Building a Legacy with Jada Pinkett Smith

Summary

Legacy Talk with Lena Waithe: Building a Legacy with Jada Pinkett Smith

Release Date: December 3, 2024

Host: Lena Waithe
Guest: Jada Pinkett Smith
Produced by: Hillman Grad & Lemonada Media

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Introduction

In the episode titled "Building a Legacy with Jada Pinkett Smith" of Legacy Talk with Lena Waithe, host Lena Waithe engages in a profound conversation with the multifaceted actress, producer, and activist Jada Pinkett Smith. The discussion delves into Jada's illustrious career, her approach to acting, collaborations with renowned directors and actors, and her impact on cultural narratives surrounding Black women in entertainment.

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Career Beginnings and Breakthrough Roles

Jada Pinkett Smith reminisces about her early career and the pivotal moments that shaped her journey in Hollywood.

[02:26] Jada Pinkett Smith: "Debbie Allen was absolutely instrumental in launching my career. She saw something in me that I hadn’t yet realized and gave me that platform to shine."

Jada credits mentor Debbie Allen for recognizing her potential and providing opportunities that allowed her to establish herself in the industry.

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Collaborative Partnerships with Influential Directors

The conversation highlights Jada's experiences working with legendary directors such as the Hughes Brothers, Spike Lee, and Michael Mann, emphasizing the importance of trust and mutual respect in these collaborations.

[06:39] Jada Pinkett Smith: "Working with Spike Lee on Bamboozled was one of the most collaborative experiences I've ever had. His trust in the actors allowed us to push boundaries and deliver powerful performances."

[29:52] Jada Pinkett Smith: "Michael Mann is probably the only director I completely surrendered to. He paid attention to every detail, from the clothes to the character's psychology, making the role deeply authentic."

These partnerships not only honed Jada's craft but also allowed her to contribute meaningfully to projects that challenged societal norms and amplified Black voices.

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Character Development and Acting Techniques

Jada discusses her method for developing complex characters, emphasizing the physicality and emotional depth required to bring them to life.

[04:39] Jada Pinkett Smith: "In theater, you have to get really in touch with your body. For me, understanding how a character's anxiety communicates through their body language was crucial in portraying Lena James authentically."

She highlights the importance of understanding a character's physical and emotional state, drawing from personal experiences to enrich her performances.

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Iconic Roles and Cultural Impact

Reflecting on her roles in seminal films such as Menace II Society, Set It Off, and Girls Trip, Jada articulates the cultural significance of portraying multifaceted Black women in cinema.

[07:07] Jada Pinkett Smith: "I've always wanted to show the multifaceted ways a Black woman can exist—strong yet vulnerable, protective yet nurturing. It's about breaking the pigeonholing that the industry often imposes."

Her portrayal of characters like Rosie Perez in Set It Off and her role in Girls Trip have been lauded for their depth and authenticity, contributing to a broader representation of Black women in film.

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Navigating Challenging Scenes and Personal Boundaries

Jada opens up about navigating difficult scenes, particularly those involving sexuality, and the evolution of on-set practices regarding intimacy.

[20:07] Jada Pinkett Smith: "Even back in the 90s, I made it clear—no nudity. The directors and actors were incredibly respectful, ensuring that privacy was maintained and only the necessary people were present."

Her steadfastness in maintaining personal boundaries has set a precedent for future generations of actors, advocating for safe and respectful working environments.

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Voice Acting and Expanding Horizons

Venturing into voice acting with roles in Madagascar, Jada shares the unique challenges and liberties associated with this medium.

[31:24] Jada Pinkett Smith: "Voice acting isn't easy for me. You're relying solely on your voice to convey everything. I had to learn to trust the process and let my voice carry the character without the physical presence."

This exploration into diverse roles underscores Jada's versatility and commitment to her craft, continually seeking to expand her artistic repertoire.

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Personal Inspirations and Mentorship

Jada attributes much of her success to the trailblazers who inspired her, notably Debbie Allen and Denzel Washington.

[36:05] Jada Pinkett Smith: "Debbie Allen was the blueprint for me—her ability to dance, act, sing, direct, and choreograph. She didn’t let the industry box her in, and I learned to fight for my own space and expression from her."

