
English: 
♪ [THEME MUSIC] ♪
>>> HELLO.
THANKS SO MUCH FOR JOINING
US TODAY. I'M CAROL JENKINS, THE
PROGRAM IS "BLACK AMERICA."
OUR GUEST TODAY HAS 
PROFILED TWO OF THE MOST 
INTRIGUING BLACK WOMEN OF 
OUR TIME.
WE'RE DELIGHTED TO TALK 
WITH CELEBRATED FILM 
DIRECTOR SHOLA LYNCH,
CREATOR OF THE SHIRLEY 
CHISHOLM DOCUMENTARY, 
"CHISHOLM '72: UNBOUGHT 
AND UNBOSSED" AND THE 
ANGELA DAVIS DOCUMENTARY,
"FREE ANGELA AND ALL POLITICAL 
PRISIONERS."
SHOLA IS ALSO CURATOR OF THE 
SCHOMBURG LIBRARY'S MOVING
IMAGE AND RECORDED SOUND
DEPARTMENT AND WE ARE 

English: 
♪ [THEME MUSIC] ♪
>>> HELLO.
THANKS SO MUCH FOR JOINING
US TODAY. I'M CAROL JENKINS, THE
PROGRAM IS "BLACK AMERICA."
OUR GUEST TODAY HAS 
PROFILED TWO OF THE MOST 
INTRIGUING BLACK WOMEN OF 
OUR TIME.
WE'RE DELIGHTED TO TALK 
WITH CELEBRATED FILM 
DIRECTOR SHOLA LYNCH,
CREATOR OF THE SHIRLEY 
CHISHOLM DOCUMENTARY, 
"CHISHOLM '72: UNBOUGHT 
AND UNBOSSED" AND THE 
ANGELA DAVIS DOCUMENTARY,
"FREE ANGELA AND ALL POLITICAL 
PRISIONERS."
SHOLA IS ALSO CURATOR OF THE 
SCHOMBURG LIBRARY'S MOVING
IMAGE AND RECORDED SOUND
DEPARTMENT AND WE ARE 

English: 
EAGER TO HEAR ALL ABOUT THAT,
AND EVERYTHING.
SHOLA, THANKS SO MUCH-
>> THANK YOU FOR INVITING ME.
>> FOR BEING HERE TODAY. 
YOU KNOW, YOU'RE A TRUE
RENAISSANCE WOMAN.
I'M LIKE -- I CAN'T WAIT 
FOR THE ANSWER TO THIS 
BECAUSE WE START OFF BY 
SAYING PLACE YOURSELF IN 
BLACK AMERICA.
WHAT WAS YOUR EARLY LIFE 
LIKE?
YOU WERE THE RENAISSANCE 
CHILD OF AMERICA.
YOU DID EVERYTHING. 
>> YOU KNOW, YES.
GROWING UP IN THE '70s IT 
WAS FREE TO BE YOU AND ME.
IN SOME SENSES I CAME TO 
MY BLACKNESS LATER.
BUT I CONSIDER MYSELF AMERICAN,
TRINIDADIAN, WELL, TOBAGONIAN-
>> YES, TOBAGO. RIGHT.
>> EXACTLY. AND I THINK OF
MYSELF AS A PERSION WHO IS
PART OF THE DIASPORA. 
>> SO THE INFLUENCES, 
BECAUSE WE KNOW YOU AS THIS
QUOTE CELEBRATED FILM 
DIRECTOR, BUT YOUR LIFE 
STARTED OFF, YOU WERE A 
CHILD PRODIGY ATHLETICALLY.
TALK TO US ABOUT THAT. 
>> YOU KNOW, MY PARENTS 
WERE ALWAYS ENCOURAGING US
TO LIKE GO OUT THERE AND 
TRY NEW THINGS AND I 
DISCOVERED TRACK.

English: 
EAGER TO HEAR ALL ABOUT THAT,
AND EVERYTHING.
SHOLA, THANKS SO MUCH-
>> THANK YOU FOR INVITING ME.
>> FOR BEING HERE TODAY. 
YOU KNOW, YOU'RE A TRUE
RENAISSANCE WOMAN.
I'M LIKE -- I CAN'T WAIT 
FOR THE ANSWER TO THIS 
BECAUSE WE START OFF BY 
SAYING PLACE YOURSELF IN 
BLACK AMERICA.
WHAT WAS YOUR EARLY LIFE 
LIKE?
YOU WERE THE RENAISSANCE 
CHILD OF AMERICA.
YOU DID EVERYTHING. 
>> YOU KNOW, YES.
GROWING UP IN THE '70s IT 
WAS FREE TO BE YOU AND ME.
IN SOME SENSES I CAME TO 
MY BLACKNESS LATER.
BUT I CONSIDER MYSELF AMERICAN,
TRINIDADIAN, WELL, TOBAGONIAN-
>> YES, TOBAGO. RIGHT.
>> EXACTLY. AND I THINK OF
MYSELF AS A PERSION WHO IS
PART OF THE DIASPORA. 
>> SO THE INFLUENCES, 
BECAUSE WE KNOW YOU AS THIS
QUOTE CELEBRATED FILM 
DIRECTOR, BUT YOUR LIFE 
STARTED OFF, YOU WERE A 
CHILD PRODIGY ATHLETICALLY.
TALK TO US ABOUT THAT. 
>> YOU KNOW, MY PARENTS 
WERE ALWAYS ENCOURAGING US
TO LIKE GO OUT THERE AND 
TRY NEW THINGS AND I 
DISCOVERED TRACK.

English: 
I GOT REALLY GOOD AT IT.
I BROKE MY FIRST NATIONAL 
RECORD AT THE AGE OF 14.
IT WAS SO SATISFYING AND 
IT WAS --
>> THIS IS RUNNING NOW, THE 400 
AND THE 800 --
>> THE 800.
I RAN THE 800 IN 2 MINUTES
AND 7 SECONDS AT 14.
IT WAS A SPECTACULAR 
FEELING TO LEARN HOW TO BE
A CHAMPION AND BY THAT, 
LEARN HOW TO LOSE AND TO WIN.
AND TO SET GOALS OVER TIME
AND TO WORK TOWARDS 
ACHIEVING THEM.
IT WAS INSTRUMENTAL IN 
EVERYTHING I HAVE DONE. 
>> AND YOU WERE PREPPING 
FOR THE OLYMPICS. 
>> YES.
SO RIGHT.
I'M A FAILED OLYMPIAN.
BUT A RENAISSANCE WOMAN, 
YOU GO DOWN THE PATH AND 
SOMETIMES IT TAKES YOU 
SOMEPLACE ELSE. 
>> RIGHT. RIGHT.
BUT YOU HAD AN INJURY THEN
THAT KEPT YOU OUT OF THE 
OLYMPICS BUT THEN YOU 
DECIDED -- WENT ON TO 
COLLEGE, DECIDED YOU 
WANTED TO BE AN ARTIST.
SO THAT WAS A WHOLE NEW 
CAREER.
TALK TO US ABOUT THAT. 
>> SURE.

English: 
I GOT REALLY GOOD AT IT.
I BROKE MY FIRST NATIONAL 
RECORD AT THE AGE OF 14.
IT WAS SO SATISFYING AND 
IT WAS --
>> THIS IS RUNNING NOW, THE 400 
AND THE 800 --
>> THE 800.
I RAN THE 800 IN 2 MINUTES
AND 7 SECONDS AT 14.
IT WAS A SPECTACULAR 
FEELING TO LEARN HOW TO BE
A CHAMPION AND BY THAT, 
LEARN HOW TO LOSE AND TO WIN.
AND TO SET GOALS OVER TIME
AND TO WORK TOWARDS 
ACHIEVING THEM.
IT WAS INSTRUMENTAL IN 
EVERYTHING I HAVE DONE. 
>> AND YOU WERE PREPPING 
FOR THE OLYMPICS. 
>> YES.
SO RIGHT.
I'M A FAILED OLYMPIAN.
BUT A RENAISSANCE WOMAN, 
YOU GO DOWN THE PATH AND 
SOMETIMES IT TAKES YOU 
SOMEPLACE ELSE. 
>> RIGHT. RIGHT.
BUT YOU HAD AN INJURY THEN
THAT KEPT YOU OUT OF THE 
OLYMPICS BUT THEN YOU 
DECIDED -- WENT ON TO 
COLLEGE, DECIDED YOU 
WANTED TO BE AN ARTIST.
SO THAT WAS A WHOLE NEW 
CAREER.
TALK TO US ABOUT THAT. 
>> SURE.

English: 
I RAN TRACK IN COLLEGE AT 
THE UNIVERSITY OF TEXAS.
I WAS PROUD TO BE A LADY 
LONG HORN. 
>> OKAY. 
>> I WAS TEAM CAPTAIN.
WE WON NATIONALS. YOU KNOW?
IT WAS THE FULL EXPERIENCE
AND I EVEN RAN FOR 
FOOTLOCKER AFTER COLLEGE.
BUT IT WAS IN COLLEGE THAT
I DISCOVERED MY LOVE OF 
STORY AND OF HISTORY AND 
WAS REALLY INTERESTED IN 
FINDING MYSELF IN IT.
BECAUSE THE NARRATIVE I 
HAD OF AMERICAN HISTORY, 
BLACK WOMEN DIDN'T ENTER 
REALLY. 
>> DIDN'T EXIST. 
>> EXACTLY.
AND BLACKNESS WAS VERY 
NEGATIVE.
TERRIBLE THINGS HAPPENED 
TO US, WE ENDURED.
AND PROTESTED PEACEFULLY.
THAT'S NOT EXACTLY --
>> RIGHT.
AND NEVER GOT ANGRY. 
>> NEVER GOT ANGRY.
AND NEVER CREATED CHANGE 
AND NEVER HAD AGENCY IN 
OUR LIVES AND I SUPPOSE 
THE VERY BIG PICTURE OF 
THAT'S TRUE, BUT THAT'S 
NOT TRUE WITH THE 
NARRATIVES OF THE PEOPLE 
WHO LIVED.
EVERYONE WAS LIKE YOU AND 
ME.
THE PAST IS FUNDAMENTAL TO

