1 00:00:01,280 --> 00:00:04,320 Speaker 1: Welcome to Stuff you missed in History Class, a production 2 00:00:04,400 --> 00:00:13,440 Speaker 1: of I Heart Radio. Hello, and welcome to the podcast. 3 00:00:13,480 --> 00:00:17,680 Speaker 1: I'm Holly Fry and I'm Tracy V. Wilson. So, Tracy, 4 00:00:17,720 --> 00:00:20,760 Speaker 1: I am sure that regular listeners to our show probably 5 00:00:20,800 --> 00:00:24,040 Speaker 1: recall our episode on Mamie Till Mobley, the mother of 6 00:00:24,120 --> 00:00:26,520 Speaker 1: him at Till that came out and I knew that 7 00:00:26,560 --> 00:00:29,720 Speaker 1: was one that you researched and is an episode I love, 8 00:00:29,760 --> 00:00:32,959 Speaker 1: although it is of course difficult, but if you keep 9 00:00:32,960 --> 00:00:36,400 Speaker 1: an eye on entertainment, you are also probably aware of 10 00:00:36,400 --> 00:00:40,360 Speaker 1: the movie Till, which is out now, uh in limited release, 11 00:00:40,600 --> 00:00:44,639 Speaker 1: and it tells that whole story, but like our episode, 12 00:00:44,640 --> 00:00:48,560 Speaker 1: it mostly tells Mamie story. Right, So we've both seen 13 00:00:48,560 --> 00:00:51,600 Speaker 1: the film, and then Holly was also able to chat 14 00:00:51,640 --> 00:00:54,080 Speaker 1: with a couple of people involved with it. One is 15 00:00:54,120 --> 00:00:59,600 Speaker 1: actor Jalen Hall and the director. First up is the 16 00:00:59,600 --> 00:01:02,160 Speaker 1: converse station that I had with Jaln Hall, who is, 17 00:01:02,240 --> 00:01:05,319 Speaker 1: as Tracy just said, um an actor. He plays Emmett 18 00:01:05,360 --> 00:01:07,640 Speaker 1: Till in the film. If you're a TV person, you 19 00:01:07,640 --> 00:01:10,560 Speaker 1: may know him from the TV series All American. Let 20 00:01:10,560 --> 00:01:12,240 Speaker 1: me just lay this out for you. Jalen is an 21 00:01:12,280 --> 00:01:15,400 Speaker 1: incredibly charming young man. He is really a delight to 22 00:01:15,440 --> 00:01:18,000 Speaker 1: speak with, and he talked to me about the history 23 00:01:18,040 --> 00:01:21,280 Speaker 1: research that was involved in this film, his relationship with 24 00:01:21,360 --> 00:01:24,240 Speaker 1: his own mother, as well as the parallels that he 25 00:01:24,280 --> 00:01:28,480 Speaker 1: sees between himself and Emmett. So the first thing I 26 00:01:28,560 --> 00:01:31,960 Speaker 1: want to ask you about is this is obviously a 27 00:01:32,000 --> 00:01:34,679 Speaker 1: project and a role that has a lot of weight 28 00:01:34,720 --> 00:01:37,320 Speaker 1: and a lot of importance to it. And I know 29 00:01:37,920 --> 00:01:40,440 Speaker 1: from having spoken with your director that you kind of 30 00:01:40,480 --> 00:01:42,680 Speaker 1: had to do a little bit of a history boot camp. 31 00:01:42,760 --> 00:01:46,760 Speaker 1: Will you talk about that preparation process to play Emmett 32 00:01:46,760 --> 00:01:51,240 Speaker 1: till Oh, for sure, that the process itself was just 33 00:01:51,600 --> 00:01:56,240 Speaker 1: it was so information first. I did, Uh, I did 34 00:01:56,240 --> 00:01:58,680 Speaker 1: a lot of like researching myself and like things I 35 00:01:58,680 --> 00:02:01,440 Speaker 1: could find on Google and things that were at my 36 00:02:01,520 --> 00:02:07,240 Speaker 1: own disposal. And then along with everything that chinoya Um 37 00:02:07,320 --> 00:02:11,880 Speaker 1: was sending me and the studio and Keith Beauchamp his 38 00:02:12,040 --> 00:02:16,360 Speaker 1: first hand information, all that stuff was just given to 39 00:02:16,400 --> 00:02:19,480 Speaker 1: me and retained. And I'm so grateful to have had 40 00:02:19,520 --> 00:02:22,679 Speaker 1: that because it enabled me to be able to embody 41 00:02:22,760 --> 00:02:26,160 Speaker 1: him as the human being that he was. And it's 42 00:02:26,160 --> 00:02:30,280 Speaker 1: worth noting like, obviously you are playing a young man, 43 00:02:30,600 --> 00:02:33,440 Speaker 1: you are I don't want to say only fifteen, but 44 00:02:33,520 --> 00:02:36,360 Speaker 1: you're fifteen, so you're still young, but you are also 45 00:02:36,639 --> 00:02:40,400 Speaker 1: not a rookie. You've had a lot of acting jobs. 46 00:02:40,400 --> 00:02:44,000 Speaker 1: But I wonder if you think about how important a 47 00:02:44,120 --> 00:02:47,120 Speaker 1: role in a project like this is, and the fact 48 00:02:47,120 --> 00:02:50,279 Speaker 1: that years from now, when you are well into adulthood 49 00:02:50,320 --> 00:02:53,320 Speaker 1: and everyone who has seen it has aged up, this 50 00:02:53,400 --> 00:02:55,320 Speaker 1: is still going to have been an important film in 51 00:02:55,360 --> 00:02:57,760 Speaker 1: a very important story. Do you think about it in 52 00:02:57,800 --> 00:03:02,040 Speaker 1: those terms? Oh? Yes, course, I think that this is 53 00:03:02,120 --> 00:03:05,120 Speaker 1: just something that is so like, it's so close to 54 00:03:05,120 --> 00:03:07,560 Speaker 1: me as an actor, not only as an actor, but 55 00:03:07,760 --> 00:03:11,440 Speaker 1: as a young man, a young black man in America. 56 00:03:11,720 --> 00:03:14,080 Speaker 1: I'm just doing my part to show the world things 57 00:03:14,080 --> 00:03:16,320 Speaker 1: that it needs to be shown and telling stories that 58 00:03:16,400 --> 00:03:18,959 Speaker 1: need to be told. I didn't tell you at the top, 59 00:03:19,000 --> 00:03:20,400 Speaker 1: but I feel like I should thank you for that, 60 00:03:20,480 --> 00:03:24,720 Speaker 1: because it's really, really quite spectacular. Thank you. I have 61 00:03:24,840 --> 00:03:27,080 Speaker 1: watched other interviews that you've done in the past, and 62 00:03:27,160 --> 00:03:29,720 Speaker 1: I know that you and your mom are very close, 63 00:03:30,280 --> 00:03:32,519 Speaker 1: just as maybe and him it were. And I wonder 64 00:03:32,600 --> 00:03:36,120 Speaker 1: how much your relationship with your mom informed your performance 65 00:03:36,160 --> 00:03:39,760 Speaker 1: in this film. Oh my god, so much going into 66 00:03:39,760 --> 00:03:41,720 Speaker 1: this film me and my mom had talked so much 67 00:03:41,760 --> 00:03:45,120 Speaker 1: about you know, are my mental state, her mental state 68 00:03:45,160 --> 00:03:48,880 Speaker 1: going into it. Um, just a lot of communication because 69 00:03:49,600 --> 00:03:53,080 Speaker 1: like when going into something as heavy as this, you know, 70 00:03:53,280 --> 00:03:56,040 Speaker 1: you you have to have those conversations with your loved ones. 71 00:03:56,040 --> 00:03:59,960 Speaker 1: You have to make sure everybody's in a a good headspace. 