Her admiration for these icons fuels her own efforts to mentor and uplift others in the industry, fostering a legacy of empowerment and resilience.

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Legacy and Cultural Shifts

Concluding the episode, Jada reflects on her role in cultural shifts and the importance of representation in media.

[37:14] Jada Pinkett Smith: "When I stepped onto the screen in A Different World, it wasn't just about acting. It was about changing narratives and opening doors for countless women who looked up to me."

Her commitment to transforming cultural narratives ensures that her legacy extends beyond her filmography, influencing future generations of creators and performers.

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Conclusion

Legacy Talk with Lena Waithe provides an intimate glimpse into Jada Pinkett Smith's illustrious career and her unwavering dedication to redefining Black womanhood in entertainment. Through candid discussions and shared experiences, the episode celebrates Jada's contributions to the industry and her enduring impact on cultural narratives.

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Note: Advertisements and non-content sections from the transcript have been excluded to focus on the meaningful discussions between Lena Waithe and Jada Pinkett Smith.

Transcript

[A]

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[B]

Lemonade. Action. Pow. Right? My ass. You see it in the movie. Cause he did the literal shot. I jumped over that couch. Legacy, oh, Legacy, oh, be funny. You gotta earn your place.

[C]

You got a live audience.

[B]

You got a live audience. It wasn't no play play. Everybody had to hold their own. You know what I mean? He knows my funny.

[C]

Ooh.

[B]

So he could capture it. And I love being a part of hell raising shit. That's just. We're leaving. That's just who I am.

[C]

A low down, dirty shame.

[B]

Legacy, oh, Legacy.

[C]

Thank you so much for doing that.

[B]

If you call, I'm coming.

[C]

So look, people know that a different world absolutely changed my life. I watched it every Thursday with my family. It was a thing for me, watching it in real time, sitting on the floor in my grandmother's room. And you say your character's name. Would you mind saying what your character's name is?

[B]

Lena James.

[C]

And my family reacted to that.

[B]

Wow.

[C]

For obvious reason.

[B]

Right.

[C]

Your character was named for Lena Horne. Yeah, I was named for Lena Horne. And in a way, that moment was like God winking at me. I want to know what it was like for your ass.

[B]

Cause it was a couple. Yes.

[C]

Cause you auditioned for another episode in which Tisha Campbell got the role for Episode if I Die Before I Wait.

[B]

Right.

[C]

But Debbie Allen, and for. I'd like to say this on record, I think really should take a little bit of responsibility for launching you.

[B]

Oh, absolutely.

[C]

Your career.

[B]

Absolutely. Give it all to her.

[C]

Okay, great.

[B]

Yeah.

[C]

Because she saw you, knew you weren't right for that particular role. And then also she was right about you needing to be in the culture, in the sidecast. Cause I've been watching your work these past few weeks. It was necessary for you to exist in the world.

[B]

I was super excited. I was ready to play for sure.

[C]

Yeah.

[B]

Okay.

[C]

Come on.

[B]

I was like, I'm here.

[C]

Braids and all.

[B]

Yeah. There was already this deep camaraderie, you know what I mean, With Khadim and Jasmine and Cree and the whole cast, you know, so we. The new blood. So they were kind of like, all right, whatever, you know, not like in a funky way, but definitely like, earn your stripes.

[C]

Absolutely.

[B]

Earn your stripes.

[C]

Earn it.

[B]

I remember the first day filming, I was really nervous. Cause I don't consider myself a comedic actress.

[C]

Interesting.

[B]

So that's what I mean by when I walked in, you know, earn your stripes, be funny. You gotta earn your place.

[C]

You got a live audience.

[B]

You got a live audience. Right. And so it wasn't no play. Play. Everybody had to hold their own. You know what I mean? Right. Everybody had to hold their own.

[C]

What was your process in finding Lena James? Because she comes in on a particular scholarship. She's lying about that. We meet her father in a really beautiful episode in which we find out you're a writer. So are you using that nervous energy to kind of give Lena this confidence?

[B]

Lena is based off of Jada, Right. So, you know, Debbie sat there, she listened to my childhood story, and she based the character off of Jada. I did an extreme version of Jada. 4 camera sitcom. You gotta catch the rhythm. You gotta catch the. The rhythm of your cast members. Absolutely. Versus when you're doing one camera drama. That's a different game.

