WEBVTT - Viola Davis

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<v Speaker 1>I cannot believe that I'm getting to talk to you. Well,

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<v Speaker 1>I cannot believe I'm going to answer these questions. Left

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<v Speaker 1>the building. Don't worry, mind, let me tell you something.

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<v Speaker 1>By all of we're not working with you anymore. Did

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<v Speaker 1>your brain fire you? My brain fires me. Every morning

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<v Speaker 1>I wake up and they're like, don't call it putting

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<v Speaker 1>on any clothes. You're not going anywhere, You're not doing anything.

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<v Speaker 1>Guess what. Hello, I'm Mini driver and welcome to the

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<v Speaker 1>first episode of many questions. Growing up, my family always

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<v Speaker 1>had the radio want I loved the ritual of listening

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<v Speaker 1>to shows like Desert Island Discs on a Sunday morning

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<v Speaker 1>and hearing interesting people answer the same set of questions. Later,

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<v Speaker 1>whenever I got my copy of Vanity fairback when you

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<v Speaker 1>actually bought hard copies of magazines, I would always turn

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<v Speaker 1>to the back page each first and read their version

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<v Speaker 1>of Proust's questionnaire. I think it's the scientific method, really.

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<v Speaker 1>In asking different people the same set of questions, you

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<v Speaker 1>can make interesting observations about the way we're the same

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<v Speaker 1>and different. I love this discipline, and it made me wonder,

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<v Speaker 1>what if these questions were just the jumping off point

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<v Speaker 1>what greater depths would be revealed if I asked these

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<v Speaker 1>questions as conversation starters with thought leaders and trailblazers across

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<v Speaker 1>all these different disciplines. I think of this show as

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<v Speaker 1>a mini archive no pun intended, although it's sort of unavoidable,

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<v Speaker 1>where I invite you to observe how these trailblazers overlap

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<v Speaker 1>and also where they don't. So I took the format

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<v Speaker 1>of Pruf's questionnaire and adapted what I think are seven

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<v Speaker 1>of the most important questions you could ever ask someone

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<v Speaker 1>They are When and where were you happiest? What is

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<v Speaker 1>the quality you like least about yourself? What relationship, real

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<v Speaker 1>or fictionalized, defines love for you? What quest in which

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<v Speaker 1>you most like answered, What person, place, or experience has

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<v Speaker 1>shaped you the most? What would be your last meal?

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<v Speaker 1>And can you tell me something in your life that

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<v Speaker 1>has grown out of a personal disaster? And I've gathered

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<v Speaker 1>a group of remarkable people that I am honored and

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<v Speaker 1>humbled to have had the chance to engage with. You

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<v Speaker 1>may not hear their answers to all seven of these questions.

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<v Speaker 1>We've selected the ones that felt closest to their experience

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<v Speaker 1>or were the most surprising or the ones that provided

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<v Speaker 1>the most fertile ground to connect. And we're starting with

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<v Speaker 1>Viola Davis, who, to me is one of the most passionate, thoughtful,

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<v Speaker 1>and compelling actors I've ever watched on screen. She's one Tony's,

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<v Speaker 1>Emmy's and Oscars, but sincerely all that hardware aside. She

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<v Speaker 1>is an extremely interesting person with a generosity of spirit

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<v Speaker 1>that makes me feel a bit star struck and frankly

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<v Speaker 1>a bit tongue tied. I don't think that's a bad thing,

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<v Speaker 1>though it is humbling being around people you don't know

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<v Speaker 1>very well but admire greatly. I am thrilled I get

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<v Speaker 1>to talk to Viola today. It's really hard being an

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<v Speaker 1>actor and interviewing you, because all I really want to

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<v Speaker 1>be doing is like sitting in an empty theater asking

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<v Speaker 1>you questions and then getting to go and sort of

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<v Speaker 1>do scenes and like, welcome stuff. I've watched your movie,

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<v Speaker 1>your your most recent beautiful, My Rainey's Black Bottom twice now,

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<v Speaker 1>and I don't know where to start. I don't know

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<v Speaker 1>where to start about you, and I don't know where

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<v Speaker 1>to start about Chadwick Boseman. And that's not even talking

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<v Speaker 1>about the supporting character who are all in their own

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<v Speaker 1>movies that are exquisite as well. I'm telling you, I'm

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<v Speaker 1>going to get my baseball back and I'll come and

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<v Speaker 1>start swinging it around. If you don't really ask her,

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<v Speaker 1>I'm good either way. I'm not going to interview you

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<v Speaker 1>because you've done have plenty of that. I'm going to

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<v Speaker 1>stick to these questions. First question, what relationship, real or fictionalized,

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<v Speaker 1>defined love for you? Now, Lord of Mercy, Oh, I

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<v Speaker 1>know shadow Lands, that film is about redemption and the

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<v Speaker 1>idea that love it's not the absence of pain, and

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<v Speaker 1>we're so we're so conditioned to believe that that it's

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<v Speaker 1>supposed to be the absence of pain, that it's meant

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<v Speaker 1>to be joy and happiness, and this it redeems love,

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<v Speaker 1>redeems it does redeem, and it's not based in mystery.