72 00:04:00,160 --> 00:04:03,080 Speaker 1: And luckily, UM, me and my mom we just we 73 00:04:03,240 --> 00:04:07,320 Speaker 1: just fell into this and gave it are all collectively. 74 00:04:07,760 --> 00:04:09,840 Speaker 1: And I wouldn't have been able to do this without her. 75 00:04:10,600 --> 00:04:15,280 Speaker 1: I am curious for you, it's not a surprise. That's 76 00:04:15,320 --> 00:04:18,520 Speaker 1: something that has been talked about in the press, that 77 00:04:18,760 --> 00:04:21,800 Speaker 1: the violence of this is is not something that happens 78 00:04:21,839 --> 00:04:24,080 Speaker 1: on screen. But I still know that there had to 79 00:04:24,080 --> 00:04:26,320 Speaker 1: have been some challenges here. So I'm wondering what the 80 00:04:26,360 --> 00:04:29,520 Speaker 1: most challenging part of this role was for you. Oh yeah, 81 00:04:30,120 --> 00:04:33,400 Speaker 1: I think the most challenging part of this role is 82 00:04:33,640 --> 00:04:38,760 Speaker 1: the realization that Imman and I were not unlike we 83 00:04:39,320 --> 00:04:41,839 Speaker 1: would have been the same person. Um, we were the 84 00:04:41,839 --> 00:04:44,600 Speaker 1: same aide. We had some of the same interests like 85 00:04:45,120 --> 00:04:48,000 Speaker 1: dancing and singing and love of song, love of dance 86 00:04:48,040 --> 00:04:51,080 Speaker 1: with uh as as you'll see dancing with his mom. 87 00:04:51,240 --> 00:04:57,200 Speaker 1: The relationship so just that realization. It was just mind 88 00:04:57,240 --> 00:04:59,760 Speaker 1: boggling to me, you know, because it's like you have 89 00:04:59,839 --> 00:05:02,840 Speaker 1: to put yourself in those shoes. You don't want to, 90 00:05:02,920 --> 00:05:05,000 Speaker 1: you don't want to think about it. But that's just 91 00:05:05,200 --> 00:05:09,240 Speaker 1: you know, the truth, that's just you know the reality 92 00:05:09,279 --> 00:05:11,800 Speaker 1: of it. I also just want to ask you. I know, 93 00:05:11,920 --> 00:05:15,360 Speaker 1: this last week has been probably a little bit wild, right, 94 00:05:15,400 --> 00:05:17,880 Speaker 1: you had New York Film Festival where the movie debut. 95 00:05:18,600 --> 00:05:21,200 Speaker 1: What has this whole thing been like? Because You've been 96 00:05:21,200 --> 00:05:23,000 Speaker 1: in a lot of other projects, but I feel like 97 00:05:23,320 --> 00:05:25,440 Speaker 1: this is high profile in a way that maybe some 98 00:05:25,520 --> 00:05:28,039 Speaker 1: of your other work hasn't been. What has that experience 99 00:05:28,080 --> 00:05:31,920 Speaker 1: been like for you? Oh, it's just a whole different atmosphere, 100 00:05:32,120 --> 00:05:33,680 Speaker 1: a lot of like you said, a lot of the 101 00:05:33,680 --> 00:05:38,360 Speaker 1: projects that I've done that have been entertaining for most people. Um, 102 00:05:39,600 --> 00:05:41,599 Speaker 1: it's a great joy for me to be able to 103 00:05:41,600 --> 00:05:43,719 Speaker 1: do that, but it's also even bigger joy for me 104 00:05:43,760 --> 00:05:46,120 Speaker 1: to be able to tell a story that is so 105 00:05:46,760 --> 00:05:50,560 Speaker 1: crucial and and impactual to our community, to our world. 106 00:05:50,720 --> 00:05:55,400 Speaker 1: So it's it's definitely a different vibe UM that I enjoy. Uh. 107 00:05:55,560 --> 00:05:59,280 Speaker 1: Now you are on a history podcast, so I am 108 00:05:59,320 --> 00:06:06,400 Speaker 1: curious to know if you yourself have historically been into history. UM, 109 00:06:06,440 --> 00:06:08,600 Speaker 1: it's fine if you say no, I wasn't into it 110 00:06:08,640 --> 00:06:13,000 Speaker 1: before I was well into adulthood. UM. Is that something 111 00:06:13,040 --> 00:06:15,560 Speaker 1: that you like. Do you enjoy studying history or was 112 00:06:15,600 --> 00:06:18,719 Speaker 1: this kind of your entree into really deep dives in 113 00:06:18,800 --> 00:06:24,000 Speaker 1: historical information and research. Yes? So, Um, I've I've always 114 00:06:24,000 --> 00:06:26,880 Speaker 1: been in well, I don't want to say like a 115 00:06:26,960 --> 00:06:31,039 Speaker 1: connoisseur like yourself, but I've I've been into history. I've 116 00:06:31,120 --> 00:06:34,520 Speaker 1: really been into like Greek mythology and you know, learning 117 00:06:35,160 --> 00:06:38,920 Speaker 1: about that, you know, just when I can't. But this 118 00:06:39,040 --> 00:06:43,400 Speaker 1: sort of time and and meticulous details that I had 119 00:06:43,480 --> 00:06:47,560 Speaker 1: noticed while preparing for this role wasn't like no other 120 00:06:48,320 --> 00:06:50,640 Speaker 1: research that I've done before, no other history that I've 121 00:06:50,640 --> 00:06:53,640 Speaker 1: read before. And because of this, I think I want, 122 00:06:53,760 --> 00:06:56,240 Speaker 1: I know, I want to learn more and more, not 123 00:06:56,279 --> 00:07:00,240 Speaker 1: only about our black community and activists that have come before, um, 124 00:07:00,240 --> 00:07:03,200 Speaker 1: but about our world in general. You know, it's it's 125 00:07:03,200 --> 00:07:06,680 Speaker 1: it's origin and yeah, this is this definitely sparked the 126 00:07:06,720 --> 00:07:09,320 Speaker 1: historian in me. I love it. Well, You've come to 127 00:07:09,400 --> 00:07:11,040 Speaker 1: the right place. You can always reach out if you 128 00:07:11,040 --> 00:07:15,200 Speaker 1: need help with research. Um, Jalen, I really do want 129 00:07:15,200 --> 00:07:18,040 Speaker 1: to thank you for bringing what you bring to this role. 130 00:07:18,120 --> 00:07:19,920 Speaker 1: I feel like you know you can read about it 131 00:07:19,960 --> 00:07:23,320 Speaker 1: as much as you want, but seeing your portrayal of 132 00:07:23,400 --> 00:07:28,240 Speaker 1: Emmett or Beau, whichever you prefer, and how joyous a 133 00:07:28,240 --> 00:07:30,559 Speaker 1: young man he was is really important to the story 134 00:07:30,600 --> 00:07:34,240 Speaker 1: and not something we always get. So I hope you 135 00:07:34,240 --> 00:07:37,080 Speaker 1: you realize what a great service you have done and 136 00:07:37,120 --> 00:07:38,760 Speaker 1: I can't wait to see what you do next. You 137 00:07:38,800 --> 00:07:41,440 Speaker 1: have such a career ahead of you. Thank you so much. 138 00:07:41,480 --> 00:07:44,440 Speaker 1: I appreciate that. Yeah, thank you for spending this time 139 00:07:44,480 --> 00:07:47,520 Speaker 1: with me. You have a beautiful day you too. Thanks. 