[C]

What's also interesting is that I noticed is that you have a bit of a dance background, you know, and so that comes up, you know, obviously Debbie is going to lean into that. What I've noticed in watching all of your performances is that you use your whole body when you're performing. And I think a lot of that comes from dance. Would you suggest that actors take dance classes?

[B]

Not necessarily. Because in theater work, you have to get really in touch with your body. I would have teachers that would, like, study animals and get certain characteristics from animals, certain characteristics even just from people watching. How does your particular character. If your particular character suffers from anxiety, how does that communicate in the body? As you're developing your character, you are figuring out the physicality of your character as well. The energy in your body, how you move with it. Are you stiff? Is she, you know, buttoned up? Is she loose? You know, it's all of that.

[C]

You also do a bit of a dance with your braids a lot in some of your performances. Like, I notice it in Menace to Society. I noticed it and set it off. I noticed it a little bit In a different world as well. Kind of like tossing them back or all that kind of stuff.

[B]

Long hair is always such a communication. I don't have much of it now, but I can still communicate.

[C]

But that's the thing. But that's the other thing too. It's like, we know you as a short haired, like, maven, but also you do such beautiful things too. When you have long hair too. You bring it into the performance.

[B]

Yeah.

[C]

What was a moment for you when you knew, okay, Lena James is working. It's clicking. People like her.

[B]

I can't remember the moment as far as screen time.

[C]

Okay.

[B]

But I just remember how the older cast was now starting to relate to me.

[C]

I get that.

[B]

Yeah. So how Jasmine started embracing me. Kadeem. Creep. You know what I mean? And so that's when I knew, like, I was like, okay.

[C]

And it's so interesting because it parallels the journey of the character.

[B]

Yeah. Yeah.

[C]

You know what I'm saying? How beautiful. We get to move to a movie that sort of permeated me in a way that I watch constantly. Still go back to as menace to society. What was that experience like working with the Hughes brothers?

[B]

That was different for me. I had never worked with two directors at once.

[C]

Right.

[B]

It was like, kind of unheard of.

[C]

Yeah.

[B]

Aren't they twins and they're twins. I learned a lot.

[C]

Wow.

[B]

You know, it really expanded my concept of directing. It just opened my mind to the possibility of creativity, like, to break. To break the mold.

[C]

You're such a heartbeat of that movie. You also play a young mother.

[B]

Yeah. I definitely had a lot to pull from. And it felt really good to be able to show a young black woman in that way.

[C]

Right.

[B]

You know, a young black woman who was a responsible parent. A young black woman who wanted something better for herself and something better for her mate. I've always wanted to show that all the different multifaceted ways in which a black woman can exist. Cause when I came to Hollywood, and even still sometimes today, it's very easy to pigeonhole.

[A]

Mm.

[B]

You know, all of us, not even just black people, just women, men. All of us. Right. But I've always wanted to really express the expansiveness of the soul through film and television and eventually music. But I always had this thing of where I wanted to show the heart, the spirit and the soul of black womanhood.

[C]

Yeah. You know, you definitely show such a lion, you know, in terms of. And the protection of the cub and.

[B]

Yeah. It's a theme even in my own life.

[C]

Correct.

[B]

You know what I mean? Like protection Right. And then as you get older and you get mature, you start to. Your ideas of what protection is. Starts to mature as well. Wow.

[C]

It's interesting. We moved to a lighter fare, if you will. I think this movie is sort of. I like to call it, Hidden Gem. It's something that I saw as a young person. Cause I used to vacation with my family in the Vineyard.

[A]

Inkwell.

[C]

Yeah.

[B]

Inkwell. Yeah.

[C]

Lauren is such a departure from you.

[B]

Yes.

[C]

She was a preppy girl.

[B]

She was the Jack and Jill that's kind of like looking down.

[C]

A bit of a villainess, if you will. How did you come to her?

[B]

Oh, I had met so many. I had met so many young women like her. You know what I mean? Sometimes, you know, the black bourgeoisie, you.

[C]

Know, Come on, you're rigid in that one. You don't move your body a ton. I kind of picked up on that. In that you are more repressed, you aren't as free.

[B]

Yeah. Because she's not herself.