English: 
I RAN TRACK IN COLLEGE AT 
THE UNIVERSITY OF TEXAS.
I WAS PROUD TO BE A LADY 
LONG HORN. 
>> OKAY. 
>> I WAS TEAM CAPTAIN.
WE WON NATIONALS. YOU KNOW?
IT WAS THE FULL EXPERIENCE
AND I EVEN RAN FOR 
FOOTLOCKER AFTER COLLEGE.
BUT IT WAS IN COLLEGE THAT
I DISCOVERED MY LOVE OF 
STORY AND OF HISTORY AND 
WAS REALLY INTERESTED IN 
FINDING MYSELF IN IT.
BECAUSE THE NARRATIVE I 
HAD OF AMERICAN HISTORY, 
BLACK WOMEN DIDN'T ENTER 
REALLY. 
>> DIDN'T EXIST. 
>> EXACTLY.
AND BLACKNESS WAS VERY 
NEGATIVE.
TERRIBLE THINGS HAPPENED 
TO US, WE ENDURED.
AND PROTESTED PEACEFULLY.
THAT'S NOT EXACTLY --
>> RIGHT.
AND NEVER GOT ANGRY. 
>> NEVER GOT ANGRY.
AND NEVER CREATED CHANGE 
AND NEVER HAD AGENCY IN 
OUR LIVES AND I SUPPOSE 
THE VERY BIG PICTURE OF 
THAT'S TRUE, BUT THAT'S 
NOT TRUE WITH THE 
NARRATIVES OF THE PEOPLE 
WHO LIVED.
EVERYONE WAS LIKE YOU AND 
ME.
THE PAST IS FUNDAMENTAL TO

English: 
UNDERSTANDING THE FUTURE. 
>> SO YOU WANTED TO TELL 
THOSE STORIES. 
>> YEAH.
I WAS PISSED THAT I DIDN'T
HAVE A SENSE OF MYSELF AND
MY LEGACY IN THE UNITED STATES.
OTHER THAN IN VERY 
NEGATIVE TERMS SO MY IDEA 
WAS YOU KNOW TO BRING 
PEOPLE TO THE LIBRARIES 
AND THE ARCHIVES THAT I 
WOULD DO INSTALLATIONS.
I WANTED TO BE A CURATOR 
IN A HISTORICAL 
INSTITUTION.
AND TO TELL OUR STORIES WITH
VIBRANCY, THROUGH 
MULTIMEDIA INSTALLATIONS.
>> AND SO YOU ARE. 
>> YES, DECADES LATER, 
RIGHT?
I WOULDN'T HAVE HAD THE 
CHUTZPA TO CALL MYSELF AN 
ARTIST.
I NEVER HAVE THOUGHT I 
WOULD BE A FILMMAKER.
THESE WERE THINGS I DIDN'T 
FEEL I HAD ACCESS TO. 
>> THEN WHEN YOU DECIDED 
TO BE A FILMMAKER YOU 
STARTED WORKING EARLY IN 
YOUR CAREER WITH KEN BURNS
SO NOW THERE'S A PLACE TO 
LEARN HOW TO DO 
DOCUMENTARIES, RIGHT?
>> TOTALLY.
IT'S MY LOVE OF HISTORY 
THAT GOT ME THERE.

English: 
UNDERSTANDING THE FUTURE. 
>> SO YOU WANTED TO TELL 
THOSE STORIES. 
>> YEAH.
I WAS PISSED THAT I DIDN'T
HAVE A SENSE OF MYSELF AND
MY LEGACY IN THE UNITED STATES.
OTHER THAN IN VERY 
NEGATIVE TERMS SO MY IDEA 
WAS YOU KNOW TO BRING 
PEOPLE TO THE LIBRARIES 
AND THE ARCHIVES THAT I 
WOULD DO INSTALLATIONS.
I WANTED TO BE A CURATOR 
IN A HISTORICAL 
INSTITUTION.
AND TO TELL OUR STORIES WITH
VIBRANCY, THROUGH 
MULTIMEDIA INSTALLATIONS.
>> AND SO YOU ARE. 
>> YES, DECADES LATER, 
RIGHT?
I WOULDN'T HAVE HAD THE 
CHUTZPA TO CALL MYSELF AN 
ARTIST.
I NEVER HAVE THOUGHT I 
WOULD BE A FILMMAKER.
THESE WERE THINGS I DIDN'T 
FEEL I HAD ACCESS TO. 
>> THEN WHEN YOU DECIDED 
TO BE A FILMMAKER YOU 
STARTED WORKING EARLY IN 
YOUR CAREER WITH KEN BURNS
SO NOW THERE'S A PLACE TO 
LEARN HOW TO DO 
DOCUMENTARIES, RIGHT?
>> TOTALLY.
IT'S MY LOVE OF HISTORY 
THAT GOT ME THERE.

English: 
SO THEY WERE A -- A FRIEND
OF MINE SAID KEN BURNS IS 
LOOKING TO HIRE SOME 
PEOPLE --
>> I REMEMBER WHEN THEY 
INITIALLY REFERRED TO HIM 
AS THAT. 
>> SOME GUY.
HE MADE DOCUMENTARIES FOR 
PBS.
YOU SHOULD APPLY.
AND WHEN I DID, IT WAS 
COMPLETELY EYE OPENING TO 
BE ABLE TO TAKE ALL OF 
THESE ARTIFACTS, PHOTOS, 
PAPERS, ET CETERA, FILM 
AND WEAVE THEM TOGETHER IN
STORYTELLING.
BUT THE REASON I GOT THE 
JOB IS BECAUSE I KNEW HOW 
TO RESEARCH
AND I ANNOTATED PROPERLY.
THERE WERE -- THEY WERE 
HAVING A HARD TIME FINDING
SOMEBODY WHO COULD TAKE 
NOTES AND ANNOTATE 
PROPERLY FOR THE WRITER SO
THE WRITER WAS LIKE, HIRE 
HER, HIRE HER.
SOMETIMES THE SMALLEST 
TASK --
>> SMALLEST THINGS. 
>> IS THE MOST IMPORTANT.
>> I USED TO COMPLAIN ABOUT AN
AUNT OF MINE WHO INSISTED 
THAT EVERY NIECE AND 
NEPHEW LEARNED HOW TO 
TYPE.
NO, WE'LL NEVER NEED IT.
OF COURSE -- 
>> EXACTLY.
>> ESSENTIALLY NEED IT, 

English: 
SO THEY WERE A -- A FRIEND
OF MINE SAID KEN BURNS IS 
LOOKING TO HIRE SOME 
PEOPLE --
>> I REMEMBER WHEN THEY 
INITIALLY REFERRED TO HIM 
AS THAT. 
>> SOME GUY.
HE MADE DOCUMENTARIES FOR 
PBS.
YOU SHOULD APPLY.
AND WHEN I DID, IT WAS 
COMPLETELY EYE OPENING TO 
BE ABLE TO TAKE ALL OF 
THESE ARTIFACTS, PHOTOS, 
PAPERS, ET CETERA, FILM 
AND WEAVE THEM TOGETHER IN
STORYTELLING.
BUT THE REASON I GOT THE 
JOB IS BECAUSE I KNEW HOW 
TO RESEARCH
AND I ANNOTATED PROPERLY.
THERE WERE -- THEY WERE 
HAVING A HARD TIME FINDING
SOMEBODY WHO COULD TAKE 
NOTES AND ANNOTATE 
PROPERLY FOR THE WRITER SO
THE WRITER WAS LIKE, HIRE 
HER, HIRE HER.
SOMETIMES THE SMALLEST 
TASK --
>> SMALLEST THINGS. 
>> IS THE MOST IMPORTANT.
>> I USED TO COMPLAIN ABOUT AN
AUNT OF MINE WHO INSISTED 
THAT EVERY NIECE AND 
NEPHEW LEARNED HOW TO 
TYPE.
NO, WE'LL NEVER NEED IT.
OF COURSE -- 
>> EXACTLY.
>> ESSENTIALLY NEED IT, 

English: 
RIGHT?
BUT SO WORKING FOR KEN 
BURNS.
THAT WAS THE FIRST ONE?
>> THE FIRST ONE WAS 
FRANK LLOYD WRIGHT, THE 
AMERICAN ARCHITECT AND HE 
WAS WORKING I THINK WITH 
LYNN NOVICK AND PETER MILLER
AND THAT TEAM WAS REALLY
SMALL IN NEW YORK.
WE ALL SHARED AN OFFICE 
SPACE AND I JUST GOT TO BE
IN THE ROOM.
I MEAN FOR EVERY ASPECT OF IT.
AND IT WAS AN INCREDIBLY 
EYE OPENING EXPERIENCE.
AND THEN THAT TRANSLATED 
INTO WORKING ON JAZZ WHICH
IS A TEN-PART, 20 HOUR 
SERIES.
BY THAT TIME --
>> TALK ABOUT ANNOTATION.
>> RIGHT. AND BY THAT TIME
I WAS AN ASSOCIATE PRODUCER
AND MY JOB WAS TO TRAVEL
AROUND THE COUNTRY FINDING
PHOTOGRAPHS OF BLACK LIFE.
>> WOW. 
>> BLACK AND IMMIGRANT 
LIFE.
BECAUSE JAZZ IS THE STORY 

English: 
RIGHT?
BUT SO WORKING FOR KEN 
BURNS.
THAT WAS THE FIRST ONE?
>> THE FIRST ONE WAS 
FRANK LLOYD WRIGHT, THE 
AMERICAN ARCHITECT AND HE 
WAS WORKING I THINK WITH 
LYNN NOVICK AND PETER MILLER
AND THAT TEAM WAS REALLY
SMALL IN NEW YORK.
WE ALL SHARED AN OFFICE 
SPACE AND I JUST GOT TO BE
IN THE ROOM.
I MEAN FOR EVERY ASPECT OF IT.
AND IT WAS AN INCREDIBLY 
EYE OPENING EXPERIENCE.
AND THEN THAT TRANSLATED 
INTO WORKING ON JAZZ WHICH
IS A TEN-PART, 20 HOUR 
SERIES.
BY THAT TIME --
>> TALK ABOUT ANNOTATION.
>> RIGHT. AND BY THAT TIME
I WAS AN ASSOCIATE PRODUCER
AND MY JOB WAS TO TRAVEL
AROUND THE COUNTRY FINDING
PHOTOGRAPHS OF BLACK LIFE.
>> WOW. 
>> BLACK AND IMMIGRANT 
LIFE.
BECAUSE JAZZ IS THE STORY 

English: 
OF BLACK AND IMMIGRANT 
AMERICA. 
>> PRECISELY.
WHAT GREAT JOY THAT MUST 
HAVE BEEN. 
>> YES.
I THOUGHT OH, MY GOSH, 
DOES IT GET ANY BETTER 
THAN THIS?
AND I'M GETTING PAID TO DO
THIS WORK. 
>> SO YOU'RE A VERY 
ENTHUSIASTIC FILMMAKER AND
SO GETTING TO YOUR FIRST 
DOCUMENTARY, "THE SHIRLEY 
CHISHOLM", EVERY TIME I
WATCH IT, I BREAK DOWN AND
CRY.
IT'S SUCH A MOVING -- SAD,
BUT IN THE END ENCOURAGING
KIND OF FILM.
HOW DID YOU GET TO SHIRLEY
CHISHOLM AND THE DECIDE 
THIS WOULD BE A FIRST 
DOCUMENTARY?
>> WELL, ONE OF THE THINGS
THAT HAPPENS WHEN YOU WORK
FOR OTHER PEOPLE, YOU GET 
GRUMBLY AND YOU'RE YOUNG 
AND I TOLD MYSELF -- I 
CHALLENGED MYSELF TO 
DIRECT A FILM.
I HAD NO IDEA WHAT IT 
WOULD BE.
I HEARD HER BIRTHDAY 
ANNOUNCED ON NPR.
I THOUGHT, OH, MY GOSH, 
SHE'S STILL ALIVE.
OH, MY GOSH, SHE'S STILL 
ALIVE.

