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      Phyllis Coates, the First Lois Lane on TV’s ‘Superman,’ Dies at 96

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      She replaced Noel Neill, who had played Lois in two Superman movie serials; Ms. Neill in turn replaced her after one season.Phyllis Coates, who played the reporter Lois Lane, one of the most enduring characters in popular culture, in a theatrical film and the first season of the popular “Adventures of Superman” television series, died on Wednesday in Woodland Hills, Calif. She was 96.Her daughter Laura Press confirmed the death, at the Motion Picture & Television Fund’s retirement community.Ms. Coates was a busy if not well-known actress when she became the second onscreen Lois. Noel Neill had played the role in two 15-part movie serials, “Superman” (1948) and “Atom Man vs. Superman” (1950), in which Kirk Alyn played the Man of Steel.“But when there were talks about making a theatrical film — which would become ‘Superman and the Mole Men’ — Kirk Alyn didn’t want to do the role anymore,” Larry T. Ward, the author of “Truth, Justice & the American Way,” a biography of Ms. Neill, said in a phone interview. “He felt he had been typecast. So rather than just replacing Superman, they replaced the entire cast.”In “Mole Men” (1951), Lois and her fellow Daily Planet reporter Clark Kent, who is also Superman (George Reeves replaced Mr. Alyn in the role), witness the panic in a small town when two small, glowing, balding underground beings emerge from their home deep in an oil well.The “Adventures of Superman” TV series debuted the next year, with Ms. Coates, Mr. Reeves, Jack Larson as the cub reporter Jimmy Olsen and John Hamilton as Perry White, The Daily Planet’s cantankerous top editor.Ms. Coates’s Lois was serious and sometimes bullheaded. But she sometimes needed Superman to save her; Lois was an archetypal damsel in distress (and was even more so when Ms. Neill played her). This was the case when she was trapped in a mine, held on a ledge outside the newspaper’s building by a man who had strapped dynamite to himself, and captured by thugs smuggling fugitives into Canada.The series was not lavishly produced, as was evident in the characters’ wardrobes, which rarely changed.“Oh boy — I had one suit! One suit, and a double in case I got egg on it!” Ms. Coates told The Los Angeles Times in 1994 when she was cast as the mother of another Lois, Teri Hatcher, in an episode of “Lois & Clark: The New Adventures of Superman.” “George’s dresser dressed me. My makeup man was Harry Thomas, who made up every monster in Hollywood.”In a statement, Ms. Hatcher said, “I’m sure she was aware of how much the fans would enjoy that inside nod to her work on the original TV series.”Ms. Coates stayed through the show’s first season but did not return in the fall of 1953, Mr. Ward said, because she had a commitment to film a pilot, which was ultimately not picked up as a series.In the book “Science Fiction Stars and Horror Heroes” (2006), by Tom Weaver, Ms. Coates was quoted as saying that the producer of “Adventures of Superman,” Whitney Ellsworth, offered her “about four or five times what I was getting if I’d come back, but that she “really wanted to get out of ‘Superman.’”Ms. Press said that difficult working conditions and a desire to play other roles led Ms. Coates to leave the series.Re-enter Ms. Neill, who played Lois until the series ended in 1958.Mr. Reeves died of a gunshot wound a year later. The death was ruled a suicide.Ms. Coates “got a lot of fan mail,” her daughter said, “most of it for ‘Superman,’ but also for the westerns she did with Whip Wilson and Johnny Mack Brown.”Everett CollectionPhyllis Coates was born Gypsie Ann Stell on Jan. 15, 1927, in Wichita Falls, Texas, to William Stell, known as Rush, and Jackie Evarts. After graduating from high school, Gypsie moved to Los Angeles, where she was a chorus girl in shows produced by Earl Carroll and acted in sketches in a variety revue. She also performed on a European U.S.O. tour. In 1948, she signed a contract with Warner Bros.Ms. Coates’s credits include Alice McDoakes, the wife of Joe McDoakes (played by George O’Hanlon), in a long-running series of comedy shorts, with names like “So You Want to Be a Baby Sitter” and “So You Want to Get Rich Quick,” between 1948 and 1956. She was also the star of a serial, “Panther Girl of the Kongo” (1955), in which she rode an elephant; a guest star on episodes of TV series like “Gunsmoke,” “Rawhide” and “Perry Mason,” as well as “Leave It to Beaver,” which was directed by Norman Tokar, her husband at the time.“She got a lot of fan mail, most of it for ‘Superman,’ but also for the westerns she did with Whip Wilson and Johnny Mack Brown,” Ms. Press said.In addition to Ms. Press, Ms. Coates is survived by another daughter, Zoe Christopher, and a granddaughter. Her marriages to Richard Bare (who directed the McDoakes shorts), Robert Nelms, Mr. Tokar and Howard Press all ended in divorce. A son, David Tokar, died in 2011.In 1953, while she was still portraying Lois Lane, Ms. Coates told The Los Angeles Times that her 4-year-old daughter questioned (as many fans did) why Superman’s Clark Kent disguise fooled people, even though it was just a pair of glasses, a hat and a suit over his Superman outfit.Her daughter, Ms. Coates said, “just can’t understand why I can’t see through Superman’s disguise in the telecasts. She thinks I’m quite stupid about the whole thing.” More

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      Piper Laurie, Reluctant Starlet Turned Respected Actress, Dies at 91