[C]

So I'm wondering, is that ponytail and that bikini and that pink blanket, is that kind of helping you find her?

[B]

Absolutely. Every. Every hairstyle, every piece of outfit, jewelry, everything, for me is an indication of how to bring in. Bring this character to life.

[C]

Okay.

[B]

And even, like in a character's room, you sit with the set, you know, designer. What happened? You're like, you know, oh, no, I wouldn't have a pink wall. I think I would probably do blue with these kind of magazines. I need write on magazine and, you know, da, da, da, da, da, what have you. And so every single aspect helps to bring the character to life for me. Yeah.

[C]

I want to go into Jason's Lyric if we can.

[B]

Jason's Lyric?

[C]

Jason's Lyric. You played Lyric, the title character. Such a specific look. Again, talk about hair and wardrobe. The thing that I actually wanted to talk about in that movie in particular was how was it working with Lisa Nicole Carson?

[B]

Oh, I love Lisa Nicole Carson.

[C]

I mean, she's such a phenomenal actress, I think. Such an unsung hero of the screen. That energy between the two of you.

[B]

It is you bringing tears to my eyes. It makes me miss her. She's. She's so yummy.

[A]

Mm.

[B]

She's so yummy. We had such a great time together. We had such a beautiful camaraderie. She's freaking funny. She's got so much heart. She goes in. She's just right there with you. You know what I mean? So we could just go together. I just enjoyed her so much.

[A]

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[C]

Here'S the deal. There are characters on the screen that shift things. I think for me and for a Lot of people. One of those characters is Peaches.

[B]

Yeah.

[C]

A low down, dirty shame, mouthing the words to you, like, while you're on the phone, you know, clearly. With Kim Wayans. Because I've watched it so many times. That's Kim Wayans, voice as the World Turns, Right? Talk about hair, talk about nails, talk about clothes. Talk about the collaboration, obviously, with Ken.

[B]

Yeah.

[C]

It's so interesting because it's sort of a Pam Grier moment for you, but it's done in a way that feels accessible. How much of Peaches was on the page and how much of her did you create?

[B]

A lot of Peaches was on the page. And I'll tell you why. Kenan, he knew you that, Jada. Yeah, he. That's why also, I feel like it's the funniest I've ever been. Because he also knew my comedy. He knows my funny, so he could capture it. This is a funny Keenan story. So I'm from Baltimore, right? So I'm thinking I'm all tough and what have you. So when I'm sitting there with Charles Dutton and he kidnapped me, right? Keenan's like, all right, so the gunshot's gonna go off, right? So he goes, pow. And I just sit. I'm on the couch, right? I'm like. And I don't move. He's like, jada, you gotta react to the gunshot. I'm like, that's how I would react.

[C]

Wow.

[B]

He said, oh, that's how you would react?

[C]

Look.

[B]

He said, all right, well, let's do it again. So I'm sitting there. I'm like, cool, let's do it again. So he gets out, he shoots a blank, this one. So he goes, I can't believe this. Action. Pow. Right? My ass. You see it in the movie? Cause he did the literal. The literal shot. I jumped over that couch.

[C]

In that yellow sweatsuit.

[B]

Yeah, the yellow blue sweatsuit. I jumped over that couch so damn fast. Okay?

[C]

He's like, you are from Baltimore.

[B]

Exactly. He said, all right, we got it.

[C]

Wow.

[B]

It was one of my favorite roles to play because I so trusted him in regards to handing over my. I was a paintbrush, right? Because he knew how to coach, how to direct me.

[C]

Wow.

[B]

For the most part, that was on the page. And he really helped to craft that performance.

[C]

So he wrote it for you.

[B]

He didn't write it for me.

[C]

Okay.

[B]

I'll tell you, at first, it was Rosie Perez.

[C]

Wow.

[B]

Rosie Perez was supposed to be that character. Now I named the character, right? He wrote it for Rosie in mind, right? There was some scheduling conflict.

[C]

Wow.

[B]

Yes. Yes. There was a scheduling conflict. So it wasn't written for me.

[C]

Wow.