140 00:07:48,560 --> 00:07:50,960 Speaker 1: Coming up, we'll have another interview, but first we are 141 00:07:51,000 --> 00:08:03,520 Speaker 1: going to take a quick sponsor break. As we mentioned 142 00:08:03,640 --> 00:08:07,120 Speaker 1: in the chat with Jalen, I also got to speak 143 00:08:07,120 --> 00:08:10,880 Speaker 1: with the film's director and co writer, Chinoya Uku, and 144 00:08:11,160 --> 00:08:15,080 Speaker 1: she is really amazing. While we spoke, she talked about 145 00:08:15,120 --> 00:08:19,040 Speaker 1: making the film, about Mamie's story and about the love 146 00:08:19,200 --> 00:08:22,760 Speaker 1: between Mamie and Emmett as mother and child, as well 147 00:08:22,800 --> 00:08:27,200 Speaker 1: as just her intentionality in her work. Holly also couldn't 148 00:08:27,240 --> 00:08:30,720 Speaker 1: help but ask a couple of technical questions about filmmaking. 149 00:08:31,480 --> 00:08:34,560 Speaker 1: Holly and I were chatting about the interviews ahead of time, 150 00:08:34,600 --> 00:08:36,840 Speaker 1: and Holly mentioned something she was going to ask about 151 00:08:36,840 --> 00:08:38,320 Speaker 1: and I was like, I don't know what that means. 152 00:08:38,600 --> 00:08:43,840 Speaker 1: So Holly was a much better suited person for these questions. 153 00:08:43,960 --> 00:08:46,679 Speaker 1: So not all of this is history related. There is 154 00:08:46,760 --> 00:08:50,520 Speaker 1: also some about how the visual medium is being used 155 00:08:50,559 --> 00:08:54,040 Speaker 1: to tell the story. This film had a very long 156 00:08:54,120 --> 00:08:56,679 Speaker 1: journey before it made it to screen, and you are 157 00:08:56,679 --> 00:08:59,400 Speaker 1: not only the director, but you are also co writer 158 00:08:59,520 --> 00:09:01,720 Speaker 1: on it. Can you tell us a little bit about 159 00:09:01,720 --> 00:09:04,800 Speaker 1: that journey in your part in it? Yeah? So, Um. 160 00:09:04,880 --> 00:09:08,160 Speaker 1: One of the producers on the film, Keith beau Schamp, 161 00:09:08,440 --> 00:09:12,120 Speaker 1: was a mentee of Mayne before she passed, and Um 162 00:09:12,200 --> 00:09:15,040 Speaker 1: had a friendship with Gean Mobile before he passed, and 163 00:09:15,520 --> 00:09:19,600 Speaker 1: Uh friendships with various members of the Tailed family and 164 00:09:20,160 --> 00:09:25,040 Speaker 1: was really um moved and inspired and committed to as 165 00:09:25,120 --> 00:09:28,719 Speaker 1: much research about this story as possible. And then he 166 00:09:28,720 --> 00:09:32,120 Speaker 1: helped to reopen the case. And so he had this 167 00:09:32,200 --> 00:09:36,319 Speaker 1: treasure trove of information UM and research and case files 168 00:09:36,440 --> 00:09:40,439 Speaker 1: that he shared with all the other producers of the film. 169 00:09:40,800 --> 00:09:43,319 Speaker 1: And so for the last twenty years they've been trying 170 00:09:43,360 --> 00:09:47,720 Speaker 1: to get this movie made. Three years ago they approached 171 00:09:47,720 --> 00:09:51,880 Speaker 1: me and Keith and another producer Michael Riley had written 172 00:09:52,320 --> 00:09:57,520 Speaker 1: a script many years ago, and those producers reached out 173 00:09:57,520 --> 00:10:00,240 Speaker 1: to be and and wanted to know if I be 174 00:10:00,320 --> 00:10:03,679 Speaker 1: interested in telling the story in whatever way that I 175 00:10:03,720 --> 00:10:08,200 Speaker 1: wanted rooting it in the research and information that Keith 176 00:10:08,240 --> 00:10:13,199 Speaker 1: had provided. They were really supportive of my artistry and 177 00:10:13,360 --> 00:10:15,280 Speaker 1: I when I came to them, I said, listen, the 178 00:10:15,280 --> 00:10:16,839 Speaker 1: only way that I would be interested in making this 179 00:10:16,960 --> 00:10:24,040 Speaker 1: film is if I completely rewrite, rework the scripts, completely 180 00:10:24,080 --> 00:10:26,640 Speaker 1: rewrite it so that this is a story about Mamie's 181 00:10:26,720 --> 00:10:30,320 Speaker 1: journey and and in her fight for justice and her 182 00:10:30,360 --> 00:10:33,160 Speaker 1: emotional journey as a human being, so she is more 183 00:10:33,240 --> 00:10:37,119 Speaker 1: than just breathing mother. And I also told the producers 184 00:10:37,240 --> 00:10:39,920 Speaker 1: I also only want to tell the story if we 185 00:10:39,960 --> 00:10:43,679 Speaker 1: don't see any physical violence inflicted upon black bodies, because 186 00:10:43,679 --> 00:10:47,319 Speaker 1: that is not critical to telling and understanding Mamie's own 187 00:10:47,400 --> 00:10:50,760 Speaker 1: journey that I want to communicate in my version of 188 00:10:50,800 --> 00:10:53,440 Speaker 1: the script. And so all of that the producers are 189 00:10:53,440 --> 00:10:55,600 Speaker 1: completely on board with, you know. And I told them also, 190 00:10:55,640 --> 00:10:57,360 Speaker 1: I want to begin and then the story with joy 191 00:10:57,520 --> 00:11:00,120 Speaker 1: and love, because the story I want to tell is 192 00:11:00,160 --> 00:11:03,320 Speaker 1: also a love story between many and her child. And 193 00:11:03,400 --> 00:11:06,480 Speaker 1: so once they gave me full creative rain to go 194 00:11:06,520 --> 00:11:09,520 Speaker 1: in that direction. Um, I got to work and in 195 00:11:09,640 --> 00:11:13,880 