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      She began as just another product of the studio system, but she went on to receive three Oscar nominations, win an Emmy and appear on Broadway.Piper Laurie, who escaped the 1950s Hollywood starlet-making machinery to become a respected actress with three Oscar nominations and an Emmy Award, died on Saturday at her home in Los Angeles. She was 91.Her manager, Marion Rosenberg, confirmed the death, The Associated Press reported.Ms. Laurie’s first Academy Award nomination was for best actress in “The Hustler” (1961), in which she played a lonely alcoholic who hooks up with a dissolute pool player played by Paul Newman. After a 15-year break from making movies, she earned a comeback nomination for her performance as the deranged religious mother of a telekinetic teenager (Sissy Spacek) in “Carrie” (1976). She received her third nomination for her role as the estranged mother of a young deaf woman (Marlee Matlin) in “Children of a Lesser God” (1986).Piper Laurie with Paul Newman in a scene from “The Hustler” in 1961. Her role in the film as a lonely alcoholic brought her an Oscar nomination as best actress.Silver Screen Collection/Getty ImagesJust before that, she had won an Emmy for “Promise” (1986), an acclaimed CBS movie about schizophrenia in which she played James Garner’s helpful ex-girlfriend. She received eight other Emmy nominations, including for her roles as the vengeful paper-mill manager on the original “Twin Peaks,” Rachel Ward’s sympathetic married friend in “The Thorn Birds” and the comically vicious mother of a coldhearted psychiatrist on the NBC sitcom “Frasier.”Ms. Laurie, whose birth name was Rosetta Jacobs, was 17 when Universal-International signed her as a contract player and gave her the screen name Piper Laurie — a change about which she had mixed feelings. It was the era of publicity gimmicks, an attempt to brand new performers, especially starlets, with fabricated, sometimes outrageous histories or habits. The studio was looking for an angle that had not been used before. A publicist on the set of a movie she was shooting observed a scene that involved putting flowers in a salad. The publicist decided to position her as the girl who ate flowers — orchids, rose petals, marigolds. And so she did, dutifully, for photographs and interviews. (“They didn’t taste so bad,” she told a United Press International reporter in 1991.)Publicity tours and stunts were so much a part of her career that in 1953, Collier’s magazine ran an article about how many she did — happily, the writer observed — and how much money her pictures were making for her employer.Behind her smile, however, Ms. Laurie was growing disillusioned.“Every role I played was the same girl, no matter whether my co-star was Rock Hudson or Tony Curtis or Rory Calhoun,” she told The New York Times in 1977, referring to the movies she had made while under contract with Universal. “She was innocent, sexual, simple — the less intelligent, the better, and complexity was forbidden.” She rebelled and broke her contract in 1956.As early as 1959, Ms. Laurie was brazenly frank in interviews about her experience. In one, published in The Tribune of Columbus in Indiana, she said, “If I’d continued in Hollywood, doing those old, insipid parts, I think by now I would have killed myself.”Piper Laurie in the movie “Carrie” in 1976 playing the deranged religious mother of a telekinetic teenager.United Artists/Archive Photos, via Getty ImagesShe decided to hold out for better movie roles, doing television and stage work for four years or so until eventually the right thing came along: “The Hustler.”Rosetta Jacobs was born in Detroit on Jan. 22, 1932, the younger of two daughters of Alfred Jacobs, a furniture dealer, and Charlotte Sadie (Alperin) Jacobs. Her grandparents were Jewish immigrants, from Poland on her father’s side and from Russia on her mother’s.When Rosetta was 6, she was sent to accompany her older sister, who was asthmatic, to a sanitarium in Southern California. Ms. Laurie wrote in her 2011 memoir, “Learning to Live Out Loud,” that she never understood why she had to go too. Her parents told her it was to “keep your sister company,” but in hindsight, she wrote, “They must have been suffering in ways they believed we couldn’t understand” and just couldn’t deal with parenthood at the time. Three years later, their parents moved to Los Angeles and had them released.Although Ms. Laurie hated those years in the sanitarium, she eventually saw them as having benefited her. “My exile had cultivated an imagination that grew like a giant, sheltering flower,” she wrote in her memoir. “It was a lifetime gift.”Rosetta was unusually anxious about public speaking, so she was given elocution lessons. Those led to small acting roles, and with her mother’s encouragement she found a part in a play presented by a low-profile theater company in Los Angeles, won a screen test in a local contest (but did badly on the test itself), took part in comedy sketches at a resort and eventually found an agent. She and another newcomer, Rock Hudson, signed seven-year movie contracts on the same day.Piper Laurie and Ronald Reagan at a Hollywood party in 1950. They dated for a time. Associated Press/Associated PressUniversal cast her in “Louisa” (1950), a romantic comedy in which she played Ronald Reagan’s teenage daughter. (They dated after filming was over.) Over the next four years, she appeared in a dozen films, including “The Prince Who Was a Thief” (1951), “Son of Ali Baba” (1952), “The Mississippi Gambler” (1953) and “Francis Goes to the Races” (1951), in which one co-star was a talking mule.After moving to New York in the mid-1950s, Ms. Laurie acted in Off Broadway stage productions and television dramas. But she did not make her Broadway debut until 1965, when she starred as the fragile teenage heroine, Laura, in a revival of Tennessee Williams’s “The Glass Menagerie,” with Maureen Stapleton and Pat Hingle. She returned to Broadway only once, in 2002, as part of the ensemble cast of “Morning’s at Seven.”Her later film career included “Tim” (1979), in which she played an older woman who has a relationship with a younger man who is mentally disabled (Mel Gibson, then 23, in one of his first films); Sean Penn’s drama “The Crossing Guard” (1995), starring Jack Nicholson; and “The Grass Harp” (1995), based on a Truman Capote novel.She also appeared in two horror movies, “The Faculty” (1998) and “Bad Blood” (2012); in both, she played a cult matriarch. In 2018, she appeared in two movies: “Snapshots,” a drama in which she played a grandmother with a secret past, and “White Boy Rick,” a crime drama starring Matthew McConaughey.Ms. Laurie had a long romantic relationship with the director John Frankenheimer, who directed her in the original live television version of “Days of Wine and Roses” in New York, but they never married. While promoting “The Hustler,” Ms. Laurie was interviewed by Joe Morgenstern, then an entertainment reporter for The New York Herald Tribune and later a film critic for Newsweek and The Wall Street Journal. They began dating and married in 1962.Piper Laurie and Joe Morgenstern, then an entertainment reporter, at his desk at The Herald Tribune in New York shortly after their engagement in 1961.John Lent/Associated PressThey stayed together for two decades and lived in Woodstock, in upstate New York, for much of that time. She did a handful of guest roles on television in the first years of their marriage, then disappeared from the screen altogether in 1966 until “Carrie” — which she originally thought was meant to be a comedy — came along a decade later. In between, she focused on her marriage; sculpture, which she studied at the Art Students League in New York; and a new daughter, Anna.“Being a mother and a stone carver really helped me to find my voice,” she told The Hollywood Interview, an entertainment blog, decades later. She and Mr. Morgenstern divorced in 1982. There was no immediate information on her survivors.When asked in a 2011 interview with the Archive of American Television what acting advice she would offer, Ms. Laurie said, “Sometimes I think I don’t know anything.” But she acknowledged that her childhood shyness may have helped her “learn to listen, really, deeply, fully.”Later, she told The Hollywood Interview, she learned the relationship between focus and fear by doing live television. “The moment we went live, suddenly the air changed in the room and I was totally focused,” she recalled. “The panic, the terror, the preference to have a truck hit me was gone.”It was even better than stage acting, she said: “Live TV had the intensity of three or four opening nights on Broadway all smacked together.” More

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      Jada Pinkett Smith on Will Smith, Chris Rock and Her New Book, ‘Worthy’