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<v Speaker 1>A friend of mine at her wedding, she said something

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<v Speaker 1>absolutely beautiful with her vows. She told her husband. Then

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<v Speaker 1>she said, I promised to love you exactly as God

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<v Speaker 1>made you. And I think that that's powerful. I mean,

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<v Speaker 1>I watched my mom sit by my dad's David when

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<v Speaker 1>he was dying of pancreatic cancer, and he would he

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<v Speaker 1>would just scream her name every two seconds, may Alice, malice, malice,

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<v Speaker 1>and she would say damn, damn, I'm right here, and

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<v Speaker 1>he say oh oh, and then she would hold him.

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<v Speaker 1>And for me that that's it. You know, I've been

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<v Speaker 1>with my husband twenty one years and all those things

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<v Speaker 1>that probably are not in the sexy romantic comedies are

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<v Speaker 1>all the things that I value. Someone who's gonna be

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<v Speaker 1>there when you're sick, someone who literally, you know it's

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<v Speaker 1>gonna hold your hand when you're going, someone who, like

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<v Speaker 1>I said, just simply loves you. I mean, my mom

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<v Speaker 1>and dad were together for forty eight years, and at

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<v Speaker 1>the end of his life it became about her telling

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<v Speaker 1>him to go. And there is something m for me

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<v Speaker 1>in terms of the kind of love I have now

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<v Speaker 1>for my husband. It's not about concealer and tight abs,

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<v Speaker 1>and you deserve it. What question would you most like answered? Oh, man,

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<v Speaker 1>I'll tell you that right now. Why are we so

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<v Speaker 1>cruel to each other? Ah? Please answer that question to me?

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<v Speaker 1>Why are we so vicious? If you were to ask

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<v Speaker 1>anyone what's the most vicious animal in the world, I mean,

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<v Speaker 1>they probably would say the black mamba or you know,

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<v Speaker 1>a female lion. I mean, I don't know, but the

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<v Speaker 1>two legged variety, the depth to which we are cruel.

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<v Speaker 1>And here's the thing, the thing that is really really

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<v Speaker 1>really interesting is we're cruel and we know how hard

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<v Speaker 1>life is. We know the road, and even after knowing

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<v Speaker 1>the road, we go back, and the level of judgment,

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<v Speaker 1>how we sort of don't protect each other, how we

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<v Speaker 1>think that killing someone will make us feel better. I mean,

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<v Speaker 1>I don't know. There's no measure of cruelty, men towards women,

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<v Speaker 1>black towards white, and I think there's a human answer

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<v Speaker 1>to it. I genuinely don't. The closest I ever came

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<v Speaker 1>to understanding it was this extraordinary geneticist called Lord Michael Winstone,

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<v Speaker 1>who was part of the team who isolated the genome initially.

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<v Speaker 1>And we were saying backstage going on a English talk show.

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<v Speaker 1>It was years ago, the Iraq War was happening, and

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<v Speaker 1>I was talking about just the share loss of innocent life.

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<v Speaker 1>And he said, he's a Christian, a devout Christian, and

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<v Speaker 1>he is also you know, this extraordinary scientist. And he said,

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<v Speaker 1>I've always felt the nexus of my spirituality and science

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<v Speaker 1>comes in truly understanding that you in the universe energetically, scientifically,

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<v Speaker 1>you literally cannot have one without the other. Each thing

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<v Speaker 1>has its counterpart. It has to night and day, good

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<v Speaker 1>and evil. And he said, however simplistic it sounds, it

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<v Speaker 1>is part of this, this order. We experience it so harshly.

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<v Speaker 1>We also experienced joy so profoundly as human beings, but

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<v Speaker 1>are cruelty to each other. I don't. I don't think

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<v Speaker 1>we can understand it or measure it in human terms,

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<v Speaker 1>because I think it's it's an energetic it's sort of

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<v Speaker 1>energy that was set in motion by God, source energy,

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<v Speaker 1>whatever you want to call it, and and so it is,

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<v Speaker 1>and so there are always two halves to everything. I mean,

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<v Speaker 1>that's the only way I could ever. That was the

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<v Speaker 1>closest I got my head to getting around it. Being

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<v Speaker 1>a theater geek. I remember the one thing I was

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<v Speaker 1>taught that stayed in my it was the divine rights

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<v Speaker 1>of kings, the hierarchy to which people feel like they're born.

