1 00:00:01,400 --> 00:00:02,600 - [Voice Over] This program was made possible 2 00:00:02,600 --> 00:00:03,833 by contributions to your PBS station 3 00:00:03,833 --> 00:00:06,533 from viewers like you, thank you. 4 00:00:07,500 --> 00:00:09,000 - This is now a standard 5 00:00:09,000 --> 00:00:11,266 on all the interviews the moving sideways camera. 6 00:00:11,266 --> 00:00:13,066 - Yeah. - But I always find it odd 7 00:00:13,066 --> 00:00:15,133 to cut to someone who's not talking, 8 00:00:15,133 --> 00:00:16,800 who'd be talking into camera. 9 00:00:16,800 --> 00:00:18,200 - But you know, you've always struggled. 10 00:00:18,200 --> 00:00:19,866 Remember when you struggled with the talkies, 11 00:00:19,866 --> 00:00:21,766 when the talkies given you were always, 12 00:00:21,766 --> 00:00:23,800 - I had to work on my voice (mumbles). 13 00:00:23,800 --> 00:00:25,633 - Then don't keep looking at him remember we're being taped. 14 00:00:25,633 --> 00:00:26,700 - Argh, just relax. 15 00:00:26,700 --> 00:00:27,633 - Okay. 16 00:00:27,633 --> 00:00:30,800 (bright upbeat music) 17 00:00:35,333 --> 00:00:38,000 - Hi everyone, this is Beyond The Canvas. 18 00:00:38,000 --> 00:00:40,733 From PBS News Hour, I'm Amna Nawaz. 19 00:00:40,733 --> 00:00:43,133 In this episode, we'll meet masters 20 00:00:43,133 --> 00:00:47,000 of the art of movie-making, Oscar winners and nominees. 21 00:00:47,000 --> 00:00:50,900 You'll hear from comedy icon, Steve Martin and Martin Short, 22 00:00:50,900 --> 00:00:52,933 costume designer, Ruth Carter, 23 00:00:52,933 --> 00:00:56,100 documentarians, Jimmy Chin and Chai Vasarhelyi 24 00:00:56,100 --> 00:00:58,966 and legendary actress, Rita Moreno. 25 00:00:58,966 --> 00:01:00,700 On this episode, you'll meet the people 26 00:01:00,700 --> 00:01:03,533 in front of the camera and behind it. 27 00:01:03,533 --> 00:01:05,933 Comedian Steve Martin knows all too well 28 00:01:05,933 --> 00:01:08,433 the highs and lows of the Oscars. 29 00:01:08,433 --> 00:01:10,100 He's hosted three times 30 00:01:10,100 --> 00:01:13,233 and picked up an honorary award in 2013. 31 00:01:13,233 --> 00:01:15,233 His enduring legacy in Hollywood 32 00:01:15,233 --> 00:01:17,533 is matched by his lifelong friendship 33 00:01:17,533 --> 00:01:19,800 with fellow comedian Martin Short. 34 00:01:19,800 --> 00:01:22,600 They recently teamed up for a Netflix special called, 35 00:01:22,600 --> 00:01:24,900 Now You See Them, Soon You Won't. 36 00:01:24,900 --> 00:01:27,500 My colleague, Steve Goldbloom sat down with them 37 00:01:27,500 --> 00:01:31,300 for this special edition of brief, but spectacular. 38 00:01:31,300 --> 00:01:33,266 - It's hard to make a career in show business, 39 00:01:33,266 --> 00:01:36,433 possibly even harder to sustain a career in show business. 40 00:01:36,433 --> 00:01:40,133 Did you ever think that you would be relevant for this long? 41 00:01:41,233 --> 00:01:42,866 - I guess he's talking to me. 42 00:01:42,866 --> 00:01:44,633 (Laughing) 43 00:01:44,633 --> 00:01:46,700 - Lemme just say Steve, what an honor it is, 44 00:01:46,700 --> 00:01:49,533 for me to be standing next to a man who is a novelist, 45 00:01:49,533 --> 00:01:52,233 a playwright, a musician, a composer, 46 00:01:52,233 --> 00:01:53,866 and a legendary comedian. 47 00:01:53,866 --> 00:01:56,733 - And let me say, what an honor it is for me 48 00:01:56,733 --> 00:01:58,666 to be standing next to the man 49 00:01:58,666 --> 00:02:00,766 who is standing next to that man. 50 00:02:00,766 --> 00:02:02,133 (audience laughing) 51 00:02:02,133 --> 00:02:03,666 - Seeing you work together, 52 00:02:03,666 --> 00:02:05,100 it feels like it commands the attention the same way 53 00:02:05,100 --> 00:02:07,400 like an Oscar's monologue commands attention. 54 00:02:07,400 --> 00:02:10,000 And then you slow things down and you become reflective 55 00:02:10,000 --> 00:02:11,500 and you're talking about each other's work. 56 00:02:11,500 --> 00:02:14,533 Tell me about the design of your special in your tour. 57 00:02:14,533 --> 00:02:16,333 - This was a real moment for both of us, 58 00:02:16,333 --> 00:02:19,800 when we were totally rehearsed, 59 00:02:19,800 --> 00:02:21,666 we'd done the show a hundred times, 60 00:02:21,666 --> 00:02:26,033 everything was just in its beautiful little comedic place. 61 00:02:26,033 --> 00:02:28,700 - You know, it was a work in progress as we developed it... 62 00:02:28,700 --> 00:02:29,933 - And still is. 63 00:02:29,933 --> 00:02:30,900 - I mean, there would be times we'd think, 64 00:02:30,900 --> 00:02:32,166 jeez, should we cut the chat? 65 00:02:32,166 --> 00:02:34,433 It's a chat slow it down and someone else to say, 66 00:02:34,433 --> 00:02:36,900 "No, no, no, that's like having dinner with you guys." 67 00:02:36,900 --> 00:02:39,566 - The banjo that helps slow things down a little bit. 68 00:02:39,566 --> 00:02:40,800 - Yeah, lemme get it. 69 00:02:40,800 --> 00:02:43,033 - No, no, no, no, he just mentioned it. 70 00:02:43,033 --> 00:02:45,066 Just 'cause you mentioned a banjo doesn't mean (mumbles). 71 00:02:45,066 --> 00:02:46,033 - I gotta back of the apartment. 72 00:02:46,033 --> 00:02:47,500 - No, no, no. 73 00:02:47,500 --> 00:02:48,900 - Steve what is your relationship to the banjo, 74 00:02:48,900 --> 00:02:51,366 Martin what is your relationship to Steve's banjo? 75 00:02:51,366 --> 00:02:53,566 - I dated Steve's banjo for many years. 76 00:02:53,566 --> 00:02:55,166 - I started playing in the sixties. 