TONYA MOSLEY, HOST:
This is FRESH AIR. I'm Tonya Mosley, and my guest today is actress Danielle Deadwyler. She's known for her powerhouse performances in shows like the HBO Max dystopian series "Station Eleven," the Netflix western "The Harder They Fall" and the critically acclaimed film "Till," where she portrays Mamie, the mother of Emmett Till, whose brutal murder in the '50s became a flashpoint in the Civil Rights Movement. Danielle Deadwyler now stars in the new Netflix adaptation of August Wilson's "The Piano Lesson" as Berniece, a widowed single mother living in 1930's Pittsburgh, locked in a fierce battle with her brother, Boy Willie, over the family's heirloom piano.
It was a family production behind the scenes. Denzel Washington produced it. His son, Malcolm, directed. And his other son, John David, stars opposite Deadwyler as the boisterous Boy Willie, an enterprising sharecropper from Mississippi who wants to sell the piano to use the money to buy the land his ancestors worked on as slaves. Deadwyler's character, Berniece, insists the piano stay in the family. As the siblings battle it out, they are haunted by the ghosts of their past.
Danielle Deadwyler grew up performing but didn't start her professional career as an actor. She has three master's degrees and spent time teaching elementary school before returning to the stage. Her first big break was as Lady in Yellow in the play "For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf."
Danielle Deadwyler, welcome to FRESH AIR.
DANIELLE DEADWYLER: Thank you so much. I'm happy to be here.
MOSLEY: I am very curious. You know, almost every Black actor in theater that I've spoken to talks about this moment. There is a moment where they first experience Wilson's work, August Wilson. And they talk about it in a romantic way, in a way that almost was like an awakening. Do you remember when you first encountered his plays?
DEADWYLER: I remember seeing "Seven Guitars" on Broadway. You know, you know those people. That is your uncle or that is your cousin, or your aunt, or whomever. It is an awakening. It's rupturing to see that onstage, Blackness in its fullness, the rhythms and the silences and the beats and the combustion and just the electricity of what it means to come from a certain private cultural space, to see that magnified, it is deeply awakening. And then I've seen it, you know, in numerous other ways, right? Like, I'm from Atlanta. And so a lot of my mentors, my OGs, were people who did these works.
MOSLEY: Because you were in the theater scene in Atlanta.
DEADWYLER: I am deep in the theater scene of Atlanta. That's everything about how I approach art in all forms. But, you know, Kenny Leon's True Colors Theatre Company, the Alliance Theatre, these are spaces where I was going to see Wilson's work. And I know that he worked, you know, extremely closely with Kenny. And so these are the folks who reared me. These are the people who I saw doing this work and understood the kind of performative quality that I wanted to inhabit. Those are the people who instilled in me how to do it.
MOSLEY: Let's talk a little bit about "The Piano Lesson" because the story goes like this. There's Boy Willie, who has this idea that selling the family piano and buying land in Mississippi with that money is going to maybe unlock power and prosperity. And your character Berniece wants to preserve this hard-won freedom by keeping the family piano. But there is this undercurrent, and the undercurrent is the fact that they're living during Jim Crow. Can you talk about the symbolism of the piano as an heirloom to articulate this larger story of this time period, a Black family in 1930s Pittsburgh?
DEADWYLER: Yes, the piano is more so an altar, a spiritual representation of connectivity for the both of them. Boy Willie is moving towards this notion of value in power, and Berniece's is more erotic.
MOSLEY: And when you say erotic, you don't mean like sexual erotic. Erotic in what way?
DEADWYLER: Well, I mean, those things hint.
MOSLEY: Yeah.