[B]

It wasn't written for me. And so Kenan was like. Cause I kept. Listen. Since I got to la, because I met Kenan when I first got to la, I've been. I was like, boy, listen, you need to put me on In Living Color. I need to be a fly girl. And he was like, jada, basically, get your waiter right. You know what I'm saying? Earn it. Don't come over here asking for nothing. Right. He let me use his name so I could get an agent, which was great. Nancy Rieford, and she's a great agent. And I went out and started working and got on A Different World and started getting all these different gigs. And so then he was like, okay, now I got something for you.

[C]

Wow.

[B]

Oh, boy.

[C]

Man, you took such a bite out of that apple. You're such a star. You're so funny. Obviously beautiful. I'm just so grateful to God that that happened. Because you were the leading lady we didn't know we needed. The thing that I keep noticing about your work, it is cultural shifts.

[B]

Yeah.

[C]

You are part of these shifts. Night a professor was a big deal. Going to the movies to see that, packed houses. You also have another common thread of working with comedians. What was the experience working with Eddie Murphy like?

[B]

I just love Eddie.

[C]

Really?

[B]

Yeah. He. We were friends before Nutty professor, and that was a very different kind of role.

[C]

Come on.

[B]

Wig, you know? Yeah, that was a very different kind of role. That was one of those moments where I didn't say. Have a lot of say.

[C]

Clearly.

[B]

Yeah. That was the last time.

[C]

It's hard for you to disappear in a performance, and now I'm realizing the hair and makeup, in a way, almost wants you to not be as visible as you could be. Next to the star, if you will, is definitely something we had to talk about because it's such a big film and there's leading lady in it.

[B]

Yeah. And it was a good time for me. Eddie is just so, so gracious, and it was just so. I'm gonna tell you, to be able to sit back and watch him. I don't even think we've seen all that.

[C]

Eddie is anything you stole from, like, watching him. Because sometimes when I'm watching people work, I'm like, okay, I'm gonna do that. I'm gonna take that. That's interesting.

[B]

I think one of the things that I watched in regards to Eddie was just his patience. I loved the laid Back energy that he had and how generous he was to me, really making sure that I was good.

[C]

I love that.

[B]

You know what I mean? And that taught me a lot that when you are starring in a movie, that, yes, you're the star, but you're also there to make sure people are doing good.

[C]

Yeah, that's right. It's beautiful. I love it.

[B]

I love it. Yeah.

[C]

We cannot go further to the other end of the spectrum when we talk about this next film. It's a movie that had a great impact on me and my career, which is. Set it off. There's no Queen and Slim.

[B]

Yeah.

[C]

Without Set it off.

[B]

Right.

[C]

And I remember seeing it at the movie theater, and I always say this. When we walked out of that theater, we were different. That's how powerful that is. I want to talk about sexuality on film, because you have two sex scenes in the film.

[B]

Yep.

[C]

One of which is still devastating to watch.

[B]

Yeah.

[C]

And there's a contrast. There's another scene with you and Blair Underwood.

[B]

Yeah.

[C]

Where it's really stunning to watch. What was that like for you, navigating that at the time at the 90s, where there weren't intimacy coordinators? I don't know how much of a say or agency you have in terms of whether or not you want to be nude on.

[B]

Oh, yeah, you have. That was. That was always the case for me, that. No nudity.

[C]

Hmm.

[B]

Yeah, no, no nudity. You're right. It was a very different type. But luckily enough, you know, all of the men that, you know, ever engaged with in that way were so, so respectful and so, you know, took such good care of me.

[C]

That's amazing.

[B]

And even the directors did as much as they could, you know, to have as much privacy that they knew to have at that time. You know what I mean? Making sure that only the necessary people were on the set. And, you know, I remember the scene that I had to do to get money for my brother's college being so difficult. Yeah. I'm sure when you're on set sometimes, for me, separating the character from. You know what I mean? Like, you're in the character. So being in the character in that act in that way, it was just like, oh, this is real. You know, and that there are people out there who, you know, this is sometimes what's done to be able to get shit done.

[C]

Yeah. What is it like every day on set in terms of you with these other actresses, obviously, who are amazing, you know, but also playing some heavy stuff, losing a brother, having to exchange sex for money, having to rob banks, having to hold guns. How much are you going through every single day?

[B]

It wasn't the easiest to shoot, but I'm glad that I had the group of people that I had to shoot it with, you know what I mean? Because we were locked in.

[C]

I can tell. We can tell.

