And white, and the butler which is made into 2013 film directed by lee daniels. He has been a correspondent for the Washington Post and the boston globe where he was a pulitzer finalist and he is currently a visiting scholar at Miami University in oxford, ohio. Joining on her digital stage is a cream clinic peter guralnick, author of numerous books including last kind of memphis and careless love. Theyre here discussing the new book colorization one hundred years of black films in a white world. Publishers weekly calls it an engrossing account of a a vitl but often slide cinematic tradition full of fascinating lore. And Dwight Garner writes from the New York Times this is sweeping history but it feels crisp, urgent and pared down. Like a good movie, it talks from the start. Were so please be hosting this event tonight. The digital putting is yours, will and peter. Thank you. Thank you. Its great to be hit with you. I wish we are in person. And congratulations on the book. Weve known each other a long time. Weve known each other over 30 years. In all that time i feel like weve been not so secret. At last year, and clergy so that i wonder if you always had a book like this in the back of your mind . A big book resting on the twin pillars of social history and story storytelling, too. Or maybe more to the point, how did you come to write the book . Yes. Well, lovely of you, peter, to be here with me. T when i was a kid growing up. In columbus, ohio my first journeys outside the home solo journeys were to the garden theater on north high street. I was nine ten years old nine and ten years nine and 10 years old when my mother first started letting me go to movies. The ritual would be go to church, come home and then change your clothes and then you can go to the movies because she would give me 50 cents, a quarter to get in and the other quarter was for my snacks and i sat there like we all do in awe of the magic of cinema and so theres this little kid looking up at the 60foot wide screen and on that screen there were stars like lee marvin, liz taylor, henry fonda, robert mitchum, robert vaughn, paul newman. These were all people who i just grew very fond of. They were movie stars. But they all had one thing in common, they were all white. As a kid at the garden theater in the 60s, i never saw a black face on that screen, never. And so i went away to college in the 70s and came home. There was a new theater downtown, the southern theater, they were showing cool, hip black movies like super fly and lady sings the blues. And shaft, movies with great urban musical scores. And then years after that, here i am on a movie set in new orleans, i hate to name drop, but there was soiree at a house, it was sandra bullocks house, the actress, lee daniels, who direct the butler, based on the story that id written, he had a soiree one evening and im in the kitchen and im looking out over this over this crowd, multiracial cast within that movie, jane fonda, forest whitaker, oprah winfrey, lenny kravitz, mariah carey, jane fonda, great cast, and i said to myself, my goodness, somebody needs to write a book about this moment and then Terrence Howard who was also in the movie walked over to me, youre the writer, you ought to write the book. That was the evening back in 2012 that idea for this book was born. Thats pretty cool. I didnt realize that it went back to that specific kind of a moment. But now, its a very different kind of a book in some ways than your other books and your biography of sammy davis, jr. And then your great biography of Sugar Ray Robinson or other, and columbus for that matter. But it seems to me what it has in common is its its the story telling. I mean, its like a master class in story telling, colorization with all of these unexpected connections, folded within the story of your talent. So you get the obvious one like Sidney Poitier, and then Harry Belafonte backed up by Charlie Parkers combo. Or fanny hearst when youre doing the life, like the passage and the movie thats out now. Just a fascinating evolution of porgy bess, across all of these cultural barriers, from gulla to gerschwin, and sammy davis, jr. , and edition of samuel golden, and one and the other one in a restaurant or a club. But in any case. Yes. These are full of vivid anecdotes and such telling detail. So, but i wonder did you what did you take from the say the discipline or the lessons that you learned from writing these biographies, from writing the extended profiles that you did over so many years on different figures such as marion barry or eugene allen. White house butler. Did find lessons there or sense the differences in writing this . Did you have to find new ways of telling the story . One of the things that has driven me as a writer is that i love to find a side door or an attic door to go into and run down a story. I mean, so many people go in the front door and they just get the story that is right in front of them. But if i go through a side door or if i jump down through the chimney, you know, if i go at a story in an odd angle, and then i come up with these, it seems to me riches, riches