77 00:02:55,166 --> 00:02:56,866 I've been playing for 55 years. 78 00:02:56,866 --> 00:02:58,566 I know I should be better. 79 00:02:58,566 --> 00:03:00,100 You know, we're in show business, 80 00:03:00,100 --> 00:03:01,866 but I have another life as a musician. 81 00:03:01,866 --> 00:03:03,833 You have a whole other set of friends 82 00:03:03,833 --> 00:03:05,600 that, you know, kind of levels you out? 83 00:03:05,600 --> 00:03:06,866 It's really nice. 84 00:03:06,866 --> 00:03:08,933 That's why you're unleveled. 85 00:03:08,933 --> 00:03:10,966 - Well, in the show that I saw last year, 86 00:03:10,966 --> 00:03:12,666 it seems like there's an honest mistake. 87 00:03:12,666 --> 00:03:15,133 Steve you say Greenville Martin, you say Greenville, 88 00:03:15,133 --> 00:03:16,433 and you say, you tell me Steve, 89 00:03:16,433 --> 00:03:17,900 if you were having a stroke, wouldn't you? 90 00:03:17,900 --> 00:03:19,133 - Yeah. 91 00:03:19,133 --> 00:03:20,700 - And it looked like, is that a real mistake? 92 00:03:20,700 --> 00:03:22,200 Are there real mistakes? 93 00:03:22,200 --> 00:03:23,766 - [Steve And Short] No, no, no mistake (murmurs) yeah. 94 00:03:23,766 --> 00:03:25,433 - We will never intentionally make a mistake. 95 00:03:25,433 --> 00:03:26,700 - Yeah. 96 00:03:26,700 --> 00:03:27,633 - Sometimes we, 'cause that looks phony 97 00:03:27,633 --> 00:03:28,900 I think the audience smells it. 98 00:03:28,900 --> 00:03:30,133 But if something happens, we exploit it. 99 00:03:30,133 --> 00:03:32,433 - In your work together, lefthanded compliments 100 00:03:32,433 --> 00:03:34,833 play a big role, and you talk about a lot of them. 101 00:03:34,833 --> 00:03:37,500 What are some of your favorites? 102 00:03:37,500 --> 00:03:40,500 - One of the great things about touring around the country 103 00:03:40,500 --> 00:03:43,433 with Marty Short, no paparazzi. 104 00:03:43,433 --> 00:03:45,333 - Ah, this is good. 105 00:03:46,366 --> 00:03:47,833 - We are not, (mumbles) 106 00:03:47,833 --> 00:03:49,000 - Thank you. 107 00:03:49,000 --> 00:03:50,433 - The crew's been instructed not to laugh. 108 00:03:50,433 --> 00:03:52,500 - It's just like our audiences, that must be what happens. 109 00:03:52,500 --> 00:03:54,666 - There is a Martin Short on Twitter, 110 00:03:54,666 --> 00:03:56,800 but it's a nutritionist in London. 111 00:03:56,800 --> 00:03:58,033 - Really? 112 00:03:58,033 --> 00:03:58,733 - [Goldbloom] You're not on Twitter. 113 00:03:58,733 --> 00:04:00,000 - No, I'm not. 114 00:04:00,000 --> 00:04:01,333 - Okay, Steve you're very good at Twitter? 115 00:04:01,333 --> 00:04:02,600 - I stopped, I thought it was too dangerous. 116 00:04:02,600 --> 00:04:03,700 - Just that you might say something 117 00:04:03,700 --> 00:04:04,800 that would offend people. 118 00:04:04,800 --> 00:04:06,300 - You can say the most innocuous thing 119 00:04:06,300 --> 00:04:08,966 and suddenly you're in the news. 120 00:04:08,966 --> 00:04:10,433 - I feel this is unanimous. 121 00:04:10,433 --> 00:04:12,933 You two are the greatest talk show guests in history. 122 00:04:12,933 --> 00:04:15,766 In fact, Martin, you were considered the greatest 123 00:04:15,766 --> 00:04:17,066 by a magazine... - No. 124 00:04:17,066 --> 00:04:18,533 - I mean, not that it's a competition, 125 00:04:18,533 --> 00:04:20,033 but I believe (mumbles) - No, its not a competition. 126 00:04:20,033 --> 00:04:23,366 But when that came out in the New Yorker, June 17th, 2017, 127 00:04:25,633 --> 00:04:28,233 of course, no one was happier than me. 128 00:04:28,233 --> 00:04:29,666 And I had to deal with it. 129 00:04:29,666 --> 00:04:31,566 Can you describe the moment when you first met? 130 00:04:31,566 --> 00:04:33,466 - I went to Steve's house 131 00:04:33,466 --> 00:04:35,633 to pick up a script for Three Amigos. 132 00:04:35,633 --> 00:04:38,833 I couldn't believe how great and beautiful this house was, 133 00:04:38,833 --> 00:04:41,900 a Picasso here and a Bacon there. 134 00:04:43,066 --> 00:04:45,166 And I said to Steve, how did you get this rich, 135 00:04:45,166 --> 00:04:47,266 'cause I've seen your work? 136 00:04:47,266 --> 00:04:48,733 You know what you said? 137 00:04:48,733 --> 00:04:50,466 - I said, could you get this script to Marty Short? 138 00:04:50,466 --> 00:04:51,666 (laughing) 139 00:04:51,666 --> 00:04:53,366 - This is a special question for Martin. 140 00:04:53,366 --> 00:04:57,200 Is there a moment when you recognized the genius of Steve? 141 00:04:57,200 --> 00:04:58,533 And of course, this question is special 142 00:04:58,533 --> 00:05:00,266 because it was submitted by Steve. 143 00:05:00,266 --> 00:05:03,133 (laughing) 144 00:05:03,133 --> 00:05:07,533 - I met Steve in 1985, 10 years after... 145 00:05:07,533 --> 00:05:09,233 - By the way I object to the phrase genius. 146 00:05:09,233 --> 00:05:10,500 I don't agree with that. 147 00:05:10,500 --> 00:05:12,233 I can't just sit here, but anyway, go ahead. 148 00:05:12,233 --> 00:05:14,100 - And by the way, you're not alone. 149 00:05:14,100 --> 00:05:15,533 - Yeah. 150 00:05:15,533 --> 00:05:17,300 - I think it kind of takes a genius to be open 151 00:05:17,300 --> 00:05:19,833 to the people around him that can make them even better. 152 00:05:19,833 --> 00:05:21,733 The whole package is a genius. 153 00:05:21,733 --> 00:05:23,400 - I actually remember a moment. 154 00:05:23,400 --> 00:05:24,633 I can't identify the year, 155 00:05:24,633 --> 00:05:26,300 but we were gonna look at his special. 