1967, a true story of a true cyme set in the middle of it in the algiers motel, and it was simply putecution, and a portrait of police brutality and racial injustice that was extremely moving, very timely and topical. about the same time he told me the story, the decision not to

he takes refuge in the algiers motel. the police then discend on the motel where they believe there is a sniper. the police are led by a character called krause played by will poulter. who is described by writer mark boal as a character who is inspired by the recorded deeds of a detroit policeman, although he is a fictional character. meanwhile john boyega who is such a brilliant actor, is a security guard who finds himself in the middle of an impossible situation. he's somebody who is distrusted by both sides and attempts to make peace with both sides. here is a clip withjohn boyega. hey, fellas, melvin dismukes. i'm with united security, i'm guarding that grocery store across the street. i come bearing gifts. oh, thank you. ain't this nice, boys? hey, all things considered, this is pretty good. thank you. i don't have my usual appliances. got any sugar? don't push it, man. you can see from the clip the film is shot with that very, sort of, distinctive documentary—like style. barry ackroyd is a brilliant cinematographer.

he takes refuge in the algiers motel.e disarmed on the motel where they believe there was a sniper. the police are led by a character called krause played by will poulter. use a summer krause played by will poulter. use a summer by the writer is a character inspired by the recorded deed of a detroit policeman, although he is a fictional character. meanwhile john boyega who is a brilliant actor, is a security guard who finds himself in the middle of an impossible situation. he's somebody distrusted by both sides and attempts to make peace with both sides. he was a clip withjohn peace with both sides. he was a clip with john boyega. hey fellas, melvin dismukes. i'm with united security, i'm going to the grocery store across the street. i come bearing gifts. oh, thank you. that's a nice voice. hey, all things considered, this is pretty good. thank you. i don't have my usual appliances. got any sugar? don't push it, man. he isa he is a brilliant cinematographer. he's done what they've done before. turning it into a drama from

he takes refuge in the algiers motel. on the motel where they believe there is a sniper. the police are led by a character called krause played by will poulter. who is described by writer mark boal as a character who is inspired by the recorded deeds of a detroit policeman, although he is a fictional character. meanwhile john boyega who is such a brilliant actor, is a security guard who finds himself in the middle of an impossible situation. he's somebody who is distrusted by both sides and attempts to make peace with both sides. here is a clip withjohn boyega. hey, fellas, melvin dismukes. i'm with united security, i'm guarding that grocery store across the street. i come bearing gifts. oh, thank you. ain't this nice, boys? hey, all things considered, this is pretty good. thank you. i don't have my usual appliances. got any sugar? don't push it, man. you can see from the clip the film is shot with that very, sort of, distinctive documentary—like style. barry ackroyd is a brilliant cinematographer. he's done what bigelow

it is called "detroit" and tells the story to have 1967 detroit riots at the algiers motel. >> the rider next -- the writerrer next to me whose work is extraordinary came to me with a story about the detroit uprising? 1967, a true story of a true cyme set in the middle of it in the algiers motel, and it was simply put an execution, and a portrait of police brutality and racial injustice that was extremely moving, very timely and topical. about the same time he told me the story, the decision not to indict the officer involved in the michael brown shooting had taken place. so i felt that the story needed to be told. >> rose: and we continue this evening with icarus, a new netflix film that explores russia's long-running state-sponsored doping program. >> i had the curiosity my whole life, what do the drugs do? would they make me a better athlete? could i possibly be a champion? so i had that curiosity. the second part of that curiosity is what decision does an athlete competing on a world level at the best of the sport have to make whether or not they're going to use or not use the substa

he takes refuge in the algiers motel.a sniper. the police are led by a character called krause played by will poulter. who is described by writer mark boal as a character who is inspired by the recorded deeds of a detroit policeman, although he is a fictional character. meanwhile john boyega who is such a brilliant actor, is a security guard who finds himself in the middle of an impossible situation. he's somebody who is distrusted by both sides and attempts to make peace with both sides. here is a clip withjohn boyega. hey, fellas, melvin dismukes. i'm with united security, i'm guarding that grocery store across the street. i come bearing gifts. oh, thank you. ain't this nice, boys? hey, all things considered, this is pretty good. thank you. i don't have my usual appliances. got any sugar? don't push it, man. you can see from the clip the film is shot with that very, sort of, distinctive documentary—like style. barry ackroyd is a brilliant cinematographer. he's done what bigelow has done before. turning fact and fiction,

a true story of a true crime set in the middle of this in the algiers motel and it was simply put, anxecution. and portrait of police brutality and racial injustice that was extremely moving, very timely and very topical and the same time he told me this story, the decision not to indict the officer involved in the michael brown shooting had taken place. i felt that the story needed to be told. ♪ ♪ track your pack. set a curfew, or two. make dinner-time device free. [ music stops ] [ music plays again ] a smarter way to wifi is awesome. introducing xfinity xfi. amazing speed, coverage and control. change the way you wifi. xfinity. the future of awesome. betty: stocks drop, the dollar weakened. a grand jury handling the russian inquiry. yvonne: sterling headed to its biggest drop since junune. the bank of england cuts its u.k. growth forecast. betty: investors are eyeing friday's critical job numbers. for 180,000ion is new jobs in july. yvonne: the u.s. has sanctions on venezuela with oil restrictions. betty: "daybreak asia this

it tells of the tragedy that happened at the algiers motel in 1967.o clip] >> you know what happened at the motel? >> what happened at the motel? >> you don't know? i was working security and on tuesday night, we heard gunfire coming from the area of the algiers. police were there. there was a lot of shooting. when i went in there, three kids had been killed. >> no. >> they were killed right before you got there. >> you carry a .38, right? >> a revolver. >> you carried a revolver? >> i do have a .38. >> you ever shoot anyone? >> i didn't do it. >> ah, here we go. >> here in city of detroit. violence continues. state police and national guardsmen declaring a state of emergency. >> it is a war zone out there they are destroying the city. , >> police. >> i'm just going to assume you're all criminals. >> you don't talk to anyone about this understand? , ever, >> this city has rocked. but change is coming. >> i told you what i saw. i'm trying to help you. >> change is coming. >> what's the matter with you? >> change is coming. >> they're going to kill us.

setue story, a true crime in the algiers motel. and it was simply put, an execution.trait of police brutality and racial injustice that was extremely moving, very timely, and very topical. about the same time he told me this story, the decision not to inict the officer involved the michael brandt shooting had taken place. i felt the story needed to be told. charlie: because it has lessons for today? >> exactly. charlie: had you been thinking about this? how long had you been thinking this is a story that ought to be told? >> we talked about it internally for a while and pushed it over intothem -- what pushed it a script was a meeting i had in detroit with one of the survivors who had not told his story in about 50 years. in the movie, hearing his recollection of how he tried to survive this life and how his life changed. when i heard it, i knew it was something i wanted to write. charlie: is it still there in detroit? detroit will always know? is twoink what you feel things. you feel a resiliency in the city and people. a bit of a time, struggle with its history. i th

it tells the story of the tragedy it the algiers motel in 1967. >> i assume this is about what went on at the motel? >> what happened at the motel? >> you don't know, i'll tell you. i was working security and on tuesday night we heard gunfire coming from the area near the algiers. police was there. there was a lot of shooting. when i went in there, three kids had been killed. >> no. so they were killed right before you got there. phew. you carry a .38, right? >> a revolver. you carry a revolver. >> i do have a .38. >> you every shoot anyone? >> i didn't do it. please-- >> oh, here we go. >> here in detroit, a city of war, violence continues. >> we've made state police and national guardsmen available. >> i'm declaring a public state of emergency. >> it's a war zone out there. they're destroying the city. >> police! on the floor! >> i'm just going to assume you're all congressmans! congressman criminals. >> you don't talk about this to anyone ever, you understand? >>> change is coming. >> i told you what i saw. i'm trying to help here. >> change is coming. >> they're kids. what's the ma

he takes refuge in the algiers motel.acter called krause played by will poulter. who is described by writer mark boal as a character who is inspired by the recorded deeds of a detroit policeman, although he is a fictional character. meanwhile john boyega who is such a brilliant actor, is a security guard who finds himself in the middle of an impossible situation. he's somebody who is distrusted by both sides and attempts to make peace with both sides. here is a clip withjohn boyega. hey, fellas, melvin dismukes. i'm with united security, i'm guarding that grocery store across the street. i come bearing gifts. oh, thank you. ain't this nice, boys? hey, all things considered, this is pretty good. thank you. i don't have my usual appliances. got any sugar? don't push it, man. you can see from the clip the film is shot with that very, sort of, distinctive documentary—like style. barry ackroyd is a brilliant cinematographer. he's done what bigelow has done before. turning fact and fiction, working with mark boal, turning somet

1967, a true story of a true cyme set in the middle of it in the algiers motel, and it was simply putecution, and a portrait of police brutality and racial injustice that was extremely moving, very timely and topical. about the same time he told me the story, the decision not to

the degree of police brutality and racial injustice that took place in those few hours in the algiers motelstrange for you telling a story that is set in a time many decades ago and, yet, it still seems timely? it still seems like the story could have been a few days ago? >> well, that was exactly my entry point. when first presented to me by the writer i work with, it was around the time of ferguson, missouri, i was thinking tha sounds like today. it's 50 years ago but it's today. and if it's today, could it be tomorrow? my hope was the film could possibly be a part of a larger conversation and encourage a conversation about racial injustice in this country, and i think that -- or perhaps other stories coming forward, you know. i think it's a really meaningful conversation for this country to have at this point. >> trevor: what -- you dmoont escape, when tackling any subject like this -- because you're dealing with police brutality, because you are dealing with aicial injustice, there's an element of people always questioning people asking the whys. i know one of the toughest whys that cam

riots, detroit uprisinrising in 1967, a true sy of a true crime set in the middle of it in the algiers motelit was, simply put, an execution. and a portrait of police brutality and racial injustice that was extremely moving, very timely, and very topical, and about the same time that he told me this story, the decision not to indict the officer involved in the michael brown shooting had taken place. and so i felt that this story needed to be told. >> rose: describe the character. >> he's a man trying to-- trying to do good who is forced into a circumstance he wasn't prepared for. melvin-- i actually got the opportunity to speak to him, which is great. and i found that he's stern in some respects but also a do-gooder. >> rose: when you talk to somebody and there's a text that's based in part on real events, are you looking for a spirit? are you looking for mannerisms, or are you looking for a voice? >> i look for spirit first. i look for spirit first because i felt you could embody a lot about a human being when you could get hez soul. and i knew i wouldn't be able to ask him every single nig

the film depicts the algiers motel incident, where the cops during the riot thought there was a snipernd they went and lined a bunch of people up against the wall, and kept them there for hours, and terrorised them. and, by the time the incident was over, three african—americans were dead. i got all night, people. the centrepiece of the movie is the 45—minute—long motel sequence. some have said that this is the most powerful part of the film, as it gives a window into the nature of police brutality, which is still present to this day. others have said it is a nearly pornographic lynching sequence, and has little value. let's not be stupid in this situation. the film was put together by a white director, kathryn bigelow, and a white writer, mark boal. so it didn't feature any black creators on the production team. i think the issue of who made this film, and whether it should have been black filmmakers, is on the one hand an important one to discuss, and to the extent that we need more talented people who are african—americans behind the camera. 0n the other hand, it is a very dicey iss

talk a little bit about the movie for those who didn't know what happened at the algiers motel. >> setlted in three young african-american men losing their lives at the hands of the police. seven other people were kind of viciously brutalized including two women. so, you know, it's an important story to tell these people when giving social justice, while we can't give them that it's important we shed light on the story. >> this is a historical piece. in 1967 in detroit i was there, i was one year old. >> don't give away your age. >> my birthday was a couple days ago. but had you known anything about this before you started this film, about the whole story? >> i'm from saginaw, michigan. i knew about a lot of the rebel yons that were taking place all around the u.s., but like i said i didn't specifically know about the algiers. when i got this part that was a complete history lesson for me. one of our cast mates jason mitch else calls us historians because we get to play a part and tell a truth that hadn't been told. my little sisters and little brothers don't know about this. to be abl

the film opens august 4th and focuses on the algiers motel incident.first of all you have to kind of con tech to allize the -- contextualize the rebellion and you get in terms of whether it was a riot or rebellion. civil disturbance, uprising, upheaval. >> host: the 1967 riots in detroit. >> guest: exactly. we characterize it as a rebellion, those who were very much part of that period of time and was bringing a more political analysis to what was happening in terms of the content of that uprising. so we're saying that more class elements and not any kind of racial an animus was going on as in 1943. it was clear lay black and white thing, going after each other savagely. but the rebellion was like a consumer upriding. people going after property. >> host: you were 28 at the time. >> guest: oh are yeah. >> host: were you involved. >> guest: right there one thing about that, i was living in new york city in 1958 when henry hampton put together his just classic probably incomparable study of the civil rights movement in terms of documenting -- the documen

and the algiers motel incident actually, unfortunately, resulted in three young african-american menzed including two women. so, you know it's an important story to tell, these people, when given social justice. we shed light on the story. and bring awareness to it. >> this is a historical piece. it took way before you were born. i was there, i was 1 year old. my birthday was a couple days ago. had you known anything about this before you started the film? >> i'm from saginaw, michigan. i knew about a lot of the rebellions taking place around the u.s. but i didn't specifically know about the algiers. when i got this part, that was a complete history lesson for me, as you say. one of our cast mates, jason mitchell, he call s us his historians. to be able to put this out for multiple generations to finally hear truth is a blessing. >> what's it like for you? you live in london, clearly. >> that surprised me, by the way. no. >> what is it like for you to be in this movie that's so much a part of american history? >> yeah. i think for as much as it's a part of american history, i think i

the film is set during the 1967 detroit riots in the killings of three unarmed black men at the algiers motels it excruciating and necessary. here is a look at the trailer. >> i assume this is about what went on at the motel. >> what happened at the motel?

the film is set during the 1967 detroit riots in the killings of three unarmed black men at the algiers motel caused excruciating and necessary. here is a look at the trailer. >> i assume this is about wh

stephen: a group of african-american teens are in the algiers motel in the city with some white teens and i do not remember what the reason was, the police show up. but over several air -- hours it escalates to the point where they kill some of these black kids and there is never a good reason for that killing. there is never an excellent nation. as heather points out, they are never held to account. no one is ever brought to justice. heather: again to be clear, these were kids who were in this hotel because there is so much chaos in the street, three of these kids were musicians, they had come from performing a gig and the parents say do not come home to my stop and hotel so you will be safe and this pulled -- the police show up with the rumor of a sniper and the kids are tortured in eaton and the police play russian roulette and three of them end up dead. and that captures that is critically important because that is a microcosm of the reason why the city erupted in the first place. host: let's hear from philip in las vegas. go ahead. are you there? talk about -- go ahead. philip: c

in the midst of the chaos was the tragedy at the algiers motel in which several black occupants and twoeaten, tortured and killed by law enforcement. it was this untold story that oscar winning filmmaker catherine bigelot brings to pulse pounding life in her feature "detroit." joining me now is a native of detroit, the one and only dr. michael eric dyson, he is a professor at georgetown university and author of the book "hears we cannot stop, a sermon to white america." thank you for being with me, dr. dys dyson. >> thank you. >> when i watched this the other night i hosted one of the screenings i thought of you because you are from detroit. >> right. >> you more than anyone in academia have interpreted this problem of policing today. looking back 50 years when you were a kid, i was a kid. >> right. >> but i remember i was maybe 12, i remember the riots in detroit but this is the first time we've seen in a thriller the story told, the viciousness and the context of why people erupted in the violence. martin luther king used to say that the riots are the voice of the unheard. >> that's r

so when you mentioned somebody like a kathryn bigelow, the way that she tells the story of the algiers motelident in the movie "detroit" is very unique to her. i don't think any other filmmaker would have approached the story quite the way she does in this film and you can say the same about patty jenkins. her vision for wonder woman was a product of her personal taste and predilections. in both cases they work well. "dunkirk" is another great example. we could go on and on. a good summer for directors. >> brown: "talking pictures, and how to watch movies." ann hornaday. thank you very much. >> thank you. >> sreenivasan: why is it that people have no qualms about confessing "i'm terrible at math," yet you rarely hear anyone saying "i'm awful at english?" eugenia cheng is the scientist in residence at the school of the art institute of chicago, and author, whose latest book is "beyond infinity." tonight, we hear her humble opinion on why math is in need of a make-over. "hi, i'd like you to meet a friend of mine-- he's really useful." wait-- that doesn't make him sound very interesting, does i

. >> fire, algiers motel. >> let's not be stupid in this situation. where the gun is. >> the central event and academy award winning director katherine bigelow's movie "detroit" in the midst of the riots may be largely forgotten. the contents and its aftermath will feel all too familiar 50 years later. i had a chance to speak with two of the stars. i want to read you the review of the film "detroit." it is based on real events drama determined to pummel the view we are a tough unvarnished perspective on a violent episode in american racial annals that is deeply unsettling to say the least. i'll start with you algee your age to see a deeply unsettling film, pummeling as it is. >> that's a very good review. but you know, i think it's just, it's easy as saying this is an educational tool, and this is a tool about not just white history or black history. this is american history. i feel everyone should know their american history. i didn't learn this in school. i wasn't fortunate enough to go and read this in a book. i had to wait until i'm 22 years old t