English: 
OF BLACK AND IMMIGRANT 
AMERICA. 
>> PRECISELY.
WHAT GREAT JOY THAT MUST 
HAVE BEEN. 
>> YES.
I THOUGHT OH, MY GOSH, 
DOES IT GET ANY BETTER 
THAN THIS?
AND I'M GETTING PAID TO DO
THIS WORK. 
>> SO YOU'RE A VERY 
ENTHUSIASTIC FILMMAKER AND
SO GETTING TO YOUR FIRST 
DOCUMENTARY, "THE SHIRLEY 
CHISHOLM", EVERY TIME I
WATCH IT, I BREAK DOWN AND
CRY.
IT'S SUCH A MOVING -- SAD,
BUT IN THE END ENCOURAGING
KIND OF FILM.
HOW DID YOU GET TO SHIRLEY
CHISHOLM AND THE DECIDE 
THIS WOULD BE A FIRST 
DOCUMENTARY?
>> WELL, ONE OF THE THINGS
THAT HAPPENS WHEN YOU WORK
FOR OTHER PEOPLE, YOU GET 
GRUMBLY AND YOU'RE YOUNG 
AND I TOLD MYSELF -- I 
CHALLENGED MYSELF TO 
DIRECT A FILM.
I HAD NO IDEA WHAT IT 
WOULD BE.
I HEARD HER BIRTHDAY 
ANNOUNCED ON NPR.
I THOUGHT, OH, MY GOSH, 
SHE'S STILL ALIVE.
OH, MY GOSH, SHE'S STILL 
ALIVE.

English: 
I HAD REMEMBERED FROM PAULA
GIDDINGS, "WHEN AND WHERE
I ENTER" SHE WAS THE 
FIRST BLACK WOMAN ELECTED 
TO CONGRESS.
NO MENTION OF HER RUN FOR 
PRESIDENT ON NPR AT THAT 
TIME. 
>> OF COURSE.
EVERYBODY IGNORES THAT. 
>> THEY WERE EMBARRASSED 
BY IT. 
>> RIGHT. 
>> SO THEN I THOUGHT, OH, 
MY GOSH, THAT'S REALLY THE
MOMENT.
IF I CAN GET HER TO TALK 
ABOUT THAT BECAUSE IT'S 
SPECTACULAR.
AND IT'S A FORGOTTEN -- IT
WAS A FORGOTTEN AND 
OVERLOOKED POINT OF 
HISTORY.
PEOPLE WERE EMBARRASSED BY
THE FACT THAT SHE RAN AND 
LOST AND MY NOTES IN -- IN
MY PAULA GIDDINGS, WHY 
WOULD YOU DO THAT, SO 
EMBARRASSING. 
>> RIGHT RIGHT. 
>> BUT WHEN I WAS IN 
COLLEGE --
>> RIGHT. 
>> NOW AS A MATURE WOMAN 
AND ASSOCIATE PRODUCER IN 
MY 20s, SO I THOUGHT, 
OKAY, THIS IS REALLY THE 
STORY TO TELL.
>> YEAH. WE HAVE A CLIP.
LET'S TAKE A LOOK AT THAT 
AND THEN WE'LL TALK ABOUT 
IT ON THE OTHER SIDE.
I WON'T CRY, I PROMISE.
>> IT'S TIME FOR THE BODY 
POLITICS TO TRULY 

English: 
I HAD REMEMBERED FROM PAULA
GIDDINGS, "WHEN AND WHERE
I ENTER" SHE WAS THE 
FIRST BLACK WOMAN ELECTED 
TO CONGRESS.
NO MENTION OF HER RUN FOR 
PRESIDENT ON NPR AT THAT 
TIME. 
>> OF COURSE.
EVERYBODY IGNORES THAT. 
>> THEY WERE EMBARRASSED 
BY IT. 
>> RIGHT. 
>> SO THEN I THOUGHT, OH, 
MY GOSH, THAT'S REALLY THE
MOMENT.
IF I CAN GET HER TO TALK 
ABOUT THAT BECAUSE IT'S 
SPECTACULAR.
AND IT'S A FORGOTTEN -- IT
WAS A FORGOTTEN AND 
OVERLOOKED POINT OF 
HISTORY.
PEOPLE WERE EMBARRASSED BY
THE FACT THAT SHE RAN AND 
LOST AND MY NOTES IN -- IN
MY PAULA GIDDINGS, WHY 
WOULD YOU DO THAT, SO 
EMBARRASSING. 
>> RIGHT RIGHT. 
>> BUT WHEN I WAS IN 
COLLEGE --
>> RIGHT. 
>> NOW AS A MATURE WOMAN 
AND ASSOCIATE PRODUCER IN 
MY 20s, SO I THOUGHT, 
OKAY, THIS IS REALLY THE 
STORY TO TELL.
>> YEAH. WE HAVE A CLIP.
LET'S TAKE A LOOK AT THAT 
AND THEN WE'LL TALK ABOUT 
IT ON THE OTHER SIDE.
I WON'T CRY, I PROMISE.
>> IT'S TIME FOR THE BODY 
POLITICS TO TRULY 

English: 
REPRESENT AMERICA. 
>> I WAS AWESTRUCK AND IT 
WAS THE FIRST TIME I 
THOUGHT ABOUT REGISTERING 
TO VOTE. 
>> I STAND BEFORE YOU 
TODAY AS A CANDIDATE FOR 
THE DEMOCRATIC NOMINATION 
FOR THE PRESIDENCY OF THE 
UNITED STATES OF AMERICA. 
>> SHE'S RUNNING FOR WHAT?
>> SHE HAS TO BE CRAZY.
YOU KNOW?
I'VE GOT TO MEET HER.
>> FOR FIRST TIME IN THE 
HISTORY OF THIS NATION, A 
PERSON OF COLOR AND A WOMAN
IS RUNNING FOR THE 
PRESIDENT OF THIS LAND. 
>> IT'S A TYPE OF 
INDIVIDUALISM AND 
LIBERATION. 
>> I CANNOT CONTINUE TO DO
TAKE THINGS AS THEY ARE.
WE SEE AROUND US THAT 
GOVERNMENT IS NOT 
RESPONSIVE TO CERTAIN SEGMENTS
OF THE POPULATION. 
>> IT WAS A GRASS ROOTS 
MOVEMENT. PEOPLE
WHO HAD NEVER PARTICIPATED IN
POLITICAL THOUGHT AND POLITICAL
IDEAS WERE NOW DOING IT. 
>> SHE WAS WILLING TO TAKE 
ON THE WHITE ESTABLISHMENT
ON THE ISSUES OF THE 

English: 
REPRESENT AMERICA. 
>> I WAS AWESTRUCK AND IT 
WAS THE FIRST TIME I 
THOUGHT ABOUT REGISTERING 
TO VOTE. 
>> I STAND BEFORE YOU 
TODAY AS A CANDIDATE FOR 
THE DEMOCRATIC NOMINATION 
FOR THE PRESIDENCY OF THE 
UNITED STATES OF AMERICA. 
>> SHE'S RUNNING FOR WHAT?
>> SHE HAS TO BE CRAZY.
YOU KNOW?
I'VE GOT TO MEET HER.
>> FOR FIRST TIME IN THE 
HISTORY OF THIS NATION, A 
PERSON OF COLOR AND A WOMAN
IS RUNNING FOR THE 
PRESIDENT OF THIS LAND. 
>> IT'S A TYPE OF 
INDIVIDUALISM AND 
LIBERATION. 
>> I CANNOT CONTINUE TO DO
TAKE THINGS AS THEY ARE.
WE SEE AROUND US THAT 
GOVERNMENT IS NOT 
RESPONSIVE TO CERTAIN SEGMENTS
OF THE POPULATION. 
>> IT WAS A GRASS ROOTS 
MOVEMENT. PEOPLE
WHO HAD NEVER PARTICIPATED IN
POLITICAL THOUGHT AND POLITICAL
IDEAS WERE NOW DOING IT. 
>> SHE WAS WILLING TO TAKE 
ON THE WHITE ESTABLISHMENT
ON THE ISSUES OF THE 

English: 
VIETNAM WAR, ON HEAD START.
SHE WAS A FIGHTER ON EVERY
SINGLE ISSUE.
>> I DIDN'T KNOW IF I WAS 
DOING THE RIGHT THING 
REALLY. 
>> FREDERICK DOUGLASS SAID 
SOMETHING THAT SHE OFTEN QUOTED-
POWER CONCEDES NOTHING 
WITHOUT DEMANDS, 
WITHOUT STRUGGLES.
WHAT WAS THE MOTIVE?
IT WAS THE STRUGGLE.
WHETHER YOU GOT 9% OR 1% 
OF THE NATIONAL VOTE, 
SHIRLEY'S CANDIDACY SAID 
I'M NOT DEMANDING TO GET IT,
I'M ASSERTING MY RIGHT TO 
BE HERE AND I'M IN.
THAT'S POWERFUL.
>> I HAVE NEVER HAD THAT KIND OF
IMPACT, NOT AS A WOMAN, NOT AS
AN AFRICAN-AMERICAN, NOT 
AS A MOTHER, BUT AS A 
HUMAN BEING. 
>> YOU HAVE TO GET A COPY 
OF THIS AND WATCH IT 
BECAUSE IF YOU ARE A 
WOMAN, YOU WILL UNDERSTAND
AND IF YOU'RE A BLACK 
PERSON YOU UNDERSTAND.
BUT SHIRLEY WAS ALWAYS THE
ONE WHO SAID SHE THOUGHT 
SHE WAS BEING HELD BACK BY

English: 
VIETNAM WAR, ON HEAD START.
SHE WAS A FIGHTER ON EVERY
SINGLE ISSUE.
>> I DIDN'T KNOW IF I WAS 
DOING THE RIGHT THING 
REALLY. 
>> FREDERICK DOUGLASS SAID 
SOMETHING THAT SHE OFTEN QUOTED-
POWER CONCEDES NOTHING 
WITHOUT DEMANDS, 
WITHOUT STRUGGLES.
WHAT WAS THE MOTIVE?
IT WAS THE STRUGGLE.
WHETHER YOU GOT 9% OR 1% 
OF THE NATIONAL VOTE, 
SHIRLEY'S CANDIDACY SAID 
I'M NOT DEMANDING TO GET IT,
I'M ASSERTING MY RIGHT TO 
BE HERE AND I'M IN.
THAT'S POWERFUL.
>> I HAVE NEVER HAD THAT KIND OF
IMPACT, NOT AS A WOMAN, NOT AS
AN AFRICAN-AMERICAN, NOT 
AS A MOTHER, BUT AS A 
HUMAN BEING. 
>> YOU HAVE TO GET A COPY 
OF THIS AND WATCH IT 
BECAUSE IF YOU ARE A 
WOMAN, YOU WILL UNDERSTAND
AND IF YOU'RE A BLACK 
PERSON YOU UNDERSTAND.
BUT SHIRLEY WAS ALWAYS THE
ONE WHO SAID SHE THOUGHT 
SHE WAS BEING HELD BACK BY

