n55:27\nfreaking life that we both created because I'm the one who got thrust out\n55:33\ninto the world and and let other people ge t at me Your husband said Viola is\n55:39\nnever far away from that little girl she talks about She's never forgot her Yeah\n55:45\nYou think he's r ight Oh absolutely You know what When I think\n55:50\nabout her it's the o nly thing that really makes me enjoy my life What What\n55:57\ndo you mean Because it gives me perspective I talk about my therapist\n56:02\nwho you know who said you know when I said I got to you know it's my job to\n56:0 8\nheal this little girl because she was really traumatized cuz the violen ce in the house he was like why I thought she\n56:14\nwas pretty brave Mhm She she she got it done It's a 55 Maybe it was 55\n56:20\n55year-old Viol a that needs help I was like \"Excuse me I'm evolved.\" He was\n56:26\nlik e \"Let her squeal.\" You know they say that only two people\n56:32\nyou o nly anything is six-year-old self and your 80-year-old self\n56:37\nYou kn ow I do And I only have two questions left for us because then we got to g o Okay But speaking of\n56:44\nperspective um in 2008 around doubt when mo st people were introduced\n56:50\nto you and your artistry you were 43 yea rs old then Mhm And you did this\n56:57\ninterview on NPR where they asked you about recognition Does it mean anything now\n57:03\nthat you've recei ved the Oscar nomination And I just want to listen to what you said back t hen This is you back\n57:11\nin 2008 I don't care what they say The bottom line is they want to do something that\n57:16\nmoves people that affects them in some way or else what you do is kind of\n57:22\nmeaningless So whe n you get all the buzz and the reaction you know it's hitting\n57:28\nsome one The part that means nothing is the part that hasn't translated into\n5 7:35\nanything tangible Buzz doesn't pay the mortgage Buzz doesn't you kno w buzz is\n57:43\nbuzz And it's also what you don't really do the project for And I always kind of\n57:50\nfeel you know it's just me It's once agai n they're going to find me out They're building me up just to knock me\n57 :56\ndown You know that's the part that doesn't mean anything because you know what At the end of the day you got to\n58:01\nkeep working I am a the ater trained actress I'm not a fluke I'm not a body\n58:09\nI'm not a face I'm an actor I want to be able to do what Helen Mirren Merill Stre\n58:16 \nall of them are doing That is my dream 17 years later as you turn 60 thi s\n58:24\nyear it's getting deep Is that you say \"I'm not a fluke I'm not a\n58:31\nbody I'm not a face.\" Right I'm an actor Mhm\n58:37\nto say th at in that moment after all that you had been through to get to that\n58:4 3\nperformance in doubt Yeah To stand on that and to know then\n58:48\nI g uess now that you have lived up to everything that you said you wanted to do\n58:54\nthere What is the dream for you Two\n58:59\nthings I'm always t rying to find home Mhm You know I tell my daughter all the time\n59:06\nI give her that quote you know how silly of me that I did not know that I wa s the love of my\n59:12\nlife I'm beginning to understand that So that num ber one Number\n59:18\ntwo it's my job in life because we will be no more\ n59:26\nIt's coming and we don't know when it's coming It's It's some deep [ __ ] out there But here's the thing I see life as\n59:33\na relay race I do I do see it where you see a relay\n59:39\nrace and you see all the gr eat runners Each one that runs their leg of the race is a great runner in and of themselves\n59:46\nSo you're passing the baton I'm passing the bato n man to the next great runner\n59:51\nI need to leave something in people I do And you have that dash of time to be\n59:58\nable to do it to be abl e to make that change And I think that that pretty much the\n1:00:04\nthe twofold of loving oneself and leaving something behind\n1:00:10\nthat's wh at makes a life And Lamont writes \"You can either leave something for peo ple or you can leave something in\n1:00:17\npeople.