like, you know, cinema was still new in 1915 and yet, it was the president of the united states, Woodrow Wilson showing that very racist movie the birth of a nation in the white house because Woodrow Wilson had a friend who wrote the novel that the movie was based on. But one of the fascinating things for me in that chapter was to find the maid of the director. Dw griffiths had a black maid and she was brave enough to stand up to him after she had watched some scenes of that movie and she walked up to him one day in his study and she said you have hurt me, mr. Griffiths, by what you have done to my people, period. You have hurt me, mr. Griffiths, by what you have done to my people. And just saw, wow, imagine what courage it took for this black maid to tell this famous white movie director who paid her weekly how she told him that he had hurt her through this magical thing called cinema. In movies you sit in the theater and yet, the real world is just 70 feet away out the front door and i thought that, if i could find an off screen story to tell, along with the on screen story, then it would be pretty fascinaing because hollywood lags behind the reality of this country. The reality is that there were people fighting racism on the streets and they were dying for it. But we didnt see civil rights movies in the 50s, even in the 60s, it was very rarely that a movie and that a movie talked about race or racism and when it did, it was in a very happy manner, almost. Sidney poitier, he played a lot of figures who didnt really have an edge to him in many of those movies. Some did, he did his best, but hollywood was really very slow to translate what was happening in the country to what was going on on screen. And the western director, john ford said something to the effect if theres the truth in the legend, all print the legend and the legend in hollywood is hurray for hollywood, but if you tell that story up against africanAmerican History, then you really come out with a completely different story. And one that is that epic as the life blood of hollywood itself. Well, yeah, and going back to the first black filmmaker, the dominant black filmmaker of the day and you attach onto a movie with nothing like a man with dixon and lincoln and its almost the 90s movie in the circumstance in 1970 or so, maybe . Yes, yes, exactly, nothing, but a man. A beautiful movie. No, i mean, really ahead of its time and there it is in the book. But also, you know, when you talk about looking for the different angle, everything is about the angle of perception, i think, and i always think about my friend, the great photographer david gar, if every photographer went to the right of the stage, i went to the left of the stage because it gave them a different angle. And with gone with the wind, two angles that you had on it were hattie mcdonnell, was the first black woman to win an oscar. Yeah. But your back story of her life and her brothers life in black minstrel shows. Yes. And it just gives it so much more of an edge an and when you go into that the whole thing of minstrel and you could say more about that. You talk about Margaret Mitchell, a young woman who goes off to college and then goes back home again and writes a novel which is a huge success, it was a movie based on it. Martin luther King Martin Luther king, who was then but anyway singing in the choir in the opening of the show and youve got the conversion of Margaret Mitchell when her maid, again, bringing in the maid, and cant get medical help and she donates money to who is it . Morehouse medical school, yes, morehouse. Thats a very beautiful story in its own way and for its time. Margaret mitchell had had a black maid who got very sick and Margaret Mitchell was astonished that she couldnt find a hospital to admit and care for her black maid and even though Margaret Mitchell was willing to pay the bill. No white hospital would take and care for her maid and so, Margaret Mitchell had to bring this lady home and she died because she couldnt get medical care in georgia. It affected Margaret Mitchell so much that she wrote a letter to Benjamin Mays at morehouse and told him, i would like to contribute some money to train or to help train help fund the training of young black medical students, but she was so afraid that word might seep out in high society that she, a white woman, had helped black students that she asked she asked Benjamin Mays, the head of morehouse to keep it quiet, which he did, but she continued to send money, which was very nice of her, but it also showed that she had lived in a completely different world than her black maid who lived in a, you know, jim crow world in georgia and was not treated as other human beings who were white were treated. And of course, that novel has been praised by many, many, many whites through the years and still is and blacks have a completely different perception of that novel, as they should have. I mean, its racist, stereotypes in the novel, and yet, it was a very successful novel and so with the movie, and the movie directly led to the casting of Hattie Mcdaniel and her character had one