Speaker 1: really understanding and delving into all of the research and 196 00:11:14,280 --> 00:11:16,480 Speaker 1: the work that had been done for the last couple 197 00:11:16,520 --> 00:11:19,000 Speaker 1: of decades, and going to Mississippi and going to Chicago 198 00:11:19,120 --> 00:11:22,520 Speaker 1: and talking to members of Patil family, and then writing 199 00:11:22,640 --> 00:11:25,840 Speaker 1: scripts and directing it amazing. I want to build on 200 00:11:25,880 --> 00:11:29,240 Speaker 1: that because you almost in the way you have have 201 00:11:29,480 --> 00:11:32,679 Speaker 1: told this story give the viewer of the film a 202 00:11:32,720 --> 00:11:36,560 Speaker 1: parallel experience to what the public would have experienced in 203 00:11:36,679 --> 00:11:39,400 Speaker 1: learning about the brutality of Emmett's murder. As you said, 204 00:11:39,440 --> 00:11:42,560 Speaker 1: you you don't show the violence being perpetrated, you show 205 00:11:42,600 --> 00:11:46,600 Speaker 1: the aftermath, um, and this movie so deftly handles that 206 00:11:46,880 --> 00:11:49,880 Speaker 1: very difficult subject matter, particularly at a time when, as 207 00:11:49,920 --> 00:11:52,480 Speaker 1: you said, we see a lot of violence against black bodies, 208 00:11:52,520 --> 00:11:56,360 Speaker 1: particularly black men, and you were so deliberate about what 209 00:11:56,440 --> 00:11:59,240 Speaker 1: you did and did not choose to show. Will you 210 00:11:59,280 --> 00:12:02,920 Speaker 1: talk about those decisions and when you decide to make 211 00:12:02,960 --> 00:12:07,040 Speaker 1: that shift and show us what what had happened? Yeah, 212 00:12:07,160 --> 00:12:09,800 Speaker 1: so I and I'm I'm I'm so happy that you 213 00:12:09,840 --> 00:12:12,080 Speaker 1: were able to point that intention out because that was 214 00:12:12,120 --> 00:12:15,560 Speaker 1: my intention. And when we do fully see and it's 215 00:12:15,559 --> 00:12:18,280 Speaker 1: face and whole body and stay on it. It is 216 00:12:18,320 --> 00:12:21,680 Speaker 1: trying to be an extension of the experience that the 217 00:12:21,760 --> 00:12:25,000 Speaker 1: world would have had those ten thousands of people who 218 00:12:25,040 --> 00:12:27,160 Speaker 1: came to the church in nineteen fifty five to view 219 00:12:27,240 --> 00:12:30,840 Speaker 1: the body. We see audiences watching the film see it 220 00:12:31,000 --> 00:12:34,679 Speaker 1: with them. And so that was definitely a creative decision 221 00:12:34,720 --> 00:12:36,920 Speaker 1: that I wanted to make, And I knew I wanted 222 00:12:36,960 --> 00:12:39,800 Speaker 1: to make UM in pre production when I was planning 223 00:12:40,080 --> 00:12:44,120 Speaker 1: shots with my cinematographer Bobby Dukowski. And also I knew 224 00:12:44,160 --> 00:12:46,760 Speaker 1: that we had to see the body. That is an 225 00:12:46,760 --> 00:12:49,920 Speaker 1: extension of Mamie's decision, and it is honoring her decision 226 00:12:49,920 --> 00:12:52,240 Speaker 1: and a critical part of her story in her fight 227 00:12:52,320 --> 00:12:56,439 Speaker 1: for justice that was also catalyst for the modern civil 228 00:12:56,559 --> 00:12:59,520 Speaker 1: rights movement. But I knew that I needed to do 229 00:12:59,559 --> 00:13:03,840 Speaker 1: it wringly, yes, effectively. I'm glad you mentioned Bobby Bukowski 230 00:13:03,880 --> 00:13:06,040 Speaker 1: because I want to ask a couple of technical questions. 231 00:13:06,440 --> 00:13:10,200 Speaker 1: This movie feels so completely thoughtful in every single frame, 232 00:13:10,240 --> 00:13:15,000 Speaker 1: which isn't surprising if anyone saw clemency in your other work. UM. 233 00:13:15,040 --> 00:13:17,160 Speaker 1: Even the day, the one that jumped out to me 234 00:13:17,240 --> 00:13:19,320 Speaker 1: is the day that Mami says goodbye to Emma at 235 00:13:19,320 --> 00:13:22,080 Speaker 1: the train station, and there's this subtle but very beautiful 236 00:13:22,080 --> 00:13:24,880 Speaker 1: and effective rack focus that shifts from the train to 237 00:13:25,000 --> 00:13:29,280 Speaker 1: Mami and suddenly we are in her story. How carefully 238 00:13:29,320 --> 00:13:31,480 Speaker 1: did you map all of that out ahead of time? 239 00:13:31,760 --> 00:13:35,160 Speaker 1: And those kinds of choices versus letting things shift and 240 00:13:35,200 --> 00:13:38,840 Speaker 1: developed during filming, and you know, through collaborating with Bobby, 241 00:13:39,160 --> 00:13:41,439 Speaker 1: I am so glad you mentioned that. I'm like, okay, 242 00:13:41,520 --> 00:13:45,880 Speaker 1: you are you are noticing my creative choice. Well, they're 243 00:13:45,920 --> 00:13:49,160 Speaker 1: so good. Thank you. Well, I was like, Okay, that 244 00:13:49,280 --> 00:13:50,959 Speaker 1: is what I want. That's why I wanted that rack 245 00:13:51,080 --> 00:13:55,480 Speaker 1: focus right there. Well done. But I am I am 246 00:13:55,600 --> 00:13:58,920 Speaker 1: very intentional with my choices. I'm a meticulous planner. I 247 00:13:59,040 --> 00:14:01,760 Speaker 1: usually think, I really it's story first. So I'm like, 248 00:14:01,800 --> 00:14:04,080 Speaker 1: what is the story that I'm telling? Who's perspective is this? 249 00:14:04,200 --> 00:14:06,440 Speaker 1: Whose story is it? What are the what is going 250 00:14:06,480 --> 00:14:08,280 Speaker 1: on underneath the words? And you know, I'm part of 251 00:14:08,320 --> 00:14:10,600 Speaker 1: my job as a director to bring out the subtexts, 252 00:14:10,800 --> 00:14:13,360 Speaker 1: and so how can what is the visual language that 253 00:14:13,440 --> 00:14:16,520 Speaker 1: I can create to communicate that subtext? What are gonna 254 00:14:16,559 --> 00:14:19,080 Speaker 1: be my visual kind of rules or visual palette for 255 00:14:19,280 --> 00:14:22,400 Speaker 1: this film? And so I take some time with myself 256 00:14:22,440 --> 00:14:26,280 Speaker 1: to really be clear about that and develop framing compositional 257 00:14:26,680 --> 00:14:30,840 Speaker 1: intentions and also camera movement intentions and motifs as well. 258 00:14:31,400 --> 00:14:33,600 Speaker 1: And