156 00:05:26,300 --> 00:05:29,033 It was so extreme, and I thought, 157 00:05:29,033 --> 00:05:31,900 "Wow, you are really unafraid." 158 00:05:31,900 --> 00:05:34,533 And I remember that, I remember thinking this is really bizarre, 159 00:05:34,533 --> 00:05:36,433 I've got to respect this guy more. 160 00:05:36,433 --> 00:05:38,900 If you could add a third wheel to your act 161 00:05:38,900 --> 00:05:41,366 that you haven't worked with, who would it be? 162 00:05:41,366 --> 00:05:43,266 - For box office I'd say Bieber. 163 00:05:43,266 --> 00:05:45,566 (laughing) 164 00:05:45,566 --> 00:05:48,700 - I'd say Jerry Seinfeld is too good, so we don't want him. 165 00:05:48,700 --> 00:05:50,266 - Yeah, yeah. - Yeah. 166 00:05:50,266 --> 00:05:53,133 - [Martin] John Mulaney maybe, as a younger voice. 167 00:05:53,133 --> 00:05:54,066 - He doesn't need us. 168 00:05:54,066 --> 00:05:55,566 - No, he doesn't need us. 169 00:05:55,566 --> 00:05:57,100 - Hi, I'm Steve Martin. 170 00:05:57,100 --> 00:05:58,600 - And I'm Martin Short. 171 00:05:58,600 --> 00:06:01,266 - And this is our brief, but spectacular take on... 172 00:06:01,266 --> 00:06:05,400 - Our fabulously popular and undeserved success. 173 00:06:07,033 --> 00:06:08,500 You know, Steve of all the people 174 00:06:08,500 --> 00:06:10,933 that I have a fake show business relationship with, 175 00:06:10,933 --> 00:06:13,033 I feel fake closest to you. 176 00:06:13,033 --> 00:06:13,833 - Aw, buddy. 177 00:06:13,833 --> 00:06:16,466 (audience laughing) 178 00:06:16,466 --> 00:06:18,033 - It's clear that is a friendship 179 00:06:18,033 --> 00:06:20,933 that will keep us laughing for years to come. 180 00:06:20,933 --> 00:06:22,433 Now, when we think of the Oscars, 181 00:06:22,433 --> 00:06:24,833 we usually think of actors and directors. 182 00:06:24,833 --> 00:06:26,566 But there are so many elements 183 00:06:26,566 --> 00:06:28,933 that go into the making of a movie. 184 00:06:28,933 --> 00:06:32,200 Black Panther, which was widely praised for its messages, 185 00:06:32,200 --> 00:06:33,900 its vision and its style, 186 00:06:33,900 --> 00:06:35,966 certainly drives that point home. 187 00:06:35,966 --> 00:06:37,633 Costume designer, Ruth Carter 188 00:06:37,633 --> 00:06:40,233 is largely responsible for the film's look. 189 00:06:40,233 --> 00:06:42,300 NewsHour's Jeffrey Brown met up with her 190 00:06:42,300 --> 00:06:45,633 on the Eve of her Oscar win back in 2019. 191 00:06:45,633 --> 00:06:48,400 (drums thumping) 192 00:06:48,400 --> 00:06:50,666 - [Brown] By now it's well established. 193 00:06:50,666 --> 00:06:53,733 Black Panther has been both a box office 194 00:06:53,733 --> 00:06:57,533 blockbuster and historically groundbreaking. 195 00:06:57,533 --> 00:07:00,233 (air whooshing) 196 00:07:01,300 --> 00:07:04,333 - Ooh, the entire suit 197 00:07:04,333 --> 00:07:07,100 fits within the teeth of the necklace. 198 00:07:07,100 --> 00:07:10,400 - [Brown] And more than half a century since Marvel Comics 199 00:07:10,400 --> 00:07:14,166 first introduced the fictional African nation of Wakanda, 200 00:07:14,166 --> 00:07:16,300 the film featured a new look, 201 00:07:16,300 --> 00:07:19,500 that has itself become a cultural phenomenon. 202 00:07:19,500 --> 00:07:22,500 Ruth E. Carter not only helped bring to life 203 00:07:22,500 --> 00:07:25,600 the latest iteration of the Black Panther suit, 204 00:07:25,600 --> 00:07:29,666 she also designed some 1500 costumes for the film. 205 00:07:29,666 --> 00:07:33,333 The goal she says was to make fantasy familiar. 206 00:07:33,333 --> 00:07:35,733 - We have to really base it on real life 207 00:07:35,733 --> 00:07:37,666 in order for people to believe it. 208 00:07:37,666 --> 00:07:41,033 It's not a place that we can make so completely 209 00:07:41,033 --> 00:07:44,433 a fantasy that, it feels like it's a sci-fi 210 00:07:44,433 --> 00:07:49,400 or it's a fantastical place that no one could go to. 211 00:07:49,400 --> 00:07:54,066 We base it on so many rooted ideas and cultural things 212 00:07:54,066 --> 00:07:56,733 that people feel like they can actually buy a ticket 213 00:07:56,733 --> 00:07:59,333 and fly to Wakanda (laughing). 214 00:08:00,533 --> 00:08:02,333 - [Brown] To that end, Carter researched 215 00:08:02,333 --> 00:08:05,966 and found inspiration in the real Africa and it's people. 216 00:08:05,966 --> 00:08:10,033 Such as the Dogon of Mali, the Tuareg in North Africa, 217 00:08:10,033 --> 00:08:11,866 the Himba of Namibia. 218 00:08:11,866 --> 00:08:14,300 The costumes and the film in general, 219 00:08:14,300 --> 00:08:17,733 also celebrate the concept of Afrofuturism. 220 00:08:17,733 --> 00:08:21,066 A blending of technology and futuristic themes 221 00:08:21,066 --> 00:08:23,166 with Black history and culture. 222 00:08:23,166 --> 00:08:26,000 Carter points to the costume of Ramonda, 223 00:08:26,000 --> 00:08:29,133 King to T'Challa's mother, as one of her favorites. 224 00:08:29,133 --> 00:08:32,000 Both have intricate crown and shoulder mantel, 225 00:08:32,000 --> 00:08:33,566 were 3D printed. 226 00:08:33,566 --> 00:08:37,433 - We still really want to honor what the fans 227 00:08:37,433 --> 00:08:39,600 who believe that Wakanda is. 228 00:08:39,600 --> 00:08:41,000 And in that way, 229 00:08:41,000 --> 00:08:44,100 it stays really rooted in the superhero realm, 230 00:08:44,100 --> 00:08:47,533 in the comic realm, in the fantasy realm. 