\" And when you leave s omething in them it burns like an ember It does It's it's it\n1:00:25\nbur ns forever You have a lot of people like Anton Czechov said who are living \n1:00:30\nlives in quiet desperation And all of us can be healers if we c hoose whatever we\n1:00:38\nchoose we choose as an elixir to heal You coul d be fabulous at\n1:00:45\nwhat you're doing You can even make a lot of mo ney doing it But ultimately if the goal is not for it to burst into the\n1 :00:53\nair and have it mean something to someone then you're not doing an ything\n1:00:59\nYour elixir since time immemorial was observation Has bee n\n1:01:05\nobservation And my last question for us cuz we had to go Yeah Can you tell me\n1:01:11\nabout as an observer and thief and actor that wo man on the\n1:01:17\ncorner standing in the freezing cold weather Mhm That you saw as a\n1:01:27\nchild I think the one reason why I became an actor is because I see her And\n1:01:33\nwho is she Oh she's everything\n1:01:3 8\nShe's a little girl who played with Barbie dolls who wanted to be someb ody\n1:01:44\nShe's probably someone who had a really deep laugh She's som eone who probably fell in\n1:01:51\nlove with everything in her being and maybe got her heart broken She's someone who's worthy of\n1:01:59\nlove be longing I see her And I think that's why I\n1:02:06\nbecame an artist is b ecause I see her When you saw her where was she at She's\n1:02:12\nso many people growing up in Central Falls on Dexter Street on Broad Street\n1:02 :18\nyou know with the cigarette and and and the bad skin The bloodshot ey es The bloodshot eyes The dirty sneakers Dirty\n1:02:25\nsneakers The cord uroy coats Corduroy coat You know that with the fall fur and the inside an d and the jeans that don't\n1:02:31\nfit I think that by the time she make s it to the screen she's been so filtered down into a version um acceptabl e\n1:02:39\nversion of herself And I think that when you water her down in to an acceptable version of herself you're telling her\n1:02:46\nthat you don't love her You're telling her that you're not meeting her where she is I meet people\n1:02:53\nwhere they are If if a role calls for me take my wig off or to have no makeup or to have snot\n1:03:01\ncoming out of my no se because that's who the person is then I am honoring their truth It's th at that's reconciling\n1:03:08\nlittle Viola Little Viola who went to scho ol whose teacher said \"You got to go home\n1:03:14\nbecause you you smell so bad.\" You\n1:03:20\nknow I didn't feel worthy because I felt like I h ad to filter myself down I had\n1:03:26\nto go through a machine of worthi ness And worthiness is nothing to be bartered\n1:03:31\nwith It's asis You are worthy as is right now As\n1:03:39\nmy daughter said when she saw thi s homeless man in Chicago it was at the last day of widows She was 6 years old\n1:03:47\nand we were in the car getting ready to go back to the trai ler It was over And she said\n1:03:54\n\"Oh look at that homeless man Look at mama He's dirty and he\n1:04:02\nprobably smells bad Oh my god.\" And then there was a big pause and she said \"But he's my brother\n1:04:14\nGo d says he's my brother And I think that's the most beautiful\n1:04:21\ntra nscendent part of being an actor is that when you meet people where they a re\n1:04:28\nand you channel them where they are they become your\n1:04:34 \nbrother We're wired for connection And sometimes for me that's where I g ot it\n1:04:40\nfrom in my art And it's been my honor to do that And\n1:04 :46\nsometimes even if I'm I fail at least that was the objective to see t he\n1:04:51\ninvisible Yes To recreate them and make them present and visi ble to all of us\n1:04:56\nAbsolutely Well I um I hope you haven't been wa tered down or filtered in this\n1:05:03\nconversation No it's been fantast ic Hope none of it gets me in trouble But you\n1:05:09\nknow what Here's t he thing You know it's like John Lewis says \"Maybe I'll get into some goo d trouble.\" I I I I wish\n1:05:14\nthat for us both Yes And and speaking of the work how it lives in me and I know\n1:05:20\nso many people listeni ng Mhm Thank you\n1:05:27\nThank you Thank you I appreciate that Mhm Viola \n1:05:33\nDavis appreciate you coming in Thank you Thank you for having m e\n1:05:43\n[Music]\n\n\n\n  \n\n\n\n  \n\n DTSTART;VALUE=DATE:20250508 RRULE:FREQ=YEARLY;INTERVAL=1 END:VEVENT END:VCALENDAR