English: 
BEING A WOMAN MORE THAN BY
BEING A BLACK PERSON 
BECAUSE BOYS WILL BE BOYS 
AND MEN WILL BE MEN. 
>> IT KIND OF PLAYS OUT IN
THE STORY, THE RANKING OF RACE
AND GENDER, AND IN THE 
RANKING WE WERE AT THE 
BOTTOM.
SO IT WAS NOT HER TURN TO 
BE THE FRONT PERSON. 
>> I REMEMBER SHIRLEY 
CHISHOLM WAS ONE OF THE 
FIRST PEOPLE I INTERVIEWED
AS A REPORTER AND SHE WAS 
ALWAYS SO FIERY.
AND THE REACTION TO HER 
WAS ALWAYS PLEASE BE QUIET.
IT'S NOT YOUR TURN TO 
SPEAK ABOUT ANYTHING.
MUCH LESS BECOMING 
PRESIDENT OF THE UNITED STATES.
>> YES. AND, YOU KNOW, IN
THINKING ABOUT HOW TO TELL HER
STORY, I THOUGHT IT WAS 
IMPORTANT FOR HER TO SPEAK
TO WHAT HAPPENED TO HER.
BECAUSE IT WAS REALLY 
IMPORTANT TO SHOW THAT SHE
HAS THE BREADTH OF 
EMOTIONS.
SHE'S NOT THE ALWAYS THE 
ANGRY SCHOOLMARM.
LIKE THE CLIPS ON THE 
NEWS. 
>> PRECISELY. 
>> SHE WAS A FULL AND 
COMPLETE PERSON AND I WAS 
SURPRISED -- SHAME ON ME 
FOR BEING SURPRISED BUT 
SHE HAD A REAL POLITICAL 

English: 
BEING A WOMAN MORE THAN BY
BEING A BLACK PERSON 
BECAUSE BOYS WILL BE BOYS 
AND MEN WILL BE MEN. 
>> IT KIND OF PLAYS OUT IN
THE STORY, THE RANKING OF RACE
AND GENDER, AND IN THE 
RANKING WE WERE AT THE 
BOTTOM.
SO IT WAS NOT HER TURN TO 
BE THE FRONT PERSON. 
>> I REMEMBER SHIRLEY 
CHISHOLM WAS ONE OF THE 
FIRST PEOPLE I INTERVIEWED
AS A REPORTER AND SHE WAS 
ALWAYS SO FIERY.
AND THE REACTION TO HER 
WAS ALWAYS PLEASE BE QUIET.
IT'S NOT YOUR TURN TO 
SPEAK ABOUT ANYTHING.
MUCH LESS BECOMING 
PRESIDENT OF THE UNITED STATES.
>> YES. AND, YOU KNOW, IN
THINKING ABOUT HOW TO TELL HER
STORY, I THOUGHT IT WAS 
IMPORTANT FOR HER TO SPEAK
TO WHAT HAPPENED TO HER.
BECAUSE IT WAS REALLY 
IMPORTANT TO SHOW THAT SHE
HAS THE BREADTH OF 
EMOTIONS.
SHE'S NOT THE ALWAYS THE 
ANGRY SCHOOLMARM.
LIKE THE CLIPS ON THE 
NEWS. 
>> PRECISELY. 
>> SHE WAS A FULL AND 
COMPLETE PERSON AND I WAS 
SURPRISED -- SHAME ON ME 
FOR BEING SURPRISED BUT 
SHE HAD A REAL POLITICAL 

English: 
STRATEGY FOR GETTING TO 
THE CONVENTION. 
>> RIGHT. 
>> AND IT WORKED.
IT WAS ABOUT COLLECTING 
DELEGATE VOTES AND NOT ONE
REPORTER BOTHERED TO ASK 
HER HER POLITICAL 
STRATEGY.
NOT ONE. 
>> I KNOW.
AND JUST THE NIGHT OF THAT
DEFEAT THOUGH, YOU KNOW, 
OF HER SITTING ALMOST 
ESSENTIALLY ALONE, RIGHT, 
SHE WAS ALONE IN THAT 
STRUGGLE.
IN THAT FIGHT. 
>> SHE WAS ALONE, BUT SHE 
ALSO HAD ALL OF THE YOUNG 
PEOPLE THAT WERE THERE TO 
SUPPORT HER.
LIKE CONGRESSWOMAN BARBARA
LEE WHO WENT ON TO HAVE 
REALLY A GREAT CAREER IN 
POLITICS AND IN SOCIAL 
JUSTICE.
SO YOU KNOW, WE CAN'T 
ERASE THAT IMPACT.
SO HER -- SHE DIDN'T WIN 
THE NOMINATION BUT SHE WON
IN EVERY OTHER WAY. 
>> IN EVERY OTHER WAY. 
>> YEAH.
SHE MAKES BARACK OBAMA AND
HILLARY CLINTON POSSIBLE. 
>> I KNOW.
THERE'S THIS GREAT QUOTE, 
I RAN FOR THE PRESIDENCY
DESPITE HOPELESS ODDS TO 
DEMONSTRATE THE SHEER WILL

English: 
STRATEGY FOR GETTING TO 
THE CONVENTION. 
>> RIGHT. 
>> AND IT WORKED.
IT WAS ABOUT COLLECTING 
DELEGATE VOTES AND NOT ONE
REPORTER BOTHERED TO ASK 
HER HER POLITICAL 
STRATEGY.
NOT ONE. 
>> I KNOW.
AND JUST THE NIGHT OF THAT
DEFEAT THOUGH, YOU KNOW, 
OF HER SITTING ALMOST 
ESSENTIALLY ALONE, RIGHT, 
SHE WAS ALONE IN THAT 
STRUGGLE.
IN THAT FIGHT. 
>> SHE WAS ALONE, BUT SHE 
ALSO HAD ALL OF THE YOUNG 
PEOPLE THAT WERE THERE TO 
SUPPORT HER.
LIKE CONGRESSWOMAN BARBARA
LEE WHO WENT ON TO HAVE 
REALLY A GREAT CAREER IN 
POLITICS AND IN SOCIAL 
JUSTICE.
SO YOU KNOW, WE CAN'T 
ERASE THAT IMPACT.
SO HER -- SHE DIDN'T WIN 
THE NOMINATION BUT SHE WON
IN EVERY OTHER WAY. 
>> IN EVERY OTHER WAY. 
>> YEAH.
SHE MAKES BARACK OBAMA AND
HILLARY CLINTON POSSIBLE. 
>> I KNOW.
THERE'S THIS GREAT QUOTE, 
I RAN FOR THE PRESIDENCY
DESPITE HOPELESS ODDS TO 
DEMONSTRATE THE SHEER WILL

English: 
AND REFUSAL TO ACCEPT THE 
STATUS QUO.
THE NEXT TIME A WOMAN RUNS
OR A BLACK, A JEW OR 
ANYONE FROM A GROUP THAT 
THE COUNTRY IS NOT READY 
TO ELECT TO THE HIGHEST 
OFFICE I BELIEVE THAT HE 
OR SHE WILL BE TAKEN 
SERIOUSLY FROM THE START.
CERTAINLY FOR HE, THAT WAS
TRUE.
BUT FOR SHE, IT WAS NOT.
>> YES.
IT'S COMPLICATED. 
YOU KNOW, BUT I WOULD 
LIKE TO SAY ABOUT THE FILM
IT CAME OUT BEFORE -- WHEN
WE STILL THOUGHT IT WASN'T
POSSIBLE FOR A BLACK 
PERSON TO BE PRESIDENT IN 
OUR LIFETIME. 
>> RIGHT. RIGHT. EXACTLY.
>> 2004 AT SUNDANCE FILM 
FESTIVAL AND THEN, YOU 
KNOW, ON POV, PBS, 
A PEABODY. 
>> SO CONGRATULATIONS OF 
COURSE.
THAT'S SOMETHING, A 
PEABODY. ANOTHER SHIRLEY
CHISHOLM QUOTE, THE EMOTIONAL,
SEXUAL AND PSYCHOLOGICAL
STEREOTYPING OF FEMALES 
BEGINS WHEN THE DOCTOR 
SAYS IT'S A GIRL.
NOW TALK ABOUT A GIRL, THE

English: 
AND REFUSAL TO ACCEPT THE 
STATUS QUO.
THE NEXT TIME A WOMAN RUNS
OR A BLACK, A JEW OR 
ANYONE FROM A GROUP THAT 
THE COUNTRY IS NOT READY 
TO ELECT TO THE HIGHEST 
OFFICE I BELIEVE THAT HE 
OR SHE WILL BE TAKEN 
SERIOUSLY FROM THE START.
CERTAINLY FOR HE, THAT WAS
TRUE.
BUT FOR SHE, IT WAS NOT.
>> YES.
IT'S COMPLICATED. 
YOU KNOW, BUT I WOULD 
LIKE TO SAY ABOUT THE FILM
IT CAME OUT BEFORE -- WHEN
WE STILL THOUGHT IT WASN'T
POSSIBLE FOR A BLACK 
PERSON TO BE PRESIDENT IN 
OUR LIFETIME. 
>> RIGHT. RIGHT. EXACTLY.
>> 2004 AT SUNDANCE FILM 
FESTIVAL AND THEN, YOU 
KNOW, ON POV, PBS, 
A PEABODY. 
>> SO CONGRATULATIONS OF 
COURSE.
THAT'S SOMETHING, A 
PEABODY. ANOTHER SHIRLEY
CHISHOLM QUOTE, THE EMOTIONAL,
SEXUAL AND PSYCHOLOGICAL
STEREOTYPING OF FEMALES 
BEGINS WHEN THE DOCTOR 
SAYS IT'S A GIRL.
NOW TALK ABOUT A GIRL, THE