[B]

Yeah. We were locked. There was a lot going on in my life at that time, too.

[C]

Was that coming in to work with you at all? Were you using that for the character?

[B]

Absolutely.

[A]

Oh, wow.

[B]

Yeah. You might as well, you know what I mean? It's like my emotional toolbox is what I call it, you know, to pull from.

[C]

How did you guys form such chemistry, the four women? Because it jumps off the screen, and I'm just curious what work you guys were doing to make sure you would have that tight bond.

[B]

We had a lot of rehearsals together.

[C]

Wow.

[B]

We were all just so happy to be there together. You know what I mean?

[C]

Yes, yes.

[B]

I mean, think about it. At that time, four black women that get to, you know, star in an action movie together.

[C]

Come on.

[B]

I mean. Right? And young black women. We were like. And at that particular time, black Hollywood.

[C]

Was just popping f. Gary Gray, young director.

[B]

Yeah. It was his first. We worked really hard together to make that movie what it was. Including Gary, you know, who at this time. Yeah, exactly. Gary.

[C]

Watch this motherfucker song.

[B]

Yeah. You know, Gary worked hard. He worked so hard. He worked so hard. We kind of knew we had something special going.

[C]

You could feel it.

[B]

Yeah.

[C]

Let me tell you something. This morning, I sat with bamboozled 24 years ago. That one.

[B]

Yeah.

[C]

So relevant. So relevant. So revelatory.

[B]

Yep.

[C]

It's satirical, but it's also cinema verite.

[B]

Yeah.

[C]

You know, Sloane is such a phenomenal character. She's almost this mouse in the background that you kind of don't see. Were you intimidated at all by the idea of working with Spike Lee?

[B]

No.

[C]

You were ready.

[B]

I was ready to work with Spike. We had tried, you know, there were a couple other projects that just, you know, weren't right. And then Bamboozled came up and Spiked was talk about one of the most collaborative wow. Directors I've ever worked with.

[C]

Wow.

[B]

And the trust that Spike has and the actors that he works with.

[C]

Right.

[B]

He has a lot of trust, and I was really happy to be able to work with him on that particular project. I felt like it was so bold, and I love being a part of Hell Raising shit. That's just clear. That's just who I am. Right.

[C]

Clearly, it's a stunning piece of work and It's a stunning performance.

[B]

I think it was at the time a lot for people to have, but I think it's one of his pieces that is really overlooked and it's one of my favorites of his.

[C]

To me, it was giving. I was like, oh, this is his network. But Network is revered because of what it's saying. And Bamboozled was buried because of what it is saying.

[B]

Yes, exactly. But it's one of my proudest projects to be a part. Not necessarily because of my work in it.

[C]

Your work is really stunning in it.

[B]

But because of what the boldness of its commentary.

[C]

Oh my gosh.

[B]

Yes.

[C]

It sounds so much.

[B]

I just. It's one of my favorites.

[C]

Yeah, Just saying so much.

[A]

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[C]

Now we're going to move into sci fi land.

[B]

Oh, okay.

[C]

Matrix Reloaded.

[B]

Matrix. Yep.

[C]

I know that's your shit. My question to you is, did it live up to the fantasy?

[B]

Yes.

[C]

How so?

[B]

The amount of training. First of all, it was just like, I feel like I became like a kung fu movie martial art specialist. Right on that movie being a part of such a big, revolutionary idea and movie. Because I knew about Matrix when they wanted Will to play Nia, like, oh, that's right.

[A]

You talk about that.

[C]

Yeah, y'all ass classic. You like, you be knowing.

[B]

Listen, I was like, this is out of here, right? So, you know, at that time, Will, you know, moved on to something else. And they got Keanu, right? And so Keanu, Black woman trying to.

[C]

Save a black man from herself. But what we gonna do?

[B]

Okay, Keanu came Theo. And then they brought me in as a possibility for Trinity. So I was in love with the freaking Jesus Christ movie from day one.

[C]

Jesus.

[B]

And from the vision of who at that time were the Wachowski brothers, Right? And so then when I had the opportunity to come and do, they were like, we wrote Niobe for you.

[C]

Not unlike what happened with A Different World, Right?

[B]

And I was like, I'm in. Let's go, let's go.

[C]

It's my time.

[B]

Yeah.