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      For decades, Jada Pinkett Smith has been plagued by misconceptions: about the dynamics of her marriage to Will Smith, about her bond with Tupac Shakur and, most recently, about the Slap at last year’s Oscars. But in her revelation-heavy 400-page memoir, “Worthy,” these discordant threads, and others, will be pinned to the ground in no uncertain terms.Even devotees of her hugely popular web series “Red Table Talk” — where she and her daughter, Willow, and her mother, Adrienne Banfield Norris, delved into all manner of personal, social and cultural issues — will realize how little they know of Pinkett Smith. The book, out Tuesday from Dey Street, offered her a chance to provide context for a layered, complex journey that can’t be mined in 45 minutes at the Red Table, she told me in September at the headquarters of Westbrook, the entertainment company she founded with Will Smith in 2019.“How do you captivate people, people who think they already know your story?” said Pinkett Smith, who turned 52 a few days after we sat there sunk into couches, looking out over an atypically drizzly Southern California sky.In the book’s second to last chapter, titled “The Holy Joke, The Holy Slap, and Holy Lessons,” Pinkett Smith chronicles that infamous Oscars night, one of the most surreal of her life — when Smith stunned the world by marching onstage and slapping Chris Rock after Rock made an unscripted joke about Pinkett Smith’s closely cropped hair. She has alopecia, a hair-loss condition, which Rock has said he was unaware of. (It was not his first joke at her expense from the Oscars stage.) After returning to his seat, Smith yelled up to Rock: “Keep my wife’s name out of your [expletive] mouth!” Minutes later, Smith won the best actor Oscar for his role in “King Richard.”She, like millions of TV viewers, scrambled to grasp what had happened. But part of her surprise came from a different place than those who’d tuned into Hollywood’s big night — it was at hearing Smith call her his wife. “Even though we hadn’t been calling each other husband and wife in a long time, I said, ‘I’m his wife now. We in this.’ That’s just who I am,” she told me, adding: “That’s the gift I have to offer, like, ‘Hey, I’m riding with you.’”Smith and Rock had decades of disrespect between them, starting in the late 1980s, before either of them knew her, Pinkett Smith points out. “I didn’t judge Chris, I didn’t judge Will,” she said. “I was like, ‘Oh, this is a spiritual clash.’”“It didn’t have anything to do with Jada,” Banfield Norris told me during a video interview. “That was really Will’s pain.”And he was in tremendous pain, and fragile, Pinkett Smith said. He had recently finished filming “Emancipation,” a hellish Civil War-era drama that was psychologically tormenting for Smith, who plays an enslaved man. (Smith has said that he “got twisted up” in the role, and “lost track of how far I went.”) “I knew in my heart that he needed me by his side more than ever,” Pinkett Smith said.Jada Pinkett Smith and Will Smith at the Oscars ceremony in 2022. In her book, she writes, “It was easy to spin the story of how the perfect Hollywood megastar had fallen to his demise because of his imperfect wife.”Ruth Fremson/The New York TimesAs for Rock’s Netflix special earlier this year in which he mocks Smith and Pinkett Smith, she said she isn’t bitter, but she was hurt. “I remember my heart piercing, my heart cracking, and I remember my feelings being so hurt,” she told me. “And then I remember being able to smile and wish him well at the same time.” (Among the many tidbits shared by Pinkett Smith in her book was that Rock had asked her on a date when he thought she and Smith had split. She corrected him, and they shared a laugh, she writes. Rock’s representatives didn’t respond to a request for comment.)Pinkett Smith also unpacks the vitriol she received for rolling her eyes at Rock’s joke — a reaction that some suggested spurred Smith to storm the stage — to illustrate how women are damned if they do, damned if they don’t. “It was easy to spin the story of how the perfect Hollywood megastar had fallen to his demise because of his imperfect wife,” she writes. “Blaming the woman is nothing new.”“How is it that a woman can be so irrelevant and culpable at the same time?” she asks. “I had to think about the narrative out there of me as the adulterous wife, who had now driven her husband to madness with the command of one look. I had to take responsibility for my part in aiding that false narrative’s existence. I also had to chuckle at the idea that the world would think I wielded that amount of control over Will Smith. If I had that amount of control over Will, chile, my life would have been entirely different these damn near three decades. Real talk!”By adulterous, Pinkett Smith is referring to her relationship with August Alsina, which she called an “entanglement” on a 2020 episode of “Red Table Talk” where — after the information surfaced, becoming a public spectacle — she and Smith hashed out the already years-old chapter of their lives. The conversation ended with laughter and a fist-bump to their slogan: “We ride together, we die together, bad marriage for life.”The truth is the Smiths weren’t together in the traditional sense when she was with Alsina, nor are they now. But they are not in an open marriage, nor are they uncoupled, polyamorous or divorced. They are something else altogether: life partners in family and business, long maintaining an agreement they call “a relationship of transparency.” In recent years, they’ve lived separately. As a 50th birthday present to herself, she bought her own place, moving out of their Calabasas compound.In a way, her new home, also in Calabasas, closes the loop on a dream that started before they dated, when she was renovating an “old-world tiny” farmhouse on the outskirts of Baltimore that sat on an expanse of land that she envisioned filling with rescue dogs and cats, and a horse for her mother. During that time, she’d gotten a phone call from Will Smith, who’d recently split from his first wife. “You seeing anybody?” he’d asked her. “Uhm, no,” she replied. “Good,” he said. “You seeing me now.”Ultimately, it’s family that anchors their union. It’s the reason they married in 1997, while she was pregnant with their son, Jaden. “We wanted to create a family we never had, and we did that. And we enjoy our family,” she said. “For us, our marriage is like a cornerstone of that for now. Who knows in 10 years.”“We’ve tried everything to get away from each other, and we just don’t,” she added, laughing.From left, Willow Smith, Jada Pinkett Smith, Trey Smith, Will Smith and Jaden Smith in a family portrait from the early 2000s.via The Jada Pinkett Smith ArchiveShortly after that 2020 episode, Pinkett Smith, in pursuit of “clarity and emotional sobriety,” became what she calls an “urban nun of sorts.” She meditates and reads texts like the Bhagavad Gita, the Quran or the Bible daily, and abstains from sex, alcohol, violent entertainment and unnecessary spending.Pinkett Smith is centered and self-assured, yet being hitched to Smith’s bullet train has made it almost impossible for her trajectory not to be affected by his.“That’s not unique to me,” she stressed. “That’s just a patriarchal construct.” Not to say that it hasn’t irked her, particularly when it’s interfered with her professional identity: Harvey Weinstein, for example, once wouldn’t pursue a project of hers unless Smith attached his name to it, she said. “I’m like, pause, I’ve been doing this before,” she remembered thinking. “That’s when it would bother me. It was like, I’ve been doing stuff before I married this dude.”On that Friday morning last month, Pinkett Smith seemed to be channeling her younger self, when she was a regular at Baltimore clubs like Fantasy and Signals in the 1980s, earning a reputation as a formidable battle dancer — mixing hip-hop and house, the Running Man and the Cabbage Patch. With pink hair, Girbaud baggy jeans and fresh white Reebok Princess sneakers, she was “considered tomboy-cute,” she writes. “They didn’t see me coming.” When we met, she was still rocking white Reeboks, though well worn; a hot pink Telfar tracksuit; a cropped blonde pixie and an assortment of earrings framing her makeup-free face. Small in size, with an expansive presence.