English: 
NEXT DOCUMENTARY YOU DID 
WAS ANGELA DAVIS, NOT ANY 
ORDINARY GIRL.
BUT AGAIN, AN EXCEPTIONAL 
PERSON.
HOW DID YOU DECIDE TO DO 
ANGELA NEXT?
>> YOU KNOW, SHIRLEY RUNS 
FOR PRESIDENT IN 1972 SO 
IN RESEARCHING THE CONTEXT
OF THAT'S THE END OF THE 
ANGELA DAVIS TRIAL.
AND I JUST BECAME 
INTRIGUED BY HER AND I 
COULDN'T UNDERSTAND HOW 
THIS ESSENTIALLY DEEPLY 
INTELLECTUAL, NERDY 
GRADUATE STUDENT BECAME AN
INTERNATIONAL POLITICAL 
ICON.
AND IT JUST CALLED TO ME.
THE STORY.
AND THIS WAS AROUND 9/11 
SO WE'RE TALKING ABOUT 
WHO'S A TERRORIST, WHO'S 
NOT A TERRORIST.
SHE IS LABELLED AS A 
TERRORIST BY THEN 
PRESIDENT NIXON SO I 
WANTED TO DIG DEEPLY INTO 
THE STORY TO SEE WHAT I 
COULD FIND. 
>> AND DID A WONDERFUL 
JOB.
THIS IS ANOTHER STORY THAT
I COVERED AS A NEWS 
REPORTER. INTERVIEWING

English: 
NEXT DOCUMENTARY YOU DID 
WAS ANGELA DAVIS, NOT ANY 
ORDINARY GIRL.
BUT AGAIN, AN EXCEPTIONAL 
PERSON.
HOW DID YOU DECIDE TO DO 
ANGELA NEXT?
>> YOU KNOW, SHIRLEY RUNS 
FOR PRESIDENT IN 1972 SO 
IN RESEARCHING THE CONTEXT
OF THAT'S THE END OF THE 
ANGELA DAVIS TRIAL.
AND I JUST BECAME 
INTRIGUED BY HER AND I 
COULDN'T UNDERSTAND HOW 
THIS ESSENTIALLY DEEPLY 
INTELLECTUAL, NERDY 
GRADUATE STUDENT BECAME AN
INTERNATIONAL POLITICAL 
ICON.
AND IT JUST CALLED TO ME.
THE STORY.
AND THIS WAS AROUND 9/11 
SO WE'RE TALKING ABOUT 
WHO'S A TERRORIST, WHO'S 
NOT A TERRORIST.
SHE IS LABELLED AS A 
TERRORIST BY THEN 
PRESIDENT NIXON SO I 
WANTED TO DIG DEEPLY INTO 
THE STORY TO SEE WHAT I 
COULD FIND. 
>> AND DID A WONDERFUL 
JOB.
THIS IS ANOTHER STORY THAT
I COVERED AS A NEWS 
REPORTER. INTERVIEWING

English: 
HER SISTER AND MY SISTER WAS
WEARING A HUGE AFRO AT THE 
TIME, AND USED TO GET 
STOPPED.
ARE YOU ANGELA DAVIS?
LET'S LOOK AT A CLIP FROM 
THIS MOVIE. 
>> PHILOSOPHY PROFESSOR DAVIS 
ADMITTED SHE IS A MEMBER 
OF THE COMMUNIST PARTY.
>> EVERYBODY HAD FILE ON 
HER. 
>> HER FIRST LECTURE DREW 
2,000 STUDENTS. 
>> ANGELA'S EDUCATION WAS 
NOW BEING PUT INTO PRACTICE.
>> ANGELA DAVIS PURCHASED 
FOUR GUNS. 
>> THERE IS A CONSPIRACY IN THE 
LAND.
IT'S A CONSPIRACY TO WIPE OUT
THE BLACK COMMUNITY AS A 
WHOLE.
>> WELL, I THINK SHE'S 
TRYING TO OVERTHROW THE 
SYSTEM OF GOVERNMENT. 
>> ACTIONS OF THE FBI ON 
APPREHENDING ANGELA DAVIS
ARE RATHER REMARKABLE STORY.
>> A U.S. DISTRICT COURT JUDGE
SET BAIL AT $100,000.
>> WE KNOW THAT THE MOVEMENT
TO FREE ALL POLITICAL PRISONERS
IS GROWING EVERY DAY. 

English: 
HER SISTER AND MY SISTER WAS
WEARING A HUGE AFRO AT THE 
TIME, AND USED TO GET 
STOPPED.
ARE YOU ANGELA DAVIS?
LET'S LOOK AT A CLIP FROM 
THIS MOVIE. 
>> PHILOSOPHY PROFESSOR DAVIS 
ADMITTED SHE IS A MEMBER 
OF THE COMMUNIST PARTY.
>> EVERYBODY HAD FILE ON 
HER. 
>> HER FIRST LECTURE DREW 
2,000 STUDENTS. 
>> ANGELA'S EDUCATION WAS 
NOW BEING PUT INTO PRACTICE.
>> ANGELA DAVIS PURCHASED 
FOUR GUNS. 
>> THERE IS A CONSPIRACY IN THE 
LAND.
IT'S A CONSPIRACY TO WIPE OUT
THE BLACK COMMUNITY AS A 
WHOLE.
>> WELL, I THINK SHE'S 
TRYING TO OVERTHROW THE 
SYSTEM OF GOVERNMENT. 
>> ACTIONS OF THE FBI ON 
APPREHENDING ANGELA DAVIS
ARE RATHER REMARKABLE STORY.
>> A U.S. DISTRICT COURT JUDGE
SET BAIL AT $100,000.
>> WE KNOW THAT THE MOVEMENT
TO FREE ALL POLITICAL PRISONERS
IS GROWING EVERY DAY. 

English: 
>> THIS ENTIRE INCIDENT 
WAS A DELIBERATE-
>> AND THERE WAS ENORMOUS 
FEELING FOR ANGELA 
EVERYWHERE IN THE WORLD. 
>> WE KNOW SHE'S INNOCENT.
>> WE WANT WASHINGTON TO 
LET ANGELA DAVIS GO FREE.
>> WHAT THEY'RE DOING TO 
HER IS AN EXAGGERATED FORM
OF WHAT HAPPENS EVERY DAY TO
BLACK PEOPLE IN THIS 
COUNTRY. 
>> WHAT DOES IT MEAN TO BE
A CRIMINAL IN THIS SOCIETY?
>> ANGELA, ANGELA. 
>> THEY'RE NOT GOING TO KILL
HER.
THEY'RE NOT GOING TO IMPRISON
HER.
WE'RE GOING TO WIN HER FREEDOM.
>> SUCH A COMPELLING FILM.
I WAS TELLING YOU I SAW IT 
AT CENTER WHEN ANGELA WAS 
INTERVIEWED BY GLORIA 
STEINEM, A CONVERSATION 
THEY HAD.
WE SAW THERE THE WONDERFUL
FILM AND ALL SHE WENT 
THROUGH AND THE FACT THAT 
SHE STILL IS WORKING FOR 
THE SAME ISSUES SHE WAS 
WORKING FOR BACK THEN.
FREEING POLITICAL PRISONERS.
SUPPORTING BLACK LIVES 
MATTER MOVEMENT.

English: 
>> THIS ENTIRE INCIDENT 
WAS A DELIBERATE-
>> AND THERE WAS ENORMOUS 
FEELING FOR ANGELA 
EVERYWHERE IN THE WORLD. 
>> WE KNOW SHE'S INNOCENT.
>> WE WANT WASHINGTON TO 
LET ANGELA DAVIS GO FREE.
>> WHAT THEY'RE DOING TO 
HER IS AN EXAGGERATED FORM
OF WHAT HAPPENS EVERY DAY TO
BLACK PEOPLE IN THIS 
COUNTRY. 
>> WHAT DOES IT MEAN TO BE
A CRIMINAL IN THIS SOCIETY?
>> ANGELA, ANGELA. 
>> THEY'RE NOT GOING TO KILL
HER.
THEY'RE NOT GOING TO IMPRISON
HER.
WE'RE GOING TO WIN HER FREEDOM.
>> SUCH A COMPELLING FILM.
I WAS TELLING YOU I SAW IT 
AT CENTER WHEN ANGELA WAS 
INTERVIEWED BY GLORIA 
STEINEM, A CONVERSATION 
THEY HAD.
WE SAW THERE THE WONDERFUL
FILM AND ALL SHE WENT 
THROUGH AND THE FACT THAT 
SHE STILL IS WORKING FOR 
THE SAME ISSUES SHE WAS 
WORKING FOR BACK THEN.
FREEING POLITICAL PRISONERS.
SUPPORTING BLACK LIVES 
MATTER MOVEMENT.

English: 
WHAT DID YOU FIND IN THE 
EARLY FILM, THAT
ANGELA DAVIS AND THE
WOMAN YOU SAW LATER?
>> SURE.
THIS STORY IS ABOUT HER 
BECOMING.
WE THINK OF HER AS ANGELA 
DAVIS, THE FULLY FORMED 
SOCIAL JUSTICE ACTIVIST 
BUT THESE ARE EVENTS IN 
HER LIFE THAT CATAPULT HER
INTO HAVING THIS
INTERNATIONAL PLATFORM 
WHICH SHE TAKES VERY 
SERIOUSLY.
IT WAS CONTRARY TO HER 
PERSONALITY AS A SCHOLAR.
YOU KNOW, SHE'D MUCH 
RATHER BE WITH HER HEAD IN
THE BOOKS SO IT'S 
UNCOMFORTABLE FOR HER TO 
BE OUT THERE.
BUT SHE FEELS IT'S A 
RESPONSIBILITY TO DO THAT 
WORK.
WHAT I FIND AMAZING IS THE
CONSISTENCY OF HER 
RELATIONSHIP TO THAT 
POLITICAL WORK OVER TIME.
THERE'S A MOMENT IN THE FILM 
TOWARDS THE END WHERE SHE 
SAYS, YOU KNOW, THIS WAS 
NOT SOMETHING WE JUST DID 
ON WEEKENDS OR WE JUST DID
AS A PHASE.
THIS IS THE WAY WE'RE 
LIVING OUR LIVES.
THAT IS PRECISELY WHAT 
SHE DID.
SHE TOOK POLITICAL 

English: 
WHAT DID YOU FIND IN THE 
EARLY FILM, THAT
ANGELA DAVIS AND THE
WOMAN YOU SAW LATER?
>> SURE.
THIS STORY IS ABOUT HER 
BECOMING.
WE THINK OF HER AS ANGELA 
DAVIS, THE FULLY FORMED 
SOCIAL JUSTICE ACTIVIST 
BUT THESE ARE EVENTS IN 
HER LIFE THAT CATAPULT HER
INTO HAVING THIS
INTERNATIONAL PLATFORM 
WHICH SHE TAKES VERY 
SERIOUSLY.
IT WAS CONTRARY TO HER 
PERSONALITY AS A SCHOLAR.
YOU KNOW, SHE'D MUCH 
RATHER BE WITH HER HEAD IN
THE BOOKS SO IT'S 
UNCOMFORTABLE FOR HER TO 
BE OUT THERE.
BUT SHE FEELS IT'S A 
RESPONSIBILITY TO DO THAT 
WORK.
WHAT I FIND AMAZING IS THE
CONSISTENCY OF HER 
RELATIONSHIP TO THAT 
POLITICAL WORK OVER TIME.
THERE'S A MOMENT IN THE FILM 
TOWARDS THE END WHERE SHE 
SAYS, YOU KNOW, THIS WAS 
NOT SOMETHING WE JUST DID 
ON WEEKENDS OR WE JUST DID
AS A PHASE.
THIS IS THE WAY WE'RE 
LIVING OUR LIVES.
THAT IS PRECISELY WHAT 
SHE DID.
SHE TOOK POLITICAL 