231 00:08:47,533 --> 00:08:50,466 But you know, this was an opportunity to take, you know, 232 00:08:50,466 --> 00:08:54,866 the Afro future or the aesthetics of African diaspora 233 00:08:54,866 --> 00:08:58,633 and infuse it into this culture 234 00:08:58,633 --> 00:09:00,933 and bring it to life in that way. 235 00:09:00,933 --> 00:09:03,666 The process of creating superhero costumes 236 00:09:03,666 --> 00:09:06,700 is very different than tailoring a suit. 237 00:09:06,700 --> 00:09:08,200 - Yeah. 238 00:09:08,200 --> 00:09:12,733 - And so that process was new to me, but as I got into it, 239 00:09:13,833 --> 00:09:15,766 I could see that there were lots of things 240 00:09:15,766 --> 00:09:19,166 where I could implement my ideas and my art. 241 00:09:19,166 --> 00:09:21,700 But it's very intimidating at first. 242 00:09:21,700 --> 00:09:23,600 - Intimidating until you got over it. 243 00:09:23,600 --> 00:09:25,133 - Till you get over it. 244 00:09:25,133 --> 00:09:27,600 - [Brown] Ruth Carter grew up in Springfield, Massachusetts 245 00:09:27,600 --> 00:09:29,333 in an artistic household. 246 00:09:29,333 --> 00:09:32,666 She was introduced to drama through after school programs, 247 00:09:32,666 --> 00:09:35,933 and studied theater, arts and design in college. 248 00:09:35,933 --> 00:09:39,133 Now 58, her big break into Hollywood 249 00:09:39,133 --> 00:09:40,633 came through Spike Lee, 250 00:09:40,633 --> 00:09:44,400 with whom she's worked on many films, including Malcolm X, 251 00:09:44,400 --> 00:09:48,300 which brought the first of her now three Oscar nominations. 252 00:09:48,300 --> 00:09:51,033 At the time, she was the first African American 253 00:09:51,033 --> 00:09:54,100 to receive a nomination for costume design. 254 00:09:54,100 --> 00:09:58,300 Among her many other films, Steven Spielberg's Amistad, 255 00:09:58,300 --> 00:10:02,733 Ava DuVernay's Selma and Lee Daniels's The Butler. 256 00:10:02,733 --> 00:10:05,333 - This is what Oprah's, and then this was Cecil Gaines 257 00:10:05,333 --> 00:10:08,800 who was played by Forest Whitaker, who was the Butler. 258 00:10:08,800 --> 00:10:10,066 - [Brown] Some of her creations 259 00:10:10,066 --> 00:10:13,166 are still housed at the Western costume company. 260 00:10:13,166 --> 00:10:16,333 A massive shop and warehouse in North Hollywood 261 00:10:16,333 --> 00:10:17,966 where we met and talked. 262 00:10:17,966 --> 00:10:20,966 I'm not sure that many people myself included 263 00:10:20,966 --> 00:10:24,800 understand your job, costume designer. 264 00:10:24,800 --> 00:10:26,700 - Yeah. - How do you define it? 265 00:10:26,700 --> 00:10:29,833 - A costume designer is a storyteller. 266 00:10:29,833 --> 00:10:34,300 She tells or he tells stories through wearable art. 267 00:10:34,300 --> 00:10:38,266 And it's not only just like buying a shirt and a jacket 268 00:10:38,266 --> 00:10:40,266 or creating something original, 269 00:10:40,266 --> 00:10:44,266 it's also giving it a little bit more of a story. 270 00:10:44,266 --> 00:10:45,666 It's just not 2D. 271 00:10:45,666 --> 00:10:48,166 A costume designer's job does not end 272 00:10:48,166 --> 00:10:50,433 with a photograph or a sketch. 273 00:10:50,433 --> 00:10:54,233 There is that part that makes it come alive. 274 00:10:54,233 --> 00:10:58,000 And that's molding and shaping and creating 275 00:10:58,000 --> 00:11:00,933 a character composition, color palette. 276 00:11:00,933 --> 00:11:03,000 All of those things come into play. 277 00:11:03,000 --> 00:11:05,466 - This is not a field, this is not an industry 278 00:11:05,466 --> 00:11:07,133 that's been very inclusive... 279 00:11:07,133 --> 00:11:08,100 - Right. - Historically. 280 00:11:08,100 --> 00:11:09,033 - Yeah. 281 00:11:09,033 --> 00:11:10,666 - Why is that? 282 00:11:10,666 --> 00:11:14,466 What did that mean for you coming up and finding your way? 283 00:11:15,633 --> 00:11:17,600 - I guess as I entered Hollywood, 284 00:11:17,600 --> 00:11:20,533 I didn't see a very many people like me, 285 00:11:20,533 --> 00:11:25,266 even though I looked and researched if there were, 286 00:11:25,266 --> 00:11:28,566 and there was maybe one doing television, 287 00:11:28,566 --> 00:11:31,033 there was another person who was supervising, 288 00:11:31,033 --> 00:11:34,000 but not really in a design capacity. 289 00:11:34,000 --> 00:11:35,933 And I was really firm 290 00:11:35,933 --> 00:11:38,466 that I wanted to be a costume designer 291 00:11:38,466 --> 00:11:40,533 once I landed in Hollywood. 292 00:11:40,533 --> 00:11:42,733 - [Brown] Beyond the individual films, 293 00:11:42,733 --> 00:11:45,566 Carter says she's felt a larger mission, 294 00:11:45,566 --> 00:11:49,433 to help create an authentic portrait of African Americans. 295 00:11:49,433 --> 00:11:51,266 - People think I got into this industry 296 00:11:51,266 --> 00:11:54,300 because I like, you know, fashion and Dior, 297 00:11:54,300 --> 00:11:57,333 but it was really like, you know, James Baldwin 298 00:11:57,333 --> 00:11:59,800 and Nikki Giovanni and Sonia Sanchez 299 00:11:59,800 --> 00:12:01,600 that told these rich stories 300 00:12:01,600 --> 00:12:03,866 that really made me want to get into theater, 301 00:12:03,866 --> 00:12:05,900 and what made me want to be a part of this. 302 00:12:05,900 --> 00:12:08,533 And I found that costume design was a way 303 00:12:08,533 --> 00:12:12,333 where I could be an artist and a storyteller, you know, 304 00:12:12,333 --> 00:12:14,533 and contribute to a medium 305 00:12:14,533 --> 00:12:17,033 that I felt had a great voice. 