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THE WEINSTEINModerator: Denzel Washington

12-06-07/2:00 pm CTConfirmation# 27100569

THE WEINSTEIN

Moderator: Denzel WashingtonDecember 6, 2007

2:00 pm CT

Operator: Good afternoon and welcome to The Great Debaters college conference call.

As a reminder, The Great Debaters opens in theatres on Christmas Day. If you

would like to ask a question, please press star then the number 1 on your

telephone keypad. If you would like to withdraw your question, press the

pound key.

Now introducing Denzel Washington of The Great Debaters. Journalists we

will now open the call for your questions.

Denzel Washington: Hello, I guess everybody is listening. If you are, how is everybody doing?

Operator: Your first question comes from the line of (Cory Craft).

Denzel Washington: Hello.

(Cory Craft): Hi Denzel.

Denzel Washington: Hey, (Cory). Where are you?



(Cory Craft): I'm in Tuscaloosa, Alabama.

Denzel Washington: Okay, you're not sure where you are. Okay, what's cool?

(Cory Craft): The University of Alabama.

Denzel Washington: Okay, very good.

(Cory Craft): All right, why did you choose The Great Debaters as your second film as

director?

Denzel Washington: You know when I read the script, I just like the script. I thought it was an

interesting story. Sort of the little train that could, and it just affected me on an

emotional level and I really looked at it as sort of a sports movie.

And I also just was attracted to the fact that it was about, you know, the

spoken word. I mean one of the dominant aspects of our culture now is hip-

hop or rap and poetry, so I kind of in some odd way liked that link and

recognized the link. I mean this was sort of the - I won't say it's the rap of that

time, but it was, you know, a real spectacle sport if you will.

Are you still there? Hello.

Operator: Yes sir, your next question comes from the line of (Matt Fagerhome) with

Columbia Chronicle.

Denzel Washington: Okay.

(Matt Fagerhome): Thank you very much for talking with us today, Denzel.



Denzel Washington: All right, whom am I speaking to?

(Matt Fagerhome): (Matt Fagerhome) from Columbia Chronicle.

Denzel Washington: Oh, as in Columbia University?

(Matt Fagerhome): Columbia Chronicle in Chicago, Illinois (unintelligible) out here.

Denzel Washington: Oh, Chicago, Illinois okay. Is that a school Columbia or is that a town

Columbia?

(Matt Fagerhome): It's in Chicago. It's our film school out here.

Denzel Washington: Oh, okay. Okay.

(Matt Fagerhome): And I just have to say, I mean Derek Luke was such a major discovery in

Antwone Fisher, and when I'm seeing The Great Debaters, there's so much

fresh talent on display. And I'm wondering what the casting process is like

and how has your experience as an actor influenced your direction of these

fine young actors?

Denzel Washington: Well you know, I'm always just looking for, you know, who's right for the

part. You know if their known, not known, or whatever and just - I think I'm a

lot - I don't know if critical is the word, but my standards are high. I think I

know good acting when I see it so you know it's just a long process. And then

it's a matter of putting people together to see if there's chemistry like with the

case of Nate Parker and Jurnee Smollett.



Now in the case of Jurnee, Jurnee actually came in and read with another actor

and I liked her so much I didn't read any other people for that part. She was

the only one I read.

(Matt Fagerhome): Oh.

Denzel Washington: Plus my wife put some pressure on me because she likes her.

(Matt Fagerhome): Yeah, she was unbelievable in that.

Denzel Washington: Yes, she is excellent; all of them are.

(Matt Fagerhome): And Denzel Whitaker I hear was very inspired by you as an actor and how

did you discover him?

Denzel Washington: Well you know before I became an actor, I worked for the Boys & Girls

Club - the Boys Clubs. I worked for the YMCA; I've worked with children all

my life. So I really am comfortable with working with young people and

trying to encourage and inspire them and I've had obviously 30 or 25 years of

experience and things have gone pretty well for me as an actor so I'm all for

sharing what I know with them and trying to create an environment where

they aren't afraid to fail. You know take chances and it's just film and we can

cut and try again.

(Matt Fagerhome): That's great, thank you.

Denzel Washington: You are welcome.