DEADWYLER: But it's about life force. It's about vitality. It's about manifesting a certain kind of self and the energy that you employ. And the piano is the conduit for both of them to get to that, even though, you know, they're both in denial of where they are to go. You know, his presumption is to go towards economic growth, physical land growth and a personal power - right? - an individualistic power which is very much driven in the moment of 1936 America, right? There's an industrial, you know, happening in the North. But, you know, wanting to obtain a certain capital empowerment is what he's moving towards. Hers is moving towards the North, but not necessarily in the industrial manner. It's just a seeking of upward mobility and what it looks like to have a good job and to imbue that into Maretha with good schooling.
MOSLEY: And Maretha is her daughter.
DEADWYLER: Yeah, yeah. Both of their desires through the piano are stemming from trauma, stemming from grief and loss. And the conflict is over how to get to this upward mobility, whatever that really means.
MOSLEY: Right. That trauma, that loss, one of the losses is Berniece and Boy Willie's father, Boy Charles, who died over this piano. And I want to play a clip. It's a climactic point in which you're speaking to your brother about the choices your father made and the harm it caused. And in this scene, you're talking to Boy Willie, played by John David Washington, who is really, really trying to persuade you to let him sell this piano. And let's listen.
(SOUNDBITE OF FILM, "THE PIANO LESSON")
DEADWYLER: (As Berniece) You always talking about your daddy, but you don't ever stop to look at what his foolishness cost your mama. Seventeen years' worth of cold nights and an empty bed for what - for a piano, for a piece of wood, to get even with somebody? I look at you, and you're all the same. You, Papa Boy Charles, Wining Boy, Doaker, Crawley - you're all alike. All this thieving and killing and thieving and killing. And what did it ever lead to? More killing and more thieving. I ain't never seen it come to nothing. People getting burnt up. People getting shot. People falling down their wells. It don't ever stop.
MOSLEY: That was my guest today, Danielle Deadwyler, in the film "The Piano Lesson." Oh, that was such a powerful scene, Danielle. And can you describe the burden you carry in this story, your role as - you're really the sole woman besides your young daughter in this narrative.
DEADWYLER: Right. We've got a host of other beautiful women that are hanging out in the bar - right? - Erykah Badu.
MOSLEY: Yes. Right, right, right.
DEADWYLER: And Gail Bean.
MOSLEY: Yes, yes. Yeah.
DEADWYLER: But the sole woman articulating a kind of agency in the space amongst men. And that burden is very much a gendered understanding of what it means to labor. What it means to - who are you laboring for, and what are you laboring for? And in this moment, she is articulating that they do not understand what it means to be her mother, the loss
DEADWYLER: that she endured as a result, which is as a result of him - their father fighting to get the piano, taking back power. But in that taking back of power, he is killed. And that taking back of power sucks a kind of life force out of their mother and moves her into grief. And that is what Berniece had to witness. Berniece had to witness her mother wnting connection to her father in this spiritual capacity, and that became Berniece's job - to be this conduit for her mother to connect to her father and to connect to whomever, whatever other ancestral spirits are inhabiting the space.
MOSLEY: If you're just joining us, my guest is award-winning actor Danielle Deadwyler. We'll continue our conversation after a short break. This is FRESH AIR.
(SOUNDBITE OF NONAME SONG, "BALLOONS (FEAT. JAY ELECTRONICA AND ERYN ALLEN KANE)")
MOSLEY: This is FRESH AIR. And today my guest is actor Danielle Deadwyler. She stars in the new Netflix film "The Piano Lesson," an adaptation of August Wilson's Broadway play, directed by Malcolm Washington and produced by his father, Denzel Washington. Deadwyler plays the character of Berniece, a widowed single mother living in post-Depression Pittsburgh, in conflict with her brother Boy Willie, played by John David Washington, over the family piano, decorated with haunting carvings of their enslaved ancestors. Boy Willie wants to sell it, and buy the land that the family's ancestors were enslaved on, and Berniece wants to keep it.
I've heard you say that you overprepared for this role. And I was just wondering what that meant. How did you overprepare?