then I share I talked with Bobby about all 259 00:14:33,640 --> 00:14:35,760 Speaker 1: of this, and and I, like I said, I am 260 00:14:35,760 --> 00:14:38,760 Speaker 1: a meticulous planner, Bobby, and I will really go in 261 00:14:38,840 --> 00:14:43,000 Speaker 1: with such a concrete plan about how we want what 262 00:14:43,200 --> 00:14:45,600 Speaker 1: is the first what is it that this scene is about, 263 00:14:46,280 --> 00:14:48,360 Speaker 1: and how does that tide to the visual language that 264 00:14:48,400 --> 00:14:51,800 Speaker 1: we are want to shoot. So and that meticulous as 265 00:14:51,840 --> 00:14:55,360 Speaker 1: a planner, so I can let it all go when 266 00:14:55,360 --> 00:14:57,840 Speaker 1: we are on set because as I'm sure you know, 267 00:14:58,400 --> 00:15:02,360 Speaker 1: a million things go wrong day to day when you're 268 00:15:02,360 --> 00:15:06,560 Speaker 1: shooting a film and so um, but what I get 269 00:15:06,600 --> 00:15:09,320 Speaker 1: so clear with myself about what it is I'm trying 270 00:15:09,320 --> 00:15:12,480 Speaker 1: to communicate, so then when I need to pivot, it's 271 00:15:12,520 --> 00:15:17,080 Speaker 1: still rooted in the story that I'm trying to tell 272 00:15:17,280 --> 00:15:19,840 Speaker 1: and the general kind of visual rules that I or 273 00:15:19,960 --> 00:15:22,640 Speaker 1: visual palette that I'm setting for the film. So a 274 00:15:22,640 --> 00:15:26,720 Speaker 1: classic example of being prepared but letting it go is 275 00:15:27,120 --> 00:15:30,480 Speaker 1: when we shot the scene where Mamie testifies the original 276 00:15:30,520 --> 00:15:32,960 Speaker 1: plan was to have eight or nine shots eight or 277 00:15:33,040 --> 00:15:36,440 Speaker 1: nine setups excuse me, eight or nine setups, and all 278 00:15:36,520 --> 00:15:39,720 Speaker 1: of those setups were to communicate what I believed was 279 00:15:40,400 --> 00:15:45,760 Speaker 1: what what what communicate Mamie's emotional experience testifying, to communicate 280 00:15:45,840 --> 00:15:49,040 Speaker 1: all of the gazes that are pressed upon her and 281 00:15:49,080 --> 00:15:52,160 Speaker 1: become more and more almost kind of suffocating, and also 282 00:15:52,320 --> 00:15:57,240 Speaker 1: to communicate her evolution of emotional moments and complexities in 283 00:15:57,320 --> 00:16:00,000 Speaker 1: real time. And so I had eight or nine setup 284 00:16:00,200 --> 00:16:04,920 Speaker 1: plans for that. The first set up was generally the 285 00:16:04,920 --> 00:16:08,280 Speaker 1: shot that was in the film UM, and and we 286 00:16:08,400 --> 00:16:10,440 Speaker 1: shot that will take of it and I was like, 287 00:16:10,480 --> 00:16:18,080 Speaker 1: oh damn. Not only was the performance incredible, um, but 288 00:16:18,160 --> 00:16:21,120 Speaker 1: it was also on the spot. I was like, Okay, 289 00:16:21,320 --> 00:16:24,560 Speaker 1: if we adjust the camera movement here, if we build 290 00:16:24,600 --> 00:16:27,160 Speaker 1: in the wrath focus, if we move around her here 291 00:16:27,400 --> 00:16:30,040 Speaker 1: at this moment of the of the of what she's say, 292 00:16:30,040 --> 00:16:32,760 Speaker 1: and if we if we bring in the hands, the ring, 293 00:16:32,840 --> 00:16:35,480 Speaker 1: the photos of the lawyers into the phrase, so that 294 00:16:35,520 --> 00:16:38,320 Speaker 1: we are clear about spatial relationships and the world that 295 00:16:38,400 --> 00:16:42,640 Speaker 1: exists beyond the frame, this one or can communicate all 296 00:16:42,680 --> 00:16:44,800 Speaker 1: of the things that Bobby and I wanted to communicate 297 00:16:44,840 --> 00:16:48,000 Speaker 1: through those eight or nine setups. And so we did 298 00:16:48,040 --> 00:16:50,720 Speaker 1: six takes, so we can continue to adjust the adjust 299 00:16:50,720 --> 00:16:53,440 Speaker 1: the camera work and build the wrath focus and the 300 00:16:53,480 --> 00:16:56,800 Speaker 1: framing and the composition and really get it right. And 301 00:16:57,640 --> 00:17:01,360 Speaker 1: six take was what was in the film. It's incredibly powerful, 302 00:17:01,480 --> 00:17:04,879 Speaker 1: So hats off to you for seeing that. So we 303 00:17:05,040 --> 00:17:08,000 Speaker 1: have more of my chat with Chinoya, but first we 304 00:17:08,080 --> 00:17:10,440 Speaker 1: will pause to hear from the sponsors who keep stuff 305 00:17:10,440 --> 00:17:22,679 Speaker 1: you missed in history class. Going jumping back into Holly's 306 00:17:22,720 --> 00:17:26,040 Speaker 1: conversation with Genoa. First, she's going to talk about the 307 00:17:26,160 --> 00:17:30,040 Speaker 1: visual motif of reflections in this film, and also about 308 00:17:30,160 --> 00:17:33,960 Speaker 1: portraying the civil rights movement as well as Mamie's story. 309 00:17:34,840 --> 00:17:38,200 Speaker 1: There is one of their little technical storytelling thing at 310 00:17:38,240 --> 00:17:40,320 Speaker 1: play in your motifs that I want to ask about, 311 00:17:40,359 --> 00:17:44,879 Speaker 1: in part for my own curiosity. You use reflections and 312 00:17:45,000 --> 00:17:49,199 Speaker 1: mirrors at so many key moments in this film, and 313 00:17:49,280 --> 00:17:51,879 Speaker 1: I would love for you to talk about this idea 314 00:17:51,920 --> 00:17:56,159 Speaker 1: of reflection and seeing people from different angles simultaneously and 315 00:17:56,280 --> 00:17:59,119 Speaker 1: how you're using that in the narrative. Yes, well, I 316 00:17:59,240 --> 00:18:01,560 Speaker 1: use in a different ways. I mean, it has it 317 00:18:01,640 --> 00:18:04,920 Speaker 1: has different meanings, but it's definitely a consistent visual motif. 