[C]

You've worked with so many phenomenal directors.

[B]

Mm.

[C]

Added to that list is Michael Mann. Talk about Collateral. Collateral. A very quiet but stirring movie. What was that experience like for you working with Michael Mann?

[B]

He is probably the only director that I surrendered it all to.

[C]

Wow.

[B]

He picked the clothes, the hair, the shoes, the everything. Right. Showed me how to study. Wanted specific. Would set up different meetings for me to have with different people.

[C]

Wow.

[B]

To get to know this character.

[C]

Wow.

[B]

And he's phenomenal at character development. I learned so much from him. It was like he put me back into theater school in regards to, like, my UTA Hagen training. How specific I felt like he got me like Back on my game, that had gotten lazy. You know what I mean? Every single detail, every moment, every flinch. The pen I'm writing with, the paper I'm writing on, the freak. Like, every single detail. Phenomenal. Like, I trust. He's one of those directors, hands down, trust completely.

[C]

We're gonna go to another end of the spectrum. That's another cool thing about, you know, watching your work and how you just. All over the map.

[B]

Yeah.

[C]

Speaking of the map, let's go to Madagascar.

[B]

Okay. Yes.

[C]

I think voiceover work is so unique and difficult. Yeah.

[B]

It's not easy for me. I think it's easy for others, but it's not easy for me.

[C]

Well, how do you change your approach when you're walking in to a studio and, you know we aren't going to see you, but everything is dependent on your voice. So what do you. What do you. How you prepare for that, and what are you thinking about as you approach that character?

[B]

I couldn't prepare for that. I had to learn it as I went. I. I had no idea.

[C]

Right.

[B]

I just didn't. I remember when Jeffrey. Jeffrey Katzenberg, who I love. I love Jeffrey. Jeffrey. He's such a. He's so gangster. Jeffrey Katzenberg called me. He said, jada, I have this role. I really. I really want you for it. I think he thought I was gonna be offended because he had me playing a hippo. Right. And I'm like, jeffrey, I love the fact that she's like, this gives me an opportunity.

[C]

Right.

[B]

It's actually easier for me to do that than to play a character that's like a human or just like. You know what I mean? And so it really gave me an opportunity to be able to be a lot more playful and a lot more free, because I really didn't understand that world yet.

[C]

Right.

[B]

So I had to really learn it. I didn't understand it.

[C]

What did you have to learn?

[B]

I had to learn, like, first trust, because you're not there with any other actors. I know. You know? I know.

[C]

Yeah.

[B]

You're not there with any other actors. You don't see a set, there's no clothes. Like, you are literally on your own. You're on your own. I'm not used to working like that.

[C]

Wow.

[B]

I'm not used to working like that.

[C]

Wow.

[B]

And then only having my voice as a tool.

[C]

You have such a great voice.

[B]

Thank you.

[C]

You speak from your diaphragm.

[A]

Of course.

[B]

I hear that you speak from your diaphragm.

[C]

You do. You do speak from your diaphragm. The Thing is, like, Castleberg is smart because, yes, it's this big character, literally.

[B]

Right.

[C]

And you are like, this small person that is, like, you can't ignore. You know what I'm saying? This boobing voice you have.

[B]

Right.

[C]

This is last but not least, when Girls Trip came along, you kind of had taken a break from the screen. It seemed like we haven't seen you in a bit. And another foursome.

[B]

Four ladies, the foursome.

[C]

You know what I'm saying?

[B]

It's the foursome reunited.

[C]

Reunited with Dana.

[B]

It's all about the four.

[C]

And again, I remember being in the movie theater. Packed houses.

[B]

Yep.

[C]

What was it like to go back to be a part of a foursome again, to be back on set every day? Had you missed it? How did it feel to be on that set and back at it?

[B]

I hadn't missed it. No, I hadn't missed it.

[C]

I appreciate that you're, like, waking up early about.

[B]

Yeah, I hadn't missed it.

[C]

Okay.

[B]

But I definitely enjoyed it.

[C]

Okay.

[B]

I definitely enjoyed it.

[C]

What did you enjoy most? The camaraderie.

[B]

I enjoyed the camaraderie. I enjoyed, like, spontaneity, you know, within the scenes. Everybody was just game. Just such a talented group of women.