306 00:12:17,033 --> 00:12:19,366 - So what is the Oscar nomination mean for you? 307 00:12:20,533 --> 00:12:23,500 - I've been reflecting on that quite a bit. 308 00:12:25,500 --> 00:12:30,466 It means that I'm an example to a lot of young girls 309 00:12:32,200 --> 00:12:35,333 who, wow, I'm getting choked up, wow. 310 00:12:35,333 --> 00:12:38,700 You know, a lot of young girls who like me, 311 00:12:39,966 --> 00:12:42,933 want this for themselves, this profession, 312 00:12:42,933 --> 00:12:46,300 wanna get into it and really kind of don't know how, 313 00:12:46,300 --> 00:12:48,633 but are maybe forging their own way. 314 00:12:48,633 --> 00:12:51,333 I feel like I represent like that hope 315 00:12:51,333 --> 00:12:53,966 that they can go to the highest level. 316 00:12:55,933 --> 00:12:57,933 - And she certainly does. 317 00:12:57,933 --> 00:13:00,166 Like Carter filmmakers, Jimmy Chin, 318 00:13:00,166 --> 00:13:02,333 and Chai Vasarhelyi climb to new heights, 319 00:13:02,333 --> 00:13:04,766 both figuratively and literally. 320 00:13:04,766 --> 00:13:06,966 Jimmy Chin is a world class mountain climber 321 00:13:06,966 --> 00:13:08,300 and adventure photographer. 322 00:13:08,300 --> 00:13:11,133 And Chai Vasarhelyi is a documentary filmmaker, 323 00:13:11,133 --> 00:13:14,766 with a string of awards for projects shot around the world. 324 00:13:14,766 --> 00:13:17,900 The pair turned their cameras on a 3000 foot high 325 00:13:17,900 --> 00:13:20,733 slab of granite in Yosemite National Park, 326 00:13:20,733 --> 00:13:23,666 known as El Capitan or El Cap for short. 327 00:13:23,666 --> 00:13:27,400 Their film, Free Solo about climber Alex Honnold's quest 328 00:13:27,400 --> 00:13:31,133 to climb El Cap with no ropes, won them an Oscar. 329 00:13:31,133 --> 00:13:32,766 My colleague, Steve Goldbloom 330 00:13:32,766 --> 00:13:34,733 spoke to the married documentarians 331 00:13:34,733 --> 00:13:38,500 about capturing someone's story in a life or death moment. 332 00:13:41,433 --> 00:13:44,366 - In journalism and photography as well, 333 00:13:44,366 --> 00:13:46,700 you hope to kind of disappear. 334 00:13:46,700 --> 00:13:49,400 You're really trying to capture the moments as they happen 335 00:13:49,400 --> 00:13:52,333 and trying not to influence a moment. 336 00:13:52,333 --> 00:13:54,833 - It gets to like the existential ethical question 337 00:13:54,833 --> 00:13:56,100 at the heart of the film, 338 00:13:56,100 --> 00:13:58,433 which is in the act of filming by filming him. 339 00:13:58,433 --> 00:14:00,200 Are we in some way gonna 'cause him to fall? 340 00:14:00,200 --> 00:14:02,333 Is he more likely to fall if we're filming? 341 00:14:02,333 --> 00:14:05,233 - We were really focused on the moment 342 00:14:05,233 --> 00:14:07,700 and doing exactly what we were supposed to do. 343 00:14:07,700 --> 00:14:09,700 And I told the crew that the day before I was like, 344 00:14:09,700 --> 00:14:11,833 don't get distracted thinking about Alex. 345 00:14:11,833 --> 00:14:15,466 You stay focused on exactly what you're doing, no mistakes. 346 00:14:15,466 --> 00:14:18,566 - I think that you had to wrestle with that 347 00:14:18,566 --> 00:14:20,900 before we even turned on the camera for the first time. 348 00:14:20,900 --> 00:14:24,833 - I got the sense that Alex wanted to be filmed, 349 00:14:24,833 --> 00:14:27,033 but he didn't want to feel filmed. 350 00:14:27,033 --> 00:14:29,733 - I think he got the concept 351 00:14:29,733 --> 00:14:32,533 of actually free soloing El Cap was film worthy. 352 00:14:32,533 --> 00:14:34,666 And that idea of like someone doing justice 353 00:14:34,666 --> 00:14:37,066 to this incredible athletic feat actually capturing it 354 00:14:37,066 --> 00:14:38,933 in a way that could live on for posterity... 355 00:14:38,933 --> 00:14:40,166 - [Goldbloom] Right. 356 00:14:40,166 --> 00:14:42,066 - Was something that was very appealing to him. 357 00:14:42,066 --> 00:14:45,666 The actual experience of what that was going to entail, 358 00:14:45,666 --> 00:14:48,000 I think was more of a discovery process for him. 359 00:14:48,000 --> 00:14:49,666 - Being a professional climber 360 00:14:49,666 --> 00:14:52,166 and having worked on both sides of the lens, 361 00:14:52,166 --> 00:14:55,200 I'm quite sensitive to what it feels like 362 00:14:55,200 --> 00:14:58,200 when a camera's introduced to a situation 363 00:14:58,200 --> 00:15:00,500 and that sensitivity to it. 364 00:15:00,500 --> 00:15:05,166 You know, we hoped to apply in how we filmed with him 365 00:15:05,166 --> 00:15:10,000 to make it as easy and non-intrusive as possible. 366 00:15:10,000 --> 00:15:12,433 - The remote, cameras 367 00:15:12,433 --> 00:15:15,333 because we want to stay out of Alex's line of sight 368 00:15:15,333 --> 00:15:17,000 when he is doing it. 369 00:15:17,000 --> 00:15:19,866 - What risk does the crew take on? 370 00:15:19,866 --> 00:15:22,533 - We really tried to mitigate the risk 371 00:15:22,533 --> 00:15:24,900 on the very front end, by the team that we built. 372 00:15:24,900 --> 00:15:27,666 You know, the first criteria to be on the high angle team 373 00:15:27,666 --> 00:15:30,400 was that you had to be an elite professional climber. 