318 00:18:05,040 --> 00:18:10,560 Speaker 1: Fet Bobby and I we're intentional about using and part 319 00:18:10,600 --> 00:18:13,760 Speaker 1: of it is exploring this idea of you know, when 320 00:18:13,760 --> 00:18:16,000 Speaker 1: we're looking at the scene between Mamie and Gene, when 321 00:18:16,000 --> 00:18:20,320 Speaker 1: Mami's visits Gene and the barber shop, she is actively 322 00:18:21,160 --> 00:18:26,400 Speaker 1: um suppressing or avoiding what her real anxieties are, and 323 00:18:26,480 --> 00:18:29,879 Speaker 1: she's using the trip as a way to as a 324 00:18:29,920 --> 00:18:32,960 Speaker 1: way to try to avoid that. And so there's an 325 00:18:33,400 --> 00:18:36,679 Speaker 1: there's an inauthenticity that she's presenting to Gene in that moment, 326 00:18:37,080 --> 00:18:39,680 Speaker 1: and so that's part of what's informed what informed the 327 00:18:40,000 --> 00:18:42,879 Speaker 1: decision that Bobby and I made to use reflections there 328 00:18:43,240 --> 00:18:45,560 Speaker 1: where they're talking to each other, but they're not really 329 00:18:46,000 --> 00:18:49,600 Speaker 1: in an in an authentic space until the camera moves 330 00:18:49,640 --> 00:18:52,320 Speaker 1: off of the mirror and we go to their actual 331 00:18:52,440 --> 00:18:56,200 Speaker 1: faces and Mamie it's is finally it comes clean and 332 00:18:56,280 --> 00:18:58,800 Speaker 1: admits what her truth is, what her emotional truth is 333 00:18:58,840 --> 00:19:02,200 Speaker 1: in that moment. So it's sometimes reflections are too, are 334 00:19:02,359 --> 00:19:07,000 Speaker 1: used to communicate the preventational self versus the real self. 335 00:19:07,200 --> 00:19:10,840 Speaker 1: You know, um and you know and so, and there 336 00:19:10,840 --> 00:19:14,800 Speaker 1: are other times where we use reflections as parallels between 337 00:19:14,880 --> 00:19:18,399 Speaker 1: many and Emmett. It's so effective and it it's um 338 00:19:18,440 --> 00:19:21,480 Speaker 1: to me like being able to see someone speaking their 339 00:19:21,800 --> 00:19:25,840 Speaker 1: line with two very different shots of them going on simultaneously. Essentially, 340 00:19:26,480 --> 00:19:29,760 Speaker 1: it was so good. I want to also just talk 341 00:19:29,800 --> 00:19:32,000 Speaker 1: about the fact that you are I mean, we're a 342 00:19:32,080 --> 00:19:35,959 Speaker 1: history podcast, but you're you're building a piece of media 343 00:19:36,080 --> 00:19:39,640 Speaker 1: that is centered around history that is really well documented 344 00:19:39,720 --> 00:19:43,159 Speaker 1: and has been certainly discussed a lot, at least in 345 00:19:43,200 --> 00:19:46,680 Speaker 1: history circles. I my understanding is that if you remember 346 00:19:46,720 --> 00:19:49,359 Speaker 1: the black community, you know this story, but growing up 347 00:19:49,359 --> 00:19:50,879 Speaker 1: as a white kid, I didn't hear it until I 348 00:19:50,880 --> 00:19:55,280 Speaker 1: was an adult. Um, but there is so much, like 349 00:19:55,320 --> 00:19:59,080 Speaker 1: I said, history and documentation here. What was your biggest 350 00:19:59,160 --> 00:20:02,480 Speaker 1: challenge or the this part in adapting all of that 351 00:20:02,560 --> 00:20:06,760 Speaker 1: material into script form to tell this narrative in a 352 00:20:06,800 --> 00:20:11,399 Speaker 1: pretty tight and clean story. Well, once I made the 353 00:20:11,440 --> 00:20:14,760 Speaker 1: decision to tell the story from Mamie's point of view 354 00:20:15,000 --> 00:20:18,000 Speaker 1: and her you know, her emotional and narrative point of view, 355 00:20:18,680 --> 00:20:22,760 Speaker 1: then it became easier for me to start to make 356 00:20:22,840 --> 00:20:28,919 Speaker 1: the decision about what information to keep in and what 357 00:20:29,040 --> 00:20:31,560 Speaker 1: to keep out because we either need Mayne either need 358 00:20:31,640 --> 00:20:33,280 Speaker 1: to know about it or we need to discover it 359 00:20:33,320 --> 00:20:36,119 Speaker 1: with her, you know, in order to keep the story 360 00:20:36,160 --> 00:20:41,280 Speaker 1: focused on our protagonists. And so that was a creative 361 00:20:41,359 --> 00:20:45,240 Speaker 1: challenge that was very that was very welcoming because it 362 00:20:45,880 --> 00:20:48,680 Speaker 1: really helps me focus the story that I wanted to tell. 363 00:20:48,960 --> 00:20:51,359 Speaker 1: But there is so much information, you know, and I 364 00:20:51,480 --> 00:20:54,520 Speaker 1: knew that, Okay, this is going to be a film 365 00:20:54,640 --> 00:20:57,480 Speaker 1: that will I mean, people think that they know the story, 366 00:20:57,520 --> 00:20:59,480 Speaker 1: but they really don't, you know. I think that there 367 00:20:59,520 --> 00:21:03,879 Speaker 1: are people who know in general what happened to Emmit Till, 368 00:21:04,200 --> 00:21:06,960 Speaker 1: but I don't think people really know and understand who 369 00:21:06,960 --> 00:21:09,159 Speaker 1: made me Till Mowgli was on the journey that she 370 00:21:09,240 --> 00:21:12,760 Speaker 1: went on. And so I hope that this film can 371 00:21:12,840 --> 00:21:15,880 Speaker 1: begin to provide that understanding and that information and then 372 00:21:16,080 --> 00:21:19,560 Speaker 1: and then people can go and further their their education 373 00:21:19,680 --> 00:21:24,480 Speaker 1: about this story and discover more some some information that 374 00:21:24,520 --> 00:21:27,120 Speaker 1: I did not include in the film, because there's so 375 00:21:27,200 --> 00:21:29,400 Speaker 1: much to this story. There's so much you can learn, 376 00:21:29,440 --> 00:21:31,560 Speaker 1: so so much more. You can learn about Dr t 377 00:21:31,760 --> 00:21:35,560 Speaker 1: R and Howard and Medger Evers and merely Evers exceptally etcetera, etcetera. 