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  • Credits | @GoSandraBR YouTube.com/GoSandraBR

  • Pleased to welcome Sandra Bullock to this program.

  • The talented actress and producer just completed one of the most successful,

  • prolific years, I could add, that anyone could ever hope for in this business.

  • This Sunday night she has the rare distinction of being nominated

  • for a Golden Globe in both the comedy and drama category.

  • From one of those nominated roles, here she is in "The Blind Side."

  • I was thinking yesterday in advance of our conversation, Sandra,

  • about the number of women, respectfully, who I've interviewed on this program

  • over seven seasons who get to a certain age, and have said to me

  • in this very chair countless times there aren't quality roles

  • in this business for women of a certain age.

  • You pulled off two in one year. What do you make of that?

  • I don't know what to make of it.

  • I just don't think there's a lot of quality roles for both men and women, but...

  • There weren't for women, but then someone was smart enough to start writing them

  • and I'm sure it was on spec, going,

  • "No one will ever pay me to write this script," so they do it on the sly.

  • I think the writer's strike and the actor's strike

  • probably turned out a lot of great work.

  • You know what, someone started writing it. It's like if you build it,

  • they will come. If you write a great story with a great role,

  • no matter if it's male or female, I think people go.

  • I don't, you know? I was talking to someone the other day...

  • The perception of Meryl Streep is seasoned actress,

  • and then she does something like "The River Wild",

  • and she becomes a badass action hero on the water, and that's Meryl Streep.

  • No one was going to let her do that, but she wanted to and she did it

  • and it made tons of money. And they went, "Oh. Oh, okay."

  • When you saw... let me just take them one at a time,

  • we'll cover "The Blind Side" first.

  • When you saw the script for this, two things:

  • What pulled you to it, and just between the two of us, did you know..?

  • -Yeah, because no one else's listening. -Yeah, exactly, nobody else.

  • Did you have any idea it would hit the way it has?

  • Mm-mmm.

  • For about eight months to 10 months I was saying no a lot.

  • I kept turning it down. I don't know if it was where I was in my head.

  • It was beautifully written. I got it. I said,

  • "All the elements are here for a great story.

  • I don't know how to pull her off. I don't know how to do this

  • without making it a cartoon."

  • I didn't want it to become cheesy, for lack of a better word.

  • But our director, John Lee Hancock, who I have to give all the credit to,

  • hands down, this was his baby for two years

  • and he spent time with the family. He just kept coming back and finally said,

  • "Just meet the woman before you say no again,"

  • and I said, "Fine, I'll go meet her,"

  • because I was kind of close to Memphis.

  • So I met her, and after a day with Leigh Anne Tuohy,

  • to say life was never the same in that I finally met someone

  • who is more manic and driven than I was to get stuff done in life

  • not in work, but in life. That's an understatement

  • I still didn't agree to do the film

  • but somehow I think I was scared enough

  • to step up to the plate to try, because it's an amazing story.

  • The fact that it is true, if it was told perfectly,

  • which most of the time films aren't,

  • then it could be something that left the world in a better place. You know?

  • It's nice to leave good things behind in your work

  • rather than just something that's going to make your paycheck or be a trend.

  • So...

  • I don't know when I said yes. I still don't recall.

  • I remember how scared I was, I remember the first day of shooting,

  • thinking, I shouldn't have done this film,

  • I'm not making this scene work, I don't know what's happening.

  • Really dreading it because I thought I was going to ruin

  • an already amazing story.

  • This is my word, not yours, but I think the sentiment you're expressing

  • I think this word captures the sentiment.

  • There was an intimidation that you felt by this script,

  • and you've spoken to that now a couple of times. What was that?

  • When you read something that was already done beautifully

  • in real life by this family, and then we're getting ready

  • to copy it on film, if you don't copy it beautifully and perfectly,

  • having all those elements there... and it's not just you.

  • It's the direction, it's the cinematography,

  • it's how the story's told, all the cast, everything.