374 00:15:30,400 --> 00:15:32,633 The second criteria is they had to be 375 00:15:32,633 --> 00:15:34,933 amazing cinematographers as well. 376 00:15:34,933 --> 00:15:38,900 So there's not a very big pool to pull from. 377 00:15:38,900 --> 00:15:43,166 I needed people who could climb El Cap casually in a day. 378 00:15:43,166 --> 00:15:46,100 And there aren't that many people who can do that. 379 00:15:46,100 --> 00:15:49,833 We really spent two years on the wall. 380 00:15:49,833 --> 00:15:52,333 As Alex was practicing his climb, 381 00:15:52,333 --> 00:15:55,033 we were practicing how we were gonna shoot it. 382 00:15:55,033 --> 00:15:57,566 - We actually had zero margin for error. 383 00:15:57,566 --> 00:16:01,000 The risks were so high and so they had to just be perfect. 384 00:16:01,000 --> 00:16:05,233 Did you ever get to a point where you could justify 385 00:16:05,233 --> 00:16:08,000 the worst case scenario being okay, 386 00:16:08,000 --> 00:16:12,433 filming what would be someone's tragic death? 387 00:16:12,433 --> 00:16:14,233 It came down to a few things. 388 00:16:14,233 --> 00:16:16,633 One was Alex thought more 389 00:16:16,633 --> 00:16:18,733 about his own mortality than mostly anyone. 390 00:16:18,733 --> 00:16:20,466 And he chooses to do this with his life. 391 00:16:20,466 --> 00:16:23,833 Like he wants to live every day with intention. 392 00:16:23,833 --> 00:16:25,933 And did we believe in that, we did. 393 00:16:25,933 --> 00:16:27,900 And then secondly, did we trust Alex, 394 00:16:27,900 --> 00:16:29,733 and did we trust his decision making? 395 00:16:29,733 --> 00:16:31,733 As you see in the film, he turns around once. 396 00:16:31,733 --> 00:16:34,866 So, and that was actually a very good day for us, 397 00:16:34,866 --> 00:16:36,500 because we understood we made the right decision 398 00:16:36,500 --> 00:16:37,933 to trust his decision making. 399 00:16:37,933 --> 00:16:40,233 And then the third was like, did we trust ourselves 400 00:16:40,233 --> 00:16:42,866 to treat our subject with respect at all times? 401 00:16:42,866 --> 00:16:44,233 We did not think he was gonna fall 402 00:16:44,233 --> 00:16:45,366 or else we wouldn't have been there. 403 00:16:45,366 --> 00:16:46,866 But people ask us this question a lot, 404 00:16:46,866 --> 00:16:49,266 and I would say probably the film is gonna be the same film. 405 00:16:49,266 --> 00:16:51,700 It wasn't gonna be redone saying, 406 00:16:51,700 --> 00:16:53,533 look how horrible this is, what this guy does. 407 00:16:53,533 --> 00:16:55,933 It was always about honoring who Alex is. 408 00:16:55,933 --> 00:16:59,200 - Relationships anchor the movie, and there's a moment 409 00:16:59,200 --> 00:17:02,200 where Alex realizes that human connection 410 00:17:02,200 --> 00:17:05,366 comes with the obligation to maximize lifespan. 411 00:17:05,366 --> 00:17:07,733 Is there a moment where you recognize 412 00:17:07,733 --> 00:17:10,833 this snippet of dialogue and questioned whether you could, 413 00:17:10,833 --> 00:17:13,366 you should continue making the movie? 414 00:17:13,366 --> 00:17:15,033 - Alex was a kid who began free soloing 415 00:17:15,033 --> 00:17:17,600 because it was less scary to go out without a rope 416 00:17:17,600 --> 00:17:20,200 and without a partner than to speak to another person. 417 00:17:20,200 --> 00:17:23,166 But he also always kind of had the vision 418 00:17:23,166 --> 00:17:24,966 and kind of craved connection. 419 00:17:24,966 --> 00:17:26,800 So he saw that other people ate vegetables 420 00:17:26,800 --> 00:17:28,300 and it seemed to be good for them. 421 00:17:28,300 --> 00:17:30,400 So he taught himself how to eat veggies like he wasn't hugged, 422 00:17:30,400 --> 00:17:31,533 but he saw that other people hug. 423 00:17:31,533 --> 00:17:33,133 So he tried to learn how to hug. 424 00:17:33,133 --> 00:17:35,466 We could never have anticipated his meeting Sanni. 425 00:17:35,466 --> 00:17:37,000 You know, she is emotionally intelligent, 426 00:17:37,000 --> 00:17:39,166 she is self confident not to push back on him, 427 00:17:39,166 --> 00:17:41,100 and say this makes me uncomfortable, 428 00:17:41,100 --> 00:17:42,866 but I'm gonna try to love you for who you are. 429 00:17:42,866 --> 00:17:46,033 And that sentence is like a revelation for Alex. 430 00:17:46,033 --> 00:17:50,133 - One of the, kind of core ideas of the film as well, 431 00:17:50,133 --> 00:17:53,366 whether, you know, it's not necessarily how long you live. 432 00:17:53,366 --> 00:17:56,166 It's like the quality of life he's saying. 433 00:17:56,166 --> 00:17:58,033 I thought about my mortality, 434 00:17:58,033 --> 00:18:02,933 it's important for me to pursue what I am passionate about 435 00:18:02,933 --> 00:18:05,966 and that I love deeply in this moment, you know, 436 00:18:07,433 --> 00:18:10,866 that's really important to me and live with great intention. 437 00:18:10,866 --> 00:18:14,800 - You've said there wasn't a day in the two years of filming 438 00:18:14,800 --> 00:18:17,166 that you didn't think about him falling. 439 00:18:17,166 --> 00:18:18,466 - Mmh. - Yeah. 440 00:18:18,466 --> 00:18:19,700 I've definitely said that. 441 00:18:19,700 --> 00:18:21,466 - Can you describe what it feels like 442 00:18:21,466 --> 00:18:23,433 to walk around with that? 443 00:18:23,433 --> 00:18:26,900 - I would wake up, I could feel the burden 444 00:18:26,900 --> 00:18:29,666 and then I would remember, I'd be like, what am I feeling? 445 00:18:29,666 --> 00:18:32,066 And then I would think about what it was 446 00:18:32,066 --> 00:18:33,933 that I was weighing on me. 447 00:18:33,933 --> 00:18:37,300 And my mind would go to the worst case scenario. 