378 00:21:36,000 --> 00:21:38,240 Speaker 1: You know, and I'm glad you mentioned them because this 379 00:21:38,320 --> 00:21:42,280 Speaker 1: is also really even though it is primarily a film 380 00:21:42,320 --> 00:21:46,680 Speaker 1: about maybe, we see so many kind of key figures 381 00:21:46,680 --> 00:21:49,440 Speaker 1: in the civil rights movement at a time before they 382 00:21:49,440 --> 00:21:52,879 Speaker 1: were really known as that. How careful did you have 383 00:21:52,960 --> 00:21:57,639 Speaker 1: to be with including those very important figures and and 384 00:21:57,760 --> 00:22:00,720 Speaker 1: these you know, kind of key moments without it clouding 385 00:22:00,760 --> 00:22:05,120 Speaker 1: mamie story. The key for me was as long as 386 00:22:05,160 --> 00:22:11,080 Speaker 1: it ties to Mamie's journey in the narrative, you know, 387 00:22:11,840 --> 00:22:15,840 Speaker 1: So we the audience are introduced at med Girth, when me, 388 00:22:16,160 --> 00:22:19,000 Speaker 1: when Mamie is introduced to med Girth and and Merley 389 00:22:19,119 --> 00:22:22,000 Speaker 1: and dr To, like, we are meeting these people as 390 00:22:22,080 --> 00:22:25,639 Speaker 1: Mamie is meeting them, you know, and learning more about 391 00:22:25,720 --> 00:22:28,679 Speaker 1: them as Mamie is learning more about them. So I 392 00:22:28,800 --> 00:22:32,120 Speaker 1: knew from a narrative perspective, as long as we are 393 00:22:32,160 --> 00:22:36,639 Speaker 1: discovering or learning or receiving these different people in the 394 00:22:36,720 --> 00:22:41,000 Speaker 1: lives that they're living with many than that, Keith. I 395 00:22:41,080 --> 00:22:43,879 Speaker 1: want to ask you also in terms of preparation, I 396 00:22:43,920 --> 00:22:48,399 Speaker 1: know you did a boatload of research. Um, what was 397 00:22:48,560 --> 00:22:54,280 Speaker 1: your expectation of your actors going in, Like, how how 398 00:22:54,400 --> 00:22:57,959 Speaker 1: much did you guide their research process versus letting them 399 00:22:58,040 --> 00:23:01,159 Speaker 1: discover things for themselves? How much of this was a 400 00:23:01,880 --> 00:23:05,320 Speaker 1: school event for them as well? Because even if you 401 00:23:05,359 --> 00:23:07,480 Speaker 1: know the story as you said, there are so many 402 00:23:07,600 --> 00:23:11,600 Speaker 1: pieces of nuance and and details that aren't always told. 403 00:23:12,000 --> 00:23:14,720 Speaker 1: So I'm really wondering what that process is like. Yeah, 404 00:23:14,760 --> 00:23:18,040 Speaker 1: I mean everybody needed to get an education. And so 405 00:23:18,920 --> 00:23:23,119 Speaker 1: starting with Danielle, we were able. We spent months of 406 00:23:23,720 --> 00:23:26,639 Speaker 1: you know, her learning a lot of you know, the 407 00:23:26,880 --> 00:23:30,040 Speaker 1: decades of research that has already been done by the producers, 408 00:23:30,400 --> 00:23:32,520 Speaker 1: you know, and her catching up on that information and 409 00:23:32,600 --> 00:23:37,520 Speaker 1: absorbing everything. And then we really went through every single 410 00:23:37,560 --> 00:23:41,560 Speaker 1: beak of the script, every single emotional beat of the script, 411 00:23:42,000 --> 00:23:45,760 Speaker 1: multiple times, and then we discussed everything as it relates 412 00:23:45,960 --> 00:23:49,840 Speaker 1: to the historical facts and information and go so as 413 00:23:50,000 --> 00:23:52,840 Speaker 1: as she would research and I would continue to research, 414 00:23:53,040 --> 00:23:57,040 Speaker 1: will always tie that research back to the script and 415 00:23:57,080 --> 00:23:59,439 Speaker 1: I and and so with Danielle, because she is the 416 00:23:59,520 --> 00:24:03,000 Speaker 1: center of the film, that process took months, right and 417 00:24:03,040 --> 00:24:04,800 Speaker 1: then the other actors it was it was a more 418 00:24:04,840 --> 00:24:09,600 Speaker 1: truncated time, but everybody, including Jalen, including all of the 419 00:24:09,640 --> 00:24:15,119 Speaker 1: boys and everybody had it was it was mandatory that 420 00:24:15,560 --> 00:24:19,399 Speaker 1: they are provided with the research and the information and 421 00:24:19,480 --> 00:24:22,879 Speaker 1: that we can I pushed them towards discovering things on 422 00:24:22,920 --> 00:24:25,760 Speaker 1: their own. So and there was actually um I had 423 00:24:25,800 --> 00:24:30,040 Speaker 1: a database of research and information UM and and books 424 00:24:30,119 --> 00:24:35,480 Speaker 1: and videos and transcripts and interview transcripts and court transcripts. 425 00:24:35,560 --> 00:24:37,680 Speaker 1: I had a database of that that I provided for 426 00:24:37,720 --> 00:24:40,719 Speaker 1: every single cast member and crew member. You're like a 427 00:24:40,760 --> 00:24:43,600 Speaker 1: professor of history. Well, I've been a film processor for 428 00:24:43,640 --> 00:24:48,360 Speaker 1: ten years, so now you can expand to them your 429 00:24:48,840 --> 00:24:53,600 Speaker 1: multidimensional You have many many curriculum options available. Thank you 430 00:24:53,640 --> 00:24:56,080 Speaker 1: so much for spending time with me, but also for 431 00:24:56,160 --> 00:25:00,960 Speaker 1: telling this incredible story with just such incredible air and nuance. 432 00:25:01,040 --> 00:25:04,160 Speaker 1: It's really quite something you've accomplished, and I can't thank 433 00:25:04,200 --> 00:25:07,240 Speaker 1: you enough. Thank you so much. I appreciate talking with you. 434 00:25:08,200 --> 00:25:11,760 Speaker 1: It was truly, truly such a delight talking with Jalen 435 00:25:12,160 --> 00:25:14,680 Speaker 1: and Sinoia, and it was so much fun to talk 436 00:25:14,720 --> 00:25:18,480 Speaker 1: to creative people about how they tell this important story 437 00:25:18,520 --> 00:25:21,760 Speaker 1: from history. I am sure you enjoyed those chats as 438 00:25:21,840 --> 00:25:26,679 Speaker 1: much as I did, uh, particularly hearing Chinoya talk about 439 00:25:26,720 --> 00:25:29,960 Speaker 1: how important it is to also include joy in the film. 440 00:25:30,040 --> 00:25:32,200 Speaker 1: I'm sure we will be talking some more about our 441 00:25:32,600 --> 00:25:36,640 Speaker 1: personal thoughts on Friday in our behind scenes. Until then, 442 00:25:36,680 --> 00:25:39,520 Speaker 1: Till is now playing in select theaters and it will 443 00:25:39,560 --> 00:25:44,400 Speaker 1: be opening widely in the US on October. I hope 444 00:25:44,440 --> 00:25:49,080 Speaker 1: you see it in the meantime, Do you like to 445 00:25:49,119 --> 00:25:53,880 Speaker 1: talk about listener mail? Sure? And I picked this one 446 00:25:54,040 --> 00:25:56,840 Speaker 1: because it actually kind of dove tails nicely on something 447 00:25:56,880 --> 00:26:00,119 Speaker 1: that Chinoia was talking about, where you know she you 448 00:26:00,200 --> 00:26:04,840 Speaker 1: mentioned