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<v Speaker 1>And the whole idea is to be in a position

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<v Speaker 1>in terms of status as high as possible, because then

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<v Speaker 1>the only one you're answering to is God. You're basically

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<v Speaker 1>dancing with with God and everyone else is beneath you.

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<v Speaker 1>When man makes sense of their own existence, there is

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<v Speaker 1>something about status. I always say. The bumper sticker in

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<v Speaker 1>the eighties it was on the back of everyone's car

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<v Speaker 1>that said, he who dies with the most toys wins.

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<v Speaker 1>So is the ego? Is that? What is that? What

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<v Speaker 1>it is? Ego? It's I don't know who I am

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<v Speaker 1>unless I have my foot on someone else's neck. Status

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<v Speaker 1>is your social standing above another person that gives you

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<v Speaker 1>meaning and value. It's powerful. It's a cast system. M

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<v Speaker 1>But I agree with you. I think it defies understanding.

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<v Speaker 1>I always say, I wonder what the caveman thought. That

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<v Speaker 1>caveman who didn't have a computer, couldn't speak, didn't have

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<v Speaker 1>any clothes. He's standing there, he's looking at the ocean,

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<v Speaker 1>he's looking at the sky. What is he thinking? How

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<v Speaker 1>is he making thinking about food or sex or where

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<v Speaker 1>he's going to sleep, or how fast you can run

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<v Speaker 1>away from the sabots? How I got that's what he's thinking.

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<v Speaker 1>That's it total instinct. Where and when in your life

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<v Speaker 1>were you happiest? You know what I'm going to have

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<v Speaker 1>to say. At When I went to Africa for the

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<v Speaker 1>first time, I went to the Gambia, West Africa for

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<v Speaker 1>two weeks and I was at Williard. Juilliard gave me

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<v Speaker 1>a scholarship dollars because I guilted them into it. It's

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<v Speaker 1>very eurocentric training at Juilliard, and I said, it was

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<v Speaker 1>suppressing me so much. It was tethering me so much

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<v Speaker 1>that I no longer knew what my voice was. I

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<v Speaker 1>sort of had lost my identity in trying to make

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<v Speaker 1>me and my blackness disappear in George Bernard Shaw and

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<v Speaker 1>Stringberg and check Off and Shakespeare. I just didn't know

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<v Speaker 1>what kind of artists I was supposed to be if

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<v Speaker 1>I couldn't use myself and my voice. So they gave

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<v Speaker 1>me a scholarship and I went to Africa when I

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<v Speaker 1>was twenty five to study the dance and music folklore

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<v Speaker 1>four different tribes. And it changed my life. It just

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<v Speaker 1>changed my life. And maybe it was because also I

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<v Speaker 1>had broken up with a boyfriend right before and and

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<v Speaker 1>so I was stated, you know, oh my god, it

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<v Speaker 1>was like a Greek tragedy. You know. I look back

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<v Speaker 1>on that now and said, by, oh, why don't you

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<v Speaker 1>just go to McDonald's or something, or just have a drink. No,

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<v Speaker 1>go to Gambia. Yeah, no, I got to Gambia. I'm

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<v Speaker 1>gonna geographical. I got at this heartbreak. I went to

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<v Speaker 1>the Gambia and it was transformational, like that radical shifting

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<v Speaker 1>that takes place in your life that just takes you

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<v Speaker 1>by surprise, because it's the power of myth and rituals

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<v Speaker 1>that worked for me. It was the getting in the

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<v Speaker 1>car every single day and singing their songs and the

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<v Speaker 1>dances and the rituals that were about finding one's value

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<v Speaker 1>or becoming a woman or a baby surviving after seven days.

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<v Speaker 1>When I saw those Kenylla women and the Mandinka tribe

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<v Speaker 1>in Africa, they were infertile women, women who could not

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<v Speaker 1>have children, and they dressed as clowns, oversized clothes and

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<v Speaker 1>makeup on their faces, and they went into these compounds screaming,

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<v Speaker 1>shouting with the jim Bay drums. Everybody would scream and

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<v Speaker 1>shout with them, dozens of people, like a mob scene.

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<v Speaker 1>And then they passed a calabash around with food and

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<v Speaker 1>then they sang this song and it translates to I

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<v Speaker 1>did not come here for food. My stomach is full.

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<v Speaker 1>I did not come here for food. I came for

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<v Speaker 1>much more. And the whole ritual was about parting the

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<v Speaker 1>clouds of heaven, making so much noise that God would

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<v Speaker 1>hear the deepest pain of not being able to have

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<v Speaker 1>a child and somehow poured down the blessing. It's like

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<v Speaker 1>those types of rituals that I took part in that

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<v Speaker 1>made me believe that there was something in the abstract

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<v Speaker 1>world that I could I don't know that I could

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<v Speaker 1>cling to to find in myself. I'm extremely moved by

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<v Speaker 1>that amazing image, and I wish that we had more

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<v Speaker 1>ritual around the hard things in the West, the way

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<v Speaker 1>that we live around death, around infertility, around loss, around

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<v Speaker 1>getting old. Did you feel that the ritual itself or

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<v Speaker 1>the community performing the ritual created the scaffold upon which

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<v Speaker 1>you could actually have something to tell yourself to that

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<v Speaker 1>when you came back you would still be connected. I

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<v Speaker 1>love that question. I know exactly what you're saying, and

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<v Speaker 1>I think that's a great question. It was more of

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<v Speaker 1>the community and the connection. It was more of being seen.