448 00:18:37,300 --> 00:18:39,966 - I think everybody on the team carried a certain weight, 449 00:18:39,966 --> 00:18:41,466 but that was kind of the point. 450 00:18:41,466 --> 00:18:43,266 Like there's also a commitment that came with that weight. 451 00:18:43,266 --> 00:18:46,000 We'd trusted Alex and believed in what he was doing. 452 00:18:46,000 --> 00:18:48,100 - There's a breathtaking moment in the movie 453 00:18:48,100 --> 00:18:51,466 where Alex does a karate kick 454 00:18:51,466 --> 00:18:54,600 to a foothold at 3000 feet on El Cap. 455 00:18:54,600 --> 00:18:57,566 And it's a move that he had failed several times 456 00:18:57,566 --> 00:18:59,066 when he was using ropes. 457 00:18:59,066 --> 00:19:02,533 Can you describe coming to that pivotal moment in the movie? 458 00:19:02,533 --> 00:19:07,166 My heart was in my throat, and time stood still, 459 00:19:08,100 --> 00:19:09,600 and then he made it. 460 00:19:09,600 --> 00:19:14,266 And it just was this like, I don't know, kind of such pride 461 00:19:15,700 --> 00:19:17,600 came like over me and like understanding that Alex 462 00:19:17,600 --> 00:19:21,466 must've been so happy in that moment, it was beautiful. 463 00:19:21,466 --> 00:19:23,633 And then you say like, okay, it's not done yet. 464 00:19:23,633 --> 00:19:25,033 Okay, be nervous again. 465 00:19:25,033 --> 00:19:27,133 - I was hanging on the wall around the corner. 466 00:19:27,133 --> 00:19:30,100 So I just knew that within this kind of 10, 467 00:19:30,100 --> 00:19:34,166 15 minute timeframe that he was in that spot, 468 00:19:34,166 --> 00:19:37,100 the thing for me on that moment while we were filming 469 00:19:37,100 --> 00:19:40,500 was just that we had so much to think about 470 00:19:40,500 --> 00:19:43,333 and choreograph and so many things to think about 471 00:19:43,333 --> 00:19:44,866 in terms of the climbing, 472 00:19:44,866 --> 00:19:47,900 in terms of like not making a mistake climbing as well, 473 00:19:47,900 --> 00:19:50,200 in a way that was really helpful because like, 474 00:19:50,200 --> 00:19:51,466 you'd start thinking about it 475 00:19:51,466 --> 00:19:53,166 and you'd be like, okay, wait, okay. 476 00:19:53,166 --> 00:19:55,533 Cameras, batteries, all set media cards, 477 00:19:55,533 --> 00:19:57,466 everything's audio is running. 478 00:19:57,466 --> 00:19:58,700 Once he passes me, 479 00:19:58,700 --> 00:20:00,300 I'm gonna have the rope thrown down to me. 480 00:20:00,300 --> 00:20:01,900 And then I'm gonna jug out this way, you know, 481 00:20:01,900 --> 00:20:05,266 I mean, you just keep going through your checklist. 482 00:20:05,266 --> 00:20:06,966 I didn't have that much time to like, 483 00:20:06,966 --> 00:20:09,000 let my gut come up into my chest. 484 00:20:09,000 --> 00:20:11,666 But I was very emotional when he made it to the top. 485 00:20:11,666 --> 00:20:16,366 And I got to the top, the moment after he's halved out. 486 00:20:16,366 --> 00:20:19,900 It was just this huge emotional welling, 487 00:20:19,900 --> 00:20:23,633 because I'd only allowed myself to think about the execution 488 00:20:23,633 --> 00:20:25,766 up to the point that he tapped out. 489 00:20:25,766 --> 00:20:28,833 I didn't think about what, I didn't let myself indulge 490 00:20:28,833 --> 00:20:30,633 and what it would feel like for him to do it, 491 00:20:30,633 --> 00:20:32,933 and to feel like the crew had accomplished everything 492 00:20:32,933 --> 00:20:35,033 that we wanted to have it in the can. 493 00:20:35,033 --> 00:20:37,633 And that moment was really incredible. 494 00:20:37,633 --> 00:20:39,900 (bright upbeat music) 495 00:20:39,900 --> 00:20:43,633 - Like Chin and Vasarhelyi, actress and singer Rita Moreno 496 00:20:43,633 --> 00:20:45,800 has worked her way to the top. 497 00:20:45,800 --> 00:20:48,200 She fought typecasting and industry pressure, 498 00:20:48,200 --> 00:20:50,933 to become the first Latina EGOT. 499 00:20:50,933 --> 00:20:54,566 That's a winner of an Emmy, Grammy, Oscar and a Tony. 500 00:20:54,566 --> 00:20:57,200 Moreno gives her brief, but spectacular take 501 00:20:57,200 --> 00:20:59,500 on a lifetime in show business. 502 00:20:59,500 --> 00:21:03,266 - Being the house ethnic was destroying my life 503 00:21:03,266 --> 00:21:04,833 and my sense of myself 504 00:21:04,833 --> 00:21:09,833 because, I had been consigned to play every dusky maiden 505 00:21:11,033 --> 00:21:13,333 you've ever seen in your life and movies. 506 00:21:13,333 --> 00:21:16,433 So if I was playing a Hawaiian girl, I talked like this 507 00:21:16,433 --> 00:21:19,966 and I was playing an Arabian girl, I still talk like this. 508 00:21:19,966 --> 00:21:21,433 I didn't know. 509 00:21:21,433 --> 00:21:24,733 But I was trying, I was really trying to improve things. 510 00:21:24,733 --> 00:21:26,000 Nobody gave a damn. 511 00:21:26,000 --> 00:21:29,166 (bright upbeat music) 512 00:21:31,033 --> 00:21:36,000 Moving to Los Angeles, I was then about, yeah, just 16. 513 00:21:37,066 --> 00:21:38,500 'cause I remember that I went there 514 00:21:38,500 --> 00:21:42,066 under contract to MGM studios, the studio of my dreams 515 00:21:42,066 --> 00:21:44,800 because that's where all the great musicals were made. 516 00:21:44,800 --> 00:21:47,833 Life magazine decided to do a story about a young actress 517 00:21:47,833 --> 00:21:52,000 in Hollywood in 1954 and I made the cover. 