name, mamie, and she wasnt considered human to have a first and last name, mamie. And that really, too, was what cinema thought of the black female, that they were only suited best suited to play maids. Well, its like you tell the story i was going to say its not a redemptive story with regard to Margaret Mitchell, but gives shadings that didnt otherwise exist and prior to that turned down Benjamin Mays in his request for contribution. Yes, yes, yes. And so, i mean, its but no, it seems to me that that is in so many ways shows the slow degree of evolution that takes place over a long period of time. I mean, this is your book is almost like a very slow reveal. Yes, yeah. Because what was so obvious, not just to the black population, but to large elements of the population, but not to the mainstream, lets say. And with racism with gone with the wind, there it was, and it took a long time, and wakeup calls and in none of this do you get up on the soap box and say, this is the way it should be. Oh, look, look, here is a complete turn around, because it generally isnt a complete turn around and at least some evolutionly steps. Right. I had a question for you. Did you always wan did you want to become a writer . Did you envision yourself as a writer . If you were going to be a writer, what sort of writer did you think you might become . Yeah, no. I did not always want to become a writer. I when i was in college, i majored in urban planning. Then when i got out of college, i got a job as a social worker and then another job and had a job on a weekly newspaper. And the pay was so low that i quit. I moved to new york city in the 80s. It went through the executive Training Program at Macys Department store. I became a low level floor manager at macys. My mother was telling people. My son is running macys. [laughter]. And worked that job for two years. Then i got fired. I just wasnt very good. One of the store managers said, retailing is not in your soul. And i wanted to say no kidding. You arent kidding there when you say that. And so, you know, i moved back home in the columbus, ohio and looked in the mirror and said, okay, its time to get serious, find a career and i did like writing in college and i did like writing for that little weekly newspaper that i had that job for about five months. So i started writing newspapers around the country and thats how i got in the newspapers. I went to charleston, West Virginia and then i went to the Pittsburgh Post Gazette and then i went to the boston globe for many years and then, and then i went to the Washington Post, but i always knew, too, that i wanted write long form stories. I wanted to be able to just sit inside of a story and really wanted to write things that were big, you know . Big, wide stories. You know, so i would buy the newspapers that happened to give writers a lot of space in their feature stories, so wherever i was at i would always buy the Los Angeles Times and the chicago tribune, and i would buy the boston globe and the New York Times and the Washington Post, newspapers that had a lot of space because i just liked to be able, you know, to write long form. It seems like it would ask a lot of you to keep a story going for 70 inches and i just liked that challenge and when i started writing these long form stories, people started whispering to me, you ought to write books and, you know, its very easy to say that to someone, but its not easy to find your way into into the book world and i was at the boston globe, actually, and sam roselle, two time Pulitzer Prize winning photographer and a dear friend of mine came up with an idea to take a trip down the Mississippi River in honor of mark twain birthday and so i took that trip down the Mississippi River, wrote a whole Magazine Issue that was devoted to his photographs and my words and then i was approached by the Atlantic Monthly press and they asked me to turn that into a book. Me and stan did, so, that was my back, our first book and then i was off and running. Well, of course, you mentioned those newspapers. They all had magazines in those days. Yes. And the long form wasnt conformed to the magazine, but encouraged the outlook. And how we met, i wrote you a letter about one of your early stories and i dont know whether it was that one or the story about James Baldwin and william it was that one, it was about the trip down the Mississippi River because i still have that letter, thank you, yes. Thats how we met. Yes. But, no, what struck me from the very first and you know, people can write long and they can use a lot of words, they can repeat words. They can turn around in circles and stuff, but what struck me, and this is, now, i wonder if you knew you had this, but it seemed to me from the very beginning, there was an emotional impact. There was an emotional core to every story you wrote and thats what really, from my perspective, is what distinguished your writing from the first that i was exposed to it and then in the books. Was that something that you naturally came to or was that just the way that you felt and saw the stories, was in a sense from the inside out . Yeah, the