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<v Speaker 1>I mean, m a dark skinned woman. From the moment

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<v Speaker 1>you come out of the womb and you step forth

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<v Speaker 1>into the world, you get all the values associated with

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<v Speaker 1>being dark skin and then being at Juilliard with a

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<v Speaker 1>deep voice, dark skinned, wide, no big lips. It's like

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<v Speaker 1>you're basically nothing. The invisibility. So a notion of invisibility. Yes, okay,

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<v Speaker 1>it's so fascinating because I can only empathize with a

0:15:14.680 --> 0:15:18.000
<v Speaker 1>feeling of growing up invisible and then going to a place.

0:15:18.040 --> 0:15:20.040
<v Speaker 1>And what you just said of what a community does

0:15:20.240 --> 0:15:24.400
<v Speaker 1>is a community sees they see the howling sadness of

0:15:24.440 --> 0:15:27.760
<v Speaker 1>these women, and they wrap around it and honor it,

0:15:28.680 --> 0:15:34.080
<v Speaker 1>literally to make God listen. So you becoming an actor

0:15:34.560 --> 0:15:38.880
<v Speaker 1>and the bizarre oxymoron of the invisibility that there is

0:15:38.960 --> 0:15:41.000
<v Speaker 1>supposed to be you know that was saying, Oh she

0:15:41.160 --> 0:15:46.040
<v Speaker 1>disappeared into a role. Oh he really disappeared into the character.

0:15:46.120 --> 0:15:49.440
<v Speaker 1>It was extraordinary. There must be a very particular attention

0:15:49.920 --> 0:15:52.480
<v Speaker 1>for you with that idea of what is it to

0:15:52.520 --> 0:15:56.640
<v Speaker 1>disappear into a character or is it rather to know yourself,

0:15:56.680 --> 0:15:59.280
<v Speaker 1>to see yourself and to gather them into what you

0:15:59.480 --> 0:16:01.280
<v Speaker 1>already are? But you you've got to know what that

0:16:01.360 --> 0:16:03.760
<v Speaker 1>is in the first place. You do have to know

0:16:03.840 --> 0:16:06.200
<v Speaker 1>what that is in the first place. I don't know

0:16:06.400 --> 0:16:10.360
<v Speaker 1>if I did not know that, or if I just

0:16:10.440 --> 0:16:13.600
<v Speaker 1>didn't trust it at the time, if I just didn't

0:16:13.720 --> 0:16:17.640
<v Speaker 1>value it at the time, because as you move through life,

0:16:17.800 --> 0:16:21.800
<v Speaker 1>people tell you who you should be or who you

0:16:21.800 --> 0:16:25.560
<v Speaker 1>should not be, and that's what was happening. I don't

0:16:25.600 --> 0:16:28.640
<v Speaker 1>mean the blast Juilliard at all. I compared to Musin X.

0:16:28.800 --> 0:16:32.640
<v Speaker 1>Like I said, Musin X tastes bad, but it works.

0:16:32.680 --> 0:16:37.560
<v Speaker 1>The permission, that's what I want to say. Permission. That's

0:16:37.600 --> 0:16:40.400
<v Speaker 1>what I got when I was in Africa. It was

0:16:40.680 --> 0:16:44.120
<v Speaker 1>literally a weekend to that trip that I sat down

0:16:44.200 --> 0:16:46.920
<v Speaker 1>at one point and it was the one time in

0:16:46.960 --> 0:16:52.160
<v Speaker 1>my life that I had absolutely no anxiety, like none,

0:16:52.840 --> 0:16:59.040
<v Speaker 1>like floating on air. So I think that what I

0:16:59.080 --> 0:17:04.720
<v Speaker 1>was looking for was permission that God made me right

0:17:06.280 --> 0:17:09.960
<v Speaker 1>because I didn't have that permission throughout my entire childhood

0:17:10.680 --> 0:17:15.920
<v Speaker 1>and throughout Juilliard. And that's really overly simplifying it. It's

0:17:15.960 --> 0:17:18.919
<v Speaker 1>like Renee Brown says, when you start with the foundation

0:17:18.960 --> 0:17:23.600
<v Speaker 1>of worth and value, then you can live better when

0:17:23.600 --> 0:17:27.720
<v Speaker 1>you start with that foundation. When you came back and

0:17:27.800 --> 0:17:31.400
<v Speaker 1>you're back into the check off from the Stromberg, you're

0:17:31.400 --> 0:17:34.119
<v Speaker 1>taking a look at Masha, did you feel that the

0:17:34.200 --> 0:17:37.399
<v Speaker 1>distance had been lessened or do you always feel that

0:17:37.440 --> 0:17:41.480
<v Speaker 1>there is a scrim in between the plethora of white

0:17:41.480 --> 0:17:45.359
<v Speaker 1>playwrights and you as a black woman. Yes, I did.