“Worthy” documents an eventful life, which she recounts chronologically, book-ended by a harrowing story. “This isn’t going to be a fluffy journey,” she wants readers to know. “I’m going to drop you right into one of the darkest moments of my life, and then we’ll backtrack.” In despair after her 40th birthday, in 2011, she began scouting California cliffs that might be suitable to drive off, something higher and steeper than what she’d seen on Mulholland Drive. Somewhere that would appear accidental. She’d tried to adhere to the rules of life but was empty: “Those boxes I’d been checking had not delivered the gifts that had been promised.”“There’s been so much that has gone on in Jada’s life that she kept close to the chest,” Banfield Norris said. “Most people just had no idea what was going on and the pain that she was suffering. I had no idea.”“I’ve gone through such a gauntlet of some of the harshest criticism with things that aren’t true, and had to sit in that,” Pinkett Smith said. “So I can totally sit in dealing with what is true.”Erik Carter for The New York TimesA conversation with the father of two of Jaden’s friends presented Pinkett Smith with a potential new way to heal. He told her of his life-changing experience on ayahuasca, and she’d soon set out on a four-night trip. The potent psychedelic presented her with a vision of a panther that would lead her deep into the jungles of her mind. At a critical juncture, she was plunged into a pit of sneering snakes who taunted her. “Mother Aya,” she writes, “is showing me all the unloved parts of myself needing light and love.” After that experience, she’d never again contemplate suicide, she writes. Pinkett Smith continues to integrate ayahuasca into her life. About a year after the 2022 Oscars, she held a friends-and-family session — Smith included. “You’ll have to cut off your spirit’s wrist to break free of our Divine handcuffs,” he told her as it wound down.The memoir, Smith said in an email, kind of woke him up. She had lived a life more on the edge than he’d realized, and she is more resilient, clever and compassionate than he’d understood. “When you’ve been with someone for more than half of your life,” he wrote, “a sort of emotional blindness sets in, and you can all too easily lose your sensitivity to their hidden nuances and subtle beauties.”The situation seems ripe for a vulnerability hangover, I suggested to Pinkett Smith.“I’ve gone through such a gauntlet of some of the harshest criticism with things that aren’t true, and had to sit in that. So I can totally sit in dealing with what is true,” she said.“What people think of me as putting myself out there, I don’t think of it that way,” she added, after some contemplation. “After you’ve had two [9] millimeters to your head, and you survive that, your capacity totally just …” she paused to make an explosion sound.Pinkett Smith writes of a few brushes with death early in her life when, as a teenager in Baltimore, she found success selling drugs, with aspirations to become a “queenpin.” It was a “distorted reality,” she writes.Pinkett Smith eventually moved away from dealing and her hometown. She attended the University of North Carolina School of the Arts before moving to Hollywood, where she’d become best known as an actress, starring in the “Cosby Show” spinoff “A Different World” (a role Debbie Allen wrote for her) and in movies like “Set It Off,” “Menace II Society” and “Scream 2,” then later “Collateral,” the “Matrix” sequels and “Girls Trip.”The memoir introduces people who populated her world along the way: her grandmother Marion, a world traveler and freethinker who significantly shaped young Jada; her absentee father, Robsol Pinkett, a poet and addict who zigzagged through her life; Banfield Norris, a nurse who had Jada as a teenager and would struggle with heroin addiction; and a bevy of friends, especially Tupac Shakur, whom she met at the Baltimore School for the Arts. Their friendship would be the deepest of her life, and his murder in 1996 was one in a string of sudden losses that would contribute to Pinkett Smith’s depression.She has never talked extensively about her relationship with Shakur before. People have long assumed that it was romantic, but it wasn’t. In “Worthy,” she playfully recollects a time when they’d tried to kiss as teenagers: They’d both recoiled in disgust and dissolved into laughter.A 16-year-old Jada Pinkett, right, with her friends Keesha Bond and Tupac Shakur. “We were both orphans in a certain manner,” she said of Shakur.via The Jada Pinkett Smith Archive“We were both orphans in a certain manner, and we really tried to compensate for that with one another in our relationship and really take care of each other the best we knew how,” she told me, just weeks before an arrest was made in his death. “We just had a deep loyalty.”“Pac’s whole thing was because I knew him when — when he wasn’t Tupac,” she added. “The guy who was poor, the conditions that he lived in. And I was rocking with him anyway.”In “Worthy,” she reveals that he’d proposed to her in a letter while incarcerated at Rikers in the mid-1990s for groping a fan. “Did Pac love me?” she asked. “Yeah he loved me! But I promise you, had we got married, he’d have divorced my ass as soon as he walked through them damn gates and got out.”He just needed someone to do time with him, she said, and Pinkett Smith’s ride-or-die mentality is carved in her bones. It’s the same instinct that kicked in during the Oscars debacle.Threads of loyalty, protection and safety wind their way throughout the memoir, and Pinkett Smith implores readers to learn from her hard-fought lessons. Each chapter ends with what I started to call “guidance pages.” Look inward, she urges, and ask yourself questions like: “Can you recognize patterns in your life and relationships that stem from inherited trauma cycles?” Each of these pages opens with a quote meaningful to Pinkett Smith, whether it be from Clarissa Pinkola Estés, author of “Women Who Run With the Wolves,” a defining book for her; the poet Ntozake Shange; the psychoanalyst Carl Jung; or the actor Steve Martin.“My biggest hope for the book is that it’ll just be oxygen for people who need it,” she said. “I didn’t want to talk about this journey and not give some bread crumbs of how I got out of some of the stuff I was in, because it’s intense stuff.”“I didn’t want to talk about this journey and not give some bread crumbs of how I got out of some of the stuff I was in,” Pinkett Smith said.Erik Carter for The New York TimesAs we prepared to say goodbye, the sun broke though, transforming the gray vista below into a California postcard. She was reminded of perhaps the wisest words passed to her, about 15 years ago, from the actress and civil rights activist Ruby Dee: “Laugh now, because you are going to laugh later.”“When she said it to me, I didn’t know what the hell she was talking about,” Pinkett Smith recalled. “I was like, laugh now? This [expletive] ain’t funny.”But lately, the meaning of those words hits hard. “Ruby was right,” Pinkett Smith said. “A lot of dark times that I can look at and smile at.”“At the end of the day, when you’re on your deathbed — or Chris is on his deathbed or Will is on his deathbed or whoever — all this doesn’t matter,” she said, gesturing to something beyond what was in the room. “And so just learning how to exist in that pocket right now. Not waiting until I’m on my deathbed. Let’s just do it right now.” More