only way that i think i can answer that and because that, peter is a wonderful question. It was my grand mother who raised me and my grandparents. I lived with my mother, but it was my grandmother who seemed to take a real interest in me. My mother had jobs and she was often away working at night. And i think my grandmother was such a sensitive soul that knew when i went out into the world she expected me to be good and to be sincere and to treat people in my stories the way i myself would like to be treated. And so, i do look back onto some of those stories and there is a how can i put it . There is a i dont know, maybe tenderness. Theres a tenderness in a lot of my stories. I even think about this book. My new book about movies and i break off in one chapter and i write about all of the black actresses who had enormous talent, but were forced to play maid roles. You know, some of them had the talent to do shakespeare plays, but they were forced to do maid roles and many of them have never been written about and i said to myself, even though theyre gone, maybe theyve got a nephew, a greatnephew, a great niece, somebody out there who knows about their Family Member who acted in movies back in the 40s and 50s and bam, now that name is written in this book. Its there. Theyve been honored in some way. Theres a great moment in the book and theres a great moment to me. Lena horne, beautiful actress, could sing, could act, hollywood didnt know what to do with her and she kept getting invited to play maids, play maids and so her father finally flew out to hollywood and asked to see one of the studio chiefs and her father said, look, if my daughter needs a maid, ill hire one for her, but shes not going to play a maid on screen. You know, what a beautiful little story. I mean, he gets on a plane and insists on seeing the studio chief and saying ive got money, a lot of money, and if my daughter needs a maid, ill hire one for her, but she sure is heck not going to play one on no movie screen. And she didnt. Now, its funny, i was going to bring up that story because it just but, i mean, she and you were speaking, just for the audience and maybe everybody in the audience knows this, one of the most beautiful women in the world. Yes. She never got a road she could have been ava gardner and anyone you wanted, elizabeth taylor, anything. She was offered maid roles. Right. And i should point out one of the things that strikes me in talking to you, you came up in an inge age of me journalism, one. Predominant things which often writers showed off and probably still do, at the expense of their subjects. Right. Which isnt hard to do, its easy to do and i just want to second what you said, which is youve never done that ever in anything youve ever written or anything ive written and maybe the thank you. All right, now, i had a thought. I felt sometimes reading this book. Its a big book, takes if subjects, covers everybody from trayvon martin, its a social history as well as a movie history. Yeah. , but i felt sometimes it must have been like coming home or revisiting old friends for you. So, the people like Sugar Ray Robinson, you know, sammy davis, jr. , lena horne, Adam Clayton Powell come up not because youre pulling them in or know something about them, but because they all lived within the same world, occupied the same space. It was a fact of segregation that they were thrown together whether they chose to be or not. Right. I wonder to me in a sense, the book, its sort of a funny thing, you say well, its a history of, you know, africanamerican movies or the africanamerican role in movies, but in a lot of ways its a story about community and i dont know if that strikes you that way or not. I just wanted to throw that out to you. I think youre absolutely right. I think for the black star, the black entertainer in the 40s, 50s, 60s, it was a fairly small world. Everybody seemed to know each other and they all often were so, so proud of each other. I mean, even now, if you watch some of the news reel footage of the march on washington, there werent a whole lot of hollywood figures there because many of the managers and the agents o actors, told them dont go to the march on washington. It will hurt your career. And so the ones who did go, they showed a certain bravery and so, it was beautiful for lena horne to be there hugging sammy davis, jr. Who was you going eartha kitt, who was hugging more marlon brando, who was hugging James Baldwin, who was hugging james garner. I mean, it was just lets not forget Harry Belafonte though. Of course, Harry Belafonte very close to Martin Luther king, jr. And helped to raise money for the march on washington. And you know, these were people who read jet magazine, ebony magazine, cpm magazine, it was really two worlds in this country during that era. I think sometimes or often students who i teach will think that all of this just sort of happened naturally, blacks in film and blacks in tv. No, its been a struggle up a hill. And i just found it very fascinating to weave the threads together of this whole march toward cinema. Towards representation. Right, right. In