in her interview how thoroughly she essentially laid out 449 00:26:04,840 --> 00:26:07,240 Speaker 1: a curriculum for the people that were working on the movie, 450 00:26:07,320 --> 00:26:10,480 Speaker 1: and how she had a database of, like basically every 451 00:26:10,640 --> 00:26:13,359 Speaker 1: resource they could possibly need or want to turn to 452 00:26:13,359 --> 00:26:16,800 Speaker 1: to get more information about their characters in the context 453 00:26:16,840 --> 00:26:20,200 Speaker 1: of the film. Uh. And so I thought it would 454 00:26:20,240 --> 00:26:23,240 Speaker 1: be also fun to talk about another person doing a 455 00:26:23,280 --> 00:26:26,560 Speaker 1: similar thing. This is from our listener Lindsay, who is 456 00:26:26,600 --> 00:26:29,960 Speaker 1: writing about how she put together a history curriculum for 457 00:26:30,040 --> 00:26:33,000 Speaker 1: her daughter. She says, although I have listened to the 458 00:26:33,000 --> 00:26:35,880 Speaker 1: podcast for years, I have never had occasion to write 459 00:26:35,880 --> 00:26:39,320 Speaker 1: in until now. I homeschool my three kids, and my 460 00:26:39,440 --> 00:26:42,160 Speaker 1: ninth grade daughter is not enjoying the curriculum I chose 461 00:26:42,160 --> 00:26:45,880 Speaker 1: for American History this year. Since she enjoys learning through listening, 462 00:26:46,000 --> 00:26:49,480 Speaker 1: I decided to design my own curriculum based on your podcast. 463 00:26:50,000 --> 00:26:53,240 Speaker 1: I assembled the list chronologically, listing the episodes based on 464 00:26:53,280 --> 00:26:55,960 Speaker 1: the timeline of events, and I found it so interesting 465 00:26:56,040 --> 00:26:59,040 Speaker 1: to review the progression of history simply by looking at 466 00:26:59,080 --> 00:27:01,879 Speaker 1: the episode title. While I rounded out the list with 467 00:27:01,920 --> 00:27:04,320 Speaker 1: a few other podcasts, stuff you missed in history makes 468 00:27:04,320 --> 00:27:06,080 Speaker 1: the bulk of the list. And since I know from 469 00:27:06,119 --> 00:27:10,520 Speaker 1: experience that you both present a straightforward, unbiased presentation of history, 470 00:27:10,760 --> 00:27:13,400 Speaker 1: I'm confident my daughter will gain a fairly comprehensive look 471 00:27:13,440 --> 00:27:15,919 Speaker 1: at American history. Thank you both for the time and 472 00:27:15,960 --> 00:27:18,520 Speaker 1: research you put into filling each episode with interesting and 473 00:27:18,520 --> 00:27:22,160 Speaker 1: illuminating facts and information. Your voices weekly enter our home, 474 00:27:22,320 --> 00:27:24,720 Speaker 1: and we all enjoy the history you present. I know 475 00:27:24,880 --> 00:27:26,760 Speaker 1: you both have a love of cats, and I thought 476 00:27:26,800 --> 00:27:29,680 Speaker 1: I would introduce you to the joy kittens and pigmy goats. 477 00:27:30,000 --> 00:27:33,280 Speaker 1: We raise and sell goats and we find their personalities hilarious. 478 00:27:33,680 --> 00:27:36,280 Speaker 1: This spring, a goat with a disability was born. We 479 00:27:36,359 --> 00:27:38,760 Speaker 1: thought we would keep him comfortable until he passed, but 480 00:27:38,920 --> 00:27:41,720 Speaker 1: lo and behold, at twelve hours of age, he stood 481 00:27:41,760 --> 00:27:44,639 Speaker 1: up and then he walked. Since he was only able 482 00:27:44,800 --> 00:27:47,200 Speaker 1: to turn right in the first days learning how to walk, 483 00:27:47,240 --> 00:27:50,600 Speaker 1: he earned the Moniker r T Right turn. Ralph Urt 484 00:27:50,840 --> 00:27:53,480 Speaker 1: traveled to all the spring baseball games and lived in 485 00:27:53,480 --> 00:27:55,119 Speaker 1: the house until he was big enough to go to 486 00:27:55,119 --> 00:27:57,800 Speaker 1: the barn. He will never be fully capable, as his 487 00:27:57,960 --> 00:28:00,800 Speaker 1: twisted little body prevents him from participate hating in regular 488 00:28:00,840 --> 00:28:03,600 Speaker 1: goat activities. But he's sweet and we love him. I 489 00:28:03,640 --> 00:28:05,960 Speaker 1: hope you enjoy the pictures. I think there's nothing cuter 490 00:28:06,320 --> 00:28:08,520 Speaker 1: than a kitten with a goat. I think you may 491 00:28:08,600 --> 00:28:14,240 Speaker 1: be correct. There's one picture of these two gorgeous kittens 492 00:28:14,320 --> 00:28:20,800 Speaker 1: with this adorable the listen. Ralph's little face is a 493 00:28:20,920 --> 00:28:22,920 Speaker 1: danger to me, like I will think about his little 494 00:28:22,920 --> 00:28:24,960 Speaker 1: face all the time in a good way. When I 495 00:28:25,000 --> 00:28:26,879 Speaker 1: say it's a danger, I mean I'm obsessed with him. 496 00:28:27,240 --> 00:28:29,320 Speaker 1: Uh so cute. So thank you, thank you, thank you. 497 00:28:29,400 --> 00:28:32,479 Speaker 1: This is just a beautiful thing. And um, thank you 498 00:28:32,600 --> 00:28:35,480 Speaker 1: for uh you know, letting us be part of your 499 00:28:35,520 --> 00:28:37,800 Speaker 1: kid's education. That's a huge honor. And I hope we 500 00:28:37,840 --> 00:28:43,360 Speaker 1: do justice. I wouldn't say I'm always unbiased, though. If 501 00:28:43,440 --> 00:28:45,840 Speaker 1: you would like to write to us you can also 502 00:28:45,920 --> 00:28:48,200 Speaker 1: do so. You can do that at History Podcast at 503 00:28:48,240 --> 00:28:50,640 Speaker 1: i heeart radio dot com. You can also find us 504 00:28:50,640 --> 00:28:53,000 Speaker 1: on social media as missed in History, And if you'd 505 00:28:53,000 --> 00:28:55,360 Speaker 1: like to subscribe and have not yet, you can do 506 00:28:55,360 --> 00:28:57,480 Speaker 1: that on the I heart Radio app, or wherever you 507 00:28:57,520 --> 00:29:05,200 Speaker 1: listen to podcasts. M Stuff you Missed in History Class 508 00:29:05,240 --> 00:29:08,320 Speaker 1: is a production of I heart Radio. For more podcasts 509 00:29:08,360 --> 00:29:10,720 Speaker 1: from I heart Radio, visit the I heart Radio app, 510 00:29:10,840 --> 00:29:14,000 Speaker 1: Apple podcasts, or wherever you listen to your favorite shows. 511 00:29:18,080 --> 00:29:18,120 Speaker 1: H