Operator: Your next question comes from the line of (Carolyn Basil) with The

Plainsman Press.




(Carolyn Basil): You said that this had a lot of - you were attached to it emotionally. Could you

elaborate on that?

Denzel Washington: Well not necessarily to say attached, I just was - when I read this script

and when I got to the - have you seen the movie?

(Carolyn Basil): No, I haven't.

Denzel Washington: Oh, okay, well you've got to see the movie. When I read the last scene - I

don't want to give away the film if you haven't seen it, but it's just an

emotional - you know it does everything and fortunately, we've been able to

put it on film. As a script it made you laugh, it made you cry, and it made you

cheer. And I'm like, "That's good enough for me."

And it was just a - I mean, you know, we did a lot of work. I read the script

probably for the first time four years ago, but we worked on it for three years

you know. Well really, four years right up until the other day when I finally

had to stop, you know, trying to make cuts.

(Carolyn Basil): What was it like working with Oprah?

Denzel Washington: Oprah is great. I mean Oprah is great. She's there when you need her. I

mean we didn't really - you know obviously she's got a few other things she's

busy doing, but Kate Forte who really runs her film company - Kate Forte and

Todd Black, my producing partner, and myself, the three of us really worked,

you know, day in and day out and then I worked obviously with the writers

day in and day out.



But Oprah was there when needed and supportive in every way and kept the

ball moving and she's there now helping to, you know, really promote the film

as well. So it was her baby long before it was mine.

(Carolyn Basil): All right. Well thank you.


Operator: Your next question comes from the line of (Colleen Maxwell) with The State

News.

Denzel Washington: Okay. Hello.

(Colleen Maxwell): Hi.

Denzel Washington: Where are you (Colleen)?

(Colleen Maxwell): I'm at Michigan State University.

Denzel Washington: Oh, okay.

(Colleen Maxwell): My question is...

Denzel Washington: Are you guys any good in basketball this year?

(Colleen Maxwell): Yeah, we're hoping so.


(Colleen Maxwell): If you weren't an actor, what do you think you would be?



Denzel Washington: Probably working with children. That's what I did before acting. You

know I grew up in The Boys Club, what now they call the Boys & Girls Club.

I worked with the YMCA. I ran after school programs even in college so I

would imagine it would be something like that.

At one point when it didn't look like acting was going to work out so well

early, early, early in my career, I started, you know, applying for jobs to work

with the City or the County of Westchester to, you know, get a job maybe in

the recreation department or some area like that.

(Colleen Maxwell): Okay and then I know you have a lot of like one-liners in your movie and

a lot of, you know, key lines that people remember. Do you have a favorite

line that, you know, sticks out?

Denzel Washington: For this film?

(Colleen Maxwell): For any of your films.

Denzel Washington: Oh, well I'll tell you my favorite line for this film, which is actually a line

- I don't know if it's my favorite but one that people are starting to repeat. And

it's something I've always said to my children raising them, which is, "Do

what you got to do or do what you have to do. Do what you've got to do so

that you can do what you want to do. It doesn't work the other way around."

And that, you know, applies to homework, exams.

You know do what you've got to do. Don't wait until the 11th hour, which I

know you guys probably do, which of course I did too. You know but do what

you got to do so that you can do what you want to do. And then you can feel

more relaxed doing what you want to do because you know that you've taken

care of business.



(Colleen Maxwell): Right, thank you so much Denzel.


Operator: Your next question comes from the line of (Tyler Lampson) with The Golden

Gate Express.


(Tyler Lampson): Hello, Denzel.

Denzel Washington: Hi, how are you?

(Tyler Lampson): I am not bad.

Denzel Washington: Are you in San Francisco?

(Tyler Lampson): San Francisco State, yep.

Denzel Washington: Oh, okay. Cool, (beautiful) school up there.

(Tyler Lampson): Yeah and I understand that originally - I mean this movie is based on Melvin

B. Tolston and, you know, the debate team. And I understand originally, when

they won the national championship, they went up against USC.

Denzel Washington: That's right.

(Tyler Lampson): Why was the decision made to change that part to Harvard?

Denzel Washington: Because Harvard is considered the academic standard.