DEADWYLER: Oh, I mean, you know, with film, you can - I mean, you do different things for each project. And sometimes you take it day by day, and the scenes change and whatnot. But in this, this is - we're straight-up doing the play. And so I understood myself to prepare for a play. I need to know everything. I need to know - 'cause the guys were already - the majority of the guys had already come off of doing the Broadway production from '22, '23.
MOSLEY: Right. John David had performed in the Broadway production and, of course, we know Samuel L. Jackson and many of the other characters as well.
DEADWYLER: Yeah, Michael Potts and Ray Fisher. Right. And so myself and Corey are coming in, and you're going to establish a new thing, but they're already rooted. And so it just took a lot of extra time to let the language sit in. And when you're talking about this caliber of work, when you're talking about this kind of legacy, you want to honor it in that manner. And so overpreparing is living in it differently with regard to theater. It inhabits you every day, right? Like, it's like it's with me all day long, resorting to it throughout the day.
MOSLEY: Does that mean, like, in a literal sense, like, you're carrying around...
DEADWYLER: In a literal sense.
MOSLEY: ...A script with you?
DEADWYLER: It's with me all day. It's with me every day, yeah - and referring to it, thinking about it all day. It's a ghostly figure in a way. In the same way that Berniece is hunted and the family is haunted by Sutter, it's on you until you're not with it anymore, and it takes time to release that, too.
MOSLEY: Oh, I can imagine because you all have wrapped from this production a while ago. You've now done probably many more productions since then, but...
DEADWYLER: Just a few.
MOSLEY: Yeah. It takes you a minute to, like - to let it come off you, to, like, truly exit from the work.
DEADWYLER: Especially in this experience. This was one of the most beautiful experiences I've ever had on set.
MOSLEY: What made it that way?
DEADWYLER: The family dynamic. The family dynamic is - starts with, you know, who's leading. Malcolm Washington is our director. He's also a co-writer with Virgil Williams. And that's obviously felt, right? And there's a family experience that is already happening in that the Washingtons are at every facet, from producer to director to actors. And then that feeling just - it weaves into every other aspect of filmmaking.
MOSLEY: You know, Danielle, everyone who has ever worked with you, including director Malcolm Washington - he calls you a physical actor. And I was trying to figure out what that meant. I think I understand it in the context of theater. There's so much physicality there. And it's very evident in watching you in all of your work - like, you convey so much meaning with your eyes. But what does it mean for you when you hear that you're a physical actor? What does that mean?
DEADWYLER: The whole body is to be utilized, right? So the eyes are deeply physical, too. I'm up on it. I'm up in it. It's coming out. I feel it very deeply. You know, I want to lean in for all of it, not just in the scene but when I'm engaging with my director. I'm trying to find the language in the body, not just out of the tongue, off the tongue, you know? Yeah. I'm a dancer first. That's my first medium since I was 4 or 5.
MOSLEY: You started off as a dancer as a young girl.
DEADWYLER: Yeah. And so - and then that's a natural segue into theater. It's like those two things were happening almost at the same time. Dance is, you know, a first language. It's an immediate language. You don't have to - if somebody says hello in various languages, you may not know it. But if someone raises their hand, that's a gesture that signifies hello, right? You can infer certain things from the way people look at you. Like, the totality of the human body is - can be a part of choreography. It is defining of who and how a person is.
And so taking all of that in - I mean, I talk with my hands (laughter). I move my whole body to have an experience, to have a connection. And it might be within stillness. It might be slight, but that communicates something, too. Stillness is still a particular kind of motion or, you know, non-motion. It's something. The silence articulates something as much as a whirlwind communicates something. And so I'm just trying to speak in all those ways.
MOSLEY: Can you take me to that moment when you realized, when you decided, I need to act as a career? - because you were on the academic track. So you...
DEADWYLER: Yeah.
MOSLEY: ...Were a dancer as a young child, moved into theater. It was always something you did and loved to do, but you never really saw it as a career. You went to school, got two degrees, teaching elementary school, and then...
DEADWYLER: Three (laughter).
MOSLEY: ...Having this - OK, three. Yeah.
DEADWYLER: (Laughter).
MOSLEY: And then teaching - sorry - don't want to...
DEADWYLER: No.
MOSLEY: ...Forget that third one.
DEADWYLER: I'm laughing at myself.
MOSLEY: Yeah.
DEADWYLER: (Laughter) You did three degrees? Why?
MOSLEY: Well, you did three degrees.
DEADWYLER: Yeah.
MOSLEY: I mean, you're deep in academia at this point, teaching kids. What - take me to that moment when you decided, I need to be in this world as a performer.
DEADWYLER: Here's the thing. I mean, Atlanta is just this great place. And my mom, you know, my sister - my mom is creating, you know, opportunities for us to be in these spaces. I'm seeing - my sister has desires to do all these different things. And so, you know, as the younger kid, you get to be a part of these worlds even though you may not necessarily be doing them. And so then you do begin to enact them as you get older. And you - it's just your life. It's just my life.
I didn't necessarily think that that was something that I, you know, needed to do. I just know that it's - art is a part of my every day. The Atlanta art scene is just - it's your quotidian experience. I'm going to dance over here. I'm doing - my mom - one of her great friends as a visual artist who would do the National Black Arts Festival every year. It's just so much happening. Theater is happening, and dance is happening. And I don't know. I felt like I needed to secure something steadier. And this idea that academia was it, education on a - to do it on a collegiate level, to be an educator on the collegiate level was the driving goal. I always knew art would be - I was like, oh, art should be a part of it, right? I should blend these two things. I remember writing a grant for that.
MOSLEY: As part of your teaching practice.
DEADWYLER: As part of my practice. Yeah.
MOSLEY: Because what were you teaching in elementary school?
DEADWYLER: Well, in elementary, you're teaching everything, right? You're doing math, science, English and all these things. And so the critical thing is, oh, I'm doing read-alouds. And read-alouds are performative, or at least I made them performative. And they would be completely in it.
MOSLEY: The kids. Yeah.
DEADWYLER: Yeah, they would. And then I would, like, do...
MOSLEY: What grade? Sorry. I'm, like, really asking some...
DEADWYLER: Fourth - I did fourth and fifth grade.
MOSLEY: Fourth grade and fifth grade. OK.
DEADWYLER: Fourth grade the first year and fifth grade the second year. And so, I mean, yeah, like, everybody wants to be read to. It's such a beautiful thing. And so I'm doing this, and I'm like, oh, parts of me are, you know - there's an undulation of energy that's happening that's not at its fullness, but it's happening. And I'm like, oh, I remember that. What's this feeling? And I'm doing after-school programs, where - you know, after-school is very much arts-driven.
And so I'm like, something is missing. Something is missing. Something is missing - 'cause all through grad school, or at least my first masters, I was doing a play a year at least and through - you know, when I was in undergrad, a play a year. It didn't dominate the entirety of the experience, but it surely was present. And so to get to a point where I'm teaching and I'm like, oh, this is my adult, like, super-adult responsibility right now, and I'm not having the one-a-year thing at least and I was like, something's driving - oh, it's this. It's this. Oh, I need this. I need this fuller. I need this more every day. I need this in all the ways. And I went to an audition, and I leapt from there.
MOSLEY: You went to the audition. Did you get the role?
DEADWYLER: I sure did. I sure did. I got Lady in Yellow for Jasmine Guy's directorial debut.
MOSLEY: "For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf.
DEADWYLER: "Is Enuf."
MOSLEY: Did you quit right on the spot teaching? Or did you...
DEADWYLER: Did I? I think that was - I think it was - that may have been the summer. I knew I wasn't going back (laughter). I knew I wasn't going back. I told my sister. I said, I need to do more. And she's like, yeah. And I was like, yeah. And so I didn't go back. I went to something else.
MOSLEY: Our guest today is actor Danielle Deadwyler. We'll continue after a short break. I'm Tonya Mosley, and this is FRESH AIR.
(SOUNDBITE OF ALEXANDRE DESPLAT'S "SELLING WATERMELONS")
MOSLEY: This is FRESH AIR. I'm Tonya Mosley. And if you're just joining us, my guest is Danielle Deadwyler. She stars in "The Piano Lesson," a new film on Netflix. It's an adaptation of August Wilson's Broadway play, directed by Malcolm Washington. Deadwyler plays the character of Berniece, a widowed single mother in conflict with her brother, Boy Willie, over the family piano. Boy Willie wants to sell it to buy the land the family was once enslaved on, and Deadwyler's character Berniece wants to keep it.
Deadwyler is known for her ability to take on historical narratives. In 2022, she starred in the biographical film "Till" as Mamie Till, an educator and activist who pursued justice after the murder of her 14-year-old son Emmett, and the Canadian postapocalyptic thriller "40 Acres." Deadwyler has also performed in several shows and miniseries, including "Station Eleven" and "Watchmen." She got her start in theater, performing the role of Lady in Yellow in the play "For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf."
Atlanta is such a - I mean, of course, it's your hometown. It was where you were born, where you were raised. But it's also like you keep your feet firmly on the ground there, even though, you know, you now, you're a bona fide, award-nominated actor. You could be in LA. You can be in New York. What keeps you grounded in your hometown?
DEADWYLER: Family.
MOSLEY: But you can move your family to LA.
DEADWYLER: No. No, I can't (laugher). I've got a rhythm that I'm connected to in that space. It's beyond just Atlanta. I'm very much connected to a certain natural land - a certain land experience, a certain history and a certain quietude. All of those elements are necessary for me in this moment.
MOSLEY: And are they necessary for your work, yeah?
DEADWYLER: I think they are, yeah, yeah. Whatever I'm transitioning into, I need that recovery, when I do the various kind of works I do. And I tend to, you know, travel to different places anyway. So it's almost like moving to another place just to do the thing that you're already doing, traveling incessantly to be in these spaces to do the work. And so my own personal work, my personal performance art and visual artwork, is about this place. It's about a Southern experience, and I need to be with this Southern experience in order to express those things. And it happens to connect to the television and film experience as well.
MOSLEY: I want to talk to you a little bit about the film "Till." It was critically acclaimed, 2022, directed by Chinonye Chukwu. You starred as Emmett Till's mother, Mamie Till-Mobley. And just to remind folks, Emmett was murdered in 1955 when he was 14 for allegedly flirting with a white woman while visiting his family in Mississippi. Money, Mississippi. I want to play a clip from this movie. So the movie starts with Emmett preparing for his train trip from his home of Chicago to Mississippi. And Mamie, his mother, makes a point to give him some directives on how to be while he's down there. So in this scene, you're talking to him - Emmett is played by Jalyn Hall - on how to act while he's down South. Let's listen.
(SOUNDBITE OF FILM, "TILL")
DEADWYLER: (As Mamie) All right, now, you're going to miss your train. Bo, when you get down there...
JALYN HALL: (As Emmett) Oh, not again, mama. I've already been to Mississippi.
DEADWYLER: (As Mamie) Only one time before, and you started a fight with another little boy.
HALL: (As Emmett) He was picking on me.
DEADWYLER: (As Mamie) You're in the right to stand up for yourself, but that's not what I'm talking about. They have a different set of rules for Negroes down there. Are you listening?
HALL: (As Emmett) Yes.
DEADWYLER: (As Mamie) You have to be extra careful with white people. You can't risk looking at them the wrong way.
HALL: (As Emmett) I know.
DEADWYLER: (As Mamie) Bo, be small down there.
HALL: (As Emmett) Like this?
DEADWYLER: (As Mamie, laughing).
MOSLEY: That was my guest today, Danielle Deadwyler, along with actor Jalyn Hall in the 2022 film "Till." And in that moment that we just hear, when you tell him to make himself small, then he kind of does, like, a joke. He's a 14-year-old boy. Like, he squinches down and kind of makes fun of it. And there is so much power in that scene, in his performance and the performance that you give, because it's everything that you're saying in between the words - the nervous way that you fuss with his tie, the way that you're trying to save his life, you know, casually saying these things, but you're trying to backstop something that you know is a potential. And is it true that for the audition, you submitted a real self-tape using your own son as a stand-in for this very scene?
DEADWYLER: Yeah, it's true. I had to do the tape, the self-tape, and I needed some help (laughter). And my son has done some work with me before, and I just implored him to give a girl another go. But it was such a tender scene because you think about legacy, you know, across these two works that we're talking about. We're talking about 1936 Pittsburgh and people who have moved from Mississippi to Pittsburgh. Then we're talking about 1955 Chicago, where Emmett and Mamie lived and where they are in that scene, and how their family moved from Mississippi to Chicago.
And then I'm having an experience in my present time in the making of - in the buildup to the making of this scene with my son. And in that moment, it's light. In that moment, it's light. You feel the weight and the buoyancy of it, too. The children make it lighthearted. And to do it with my son is just, you know - it makes it that much more deep a well...
MOSLEY: And real.
DEADWYLER: ...That the emotion comes from. Yeah.
MOSLEY: Yeah.
DEADWYLER: Even if it's not, like a particular kind of sadness, grief, loss - blah, blah, blah. It's more, you know, what you fear, what you want to do to just keep them alive, in the same way Berniece is trying to keep Maretha alive in a certain way in pushing her upward. It's like just in that moment, she's just trying to keep Emmett alive. Yeah.
MOSLEY: You know, what's remarkable with this film is that you all chose to show us the interior of Mamie. And, you know, the thing about Emmett Till's story is that I think for so many Black Americans, like, he's deeply embedded in our consciousness because we know that story as a cautionary tale, but we also just learn it as a piece of history. It sparked, like, what we knew as the Civil Rights Movement. And how did you prepare to play her?
DEADWYLER: I know it's bigger than a cautionary tale. It's changed the way a generation of people move through the world. It changes the way mothers mother. You're literally rearing for survival. And everybody that I've talked to of a certain generation knows, oh, that could have been my cousin, or that could have been me, or I see myself - not just men, women as well. And so in preparing, I have that understanding. I have a history of working and learning under the Southern Christian Leadership Conference.
MOSLEY: Did you go to that as a child? And can you talk a little bit about what that is?
DEADWYLER: The Southern Christian Leadership Conference, SCLC, is an organization that was, you know, started by Dr. King and Joseph E. Lowery and others to - for activism. My siblings and I - my sister first, of course - essentially interned in this space - learned so much about their work, did, you know, youth work with the organization. And then therein, you learn about history. You learn about Atlanta's place. You learn about the South's place in activating, you know, fight for civil rights.
And so that knowledge - that very personal knowledge - is informing what I understand in bringing that artistic form to life and is a driving force for me as a person, you know? And the women who were integral - so many women - male leaders tend to be, you know, platformed, and yet I was learning from a host of women in these spaces, mothers in these spaces. And so you take - I take that very subconscious understanding of the experience, as well as the historical knowledge, as well as my own, as well as other unknowns and put them into the work.
MOSLEY: If you're just joining us, my guest is award-winning actor Danielle Deadwyler. We'll continue our conversation after a short break. This is FRESH AIR.
(SOUNDBITE OF JOHN COLTRANE'S "OUT OF THIS WORLD")
MOSLEY: This is FRESH AIR. And today my guest is actor Danielle Deadwyler. She stars in the new film "The Piano Lesson," an adaptation of August Wilson's Broadway play. She's also appeared in the HBO Max dystopian series "Station Eleven," "Watchmen," the Netflix Western "The Harder They Fall" and the critically acclaimed film "Till," where she portrayed Mamie, the mother of Emmett Till, whose brutal murder in the '50s became a flash point in the Civil Rights Movement.
One of the most powerful scenes in "Till" was watching your character, Mamie, see her son's mutilated body for the first time. And it's such an intimate scene because, of course, Mamie sparked this new era of Civil Rights Movement by deciding to have an open casket, so we could see - so the world could see what was done to her son. And the intimacy, though, of being able to see it first with you - it was such a powerful scene. Can you take me to when you first saw this - it was a prosthetic, it was makeup - but the full result of that and seeing his body for the first time, even as - you know, you're an actor, but as a person who had lived with this story all of your life.
DEADWYLER: I didn't see it until we did the first take. So when I first saw it was when you first saw - when I first saw it (laughter). I remember reading her detailing what that experience was like - kind of mapping of him and their history, starting at his feet and going to the top of his head. And I just followed her path, her kind of spiritual cartography of his being and recalling all of the things that she recalled. It's what you know - where you know scars from, where you know the DNA has really imprinted itself in this place 'cause it just looks just like, you know, like her or - and her also understanding or trying to understand where the violence was enacted on him at the same time in these places of fondness, of memory, coupled with an unknown - with the unknown violence.
So it's this duality of the experience and how she said she needed to be a scientist of sorts, a doctor of sorts in looking at his body and seeing what had happened to him and not just seeing what had happened to him, but also seeing - remembering who he was. And so I traveled those lines with her. And that was what was revealed in the scene.
MOSLEY: You take on historical characters so well, and you shed some light on, like, that infusion of history that you learned as a young person growing up in the South. Like, I can feel all of that in your work. Do you have a soft spot for period pieces? Is this intentional work? Like, will we see you take on everybody from Reconstruction on, you know?
DEADWYLER: (Laughter) You will not. You will not. I have a soft spot
DEADWYLER: for connecting dots. That's what I have a soft spot for. And I think you have to understand history in order to connect dots to how and why we activate our lives the way we do presently. And so I have, you know, a plethora of other sci-fi or contemporary works that can go in tandem with these, but I just - these are just works that really spoke to me, right? And I have a soft spot for understanding Black womanhood and Black Southern womanhood in myriad disciplines and am continuing to explore that happily, you know, intensely in some of the works. And they tend to - they've come out in this film, in these two films, at least. And I hope to do more. I think we have to encourage this understanding.
MOSLEY: Are you taking on Otis Redding's story, his wife? Is that right, or...
DEADWYLER: That is right. That is true - the "Otis And Zelma." Yeah.
MOSLEY: When will that happen?
DEADWYLER: Probably sometime next year.
MOSLEY: OK, great.
DEADWYLER: But, yeah, you know, I think it's a beautiful story about the women behind these monumental figures, these iconic figures, and the love that they had between each other in such a short period, considering he was - he transitioned at such a young age and yet left this massive imprint. And she upheld that legacy. That's the connective tissue. These stories are about legacy. How do we hold them? How do we extend them? How do we connect them to others? It's like, how do Black women create a grand web? That's what my exploration is.
MOSLEY: Danielle Deadwyler, thank you so much for your time.
DEADWYLER: Thank you.
MOSLEY: Danielle Deadwyler stars in the new Netflix film "The Piano Lesson."
(SOUNDBITE OF WORLD SAXOPHONE QUARTET'S "(SITTIN' ON) THE DOCK OF THE BAY")
MOSLEY: Coming up, our book critic Maureen Corrigan picks the best books of the year. This is FRESH AIR.
DEADWYLER: (SOUNDBITE OF THE GEORGE SHEARING QUINTET'S "GOD REST YE MERRY GENTLEMEN") Transcript provided by NPR, Copyright NPR.
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