0:17:46.200 --> 0:17:49.560
<v Speaker 1>I did. I didn't feel like I was being whipped

0:17:49.880 --> 0:17:53.399
<v Speaker 1>for doing everything wrong. But it was only until maybe

0:17:53.400 --> 0:17:57.760
<v Speaker 1>twentysomething years later that I can literally sit here with

0:17:57.840 --> 0:18:01.320
<v Speaker 1>you and say that I reject act everything that I've

0:18:01.359 --> 0:18:06.360
<v Speaker 1>been taught. I reject people telling me that I'm not

0:18:06.520 --> 0:18:11.080
<v Speaker 1>smart if I don't read the classics? So does Tony Morrison?

0:18:11.520 --> 0:18:14.200
<v Speaker 1>Does that qualify as a classic? What does that mean?

0:18:14.760 --> 0:18:18.600
<v Speaker 1>Who wrote those rules? Who told me that I wasn't beautiful?

0:18:19.320 --> 0:18:22.280
<v Speaker 1>Who told me that if I did not fit into

0:18:22.320 --> 0:18:26.800
<v Speaker 1>any character in George Bernard Shaw, then somehow I'm really

0:18:26.840 --> 0:18:29.800
<v Speaker 1>crappy at what I do. What if George Bernard Shaw

0:18:29.880 --> 0:18:34.160
<v Speaker 1>doesn't speak to me? What if he doesn't does that

0:18:34.359 --> 0:18:40.280
<v Speaker 1>make me what? I think that the keepers of the

0:18:40.359 --> 0:18:45.880
<v Speaker 1>structure of the way things should be have been extraordinarily flawed.

0:18:46.600 --> 0:18:50.399
<v Speaker 1>I'm coming from a country that's built on a science,

0:18:50.920 --> 0:18:55.679
<v Speaker 1>basically a bunk science to explain why I, as a

0:18:55.720 --> 0:19:00.680
<v Speaker 1>black woman, is less than science is a beauty sciences

0:19:00.680 --> 0:19:05.720
<v Speaker 1>of intelligent science of sexuality that told us that you're

0:19:05.720 --> 0:19:08.639
<v Speaker 1>never gonna be as pretty, your brains are smaller, So

0:19:08.800 --> 0:19:11.560
<v Speaker 1>You're never gonna be as smart. Black women could take

0:19:11.600 --> 0:19:14.920
<v Speaker 1>as much pain as possible because you don't feel any pain.

0:19:15.200 --> 0:19:18.520
<v Speaker 1>You're strong, you're almost masculine. You could cut them open

0:19:18.560 --> 0:19:24.520
<v Speaker 1>without any anesthesia. You can rape them with impunity. That's

0:19:24.560 --> 0:19:30.760
<v Speaker 1>where I'm coming from. So now at fifty five, I

0:19:30.800 --> 0:19:37.560
<v Speaker 1>could say the foundation in which you explained my existence

0:19:37.600 --> 0:19:42.320
<v Speaker 1>and who I am, I rejected the fact that you

0:19:42.359 --> 0:19:45.800
<v Speaker 1>are telling the stories that you tell now, given that

0:19:45.920 --> 0:20:02.920
<v Speaker 1>you felt voiceless and invisible, is truly inspiring. M What

0:20:03.000 --> 0:20:05.320
<v Speaker 1>is the quot to see you like least about yourself?

0:20:06.240 --> 0:20:10.000
<v Speaker 1>The quality about myself that I like the least is

0:20:10.240 --> 0:20:15.840
<v Speaker 1>my esteem issues. Although I will say that I am

0:20:15.880 --> 0:20:22.000
<v Speaker 1>a lot better than I was like by nine something present,

0:20:22.600 --> 0:20:26.119
<v Speaker 1>but I don't even like feeling one vestige of it

0:20:26.400 --> 0:20:30.239
<v Speaker 1>where all of a sudden you're in a situation and

0:20:30.280 --> 0:20:33.440
<v Speaker 1>then you're right back to where you've started. And if

0:20:33.440 --> 0:20:36.440
<v Speaker 1>I were to track any situation that brings that out

0:20:36.440 --> 0:20:41.200
<v Speaker 1>of me, that feeling of not feeling worthy, it's when

0:20:41.240 --> 0:20:45.040
<v Speaker 1>people try to attack my worth. It could be anything.