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      Tituss Burgess Thinks ‘Golden Girls’ Reruns Get Funnier as You Age

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      Returning to Broadway for “Moulin Rouge! The Musical,” the actor shares his love for dishing during a haircut and comes out as a pluviophile.When he was a child, Tituss Burgess went with his mother to see “Your Arms Too Short to Box With God” at the Fox Theater in Atlanta. The musical made a lasting impression. “The sheer exhilaration and reckless abandon with which Stephanie Mills performed has stayed with me forever,” he said in a video interview from his New Jersey apartment, across the Hudson River from Harlem.Similarly formative experiences included “The Wiz” on a VHS tape and “Rent.” Burgess has not forgotten how they made him feel. “Every time I’m onstage, it’s someone’s first time experiencing the magic that all those greats gave me,” he said, “and I must deliver the way that they did.”Burgess certainly has plenty to work with in “Moulin Rouge! The Musical,” in which he is playing the master of ceremony Harold Zidler through Dec. 17. It is, he said, “one of the wackiest, most conniving, most fun roles I’ve ever seen outside of Fagin in ‘Oliver!’”This is his first Broadway outing since his stint as Nicely-Nicely Johnson in the 2009 revival of “Guys and Dolls.” But that does not mean that he stayed away from theatrical roles in the interim: He earned five Emmy Award nominations for his performance as the Broadway-aspiring actor Titus Andromedon in “Unbreakable Kimmy Schmidt” and played the slightly sinister narrator in Season 2 of “Schmigadoon!” — a perfect segue into his new job in “Moulin Rouge!”Burgess, 44, talked about some of his pick-me-ups and revealed his secret ingredient in the kitchen. These are edited excerpts from the conversation.1NapsIt’s a lost art form. I have no troubles taking naps: It could be on the train, it could be in an Uber. I suspect when I get the show’s schedule under my belt, some delicious naptime will be built into it.2RainI’ve been a pluviophile all my life. I don’t know what it is about rain, but I just feel my most calm, my most connected to source. I love it so much. From my balcony when there’s a gust of wind with some water in it — woof! It’s exciting. It doesn’t inconvenience me the way some people experience precipitation.3‘The Golden Girls’Those four ladies and the writers together made television magic. It’s like a fine wine: The jokes somehow are even funnier now, or I’m just getting older and maybe I understand the references a little more. On some level, every creator can reference it as a source of inspiration. For me, TV’s never been funnier.4N.Y.C.’s SkylineFew things excite me and calm me down as when the plane is descending into one of our local airports and that beautiful skyline is there waiting, saying, “Welcome home.”5Renée FlemingThere aren’t enough superlatives to describe her magic and her seamless approach to every genre. The first thing I saw her do, with the San Francisco Opera, was André Previn’s adaptation of “A Streetcar Named Desire.” She has this one aria called “I Want Magic”: Oh, dear Lord. She brings me a great deal of joy, and each listen is a lesson.6BroadwayThere’s something unique about the intersection of all of these art forms coming together to tell different stories. And then to watch Broadway transform and remake itself again and again and again — I don’t know anything outside of cinema that has the ability to recreate itself so seamlessly.7My DogsMy babies. Micah is 10, and Hans is 8, and they have the energy of puppies — I guess it’s all the love. They’ve been keeping me sane. [Hans climbs over Burgess on the couch.] He thinks he’s a star. He is the center of attention. Both of them are from the ASPCA. I much prefer my furry friends to humans.8Truffle OilI don’t claim to be some master chef, and I hate to follow directions, both recipes and in life, but I love to cook. A dash of truffle goes a very, very long way, and I put it on just about anything. It can turn a disaster into a masterpiece.9My Barbers (Both of Them)I always know when I’m due for a haircut, and it’s not the length of my hair — it’s when my heart is full and I have a lot to talk about. I highly recommend finding a barber that knows your heart as well as your head. I will admit I have two that I rotate and I tell each one different things.10Gospel MusicI grew up in the church. Being in New York, I got in and out of relationships, but at the end of the day, the one thing that seems to serve as a reminder of who I am and how I got here, and what formed my earliest connections to source material and to humans, is gospel music. So I return to it as often as I can. It’s a great reset for me. When I’m done talking to you, I’ll probably put some on. More

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      in Television

      Mark Goddard, a Star of the ’60s Series ‘Lost in Space,’ Dies at 87

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      For three seasons, he and a family of five, a wily (and annoying) saboteur and a talking robot were marooned on a distant planet in the far-off future: 1997.Mark Goddard, the actor best known for playing Maj. Don West on the fanciful and popular 1960s science-fiction series “Lost in Space,” died on Tuesday at a hospice center in Hingham, Mass. He was 87.His son John said the cause was pulmonary fibrosis. Major West was the pilot of a spaceship carrying a family of five, a stowaway and a robot in the far distant future — the year 1997. On their way to help colonize a planet in the Alpha Centauri system, their ship went seriously off course, leaving the cast marooned on a different, inhospitable one (though luckily the atmosphere was suitable for human life).That set the stage for encounters with giant spiders, rock monsters, frog people, cyborg armies, space hippies, alien prisons, intergalactic beauty pageants and titanium shortages.The show — created by Irwin Allen, a producer later known for popular disaster films like “The Towering Inferno” — ran for three seasons (1965-68) on CBS. Major West was theoretically the romantic lead, a handsome single man in a uniform, and the first season hinted at a budding romantic relationship between him and the family’s oldest child, Judy (Marta Kristen). But that subplot soon faded into the background.For various reasons, including being scheduled opposite the new comic-book-like “Batman,” “Lost in Space” changed in the second and third seasons from a science-fiction project to a campy series that was more comedy than adventure.Mr. Goddard’s character no longer found himself setting up force fields, aiming his ray gun at rock-throwing giants, navigating rugged new planetary terrain or fending off kidnappers from another dimension. He was more likely to be left behind analyzing soil samples while Dr. Smith (Jonathan Harris), the saboteur stowaway, little Will (Billy Mumy) and the robot (Bob May, with the voice of Dick Tufeld) were off getting into trouble with a new creature or machine.Mr. Goddard’s co-stars on “Lost in Space” included, from left, Marta Kristen, Billy Mumy and Angela Cartwright.20th Century Fox Film Corp./Everett CollectionThe other regulars in the cast were Guy Williams and June Lockhart as the space-traveling parents and Angela Cartwright as their other daughter.Don was always the character most annoyed by Dr. Smith, and least sympathetic to him. He could be both hot-tempered and coldhearted, but he dutifully took a spacewalk, against his better judgment, to rescue Smith from the clutches of a seductive alien creature. If it had been up to him alone, he admitted, he would have let Dr. Smith drift through space for eternity.Major West was a role Mr. Goddard had taken reluctantly, not being a fan of science fiction. In his 2008 memoir, “To Space and Back,” he referred to his space uniform, his wardrobe for the show, as “silver lamé pajamas and my pretty silver ski boots.”Charles Harvey Goddard was born in Lowell, Mass., on July 24, 1936. He was the youngest of five children of Clarence and Ruth (Delaronde) Goddard. He grew up in nearby Scituate, Mass., where his father owned and managed the local five-and-ten-cent store.Chuck, as he was known at the time, attended Holy Cross College in Worcester, about 70 miles away, with no particular career ambition. He became interested in acting after appearing in one college play, George M. Cohan’s “Seven Keys to Baldpate.” In 1957, in the middle of his junior year, he transferred to the American Academy of Dramatic Arts in New York. Two years later, he moved to Los Angeles.He made his screen debut in a 1959 television movie that was meant to be a pilot for “The Joan Crawford Show.” (The series never happened.) He changed his first name to Mark at the suggestion of Chuck Connors, the star of “The Rifleman,” a western series on which Mr. Goddard made a guest appearance — no need to have two Chucks in the show’s credits.After only three weeks in town, Mr. Goddard was cast in a network series. He played Cully, the young deputy sheriff in the short-lived western “Johnny Ringo” (1959-60). A former sharpshooter at a carnival, Cully was brave enough to stand up to armed robbers and bloodthirsty bounty hunters but sensitive enough to be traumatized after killing a man for the first time.“All this time I’ve been handling guns and not knowing what they do,” Cully said after shooting a man dead in a saloon, in self-defense.From left, Mr. Goddard, Robert Taylor and Tige Andrews in a publicity photo for the crime series “The Detectives.” The New York Times described Mr. Goddard’s character as “a brash but efficient young police lieutenant.”Everett CollectionWhen “Johnny Ringo” ended after a year, Mr. Goddard joined the second season of “The Detectives,” a crime drama starring Robert Taylor. Mr. Goddard’s character, Sgt. Chris Ballard, was described by The New York Times as “a brash but efficient young police lieutenant.” “The Detectives” ended its run in 1962. Mr. Goddard’s next series, “Many Happy Returns” (1964-65), a comedy with Elinor Donahue, was also canceled after just a year. Then “Lost in Space” came along.When the show ended in 1968, he had difficulty finding acting jobs. He worked as an actors’ agent for a while, then had the opportunity to make his Broadway debut — in “The Act,” with Liza Minnelli, in 1977. Richard Eder of The Times said the production was “a first-rate cabaret show” but not really theater. It ran for eight months on star power alone.After that, Mr. Goddard appeared in a horror movie, “Blue Sunshine” (1978), and made guest appearances on several series. He entered the world of soap operas in the 1980s, appearing briefly on “One Life to Live” in 1981 and “General Hospital” in 1985 and 1986.Mr. Goddard was married three times. His marriage to Marcia Rogers (1960-68), a press agent at the time, ended in divorce, as did his marriage to the actress Susan Anspach (1970-78). In 1994 he married Evelyn Pezzulich, an English professor, who survives him. In addition to his son John, from that marriage, his survivors include two children from his marriage to Ms. Rogers, Melissa and Michael Goddard; two stepchildren from his marriage to Susan Anspach, Caleb and Catherine Goddard; two sisters, June Merrill and Patricia Panet-Raymond; and several grandchildren.In his 50s, Mr. Goddard went home again. Returning to college after 30 years, he earned a bachelor’s degree in communications and a master’s degree in education from Bridgewater State College in Massachusetts. In 1991, he became a special-education teacher in Middleborough, Mass.Even after he began teaching, he took a screen acting job every now and then. He made a cameo appearance in the movie version of “Lost in Space” (1998) and was seen in the more movie dramas “Overnight Sensation” (2000) and “Soupernatural” (2010). But he no longer thought of himself as an actor.“I had a wonderful life as an actor,” he told The Houston Chronicle in 1997. “But I didn’t want to be sitting around in Hollywood, kind of a halfway celebrity looking for his next job.”Bernard Mokam More