cinema. You know, because movies are big and i mean, we send our movies all over the world and foreigners often shape their shape their attitudes about this country by our movies. You know, and so that both, i dont know, not good and sometimes often bad that our movies shape foreign filmings about this country hfrjts which is why you want to grab control and you want to declare, you know, an independence, a spirit and an independence of identity and do a representation thats truer. But one of the things that struck me in terms of the community, this is so much the theme of James Baldwin, lets say in the fires next time talking about all the wonderful things that have come out of that closed opportunity. Right. And its also, i should point out. I think that everybody who is watching is not just going to want to buy this book, but the complete wil haygood, and Sugar Ray Robinson, whose intent is not just to buy a great biography of a debonnaire man, but also of this community, of this world, the way this world flowers as expanded and its actually that some of that is in, you know, is in the new book. It is, yes, yes. Youre exactly right. I mean, i think that the and i think that if you follow the trek of blacks in cinema, if you follow that trek as i do and 100 plus years, and ive used cinema as the spokes wheel to tell the story of this country. Like James Baldwin said, i love this country so much that i have the right to criticize it. And so, i love this country very much and i love movies very much. Right. And it seems to me to tell the twin stories in a way that is honest and in a way that really utilized all of my skills, then i think that i have something in that great arc of story telling to share with the world. Well, yeah, and then in that sense, its a personal book like all the others, even though it has less the appearance of that than some of the others. Youre right, youre right. Now, i have two last questions and we may get disrupted because there may be questions from the readers, so you can choose which you want to answer first. One was i wanted you to talk a little about 0s car michelle, the founder of black cinema and the person who is a name i think that youre rescuing from history to some extent. I know theres been writing about him and i wonder if in his films that have been shown in recent years. The other thing i wanted to ask you, you can choose whichever you want to. Which of these movies or any other movie in the same ballpark, you know, of what youre writing about, which of these movies still hits you the hardest today . Which do you go back to or which, you know, which just impinges forcibly upon your memory and your experience . Yeah, you know what . I think i like to very quickly answer both. Im going to answer the second question first. Two Sidney Poitier movies because i was fairly young when i saw both of these movies and if youre a young black kid and you see somebody on tv, you know, and in the 60s, your parents would really, really grab you and they would really want you to sit down in front of that screen so that you could see somebody who looked like you, same skin color as you. I mean, white kids had a whole buffet. They could see somebody on screen like them you know, seven days a week, but and if you were no, that didnt happen. You felt fortunate, you felt extremely giddy when you saw Sidney Poitier in lilies of the field after he played a handyman who helped east german nuns who were living in the American Southwest, he helped them finish building their chapel. And its a movie and he think it still stand up, even though his race is never mentioned in the movie. And thats problematic. He had no history in the movie. His only history actually is that hes a good man. Right. And its about goodness and thats fine. We can take that. And then the other movie is another Sidney Poitier movie in the heat of the night, i think that was so beautiful. It was a 1967 movie and it showed a black man using his wits to help solve a crime in the south. There was terror going on in the American South in 1967 and it took norman, who was a director and rod steiger and Sidney Poitier all had to Team Together to make that movie which was very brave. Especially if you looked at those two movies, 1963 and 1967. Of course, Sidney Poitier won his best actor oscar in 1964 for the rolls 1963s lilies of the field, the first black man to win a best actor oscar, those were two seminal movies. Going back and oscar michelle, unsung heroic figure of cinema in this nations history. Born in the midwest, he moved to the plains in south dakota. He got money from the homestead act. It was in the back of his mind that the racist movie was playing around the country, and the movie i referred to is the birth of a nation. Oscar micheaux thought he could turn them into movies and he started writing scripts. He raised the main money and he started making short films and nobody in hollywood wanted anything to do with him. So he had to go around. He raised money and he sold his books, literally, out of the back of his car. He saved money. He bought some film equipment and really, i mean, he was old school, old school. He made his movies and he went to black theaters and he asked them to show his movies. He was so new, you know, and they started showing his movies and things grew from there. He was this nations first serious black filmmaker. And he played a huge role in this book. Well, i mean, and the story is so ideosyncratic and you say he wrote novels, he did, but they were so auto biographical. Yes. And in south dakota, his hero is in south dakota. He got married, he got married. His fatherinlaw sues him. He makes a movie about that. Yeah, yeah, so, i mean, its just, its both a wonderful story, but also an inspiring story in the sense that, you know, this is a person who is just fighting the odds. I mean, talk about a Sidney Poitier role or something. Right. Hes fighting the odds and hes doing it in a way that is so striking and so ideosyncratic and now somebody has to make a movie about him. I, yes, im hoping that this book really brings more attention to him, you know, to all of the unsung figures. Heroes and heroines. There are some Great Stories in here and there are some great white heroes in this book, too. Whites who tried to expand film making and, you know, who is who has landed on the right side of history and their stories are told in in book as well. Yeah, and then theyll ask well, i see serena in the corner. Im back, hi. We have some Great Questions from the audience here. So ill just jump right in. We have one question mere, how would you describe the evolution of racism in film from when you were a child to the present day . Theres a nice big opening question there for you. Yes, you know, i had said at the beginning of the talk that when i was a child and i went to the garden theater in my hometown in columbus, ohio. And i never saw any black figures on the screen. And so things are much different now of course and im very happy, very happy that they are. I dont think hollywood has moved as fast as they could have, of course. I think we had two years, 2015 and 2016 where there were no black nominees for the oscars and that started the oscarsowhite which made national and international news. It put hollywood on the front pages of newspapers and hollywood likes to be on the front pages of newspapers for when their movies make a lot of money or when the movies win awards. They doesnt want to be on the front pages of the newspapers around the issue of race. And thats what happens for two straight years. And so, you know, i think hollywood has the talent to do much better. Look, its only been in the last year that weve seen tv commercials with interracial couples. Its only been in the last year, and with samesex couples. Its 2021 and weve had mixed race, mixed race marriages for many decades, but for some reason somebody on madison avenue or in hollywood did not deem it safe enough to have a black man and a white woman in their and their biracial child in a tv commercial until this year. Literally until this year. So, i think that the forces in hollywood have to move faster because in the i think that the the societys moving, its moving quicker than hollywood. Yeah. All right. Lots of questions here coming in now. Okay. And a few more minutes so well get to as many as we can. Sorry for many folks we wont be able to get to. We have a question from alex here, how does the history of black television intersect with that of black cinema . Well, here is one vivid story about that. Alex haley, he was a writer, he was a journalist, who had been working on this novel, actually a nonfiction novel, you know, it was a story and it was based on his familys history from slavery up until the 1970s and that book, when it came out, it was called roots, and hollywood, one of the big studios purchased the rights to roots, they were going to make a big movie, a big saga, slavery, right up to modern times about in this black mans family, but the studio was being slow afoot. Haley got upset, he figured that they were not going to make the movie and so he bought the rights back. He took it to tv and then it became a mini series in 1976, roots. Until that time it was the most watched tv mini series in history. But hollywood ran from the story and that book, that story was saved by tv. By the small screen. David roper, he was a tv producer, he had you know, he had the wherewithal to do it and he really wanted to make it and it won a lot of awards. Many of those stars in the movie though, even with their success in roots, could not find work on the big screen in the 1970s. And i tell that story here in the book. Thanks. Alana asks, how far into the present day do you address in the book . Do you discuss movies like black panther or get out, how do you feel these movies play in the history evolution of black folks black community in movies . Alana, i certainly do. Ryan kugler, chadwick boseman, jordan peele, theyre all in this book, so, it really is a sweeping history. All of the current names that we know, they are here in this book. And that leads sort of interestingly into this next question, which is do you have an opinion about recent films series that