0:20:45.080 --> 0:20:48.160
<v Speaker 1>It could be the mommy skills, it could be anything

0:20:48.400 --> 0:20:52.400
<v Speaker 1>with acting, with your work, with your skill set. As

0:20:52.440 --> 0:20:55.439
<v Speaker 1>soon as I feel like I'm under attack. I feel it,

0:20:55.680 --> 0:20:59.159
<v Speaker 1>it costs me something. Do you have any ritual to

0:20:59.280 --> 0:21:04.840
<v Speaker 1>heal that in those moments? Well, there's two things that

0:21:04.960 --> 0:21:10.119
<v Speaker 1>I do. I'm a believer in connection and finding people

0:21:10.119 --> 0:21:13.879
<v Speaker 1>in your life that love you. You know, a therapist

0:21:13.920 --> 0:21:17.160
<v Speaker 1>told me that once find someone who loves you, Viola,

0:21:17.960 --> 0:21:21.960
<v Speaker 1>that roots for you, just sweats for you, just has

0:21:22.040 --> 0:21:25.399
<v Speaker 1>your back. I mean, I grew up in really abject

0:21:25.480 --> 0:21:28.280
<v Speaker 1>poverty and people always ask me, how did you get

0:21:28.400 --> 0:21:34.440
<v Speaker 1>from that to this? And I always say, those supernatural allies,

0:21:35.720 --> 0:21:39.360
<v Speaker 1>those people who come out of nowhere, who say, let

0:21:39.400 --> 0:21:42.000
<v Speaker 1>me tell you, this is what you have to do. Okay,

0:21:42.080 --> 0:21:44.439
<v Speaker 1>let's suit up and me and you will fight this

0:21:44.600 --> 0:21:49.879
<v Speaker 1>battle together. Okay. But they're supernatural, which means that you know,

0:21:50.080 --> 0:21:53.359
<v Speaker 1>they come out of nowhere and they're not always the

0:21:53.440 --> 0:21:57.080
<v Speaker 1>people that you think they're going to be. But the

0:21:57.119 --> 0:22:00.200
<v Speaker 1>other thing that I do, and it's really working for me,

0:22:01.119 --> 0:22:04.280
<v Speaker 1>I go to Viola, the little girl, the eight year old.

0:22:05.000 --> 0:22:07.920
<v Speaker 1>I literally talked to her, and I'm not kidding you.

0:22:08.520 --> 0:22:11.560
<v Speaker 1>At first, I would always try to heal her because

0:22:11.600 --> 0:22:16.400
<v Speaker 1>I said, you grew up with an alcoholic father and abuse.

0:22:16.520 --> 0:22:19.600
<v Speaker 1>So I'm gonna heal this little girl, you know, who

0:22:19.680 --> 0:22:24.320
<v Speaker 1>was always fighting, rough and tumble little girl, and then

0:22:24.440 --> 0:22:29.040
<v Speaker 1>someone made me realize that she was a survivor. You

0:22:29.119 --> 0:22:33.000
<v Speaker 1>have to allow her to be excited at the year

0:22:33.040 --> 0:22:38.200
<v Speaker 1>old she's gonna become. Usually gotta let her squeal in delight.

0:22:38.960 --> 0:22:44.320
<v Speaker 1>And so now I'm just gonna say this. If it

0:22:44.359 --> 0:22:46.639
<v Speaker 1>were up to me, I would put all the trophies

0:22:46.680 --> 0:22:52.040
<v Speaker 1>in a box in a garage. I don't like watching myself.

0:22:52.560 --> 0:22:58.199
<v Speaker 1>I have a tendency to not celebrate my victories. I

0:22:58.200 --> 0:23:02.520
<v Speaker 1>have its tendency to some time aims just sort of

0:23:02.720 --> 0:23:08.480
<v Speaker 1>twisted and turning around actually and almost let it destroy me.

0:23:08.600 --> 0:23:14.560
<v Speaker 1>Sometimes it's a weird dichotomy there when I tap into

0:23:14.600 --> 0:23:18.040
<v Speaker 1>that eight year old girl and say, Viola, guess what

0:23:18.960 --> 0:23:23.359
<v Speaker 1>we're gonna eat some French fries today? We are Viola,

0:23:23.720 --> 0:23:27.440
<v Speaker 1>guess what We're gonna get dressed up today in acute dress.