(Tyler Lampson): Okay.

Denzel Washington: Or just, you know, we - as I've said to many people, this is inspired by true

events; it's not a documentary. And somehow going to SC even though SC

were the national champs - going to Southern California for an audience today

to me didn't ring as - Harvard just sounded better to be quite honest.

You know but, you know, we filmed up at Harvard and I was quick to let

everybody up there know, you know, "You know very well you guys weren't

the national champs, USC was," so I didn't mind changing that. The fact of the

matter is they went up against the national champs whatever name we give it.

(Tyler Lampson): All right, thank you.


Operator: Your next question comes from the line of (Dan Mecca) with The Spectrum.


(Dan Mecca): How are you doing Mr. Washington?

Denzel Washington: Excellent, how are you doing?

(Dan Mecca): I'm good.

Denzel Washington: Where are you?

(Dan Mecca): Buffalo actually.



Denzel Washington: Oh, okay. Are you snowed in?

(Dan Mecca): What's that?

Denzel Washington: Are you snowed in?

(Dan Mecca): Just barely. It will get worse surely. Just kind of piggybacking off that last

question, you know the two movies you directed Antwone Fisher and this

have been inspired by true stories. What kind of - I mean do you find it more

difficult to kind of adapt from a true story? Are you looking to maybe in your

directorial effort maybe do something completely fictional? Or are you just

drawn to the true story?

Denzel Washington: You know I think it's time.

(Dan Mecca): Okay.

Denzel Washington: But you know I don't make - I kind of respond to what I respond to you

know. Right now I don't think I'd make another film about a debate team in

the 30s and, you know, that's probably not something I'm interested in doing

next, but I won't say what I won't do because I have to respond to the material.

Fortunately for me, this film now is starting to really get some good buzz

within the town here in this Hollywood community or at least, you know,

through the agents or whatever, you know, it's sounding like a lot of all kinds

of material is coming my way so I may have an opportunity to do all kinds of

things.



But there wasn't a plan to, "Oh, let me just true stories," and there's no plan for

me not do true stories. It's just what I respond to and where my head is at at

the time.

(Dan Mecca): All right, thank you very much.


Operator: Your next question comes from the line of (Edward Howard) with The Saint

Bernard Voice.


(Edward Howard): Hi, Denzel. (Edward Howard) here in Katrina land where we were

devastated by everything.

Denzel Washington: I like what Brad Pitt is doing down there.

(Edward Howard): Yes, he's really setting up a lot of stuff. He's (unintelligible).

Denzel Washington: Yeah actually, I'm going to chip in on that because I think that's a great

thing. I was watching him last night.

(Edward Howard): He's helping a lot of people. That was one of my questions.

Denzel Washington: Yeah, absolutely.

((Crosstalk))



(Edward Howard): (Unintelligible) about responsibility and it's got an uplifting message. Was

that very important from the get go to be a Christmas release on your part?

Denzel Washington: Well, I didn't know it was going to be a Christmas release, but I like the

idea of the little guys. You know it wasn't even all of those things I could say,

"Well, this was my plan," but the fact is, I just responded to the material.

It was a story I didn't know, you know, and of course I knew about the

Congress of Racial Equality and I knew about James Farmer. I didn't know

that much about Mel Tolston. I heard about him but I hadn't read his poetry.

But it was so interesting also because it was this small school, what they call a

historically black college. My son graduated from a historically black college,

Morehouse College, so I guess there was some attachment there. And it was

just, you know, the little guys against the big guys. I just like the idea of that.

And I really, as I explained the film to people that was hiring, I'm like, "Well,

think of this as a sports movie." You know it was entertainment in those days,

you know, before television. You know debate was huge, so everybody used

to come out for these events. So I looked at it as a sports movie.

(Edward Howard): Well, how did you and Forest Whitaker get along? I worked with him

when he was directing a film down here in New Orleans. I forgot what it was.

Denzel Washington: Oh, yeah. Oh, yeah Forest is needless to say a great actor. In fact, his wife

and my wife are very good friends, but he's a great guy. I was just happy that

he helped us out -- helped me out -- to be in the film and needless to say he's

excellent in it.



(Edward Howard): