hollywood financing meant that when you get a big star like forrest whitaker or will smith or morgan freeman it could lead to financing the film cynthia revolt doesn't even have the history to be the lead role in it's saying she doesn't have this strong backing in nigeria she doesn't have this great backing of british and she barely has a film history in america so you don't have that same need for her to play the lead role there are great african-american women that did not get a chance here in america and i would love to see who they actually audition let me play i don't think. that i was going to sign i agree with you in times when i put it she's not respectful of this you have respect to the culture i'm not a stew the history of where she whether characters come from and whether that the essence of the people who come from then you're right she shouldn't be playing that role but as an artist. at the end. i think hollywood we're having this discussion within a space that we did not create for ourselves hollywood creates the space right they decide through their mode of production as kelln

morgan freeman, $400. drew. what is "the shawshank redemption"? that's it.

morgan freeman said stop talking about it. [laughter] what's your reaction to that?th that to some extent. it's to this extent. for the civil rights industry that i mentioned earlier the manatt bracket, keeping race front and center is good for business and it means that it gets dragged into discussions where it doesn't really belong. nor is at best a side issue. maybe that's what morgan freeman was getting at that him everything isn't about race and racism and yet that seems to be the direction we are tilting in too often these days. >> anthony in york pennsylvania, welcome to the conversation. >> hello. go ahead. >> i've seen mr. riley several times on meet the question. i can tell he's a conservative, and held positions he has not held in terms of government. it was part of affirmative action in terms of black professional life and knows quite well the statistics he's given has he said earlier in the interview pertaining to the amount of blacks enter the professions and professional schools and Ãschools increased tremendously from the late 60s into now. that has n

response was morgan freeman said stop talking nabout it. i agree to that to some extent. the civil rights industry that i mentioned earlier keeping race front and center is good for business and it means that it gets dragged into the discussions where it doesn't really belong. maybe that is with morgan freeman was getting at everything wasn't about race and racism and that seems to be the direction we are talking. >> host: anthony in new york pennsylvania. welcome to the conversation. >> caller: hello.ye >> host: go ahead, please. >> caller: i can tell he's a conservative and has held positions he has not held. he knows the statistics that he's given in the interview pertaining to those that entered the profession. it hasn't been expended too much in the previous period. they made progress. one of the statistics as it relates to the politicians there are many who do and [inaudible] what he says about the schools many don't support the school. they don't have the same kind at the schools. like i said before, the track record of affirmative a

morgan freeman said stop talking about it. [laughter] >> your reaction to that? >> well, i agree with that to some extentt and it's to this extent that that, again, for the -- the civil rights industry that i mentioned earlier if not racket, keeping race front and center is good for business and it means that it gets dragged into discussions where it doesn't really belong or as best a side issue and maybe that's what morgan freedman was getting at that that everything isn't about race and racism and yet that seems to be the direction we are tilting in too often these days. >> anthony in york, welcome to the conversation. >> hello. >> yes, go ahead, please. >> hello. yes. i've seen mr. riley several times over the last few years, i can tell he's a conservative. he knows quite well the statistics he's given as he said earlier in his interview pretending to the blacks who have entered professions and professional schools and graduate schools, increased tremendously from late 60's intoe now, has not been expanded as much during th

i want to see it with you and me and like, morgan freeman and tim robbins and go, "this is pretty goodis scene? ( laughter ) no, i don't tend to watch-- >> stephen: not even "despicable me" with the kids? >> no, i hear it from the front of the car when they were little kids. i've heard a lot of animated movies. >> stephen: and did they not know? have you been in things your kids don't know you're in, like you have been a voice in something and you "go, that's actually me" and they go "what?" >> no, i'm really specific that they know everything i do. ( laughter ) >> stephen: now you've returned to tv, such as tv is these days. >> right. >> stephen: you've finally returned to the tiny screen with the new show on apple tv +. is that what we call how you get it? >> sure. >> stephen: no, it's your thing, is it called apple tv +? >> it is called that. >> stephen: that's what it says here, it says apple tv +. there it is there. >> it's called "the morning show." >> stephen: it's called "the morning show," exactly, yes. and who do you play in "the morning show"? >> i play a morning anchor name

. >> clint east wood and morgan freeman.e sick of violence. they don't want to do it anymore. they get dragged back in to it. >> i kill women and children. killed just about everything that walks and crawls at one time or another. and i'm here to kill you. for what you did to ned. >> clint is maybe the best director i have ever worked with. i love the way he does it. he's quick. decisive. beautiful. >> there are directors in this period like michael man. who are the rebels. within the studio system. the guys just doing it differently. >> i don't understand. >> there's a dead man on the other end. >> he provide us an opportunity to finally see robert de niro and al on screen together doing a scene. >> the scene at the diner. all three of us we knew there was a an ex us of the film. >> it's one of my favorite scenes. we did a good job with it. >> what i do best. you do what you do best. trying to stop guys like me. >> they are not taking eyes off each other. >> i will not hesitate. not for a second. >> people want to see great

. >> clint eastwood and morgan freeman who have been professional killers and they're sick of violenceled just about everything that walks and called at one time or another and i'm here to kill you, little bill, for what you did to ned. >> clint is maybe the best director i've ever worked with. i love the way he does it. he's quick, he's decisive. it's beautiful. >> there were director in this period, like michael mann, who are the rebels within the studio system, the guys who are just doing it differently. >> what am i doing? i'm talking to an empty tell n telephone. >> i don't understand. >> because there's a dead man on the end of this one. >> he gives us an unity to see robert de niro and al pacino doing a scene together. >> what do you say i buy you a cup of coffee? >> the scene in the diner, we knew it was the nexus to the whole film. >> i chase down some crews, guys looking up, getting busted back at you. >> you must have worked some di di di dip-shit crews. >> we have all kinds. >> you do what you do best, trying to stop guys like me. >> they're not taking their eyes off each o