0:23:27.520 --> 0:23:30.360
<v Speaker 1>I hate getting dressed up because I hate heels. We're

0:23:30.400 --> 0:23:33.960
<v Speaker 1>gonna dress up today in some heels and we're gonna

0:23:34.000 --> 0:23:36.840
<v Speaker 1>go to an awards show. Oh my god. Then I

0:23:36.960 --> 0:23:42.600
<v Speaker 1>have an appreciation for my life that is the equivalent

0:23:43.080 --> 0:23:48.280
<v Speaker 1>of a child's joy. That's helping me a lot. It's

0:23:48.280 --> 0:23:51.359
<v Speaker 1>helped me sleep at night. It helps me enjoy every

0:23:51.359 --> 0:24:00.119
<v Speaker 1>single moment. What person, place, or experience most alter to

0:24:00.160 --> 0:24:04.480
<v Speaker 1>you in life. My dad dying was a big one.

0:24:05.160 --> 0:24:08.960
<v Speaker 1>That's a hard one because I was there. I wish

0:24:09.000 --> 0:24:13.800
<v Speaker 1>I were more brave during that time in what way.

0:24:14.040 --> 0:24:16.280
<v Speaker 1>It was after he died that I went on the

0:24:16.320 --> 0:24:21.119
<v Speaker 1>hospice page and they had a whole section that talked

0:24:21.119 --> 0:24:28.000
<v Speaker 1>about how to help someone die. That they will have

0:24:28.200 --> 0:24:31.360
<v Speaker 1>dementia and they will see people that had passed before them.

0:24:31.520 --> 0:24:35.080
<v Speaker 1>They would literally call out their names, and you have

0:24:35.280 --> 0:24:38.679
<v Speaker 1>to validate them. You can't just say it's delusional, because

0:24:38.680 --> 0:24:41.679
<v Speaker 1>what that is is once again it's the word permission.

0:24:42.080 --> 0:24:46.000
<v Speaker 1>They're asking for permission to cross over. I didn't want

0:24:46.000 --> 0:24:48.840
<v Speaker 1>to look at that. They just want you to hold

0:24:48.840 --> 0:24:52.600
<v Speaker 1>their hand. I didn't want to look at that. They

0:24:52.680 --> 0:24:56.760
<v Speaker 1>just want their lips to stay moist. I want to

0:24:56.800 --> 0:25:02.960
<v Speaker 1>know that no one tells you about death, No one

0:25:03.040 --> 0:25:06.720
<v Speaker 1>talks about it. So to literally see a parent take

0:25:06.840 --> 0:25:09.959
<v Speaker 1>the last breath and they have to sit there and go, Daddy,

0:25:10.320 --> 0:25:13.960
<v Speaker 1>it's okay to go. And then at his funeral, I

0:25:14.040 --> 0:25:17.240
<v Speaker 1>remember when we closed the casket and my nieces and

0:25:17.280 --> 0:25:19.960
<v Speaker 1>nephews had all these pictures they put in the casket

0:25:20.000 --> 0:25:22.960
<v Speaker 1>with him. Was beautiful. And I looked in the casket

0:25:23.000 --> 0:25:26.560
<v Speaker 1>and he didn't have any shoes on, and I was pissed.

0:25:28.000 --> 0:25:30.480
<v Speaker 1>I was like, we paid you all this money in

0:25:30.560 --> 0:25:33.600
<v Speaker 1>my brain because I was about to custom out, and

0:25:33.640 --> 0:25:36.400
<v Speaker 1>you didn't put any shoes on. My daddy looks greatly.

0:25:36.440 --> 0:25:39.239
<v Speaker 1>He didn't put shoes, and the next thought was he

0:25:39.280 --> 0:25:45.920
<v Speaker 1>didn't need shoes. That encapsulates life. It does, don't care

0:25:45.960 --> 0:25:50.040
<v Speaker 1>what anyone says it does. After he died, you're not

0:25:50.160 --> 0:25:53.240
<v Speaker 1>thinking about how he pissed you off. You're not thinking

0:25:53.280 --> 0:25:56.000
<v Speaker 1>about that he was an alcoholic. You're just thinking about

0:25:56.040 --> 0:25:59.439
<v Speaker 1>the fact that I loved him. He was my father

0:26:00.800 --> 0:26:06.880
<v Speaker 1>and he's gone. And then you're thinking about forgiveness. You're

0:26:06.920 --> 0:26:10.320
<v Speaker 1>thinking about mercy. You think about all those things that

0:26:10.359 --> 0:26:14.040
<v Speaker 1>nobody teaches you about in life. There's no other way

0:26:14.080 --> 0:26:18.840
<v Speaker 1>to measure life. It whittles life down to absolutely the

0:26:19.000 --> 0:26:24.000
<v Speaker 1>essentials of really what makes a life and what makes joy.

0:26:24.400 --> 0:26:28.840
<v Speaker 1>I would say that would be it. It It leveled me.