  • If it's not pitch perfect, you're going to do harm

  • to a story that's already brilliant.

  • They didn't want a story made. They didn't want a book written about them.

  • They just did what they did out of love,

  • because that was their destiny in life and their calling.

  • I didn't want to be responsible for destroying something

  • that was already beautiful.

  • And I didn't know how to make it better than it already was.

  • The viewers of this show know, because I reference it all the time,

  • some of the most fascinating conversations I have,

  • as is the case for any brother, you have in the barbershop.

  • Because the brothers hang out in the barbershop

  • -and we talk about everything. -Women, it's in the bathroom.

  • Same thing? Okay, bathroom. Brothers in the barbershop, women in the bathroom.

  • So in the barbershop, when the trailer...

  • I remember being in the barbershop,

  • literally, when these trailers started running,

  • and all the brothers in the barbershop had their opinions.

  • Some brother hollers out, "Another movie about White folk,"

  • if I can quote Harry Reid, "saving Negroes."

  • Another movie about White folk saving Negroes.

  • -I know you've heard this before. -Yeah, I heard it from...

  • -you know who Luenell is, the comedian? -Absolutely.

  • -She said that to me. -Luenell. She's funny.

  • She said, "I thought you were," and I said...

  • "I love her, she doesn't sugar-coat a thing."

  • I said, "Thanks for the support."

  • I know it's a true story and this is not your burden to bear,

  • but I raise this because I think it is Hollywood's burden to bear.

  • The response is it's a true story. Yes, it is a true story.

  • There are all kinds of true stories about Black folk that this

  • -town would never make. -Yup.

  • So the answer can't be just it's a true story.

  • Tell me what you think when you hear people say

  • why they got to keep making movies of White folks saving Negroes?

  • Yeah, yeah. Good question.

  • I don't know. I don't know.

  • There's so many amazing stories that deserve to be told about women.

  • -We don't get our stories told either. -Fair enough.

  • When we're in the bathroom and we see the trailer to another...

  • We go, "Why is this another story about a male action

  • hero gets to save the day and the women don't?"

  • -Yeah, yeah, exactly. -Again, it's money.

  • It's what people want to go see. But guess what?

  • People want to go see anything that's well-told.

  • I think it's timing in that we needed something good for the soul.

  • Honestly, I didn't look at it as a Black-White issue.

  • To me it was like, can you take someone off the street

  • and trust your love and trust that person within your home

  • and give that much of yourself.

  • And it'd be just about love, about taking care of your community,

  • about your fellow man, about your friends, your family?

  • Would people take in their neighbor if their neighbor

  • was in tough times and love them like they were your own?

  • So many people do that, not just Black-White. It has nothing...

  • To me it had nothing to do with color,

  • it had to do with loving your children.

  • So many people don't take care of their own children.

  • So this family was blind to what came after them

  • later on in terms of it's a White family going after a Black kid, saving.

  • It just... as Leigh Anne said, it wasn't White lady

  • going after the Black kid, she goes, "It was the mom looking at the child

  • who was cold walking home that night, and then it never became a question."

  • As Sean Tuohy said, he just became the ATM for Leigh Anne

  • building the bedroom, making this home,

  • and giving the brother and sister, S.J. and Collins, their brother.

  • You know, not brother, but their brother.

  • -That was very nice, yeah. -That's what to me...

  • Well, to me it's...

  • So many conversations can come from this. I just go,

  • Why is it that we question an act of love?

  • We don't question an act of violence. We sort of like, yeah,

  • it's understandable, look at...

  • We're so happy to talk about violence,

  • we're so quick to question love and someone's good intentions,

Credits | @GoSandraBR YouTube.com/GoSandraBR

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Sandra no Tavis Smiley - 12-04-2010 (Legendado - Part 1/3) (Sandra no Tavis Smiley - 12-04-2010 (Legendado - Parte 1/3))

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