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      in Theater

      Tagging Along With The New York Times’s Chief Theater Critic

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      At a recent performance of “Gutenberg! The Musical!” on Broadway, Jesse Green gave us an inside look at his review process.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.At 7:40 on a humid Friday night in early October, Jesse Green, wearing a plaid suit coat and carrying a green laptop bag, arrived at the James Earl Jones Theater in Manhattan. The show he was there to see, “Gutenberg! The Musical!,” was starting in 20 minutes, but he was in no rush to enter the theater. As the chief theater critic for The New York Times, he knows Broadway performances usually begin about eight minutes late.“Good evening,” Green said as he approached a press representative for the show. He retrieved a white envelope with two tickets tucked inside, one for Green and the other for his husband, Andrew Mirer.It was the second press performance of “Gutenberg!,” a two-man comedy about aspiring musical theater writers who decide to write a show about Johannes Gutenberg, the inventor of the printing press, without knowing much about him. The show reunites Andrew Rannells and Josh Gad, who co-starred as hapless missionaries in “The Book of Mormon” in 2011.“Gutenberg!” was one of more than 100 shows that Green, who reviews almost every new Broadway production and many Off Broadway shows and regional productions, would see this year. He had attended a performance of “Merrily We Roll Along,” the starry new revival of the 1981 Stephen Sondheim musical, the previous night.Green, who has been a theater critic for The Times since 2017, was, proudly, a theater geek in high school. After graduating from Yale with a double major in English and theater, he moved to New York City and began working as a gofer, or errand runner, for Broadway shows, working his way up to musical coordinator positions. At one point, he apprenticed for Hal Prince, who produced or directed many of the most enduring musicals in theater history, including “West Side Story,” “Sweeney Todd” and “The Phantom of the Opera.”His time with Prince not only honed his taste, but also taught him how important it is for a show to forge a connection with an audience.“I approach theater criticism as a form of reporting,” said Green, who has reviewed nearly 1,000 shows over his decade-long career as a critic. His reporting reflects his feelings — his connection with the show being staged in front of him.“That’s the fun of reviewing,” he told me.Critics generally attend one of a few press performances, which occur before a show’s official opening night. Green sees the first one he can so that he has ample time to write his review, which usually comes out on opening night. “Gutenberg!” was opening the following Thursday, Oct. 12.At 8 p.m., he walked through a metal detector and handed his ticket to an usher. A bell chimed.“Let’s go, guys, step right in,” a man yelled. “The show is about to start.”An usher led Green and Mirer to aisle seats in Row F of the orchestra section. (“Press seats are almost always in the middle of the orchestra,” Green said. “But when I buy them myself, I like to sit in the front row of the mezzanine.”)He pulled out a five-by-eight-inch red spiral notepad, slipped on a pair of dark blue glasses, and wrote the show’s name and the date at the top of the page. It would be the most legible thing he would write all evening.“The first thing I do after a show is transcribe my notes,” Green told me. “They’re unreadable half the time, but they’re still helpful to jog my memory.”When the show began, Mirer leaned over, signaling to his watch — 8:04. Though shows post their run time on their websites, it is not always precise; Green ensures readers have accurate information.During the first act, which featured Gad and Rannells dancing in a kickline and performing a farcical song about biscuits, Green jotted down notes often. His expression remained inscrutable, except for an occasional smile or a chuckle.“I’m looking for a number of things,” he told me later. “Lines that help me understand what the play wants to do and how it seems to be succeeding or failing.” He considers moments and design choices that will help readers understand what it feels like to experience the show. Occasionally, he admits, he finds himself writing “Help” or “Will this ever end?”The first act of “Gutenberg!” provoked a continual stream of laughter from the audience and selective applause from Green — he tries not to show too much emotion during a performance. When the house lights came on for intermission, a woman seated nearby turned to her seatmate. “That’s like nothing I’ve ever seen,” she said.Green stood up. “I don’t want anyone else’s influence,” he said. To avoid inadvertent eavesdropping, he goes for a walk during intermission, even if it’s just up the aisle.Act 2 began at 9:15, which Green dutifully recorded in his notebook. He took fewer notes during the second act, which, he said afterward, is not always the case. He explained it this way: “As a rule, the better the show, the fewer notes I take, because I get too caught up.”When Gad and Rannells took their bows at 10:08, most of the audience stood and applauded. But Green perched on the tipped-up edge of his seat, craning his neck to watch. Times critics do not typically stand at the end of shows, a practice Green said was not a formal policy but an unwritten code among critics.“We know we are being watched, and we don’t want to disclose too much,” he told me. And, he added, “I still believe that standing ovations are for truly extraordinary events.”As Green closed his notebook (he had filled four pages) and headed for the exit, he and his husband discussed the weather — rain was on the way — as well as their weekend plan to drive to a house they owned in the woods upstate, where Green would write. Not a word passed between them about the show. Even his husband is prohibited from sharing thoughts about a performance, at least until Green’s review runs.Green planned to read the script for the show on his phone on the train to their home in Brooklyn. He never reads the script for a new show before seeing it — he wants to experience it “as the playwright intended” — but he does afterward, to dig deeper into the meaning of the work, check whether any moments were improvised and confirm quotes.While he writes his review, he emails questions to the show’s press agents, asking how it has changed over its development, or, in the case of “Gutenberg!,” how many trucker hats the actors wore during the performance (99). He also checks facts that he is including in his review.What is clear after spending time with Green is that he feels being a critic is part of his identity, not just his job. Even when he is not reviewing a show, he is soaking in culture: He is an admirer and voracious reader of Walt Whitman and Jane Austen, for example, and a puzzle enthusiast.Green, it should be said, wants a show to succeed. He’s a theater geek, after all. Even if he does not enjoy a performance, he understands it may still have merit or add to a cultural conversation. But he will not hesitate to pan a show if he feels it deserves it. “If I have any value, it’s in having some consistency of taste and knowledge from many, many years of seeing plays and writing about them,” he said. “People who get used to reading my stuff may say, ‘Oh, I never agree with him,’ which is actually good. That way, when I dislike something, they know they’ll like it — and vice versa.”When he’s reviewing, Green is thinking through big-picture questions: What does this play want? How well does it achieve that? Is it worth achieving? And, of course, he’s doing it on deadline.“Even after a thousand reviews, staring down a deadline fills me with fear,” he said. “After all, you start with nothing but what’s in your head and a few nearly illegible scribbles in your notebook.”But writing, he said, should be a pleasure, not a curse. “It must grow from fear to enjoyment,” he said. “It remains an amazement to me that it so often does.” More