0:26:30.160 --> 0:26:33.919
<v Speaker 1>Do you find that after these big moments in your life,

0:26:34.040 --> 0:26:38.480
<v Speaker 1>you can take them with you into the evolution of

0:26:38.480 --> 0:26:42.000
<v Speaker 1>who you are after them. Are you aware of practicing

0:26:42.000 --> 0:26:45.040
<v Speaker 1>those things that you've observed? Yeah, I do, But then

0:26:45.080 --> 0:26:47.280
<v Speaker 1>I have to move through life and someone comes along

0:26:47.280 --> 0:26:49.359
<v Speaker 1>and knocks my ass down. Yeah knowing now, I mean

0:26:49.359 --> 0:26:52.560
<v Speaker 1>it's a war of attrition a lot of the time. Yeah, absolutely,

0:26:52.680 --> 0:26:55.480
<v Speaker 1>it's it's difficult, but I do, and I'll tell you

0:26:55.520 --> 0:26:58.760
<v Speaker 1>when I do. People notice when I came back from Africa,

0:26:58.880 --> 0:27:01.440
<v Speaker 1>everyone noticed the ship it so I know I bring

0:27:01.480 --> 0:27:06.200
<v Speaker 1>it back. But then I got to navigate through life.

0:27:06.920 --> 0:27:08.480
<v Speaker 1>You know what my dad used to say, He said,

0:27:08.480 --> 0:27:12.080
<v Speaker 1>I don't know why you keep aiming for of everything,

0:27:12.119 --> 0:27:13.760
<v Speaker 1>he said, this is the biggest miss name where we

0:27:13.800 --> 0:27:19.280
<v Speaker 1>should be aiming for, like like fifty eight percent. If

0:27:19.320 --> 0:27:22.679
<v Speaker 1>that's let that be your because it's never you're always

0:27:22.680 --> 0:27:24.760
<v Speaker 1>going to be disappointed. You're never going to get it right.

0:27:25.440 --> 0:27:28.080
<v Speaker 1>And he was like, it doesn't have lower standards. It's

0:27:28.160 --> 0:27:31.919
<v Speaker 1>just appreciate that there is a certain percentage of life

0:27:32.400 --> 0:27:35.760
<v Speaker 1>that is mostly circumstance or lock or whatever you want

0:27:35.760 --> 0:27:38.120
<v Speaker 1>to call it. This is not going to go your way,

0:27:38.600 --> 0:27:41.680
<v Speaker 1>and in order to not be buffeted by that, constantly

0:27:42.520 --> 0:27:45.399
<v Speaker 1>sort of hold true to the smaller amount that you

0:27:45.440 --> 0:27:49.439
<v Speaker 1>are sure of oh yeah, oh, and where I began.

0:27:49.920 --> 0:27:53.960
<v Speaker 1>It is a rare privilege talking to you, It really is. Um.

0:27:54.880 --> 0:27:57.840
<v Speaker 1>I feel like I learned something every time I hear

0:27:57.880 --> 0:28:01.880
<v Speaker 1>you interviewed, but even also when I watch you work

0:28:02.080 --> 0:28:08.040
<v Speaker 1>and like as an actor, that's amazing. It's back at

0:28:08.119 --> 0:28:12.600
<v Speaker 1>your girl. I appreciate you, and I appreciate your time honestly,

0:28:12.680 --> 0:28:15.600
<v Speaker 1>all my love and thanks to you, Oh love, back

0:28:15.640 --> 0:28:21.199
<v Speaker 1>to you. Please watch Viola's extraordinary performance in mar Rainey's

0:28:21.240 --> 0:28:24.440
<v Speaker 1>Black Bottom, but also go back and find that scene

0:28:24.440 --> 0:28:26.840
<v Speaker 1>in the movie Doubt where she and Meryl Streep go

0:28:26.920 --> 0:28:29.479
<v Speaker 1>head to head by the basketball court. It is an

0:28:29.520 --> 0:28:36.760
<v Speaker 1>acting masterclass. Many Questions is hosted and written by Me

0:28:37.119 --> 0:28:44.400
<v Speaker 1>Mini Driver, supervising producer Aaron Kaufman, Producer Morgan Lavoy, Research

0:28:44.440 --> 0:28:50.280
<v Speaker 1>assistant Marissa Brown. Original music Sorry Baby by Mini Driver,

0:28:51.600 --> 0:28:55.840
<v Speaker 1>Additional music by Aaron Kaufman. Executive produced by Me and

0:28:55.920 --> 0:29:01.440
<v Speaker 1>man gesh Hetty God Special thanks to Jim Nikolay, Will Pearson,

0:29:02.000 --> 0:29:07.240
<v Speaker 1>Addison O Day, Lisa Castella and Annick Oppenheim at w kPr,

0:29:08.120 --> 0:29:12.520
<v Speaker 1>de La Pescadore, Kate Driver and Jason Weinberg, and for

0:29:12.680 --> 0:29:15.840
<v Speaker 1>constantly solicited Tex support Henry driver,