[C]

Absolutely.

[B]

It was really an amazing. And none of us at the time knew Tiffany, who knew, you know what I mean? And Regina's so freaking witty, and she's so, like, her timing, her comedic understanding.

[C]

Kind of unsung, I think, still, too.

[B]

She's really unsung. People don't, like, we don't really see. We haven't seen her, Regina yet and all that she can do. Like, she's really. I got to really see how talented she is. And of course, Queen, like, you know.

[C]

Come on, y'all, back at it.

[B]

Queen is. You know, Queen is. She's just. Queen just is right to see how well we all worked together, how much we supported each other, how open we were to taking notes from each other. You know, Regina would be like, yo, try this. There was just such a beautiful sisterhood of working together to make the movie be what it became. And, you know, we all worked hard. And, of course, Malcolm Lee is such a steady family. He really also had a lot of trust in us and allowed us to really go for it.

[C]

He knows something about a starry cast.

[B]

And how to make it work. Yeah, he does. He does. And so it was really a beautiful partnership between the five of us, for sure.

[C]

Who are some actresses that you not necessarily modeled your performances after or how you showed up on screen? But because you're such an important part of my tapestry, I'm curious, who were some of the people you looked at? They don't even.

[B]

Part of my tapestry.

[A]

Yeah.

[C]

Like, how did you kind of find.

[B]

Well, the core, the major blueprint for me was Debbie Allen. Debbie was the blueprint. She could dance, she could act, she could sing, she could direct, she could choreograph. She didn't allow the industry to say, no, you're only allowed to do this, and you're only allowed to do this this way. It's like, not only did I appreciate her talent, but I appreciated her fight. Right. And then I got to see it firsthand. She represented it all. And then there were a couple performances. I'll never forget watching Denzel perform in Glory.

[C]

Phenomenal.

[B]

I'll never forget him performing in Glory. And I was in college.

[C]

Wow.

[B]

And that moment that I decided I was not returning to college.

[C]

Wow. That's so interesting that you bring that up about a specific moment in your life when you're watching something that kind of shifts you.

[B]

Yeah.

[C]

I think about Quincy Jones sitting at a piano for the first time, and I also think about Oprah Winfrey talking about watching Sidney Poitier win the Academy Award.

[B]

Academy Award. Yep.

[C]

I think for me, it was the moment watching A Different World and you stepping onto the screen.

[B]

Wow. That really just touches my heart.

[C]

I'm gonna touch your heart again because you sort of took the role of Debbie Allen, I think, in my life. When you read the Chi.

[B]

Yeah.

[C]

And I got a call that you wanted me to come to the house.

[B]

Yeah.

[C]

And I did. That was the first time we met.

[B]

Yeah.

[C]

And we embraced, and we walked around the property, and you talked to me about the show. This is, like, not news, but I will happily put it here on record that the name Jada is in the Chi for you.

[B]

Right.

[C]

Because that is how much you mean to me, how important you are and have been in my life. Me not thinking about that.

[B]

Right.

[C]

When putting that there, it's rather just sort of a nod, a thank you. And for you to read it and like it and to have me come. And for you, as a person who understands the culture shifting.

[B]

Yeah.

[C]

It was as if you were going. You were saying to me, this piece that you wrote could possibly shift culture.

[B]

Yeah.

[C]

And we're filming right now, Season seven.

[B]

Yep.

[C]

So, you know, to me, you really are God winking at us in a way. And so I'm grateful to you for being that wink in human form and letting me know, like, all of the girls out there who are a little bit tougher.

[B]

Yeah.

[C]

Not because we want to be, but because we have to be.

[B]

We have to be. Yep.

[C]

But still beautiful. Still soft. Still vulnerable.

[B]

Yep.

[C]

Still desirable.

[B]

Yeah.

[C]

I'm just grateful to you so much for being a mirror and for being a beacon of light. I love you. I appreciate you. And I'm happy that we have this conversation on record.

[B]

Yeah.

[C]

So it can forever live. So people can know that we existed.

[B]

That part.

[C]

Thanks.

[B]

Thank you for your love. Thank you for your appreciation. Thank you for seeing me and seeing you and me and me and you. Thank you.

[C]

That's cut.

[B]

Legacy.

[C]

Oh, legacy.