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      in Movies

      Talks Between Striking Actors and Studios Are Suspended

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      The sides said they remained far apart on the most significant issues, dealing a blow to hopes that the entertainment industry could soon fully roar back to life.Negotiations between the major entertainment studios and the union representing tens of thousands of actors have collapsed, with both sides saying on Thursday morning that they remained far apart on the most significant issues.The Alliance of Motion Picture and Television Producers, which bargains on behalf of the studios, said that it was suspending talks because they were “no longer moving us in a productive direction” after a session on Wednesday. SAG-AFTRA, the actors’ union, which has been on strike since July, accused studio executives of “bully tactics,” and said the studios recently presented an offer “that was, shockingly, worth less than they proposed before the strike began.”The collapse of the negotiations is a significant setback for the entertainment industry, which has essentially been at a standstill for months because of dual strikes by actors and screenwriters. On Monday, more than 8,000 screenwriters ratified a new three-year contract with the studio alliance, formally ending their monthslong labor dispute. There was optimism that a deal with the actors would follow and that Hollywood could soon fully roar back to life.But with actors continuing to strike, most television and movie production remains suspended. The financial fallout has been significant. The California economy has lost an estimated $5 billion. Tens of thousands of behind-the-scenes workers have been out of work for months. Share prices for many major media companies have dropped, and now there is a further threat to next year’s box office results.Like their counterparts in the screenwriters guild, leaders of the actors’ union have called this moment “existential.” They are seeking wage increases, as well as protections around the use of artificial intelligence. Actors have now been on strike for 91 days; screenwriters recently returned to work after a 148-day walkout. The last time both unions had been on strike at the same time was 1960.When negotiations between the actors’ union and the studios resumed last week — just days after the studios and screenwriters had reached a tentative agreement — it represented the first time that the sides had met since the actors went on strike on July 14. There were five bargaining sessions, and many industry observers believed that the talks would soon lead to a deal.In a statement released early Thursday morning, the studio alliance said it had offered wage increases, met “nearly all of the union’s demands on casting” and proposed further protections around the use of A.I. The alliance also said it offered “the same terms that were ratified” by both the writers’ and directors’ unions regarding wage increases and streaming royalties.The alliance also said, however, that the actors’ union wanted a viewership bonus that “would cost more than $800 million per year, which would create an untenable economic burden.”Union leaders accused studio executives of walking away from the bargaining table “after refusing to counter our latest offer.”“These companies refuse to protect performers from being replaced by artificial intelligence, they refuse to increase your wages to keep up with inflation, and they refuse to share a tiny portion of the immense revenue YOUR work generates for them,” union officials said in a statement addressed to members. “Our resolve is unwavering,” the statement continued. “Join us on picket lines and at solidarity events around the country and let your voices be heard.” More