put africanamericans at the center of narratives that theyve been kept out of in the past . Im thinking especially of shows like hollywood and craft country. Long overdo, im happy to see its happening more. Its happening more on the small screen, you know, and thats a good thing. Hulu is doing some great work, apple is doing some great work, h. B. O. , showtime, i mean there is some great work being done on the small screen. It seems that the people who run the small screen and the streaming services have just spread their arms and theyve said come, we will set up a writers room and you can go do your thing. And i think that that is a very beautiful thing, and i tell some of those stories in this book as well. All right. I think we have time for a couple more. Nell says, did any pivotal behind the camera change makers come up in your research about the changing perceptions of black art and black film actors . I always think about the bias toward whiteness to makeup, lighting today. Thats a great question. Who asked that question . Nell. Nell. Thank you, nell, for that question and thats a great question. It was lee daniels and the director who made a movie called the butler that was based on a story that i wrote and that story was about a man who was a butler in the white house for 34 years under eight president s and so he had two ways to go, i guess, if you were making that film. You could focus on the eight president s who were all white or you could focus on this man, black man who was a butler, and show all of the things that he went through in his life. He saw the civil rights movement, you know, he was there when folks were murdered. He met Martin Luther king, jr. , he met sammy davis, jr. , he met frank sinatra, michael jackson, all of these people coming into the white house. Lee daniels chose to focus on the butler, on the black man. It wasnt a white savior movie, which hollywood has a tendency to make those kind of movies. So he think if you get a sensitive movie director like lee daniels, and then you will see that they will focus on who the story is meant to be focused on. It was a story that came out, a movie that came out in 1988. And Mississippi Burning about the three civil rights workers who were killed in mississippi. And the stars of that movie were two white men played by willem defoe and they supposedly cracked the case. Which is not true. There were no white fbi agents in mississippi in 1964, but the movie made you think that there were. It did not focus on the brave, the very brave black souls in mississippi who had been beaten, murdered, and who had been marching for years. And so, the lens, the lens and the soul of the filmmaker matters. You had ava duvernay who made selma, and she was a great filmmaker and shes going to do a lot of great things during her career. And i tell that story of selma and her role in how the movie got made and her back story. I tell that story about ava duvernay in this book. So it is a wide sweeping story with a wide angle lens. Thank you so much. I think thats as good a point as any to end on. Were right at 8 00. This has really been just wonderful. Thank you both for being here, its just a really important, interesting thing to spend time thinking about and talking about and really appreciate both of you being here to shed some light on it. And were all really excited about colorization and hope that all of you out there will check it out. I just dropped the link into the chat again so it should be easy to get to, but you can also just find it at harvard. Com by searching colorization. Any last words, either of you . I want to thank you, peter. I want to thank all of the viewers. Someone said this book in some way is a love letter to hollywood. I think that there are moments when you will read the book and you think think which is nice, but its also a very truthful story. Someone who now is in movies and hollywood phoned me the other day and he told me that he thinks that this movie will help that he thinks this book will help every black actor, actress, cinematographer, film director, dresser, hair stylist, et cetera in hollywood and i hope it does. Thank you both. And thanks to everyone who submitted questions. We had a lot and they were great. Im sorry we couldnt get to all of them. But, again, a huge thank you to will and peter for the information and for all of you out there for spending your evening with us. On behalf of Harvard Bookstore keeping reading, pick up colorization and stay well. Thank you, byebye peter, byebye, serena. This election day, november 8th, the control power of congress. Will republicans retake the house . Can democrats take control of the senate . Our coverage of debates, rallies and candidate events, events as they happen on and the cspan now app. And in our website and find our data rich election page at cspan. Org campaign 202 2022. Weekends on cspan2 are an intellectual feast. Every saturday American History tv with americas story and on sunday, the latest nonfiction books and authors. Funding for cspan2 comes from these television c
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