English: 
ACTIVISM AND MADE IT THE 
WAY SHE LIVED HER LIFE SO 
SHE CAN COUNT THE 
VICTORIES AND THERE ARE 
VICTORIES ALONG THE WAY 
AND AT THE SAME TIME, 
SHE'S LOOKING TO THE 
FUTURE TO SEE WHAT'S NEXT.
NOT LIKE THAT'S DONE, 
CHECK OFF THE LIST, I CAN 
RETIRE, YOU KNOW?
SHE'S STILL TRAVELING ALL 
OVER THE WORLD.
SPEAKING OUT ON ISSUES 
THAT SHE BELIEVES IN.
AND THERE'S REALLY 
SOMETHING TO THAT. 
>> SHE IS FROM BIRMINGHAM,
ALABAMA.
I'M FROM THAT NECK OF THE 
WOODS AS WELL.
ONE OF THE RECENT CLIPS 
THAT I SAW OF HER, SHE WAS
TALKING ABOUT THE GIRLS 
WHO HAD BEEN KILLED IN THE
CHURCH IN BIRMINGHAM.
THEN SHE WAS SAYING PEOPLE
DON'T UNDERSTAND VIOLENCE,
THEY DIDN'T KNOW WHAT 
HAPPENED TO US, THEY 
DIDN'T KNOW OUR PARENTS 
HAD TO POLICE OUR 
NEIGHBORHOOD, YOU KNOW, 
FOR MONTHS AFTER THAT FOR 
FEAR THAT SOMETHING ELSE 
WOULD HAPPEN.
SO WHEN PEOPLE TALK TO ME 
ABOUT VIOLENCE, YOU KNOW 
LET'S REALLY TALK ABOUT 
WHAT IT MEANS.
>> YES. THIS IS KIND OF
INVISIBLE -- NOT KIND OF, 
IT IS INVISIBLE HISTORY.
WHAT'S REALLY IMPORTANT AS
WE LOOK BACK TO HISTORY 

English: 
ACTIVISM AND MADE IT THE 
WAY SHE LIVED HER LIFE SO 
SHE CAN COUNT THE 
VICTORIES AND THERE ARE 
VICTORIES ALONG THE WAY 
AND AT THE SAME TIME, 
SHE'S LOOKING TO THE 
FUTURE TO SEE WHAT'S NEXT.
NOT LIKE THAT'S DONE, 
CHECK OFF THE LIST, I CAN 
RETIRE, YOU KNOW?
SHE'S STILL TRAVELING ALL 
OVER THE WORLD.
SPEAKING OUT ON ISSUES 
THAT SHE BELIEVES IN.
AND THERE'S REALLY 
SOMETHING TO THAT. 
>> SHE IS FROM BIRMINGHAM,
ALABAMA.
I'M FROM THAT NECK OF THE 
WOODS AS WELL.
ONE OF THE RECENT CLIPS 
THAT I SAW OF HER, SHE WAS
TALKING ABOUT THE GIRLS 
WHO HAD BEEN KILLED IN THE
CHURCH IN BIRMINGHAM.
THEN SHE WAS SAYING PEOPLE
DON'T UNDERSTAND VIOLENCE,
THEY DIDN'T KNOW WHAT 
HAPPENED TO US, THEY 
DIDN'T KNOW OUR PARENTS 
HAD TO POLICE OUR 
NEIGHBORHOOD, YOU KNOW, 
FOR MONTHS AFTER THAT FOR 
FEAR THAT SOMETHING ELSE 
WOULD HAPPEN.
SO WHEN PEOPLE TALK TO ME 
ABOUT VIOLENCE, YOU KNOW 
LET'S REALLY TALK ABOUT 
WHAT IT MEANS.
>> YES. THIS IS KIND OF
INVISIBLE -- NOT KIND OF, 
IT IS INVISIBLE HISTORY.
WHAT'S REALLY IMPORTANT AS
WE LOOK BACK TO HISTORY 

English: 
AND WHY HISTORY IS 
CRITICAL IS TO HIGHLIGHT 
THE TRUTH -- OUR TRUTH.
NOT ONLY WERE THERE 
PATROLS BUT THE BLACK 
COMMUNITY WAS ARMED.
ARMED TO PROTECT ITSELF.
AND SO THIS IS A REALLY 
IMPORTANT POINT. 
>> EXACTLY.
NOW, YOU ARE -- YOU HAVE 
DONE THE TWO FABULOUS 
DOCUMENTARIES.
NOW I'M TRYING TO RESEARCH
YOUR NEXT PROJECT AND I 
SEE THE OUTLAW.
NOW YOU TELL ME THAT'S NO 
LONGER THE NAME OF IT.
BUT IT'S SO INTRIGUING AND
THIS IS -- THIS WILL BE YOUR
FIRST FEATURE FILM.
SO TELL US WHAT YOU CAN 
ABOUT THAT AND WHAT YOU'RE
LOOKING FOR. 
>> SURE.
SURE.
WELL, SURPRISE, SURPRISE, 
THIS IS ABOUT A WOMAN AND 
A BLACK WOMAN. 
>> ALL RIGHT.
KEEPING THINGS GOING. 
>> YOU KNOW, PEOPLE ALWAYS
ASK ME DON'T YOU FEEL 
PIGEON HOLED, ABSOLUTELY 
NOT.
THERE ARE SO MANY STORIES.
AND RIGHT NOW NOBODY IS 
REALLY TELLING THE STORIES
AND TO SHIFT THE CAMERA 
WHERE WE'RE THE MAIN 
CHARACTER IS INCREDIBLE.
SO IN "FREE ANGELA" I 

English: 
AND WHY HISTORY IS 
CRITICAL IS TO HIGHLIGHT 
THE TRUTH -- OUR TRUTH.
NOT ONLY WERE THERE 
PATROLS BUT THE BLACK 
COMMUNITY WAS ARMED.
ARMED TO PROTECT ITSELF.
AND SO THIS IS A REALLY 
IMPORTANT POINT. 
>> EXACTLY.
NOW, YOU ARE -- YOU HAVE 
DONE THE TWO FABULOUS 
DOCUMENTARIES.
NOW I'M TRYING TO RESEARCH
YOUR NEXT PROJECT AND I 
SEE THE OUTLAW.
NOW YOU TELL ME THAT'S NO 
LONGER THE NAME OF IT.
BUT IT'S SO INTRIGUING AND
THIS IS -- THIS WILL BE YOUR
FIRST FEATURE FILM.
SO TELL US WHAT YOU CAN 
ABOUT THAT AND WHAT YOU'RE
LOOKING FOR. 
>> SURE.
SURE.
WELL, SURPRISE, SURPRISE, 
THIS IS ABOUT A WOMAN AND 
A BLACK WOMAN. 
>> ALL RIGHT.
KEEPING THINGS GOING. 
>> YOU KNOW, PEOPLE ALWAYS
ASK ME DON'T YOU FEEL 
PIGEON HOLED, ABSOLUTELY 
NOT.
THERE ARE SO MANY STORIES.
AND RIGHT NOW NOBODY IS 
REALLY TELLING THE STORIES
AND TO SHIFT THE CAMERA 
WHERE WE'RE THE MAIN 
CHARACTER IS INCREDIBLE.
SO IN "FREE ANGELA" I 

English: 
WORKED WITH THE VERY 
TALENTED CINEMATOGRAPHER 
BRADFORD YOUNG AND WE 
CREATED IMAGES AND I JUST 
LOVED IT.
THERE ARE STORIES WHERE THE
IMAGES DON'T EXIST.
AND THIS IS HOW I GET TO 
THE OUTLAW.
THIS IS A WOMAN WE KNOW, 
WE THINK WE KNOW. 
>> WE THINK WE KNOW. 
>> BUT WE DON'T REALLY AND
I GET TO UNVEIL HER STORY.
THE FILM IS NOT CALLED THAT BUT
IT'S MY FIRST NARRATIVE, I
FIGURED OUT THE STORY AND 
THE TREATMENT AND I LOOK 
FORWARD TO SHARING IT IN 
THE FUTURE. 
>> WELL, PLEASE COME AND, 
YOU KNOW, WHEN IT DEBUTS 
AND IT WINS ALL THOSE 
AWARDS. 
>> YES. 
>> REMEMBER US. 
>> THESE PASSION PROJECTS TAKE
SOME TIME, SO I DO THE WORK
FOR HIRE.
I WORK AT THE ARCHIVE 
WHICH I LOVE. 
>> SO LET'S TALK ABOUT 
THAT BECAUSE I DO WANT TO 
TALK IF WE HAVE TIME -- 
BECAUSE PEOPLE SAY I'LL 
MAKE A DOCUMENTARY, IT'S 
NOTHING.
I MEAN, THE AMOUNT OF 
MONEY AND TIME AND EFFORT 
THAT GOES INTO IT IS 
EXTRAORDINARY.
TELL US ABOUT THE 
SCHOMBURG BECAUSE YOU'RE 
OPENING UP THE ARCHIVES.
WHAT YOU HAVE THERE FOR 
THE PUBLIC TO COME IN AND SEE.

English: 
WORKED WITH THE VERY 
TALENTED CINEMATOGRAPHER 
BRADFORD YOUNG AND WE 
CREATED IMAGES AND I JUST 
LOVED IT.
THERE ARE STORIES WHERE THE
IMAGES DON'T EXIST.
AND THIS IS HOW I GET TO 
THE OUTLAW.
THIS IS A WOMAN WE KNOW, 
WE THINK WE KNOW. 
>> WE THINK WE KNOW. 
>> BUT WE DON'T REALLY AND
I GET TO UNVEIL HER STORY.
THE FILM IS NOT CALLED THAT BUT
IT'S MY FIRST NARRATIVE, I
FIGURED OUT THE STORY AND 
THE TREATMENT AND I LOOK 
FORWARD TO SHARING IT IN 
THE FUTURE. 
>> WELL, PLEASE COME AND, 
YOU KNOW, WHEN IT DEBUTS 
AND IT WINS ALL THOSE 
AWARDS. 
>> YES. 
>> REMEMBER US. 
>> THESE PASSION PROJECTS TAKE
SOME TIME, SO I DO THE WORK
FOR HIRE.
I WORK AT THE ARCHIVE 
WHICH I LOVE. 
>> SO LET'S TALK ABOUT 
THAT BECAUSE I DO WANT TO 
TALK IF WE HAVE TIME -- 
BECAUSE PEOPLE SAY I'LL 
MAKE A DOCUMENTARY, IT'S 
NOTHING.
I MEAN, THE AMOUNT OF 
MONEY AND TIME AND EFFORT 
THAT GOES INTO IT IS 
EXTRAORDINARY.
TELL US ABOUT THE 
SCHOMBURG BECAUSE YOU'RE 
OPENING UP THE ARCHIVES.
WHAT YOU HAVE THERE FOR 
THE PUBLIC TO COME IN AND SEE.