518 00:21:52,000 --> 00:21:53,666 And I remember that the fellow 519 00:21:53,666 --> 00:21:55,666 who's doing the story on me said, 520 00:21:55,666 --> 00:21:58,400 "Listen, kid, I just want you to know if Eisenhower 521 00:21:58,400 --> 00:22:01,033 gets a cold you're off the cover. 522 00:22:01,033 --> 00:22:04,033 I auditioned for West Side Story just like everybody else, 523 00:22:04,033 --> 00:22:05,500 and I nearly had a heart attack 524 00:22:05,500 --> 00:22:07,766 because I hadn't danced in about, 525 00:22:07,766 --> 00:22:09,433 well, I don't know, about 15 years. 526 00:22:09,433 --> 00:22:13,200 I got a friend of mine who had played Anita on the road 527 00:22:13,200 --> 00:22:16,133 in West Side Story to teach me some steps, 528 00:22:16,133 --> 00:22:18,366 which she warned me that, 529 00:22:18,366 --> 00:22:20,266 they don't always teach you the same steps. 530 00:22:20,266 --> 00:22:23,666 And to my astonishment, the first part of the audition, 531 00:22:23,666 --> 00:22:25,366 the dance director said, 532 00:22:25,366 --> 00:22:28,100 "Okay, let me teach you these steps from America." 533 00:22:28,100 --> 00:22:30,633 And I went, "Mmh, okay." 534 00:22:30,633 --> 00:22:32,900 And it was the steps that this girl had taught me. 535 00:22:32,900 --> 00:22:34,666 When I was nominated for the Oscar, 536 00:22:34,666 --> 00:22:37,833 I was absolutely positive that Judy Garland would win 537 00:22:37,833 --> 00:22:39,700 for Judgment at Nuremberg. 538 00:22:39,700 --> 00:22:44,666 And then they call my name, and I was absolutely poleaxed. 539 00:22:45,866 --> 00:22:48,733 And I remember walking down to the stage 540 00:22:48,733 --> 00:22:50,900 and saying to myself, "Don't run. 541 00:22:50,900 --> 00:22:52,800 "It's not dignified." 542 00:22:52,800 --> 00:22:56,600 I got up there, and I said the following, unbelievable. 543 00:22:56,600 --> 00:22:58,766 (audience clapping) 544 00:22:58,766 --> 00:23:00,566 I can't believe it! 545 00:23:00,566 --> 00:23:01,500 (audience laughing) 546 00:23:01,500 --> 00:23:02,333 Good lord! 547 00:23:03,466 --> 00:23:04,700 I leave you with that. 548 00:23:06,133 --> 00:23:10,166 Oh my God, the things I could have said it just killed me. 549 00:23:10,166 --> 00:23:11,266 There's something about sex 550 00:23:11,266 --> 00:23:14,300 that always brings out the funny in me. 551 00:23:14,300 --> 00:23:15,433 I think it's because we make 552 00:23:15,433 --> 00:23:17,733 such fools of ourselves over it. 553 00:23:17,733 --> 00:23:18,966 You know, get laid, 554 00:23:18,966 --> 00:23:22,333 oh my god, people will do just about anything. 555 00:23:22,333 --> 00:23:25,300 I think people get won over too by a woman's, 556 00:23:25,300 --> 00:23:27,266 you know, kind of sexuality. 557 00:23:27,266 --> 00:23:30,533 And that's what I was trying to achieve (laughing), 558 00:23:30,533 --> 00:23:33,000 when I sang, Fever with Animal, 559 00:23:33,000 --> 00:23:35,000 the drummer from the Muppets. 560 00:23:35,000 --> 00:23:38,566 ♪ Fever when you hold me tight ♪ 561 00:23:38,566 --> 00:23:43,566 ♪ Fever (drums thumping), in the ♪ morning ♪ 562 00:23:45,000 --> 00:23:46,866 Well, I think it's one of the funniest things I've ever done. 563 00:23:46,866 --> 00:23:49,100 I really had a hard time, not laughing. 564 00:23:49,100 --> 00:23:53,066 I've always wanted to sing and dance all my life, 565 00:23:53,066 --> 00:23:54,733 but there is one song 566 00:23:54,733 --> 00:23:59,433 that absolutely captures the essence of who I am. 567 00:23:59,433 --> 00:24:02,833 ♪ As I approach the prime of my ♪ life ♪ 568 00:24:02,833 --> 00:24:07,833 ♪ I find I have the time of my ♪ life ♪ 569 00:24:09,000 --> 00:24:13,866 ♪ Learning to explore at my ♪ leisure ♪ 570 00:24:14,766 --> 00:24:17,800 ♪ Every single pleasure ♪ 571 00:24:17,800 --> 00:24:22,800 ♪ And so I happily can see ♪ 572 00:24:25,433 --> 00:24:30,133 ♪ This is all I ask ♪ 573 00:24:30,133 --> 00:24:33,300 ♪ This is all I need ♪ 574 00:24:39,600 --> 00:24:41,666 I'm Rita Moreno, and this is my brief, 575 00:24:41,666 --> 00:24:43,933 but spectacular take on me. 576 00:24:45,333 --> 00:24:48,400 - And that is a beautiful note to end on. 577 00:24:48,400 --> 00:24:50,900 Like Moreno, all the artists we've seen today 578 00:24:50,900 --> 00:24:54,533 have shown a deep love and appreciation for storytelling. 579 00:24:54,533 --> 00:24:58,333 Despite hardships and roadblocks they stuck to their craft 580 00:24:58,333 --> 00:25:00,666 and achieved greatness along the way. 581 00:25:00,666 --> 00:25:02,533 Everything you've seen here and more 582 00:25:02,533 --> 00:25:07,533 is available on our website, pbs.org/newshour/canvas. 583 00:25:08,700 --> 00:25:10,566 And tune in to the PBS NewsHour each night 584 00:25:10,566 --> 00:25:14,166 for even more Canvas Arts and Culture reporting. 585 00:25:14,166 --> 00:25:15,800 While you're there, be sure to check out 586 00:25:15,800 --> 00:25:19,233 some of the special videos we've shared just for this show. 587 00:25:19,233 --> 00:25:21,933 And look for our return to PBS soon. 588 00:25:21,933 --> 00:25:24,966 I'm Amna Nawaz, for all of us at the PBS NewsHour, 589 00:25:24,966 --> 00:25:28,066 thanks for joining me right here on Beyond The Canvas. 590 00:25:28,066 --> 00:25:31,233 (bright upbeat music) 591 00:25:57,533 --> 00:25:59,066 - [Voice Over] This program was made possible 592 00:25:59,066 --> 00:26:03,333 by contributions to your PBS station from viewers like you. 593 00:26:03,333 --> 00:26:04,600 Thank you.