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      in Movies

      ’12 Years a Slave’: An Oral History

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      A decade on, the Oscar-winning portrait of American slavery feels more potent than ever. The filmmakers explain its personal origins and ultimate triumph.“So, what do you want to do next?”The question shadowed the director Steve McQueen’s first tour of Hollywood, in late summer 2008. His debut film, “Hunger,” a mesmerizing and unsettling character study of the Irish revolutionary Bobby Sands, had electrified audiences in Cannes that May and won the prize for best first feature. In rounds of meetings in Los Angeles — McQueen’s first time in the city — executives and producers on studio lots and in restaurants cast themselves as allies-in-waiting, eager to help a visionary new talent mount his second picture.McQueen had thought his follow-up would tackle another formidable historical figure, perhaps the African American singer, actor and activist Paul Robeson, or the Nigerian Afrobeat pioneer and political dissident Fela Kuti. But, emerging from the Hollywood meetings, he told his agent that he wanted to make a film about slavery. The decision, he said in a recent interview, had been inspired in part by the meetings themselves — an ineffable look he’d seen on people’s faces when they’d first laid eyes on him.“They didn’t know that I was Black,” said McQueen, who was born outside London to a Trinidadian mother and a Grenadian father. “I think because I had made a movie like ‘Hunger,’ these white guys didn’t think that they would be meeting with a Black person.”To McQueen, the mistaken assumption about his identity — to say nothing of the carelessness of not having bothered to look him up — was evidence of deep and unexamined prejudice. The legacy of slavery had haunted him since childhood; his mother kept a family tree that traced her ancestors back to Ghana. But, in Britain, his education on the subject had included “Roots” and little else. In America, a country with an ample history of anti-Black violence, he sensed a similar strain of mass amnesia.“There was a certain sense of nonresponsibility, like it was something deep in the past,” he said. “I wanted to hold people to account, to say, ‘Whoa, whoa, whoa, wait a minute — this happened here.’”“12 Years a Slave,” McQueen’s version of a wake-up call, was released 10 years ago this month. Starring Chiwetel Ejiofor, Michael Fassbender and Lupita Nyong’o — in her first feature film role — and written by John Ridley, it was based on the real-life autobiography of Solomon Northup, a free Black man who was kidnapped in 1841, enslaved and later escaped. (In the end, it was McQueen’s third film. “Shame,” a frank portrait of sex addiction, came out in 2011.)Lupita Nyong’o as Patsey, and Chiwetel Ejiofor as Solomon Northup, in “12 Years a Slave.” The film was based on the 1853 memoir of the real-life Northup, a free Black man who was kidnapped, enslaved and later escaped.Jaap Buitendijk/Searchlight Pictures, via River Road EntertainmentA serious, R-rated Black drama with no movie stars in the lead roles that would go on to gross nearly $190 million (most of it abroad) and win three Oscars (including best picture, the first for a film by a Black director), “12 Years” arrived in Hollywood like a U.F.O. landing. Its success paved the way for two other landmarks of Black cinema from the same production company, Plan B — “Selma” (2014) and “Moonlight” (2016) — and dispelled the longstanding myth that “Black films don’t travel,” one year before Disney announced “Black Panther.”The movie’s journey from gut impulse to unstoppable force was possible because of blind faith — that of an in-demand filmmaker impervious to industry dogma, and a coterie of producers who fanned his flame — and the efforts of actors and crafts people who faced the relics of human bondage, an actual lightning strike and the daily broil of New Orleans in July.These are edited excerpts from their stories.STEVE McQUEEN I knew I wanted to make a movie about a free man who got caught up into slavery.DEDE GARDNER, producer We had a subject matter before we had a narrative.JEREMY KLEINER, producer He has a kind of divining rod for taboos and just goes right to them.McQUEEN My wife [the author and filmmaker Bianca Stigter] said, “Why don’t you try to find some material instead of trying to write it?” John Ridley and I did some research and my wife did some research, and she found the book “12 Years a Slave.” When I read it, I said, This is it. This is the piece.GARDNER The urgency of John’s script, and how cinematic it was, was evident. We try to develop a film as far as we can before going to find the financing. Can we get it written? Can we get it cast? The hope is that eventually you cross a line of deniability.McQUEEN I met Brad [Pitt, co-founder of Plan B] and he was very receptive. He didn’t blink.GARDNER He loved the script and wanted to help get it made, which I think we all knew would entail his being in it. [Pitt plays a small but critical role as a Canadian carpenter and opponent of slavery who helps Northup secure his freedom.]Brad Pitt, left, a co-founder of Plan B, the production company behind the film, on set with McQueen. “I met Brad and he was very receptive,” the director said. “He didn’t blink.”Jaap Buitendijk/Searchlight Pictures, via River Road EntertainmentMcQUEEN I had wanted to do a film about Fela with Chiwetel and I had him learning to play the saxophone. I remember calling him and saying, “Actually, I want to do this slavery film instead.” [Imitating Ejiofor] “Man, I’ve been practicing for the last three months!”BRAD WESTON, former president of New Regency, co-financer The script was great and the talent was undeniable.With a budget set at $20 million, financed by River Road, Summit Entertainment and New Regency, “12 Years” began filming in New Orleans on June 27, 2012. Shooting took place on four former plantations outside the city, not far from where the real Solomon Northup had been held captive. On the first day, the temperature hit 108 degrees.SEAN BOBBITT, cinematographer How hot does hot get?McQUEEN Horses were collapsing in the fields next door to us.ADAM STOCKHAUSEN, production designer It was a battle between wanting to take off as much clothing as possible and not wanting to be eaten alive by mosquitoes.McQUEEN It was brutal, but you realize how people had to live in those conditions.BOBBITT It was very important to Steve that it look real and that it be real. We talked a lot about simplicity and truth, about not having any frippery. The book is very straightforward and honest.STOCKHAUSEN There were terrible storms. One of our sets in the wharf [where a ship carrying Northup arrives in New Orleans] blew down two weeks before we were set to shoot.BOBBITT There was one day when a lightning bolt struck the edge of the ship set and blew out all of our electronics and sound. Everyone — maybe 100 extras and the key actors — hit the ground, screamed and ran away. Luckily, no one was injured, but the E.M.T.s rushed in and checked everyone out.Among the most challenging shoots was a much-discussed scene in which Patsey, an enslaved woman played by Nyong’o, is whipped by the volatile plantation owner Edwin Epps (Fassbender). It unfolds in a single, swirling four-minute shot.BOBBITT It was three or four takes, with one camera. We never used the word “coverage.” It’s anathema to filmmaking — anyone can go out and do 20 shots on each scene, give it to a very good editor, and you’ll get a movie. Will you get a great movie? From my point of view, it’s unlikely.A serious, R-rated Black drama with no movie stars in the lead roles, “12 Years” grossed nearly $190 million and won three Oscars, including best picture.Searchlight Pictures, via River Road EntertainmentMcQUEEN We did a lot of rehearsal and [Nyong’o, Ejiofor and Fassbender] were incredible. Lupita made everyone raise their game. You could put her in a dustbin bag and she would work it out. [Representatives for the actors declined to make them available for this story because of restrictions around interviews during the actors’ strike.]BOBBITT It was emotionally draining for everyone, but the idea was not to give the audience the chance to look away, to drive home the true horror of what was perpetrated on the slaves for 200 years.McQUEEN We couldn’t shy away from it, we had to go to very dark places. But in the evenings, we would all come together, we would hug each other, we would eat together, we would get drunk together, and then we would come back the next day. It was beautiful.The film had its world premiere at the Telluride Film Festival on Aug. 30, 2013. It received a rapturous standing ovation and was instantly hailed as an Oscar contender. But an obstacle came into focus a week later, during a news conference at the Toronto International Film Festival, when a white, visibly uncomfortable moderator repeatedly emphasized how “harrowing,” “brutal” and “tricky” it was.McQUEEN We had a little bit of a … not very good press conference in Toronto. I thought the questions were a bit silly. My response wasn’t great.PAULA WOODS, McQueen’s publicist He was a bit taken aback after having such a great premiere. It fed into this whole “Is it too difficult to watch?” conversation that we were all annoyed by.HANS ZIMMER, composer It was full of injustice, but it was full of human dignity, as well.McQUEEN Cameron Bailey [then the artistic director of the Toronto festival] took me to one side and said, “You know, this movie’s more important than you.” I had to put my emotions aside and get on with the job of promoting the movie.WOODS Before #OscarsSoWhite, people would write things that would never get written today. It’s part of the greater problem of systemic racism. I remember we were in New Orleans visiting one of the plantations with a journalist, and a man who was working there sidled up to me — with one eye on Steve — and said, “You know, it wasn’t nearly as bad as they say it was.”“It was emotionally draining for everyone,” said Sean Bobbitt, the cinematographer, “but the idea was not to give the audience the chance to look away.”Jaap Buitendijk/Searchlight Pictures, via River Road EntertainmentNANCY UTLEY, former co-chairman of the distributor Fox Searchlight It was challenging, but that’s part of what we thought made it special — that it was willing to take you places that are difficult to go.STEVE GILULA, former co-chairman of Fox Searchlight We had a two-pronged approach with the campaign: One was the festivals, and the other was African American opinion makers.UTLEY We did screenings with Skip [Henry Louis] Gates Jr., the Equal Justice Initiative, the National Association of Black Journalists, the Museum of Tolerance.GILULA We didn’t want it to be pigeonholed as an art film. When we opened, it performed very well at African American theaters.After winning top prizes at the Golden Globes and the BAFTAs, “12 Years a Slave” entered Oscar night, on March 2, 2014, with nine nominations, close behind Alfonso Cuarón’s “Gravity” and David O. Russell’s “American Hustle,” with 10 each. The best picture race was widely considered a tossup.McQUEEN I came with my mother and sister, and when we got out on the red carpet they just burst into tears.WESTON We knew that we were in the conversation in a real way, but you don’t let yourself go further than that. You never know.KLEINER There’s an old mythology that films that are a little tougher might not be to the academy’s taste. “Ordinary People” over “Raging Bull.”Nyong’o and Ridley were early winners in the best supporting actress and best adapted screenplay categories. But, late in the night, best director went to Cuarón.UTLEY That’s when your heart goes in your stomach, because often director and picture are paired.McQUEEN Will Smith [presenting best picture] looked directly at me and said, “12 Years a Slave.” It was amazing. I slapped it out of the presenter’s hand, gave my speech and jumped as high as I could.UTLEY It was a calling card for a lot of the talent in the movie, and for us, as well. Everyone got to make more stuff.KLEINER It felt significant that when people now think about how this industry has represented that period — “Birth of a Nation,” “Gone With the Wind” — they might also think of “12 Years a Slave.”BOBBITT There are states in America where that film would be banned from schools today, but it’s there, and it will always be there.McQUEEN We made history. At that point, there was no going back. More