English: 
>> WELL, WE'RE THE PUBLIC 
LIBRARY. WE'RE ALWAYS OPEN 
AND I'M THE CURATOR FOR THE
MOVING IMAGE AND SOUND
DIVISION AND THAT MEANS I RUN
THE MOVIE DEPARTMENT AND WE
HAVE -- THE SCHOMBURG HAS 
COLLECTED THE VOICES OF 
BLACK AMERICA OVER TIME 
AND ON FILM. THE MOVEMENT.
SO WE RECENTLY TOOK IN THE
JAMES BALDWIN COLLECTION 
BUT TO HEAR JAMES 
BALDWIN'S VOICE AND TO KNOW
HOW HE MOVES WHEN YOU'RE
READING HIS BOOKS, HAS 
DIMENSION AND HUMANITY AND
REALNESS.
WE TOOK IN THE SONNY
ROLLINS COLLECTION.
IT'S SPECTACULAR. 
>> WELL, YOU ARE DOING 
WELL BECAUSE IN THE PAST, 
THOSE KINDS OF THINGS 
WOULD BE GOING ELSEWHERE 
BUT NOW THE SCHOMBURG HAS 
BECOME THE CENTER, YOU 
KNOW, PEOPLE UNDERSTAND 
THAT IT NEEDS TO GO TO THE
SCHOMBURG. 
>> YES.
BECAUSE WE'RE THE SCHOMBURG
CENTER FOR RESEARCH IN BLACK
CULTURE AND WE'RE

English: 
>> WELL, WE'RE THE PUBLIC 
LIBRARY. WE'RE ALWAYS OPEN 
AND I'M THE CURATOR FOR THE
MOVING IMAGE AND SOUND
DIVISION AND THAT MEANS I RUN
THE MOVIE DEPARTMENT AND WE
HAVE -- THE SCHOMBURG HAS 
COLLECTED THE VOICES OF 
BLACK AMERICA OVER TIME 
AND ON FILM. THE MOVEMENT.
SO WE RECENTLY TOOK IN THE
JAMES BALDWIN COLLECTION 
BUT TO HEAR JAMES 
BALDWIN'S VOICE AND TO KNOW
HOW HE MOVES WHEN YOU'RE
READING HIS BOOKS, HAS 
DIMENSION AND HUMANITY AND
REALNESS.
WE TOOK IN THE SONNY
ROLLINS COLLECTION.
IT'S SPECTACULAR. 
>> WELL, YOU ARE DOING 
WELL BECAUSE IN THE PAST, 
THOSE KINDS OF THINGS 
WOULD BE GOING ELSEWHERE 
BUT NOW THE SCHOMBURG HAS 
BECOME THE CENTER, YOU 
KNOW, PEOPLE UNDERSTAND 
THAT IT NEEDS TO GO TO THE
SCHOMBURG. 
>> YES.
BECAUSE WE'RE THE SCHOMBURG
CENTER FOR RESEARCH IN BLACK
CULTURE AND WE'RE

English: 
ACCESSIBLE TO THE PUBLIC.
ALL IT TAKES IS A LIBRARY 
CARD. 
>> IF I WANT TO SEE 
SOMETHING OF JAMES 
BALDWIN, I JUST USE MY 
LIBRARY CARD?
>> YES.
AND THE MANUSCRIPTS, PHOTOS
AND PRINTS, ARTIFACTS.
THE FILM AND AUDIO 
MATERIAL IS THERE.
WHAT I'M VERY INTERESTED 
IN AS A CURATOR IS 
BUILDING OUT OUR 
COLLECTION OF INDEPENDENT 
FILMS AND FILMMAKERS AND 
MAKING SURE THAT WE HAVE A
PLACE TO GO TO SEE THE 
WORK THAT WE HAVE CREATED.
WE'RE NOT AWARE OF HOW 
RICH OUR HISTORY IS OFTEN.
SO WHEN YOU THINK, OH, WE 
HAVEN'T DONE THAT BEFORE 
AS A PERSON OF COLOR, A 
BLACK PERSON, NO, DO YOUR 
RESEARCH.
DO YOUR RESEARCH.
AND START AT THE SCHOMBURG.
>> START AT THE SCHOMBURG.
AND I LIKE THAT YOU 
HAVE -- NOW WE HAD KEVIN 
YOUNG ON. 
>> YES. 
>> RUNNING THE SCHOMBURG.
BUT A LOT OF THE PROGRAMS 
THAT YOU DO THERE ARE 
BEING RECORDED AND 
INCLUDED IN THE ARCHIVES 
WHICH IS ALSO 
ESSENTIALLY --
>> YES.
THAT WAS SOMETHING THAT 
WAS STARTED IN THE 80s.
WE HAVE AN ENORMOUS 
COLLECTION OF PUBLIC 
PROGRAMS OVER THE YEARS.

English: 
ACCESSIBLE TO THE PUBLIC.
ALL IT TAKES IS A LIBRARY 
CARD. 
>> IF I WANT TO SEE 
SOMETHING OF JAMES 
BALDWIN, I JUST USE MY 
LIBRARY CARD?
>> YES.
AND THE MANUSCRIPTS, PHOTOS
AND PRINTS, ARTIFACTS.
THE FILM AND AUDIO 
MATERIAL IS THERE.
WHAT I'M VERY INTERESTED 
IN AS A CURATOR IS 
BUILDING OUT OUR 
COLLECTION OF INDEPENDENT 
FILMS AND FILMMAKERS AND 
MAKING SURE THAT WE HAVE A
PLACE TO GO TO SEE THE 
WORK THAT WE HAVE CREATED.
WE'RE NOT AWARE OF HOW 
RICH OUR HISTORY IS OFTEN.
SO WHEN YOU THINK, OH, WE 
HAVEN'T DONE THAT BEFORE 
AS A PERSON OF COLOR, A 
BLACK PERSON, NO, DO YOUR 
RESEARCH.
DO YOUR RESEARCH.
AND START AT THE SCHOMBURG.
>> START AT THE SCHOMBURG.
AND I LIKE THAT YOU 
HAVE -- NOW WE HAD KEVIN 
YOUNG ON. 
>> YES. 
>> RUNNING THE SCHOMBURG.
BUT A LOT OF THE PROGRAMS 
THAT YOU DO THERE ARE 
BEING RECORDED AND 
INCLUDED IN THE ARCHIVES 
WHICH IS ALSO 
ESSENTIALLY --
>> YES.
THAT WAS SOMETHING THAT 
WAS STARTED IN THE 80s.
WE HAVE AN ENORMOUS 
COLLECTION OF PUBLIC 
PROGRAMS OVER THE YEARS.

English: 
SO PART OF THE WORK 
THAT -- THAT'S IN THE 
MOVING IMAGE-
>> RIGHT, THE NEW YORK 
DIVISION. 
>> PART OF THE WORK WE'RE 
DOING IS TREMENDOUS 
AMOUNTS OF GRANT WRITING 
TO BE ABLE TO PROCESS AND 
DIGITIZE AND MAKE 
AVAILABLE THAT MATERIAL.
BECAUSE IT'S THERE.
AND WE NEED TO UNHIDE IT. 
>> YOU KNOW, ONE OF THE 
THINGS THAT I NOTICED YOU 
WERE INDUCTED INTO THE 
ACADEMY.
YOU'RE GOING TO VOTE ON 
THE OSCARS.
YOU WENT INTO THAT CLASS 
WHERE AFTER ALL OF THE HOOPLA --
>> YES. 
>> SO TELL US ABOUT THAT.
BECAUSE THIS IS HOLLYWOOD,
IT'S EXACTLY WHAT YOU'RE 
TALKING ABOUT.
FILMMAKING, WHO GETS TO 
MAKE AND JUDGE THE FILMS. 
>> OH, YEAH.
I'M SO THRILLED TO BE AN 
ACADEMY MEMBER.
IT'S BEEN AN HONOR AND SO 
LAST YEAR WAS FIRST YEAR 
THAT I GOT TO VOTE. AND I
VOTED -- I VOTED TRUE TO MYSELF.
YOU KNOW?
>> RIGHT.
RIGHT. 
>> AND IT IS SOMETHING.
YOU GET TO ENGAGE WITH THE
WHOLE COMMUNITY AND IT'S 

English: 
SO PART OF THE WORK 
THAT -- THAT'S IN THE 
MOVING IMAGE-
>> RIGHT, THE NEW YORK 
DIVISION. 
>> PART OF THE WORK WE'RE 
DOING IS TREMENDOUS 
AMOUNTS OF GRANT WRITING 
TO BE ABLE TO PROCESS AND 
DIGITIZE AND MAKE 
AVAILABLE THAT MATERIAL.
BECAUSE IT'S THERE.
AND WE NEED TO UNHIDE IT. 
>> YOU KNOW, ONE OF THE 
THINGS THAT I NOTICED YOU 
WERE INDUCTED INTO THE 
ACADEMY.
YOU'RE GOING TO VOTE ON 
THE OSCARS.
YOU WENT INTO THAT CLASS 
WHERE AFTER ALL OF THE HOOPLA --
>> YES. 
>> SO TELL US ABOUT THAT.
BECAUSE THIS IS HOLLYWOOD,
IT'S EXACTLY WHAT YOU'RE 
TALKING ABOUT.
FILMMAKING, WHO GETS TO 
MAKE AND JUDGE THE FILMS. 
>> OH, YEAH.
I'M SO THRILLED TO BE AN 
ACADEMY MEMBER.
IT'S BEEN AN HONOR AND SO 
LAST YEAR WAS FIRST YEAR 
THAT I GOT TO VOTE. AND I
VOTED -- I VOTED TRUE TO MYSELF.
YOU KNOW?
>> RIGHT.
RIGHT. 
>> AND IT IS SOMETHING.
YOU GET TO ENGAGE WITH THE
WHOLE COMMUNITY AND IT'S 

English: 
IMPORTANT TO SHOW UP AND 
TO SHOW YOUR FACE AND BE 
ENGAGED AND SPEAK YOUR 
TRUTH IN ALL ENVIRONMENTS.
SO THOSE OF US THAT HAVE 
BEEN INDUCTED RECENTLY 
REALLY FEEL THAT THAT'S 
PART OF WHAT WE DO. SHOW UP.
>> YEAH.
I UNDERSTAND THAT IT'S A 
FOLDING IN EVERY -- HOW 
EVER THEY INTRODUCE PEOPLE
INTO THE VOTING.
SO WHERE DO YOU STAND NOW?
IS IT ENOUGH?
ARE THERE ENOUGH -- I 
DON'T WANT TO SAY MINOR. IS 
THERE ENOUGH DIVERSITY TO 
MAKE A DIFFERENCE YET?
>> YOU KNOW, THERE'S STILL
WORK TO BE DONE, BUT THERE
ARE THOSE OF US WHO ARE 
THERE AND WE'RE TRYING TO 
BRING OTHER PEOPLE ALONG.
AND THAT'S REALLY WHERE
WE ARE WITH IT. 
>> SO WE HAVE A MINUTE OR 
SO TO TALK ABOUT THE 
ENORMITY OF DOING ANY OF
THESE THINGS THAT REQUIRE 
SUCH HUGE AMOUNTS OF CASH.
THAT'S A BARRIER TO PEOPLE
OF COLOR OR TO WOMEN 
MAKING MOVIES.
TALK TO US ABOUT IT. 
>> IT'S A VERY 

English: 
IMPORTANT TO SHOW UP AND 
TO SHOW YOUR FACE AND BE 
ENGAGED AND SPEAK YOUR 
TRUTH IN ALL ENVIRONMENTS.
SO THOSE OF US THAT HAVE 
BEEN INDUCTED RECENTLY 
REALLY FEEL THAT THAT'S 
PART OF WHAT WE DO. SHOW UP.
>> YEAH.
I UNDERSTAND THAT IT'S A 
FOLDING IN EVERY -- HOW 
EVER THEY INTRODUCE PEOPLE
INTO THE VOTING.
SO WHERE DO YOU STAND NOW?
IS IT ENOUGH?
ARE THERE ENOUGH -- I 
DON'T WANT TO SAY MINOR. IS 
THERE ENOUGH DIVERSITY TO 
MAKE A DIFFERENCE YET?
>> YOU KNOW, THERE'S STILL
WORK TO BE DONE, BUT THERE
ARE THOSE OF US WHO ARE 
THERE AND WE'RE TRYING TO 
BRING OTHER PEOPLE ALONG.
AND THAT'S REALLY WHERE
WE ARE WITH IT. 
>> SO WE HAVE A MINUTE OR 
SO TO TALK ABOUT THE 
ENORMITY OF DOING ANY OF
THESE THINGS THAT REQUIRE 
SUCH HUGE AMOUNTS OF CASH.
THAT'S A BARRIER TO PEOPLE
OF COLOR OR TO WOMEN 
MAKING MOVIES.
TALK TO US ABOUT IT. 
>> IT'S A VERY 

English: 
ENTREPRENEURIAL PURSUIT.
I THINK MY CAREER IN 
ATHLETICS REALLY SET ME 
UP.
IT'S THE PARADIGM. YOU HAVE
A GOAL. YOU HAVE A
LONG TERM GOAL, YOU HAVE 
SHORT TERM GOALS AND 
YOU'RE CONSTANTLY 
CALIBRATING ALONG THE WAY.
IF YOU LET EVERY 
DISAPPOINTMENT -- OH, I'M 
GOING TO QUIT, I CAN'T DO IT.
YOU MIGHT HAVE A MOMENT OF
THAT. 
>> RIGHT. 
>> BUT YOU DON'T STAY IN 
THAT PLACE.
YOU MOVE ON AND YOU FIGURE
OUT HOW TO REACH YOUR GOAL.
SO IT IS -- IT IS ENGAGING
AND --
>> BUT YOU HAVE TO RAISE 
MILLIONS OF DOLLARS. 
>> YES, YOU HAVE TO RAISE 
MONEY. RIGHT?
BUT IF YOU WANT TO DO IT, 
THAT'S WHAT YOU HAVE TO DO.
>> SO ARE YOU FINDING THAT
THERE IS DIVERSITY AND 
PEOPLE BEING ABLE TO 
GARNER THAT AMOUNT OF 
MONEY, WOMEN -- IS THAT 
IMPROVING?
>> WELL, YOU KNOW, I THINK
IF YOU WANT TO BE ON THE 
FOREFRONT OF ANY CAREER IT
INVOLVES ALL OF THAT.
EVEN AT THE SCHOMBURG 
GETTING THE MOVING IMAGE
AND RECORDED SOUND DIVISION
ADDED TO THE RENOVATION 
REQUIRED BEING VERY MUCH 
AN ADVOCATE IN HELPING TO 

English: 
ENTREPRENEURIAL PURSUIT.
I THINK MY CAREER IN 
ATHLETICS REALLY SET ME 
UP.
IT'S THE PARADIGM. YOU HAVE
A GOAL. YOU HAVE A
LONG TERM GOAL, YOU HAVE 
SHORT TERM GOALS AND 
YOU'RE CONSTANTLY 
CALIBRATING ALONG THE WAY.
IF YOU LET EVERY 
DISAPPOINTMENT -- OH, I'M 
GOING TO QUIT, I CAN'T DO IT.
YOU MIGHT HAVE A MOMENT OF
THAT. 
>> RIGHT. 
>> BUT YOU DON'T STAY IN 
THAT PLACE.
YOU MOVE ON AND YOU FIGURE
OUT HOW TO REACH YOUR GOAL.
SO IT IS -- IT IS ENGAGING
AND --
>> BUT YOU HAVE TO RAISE 
MILLIONS OF DOLLARS. 
>> YES, YOU HAVE TO RAISE 
MONEY. RIGHT?
BUT IF YOU WANT TO DO IT, 
THAT'S WHAT YOU HAVE TO DO.
>> SO ARE YOU FINDING THAT
THERE IS DIVERSITY AND 
PEOPLE BEING ABLE TO 
GARNER THAT AMOUNT OF 
MONEY, WOMEN -- IS THAT 
IMPROVING?
>> WELL, YOU KNOW, I THINK
IF YOU WANT TO BE ON THE 
FOREFRONT OF ANY CAREER IT
INVOLVES ALL OF THAT.
EVEN AT THE SCHOMBURG 
GETTING THE MOVING IMAGE
AND RECORDED SOUND DIVISION
ADDED TO THE RENOVATION 
REQUIRED BEING VERY MUCH 
AN ADVOCATE IN HELPING TO 

English: 
RAISE MONEY AND MAKING IT 
HAPPEN.
SO FILMMAKING IS THE SAME.
YOU HAVE TO -- I MEAN, 
NOBODY IS GOING TO COME TO
ME AND SAY, YOU MAKE THIS,
HERE'S ALL THE MONEY.
THAT DOESN'T HAPPEN.
SO IF I WANT TO BE A 
FILMMAKER, I'M IN THE TRADITION
OF OSCAR MICHEAUX.
I MAKE MY OPPORTUNITIES.
AVA DUVERNAY, ALSO MADE HER
OPPORTUNITIES.
NOBODY SAID YOU, FABULOUS 
PERSON, BE A FILMMAKER.
SHE STARTED MAKING FILMS.
>> AND I'M PUTTING MY 
MONEY ON YOU SHOLA, TO
GET THE MONEY TO MAKE YOUR
MOVIE. WE ALWAYS FINISH BY
ASKING OUR GUESTS TO 
FINISH THE STATEMENT,
THE POWER, THE STRENGTH 
OF BLACK AMERICA-
WHAT'S THAT FOR YOU? 
>> IT'S LOOKING BACK TO 
LOOK FORWARD. KNOW WHO YOU 
ARE SO YOU CAN KNOW WHERE 
YOU'RE GOING. I'M AN AFRO-
FUTURIST, WHICH INCLUDES 
THE PAST. RECLAIM OUR PEOPLE,
BRING THEM ALONG.
>> WELL, THANK YOU SO MUCH.
YOU'RE FANTASTIC.
I CAN'T WAIT FOR YOUR 
NEXT -- I'M COMING OVER TO
THE SCHOMBURG TO TAKE A 
LOOK AT YOUR FILMS AND 
LISTEN TO THAT MUSIC THAT 
YOU'VE GOT OVER THERE.
THANKS FOR YOUR COMMITTED 

English: 
RAISE MONEY AND MAKING IT 
HAPPEN.
SO FILMMAKING IS THE SAME.
YOU HAVE TO -- I MEAN, 
NOBODY IS GOING TO COME TO
ME AND SAY, YOU MAKE THIS,
HERE'S ALL THE MONEY.
THAT DOESN'T HAPPEN.
SO IF I WANT TO BE A 
FILMMAKER, I'M IN THE TRADITION
OF OSCAR MICHEAUX.
I MAKE MY OPPORTUNITIES.
AVA DUVERNAY, ALSO MADE HER
OPPORTUNITIES.
NOBODY SAID YOU, FABULOUS 
PERSON, BE A FILMMAKER.
SHE STARTED MAKING FILMS.
>> AND I'M PUTTING MY 
MONEY ON YOU SHOLA, TO
GET THE MONEY TO MAKE YOUR
MOVIE. WE ALWAYS FINISH BY
ASKING OUR GUESTS TO 
FINISH THE STATEMENT,
THE POWER, THE STRENGTH 
OF BLACK AMERICA-
WHAT'S THAT FOR YOU? 
>> IT'S LOOKING BACK TO 
LOOK FORWARD. KNOW WHO YOU 
ARE SO YOU CAN KNOW WHERE 
YOU'RE GOING. I'M AN AFRO-
FUTURIST, WHICH INCLUDES 
THE PAST. RECLAIM OUR PEOPLE,
BRING THEM ALONG.
>> WELL, THANK YOU SO MUCH.
YOU'RE FANTASTIC.
I CAN'T WAIT FOR YOUR 
NEXT -- I'M COMING OVER TO
THE SCHOMBURG TO TAKE A 
LOOK AT YOUR FILMS AND 
LISTEN TO THAT MUSIC THAT 
YOU'VE GOT OVER THERE.
THANKS FOR YOUR COMMITTED 

English: 
WORK IN THIS AREA.
YOU'RE FANTASTIC.
BE SURE TO SEE BOTH OF 
THOSE FILMS, BUT IF YOU 
DON'T CRY IN THE SHIRLEY 
CHISHOLM FILM YOU'RE NOT A
HUMAN BEING.
THANK YOU SO MUCH TO SHOLA
LYNCH AND THANKS TO YOU 
FOR WATCHING US.
I'M CAROL JENKINS, THE 
PROGRAM IS "BLACK AMERICA"
AND WE WILL SEE YOU NEXT 
TIME.
♪ [THEME MUSIC] ♪

English: 
WORK IN THIS AREA.
YOU'RE FANTASTIC.
BE SURE TO SEE BOTH OF 
THOSE FILMS, BUT IF YOU 
DON'T CRY IN THE SHIRLEY 
CHISHOLM FILM YOU'RE NOT A
HUMAN BEING.
THANK YOU SO MUCH TO SHOLA
LYNCH AND THANKS TO YOU 
FOR WATCHING US.
I'M CAROL JENKINS, THE 
PROGRAM IS "BLACK AMERICA"
AND WE WILL SEE YOU NEXT 
TIME.
♪ [THEME MUSIC] ♪
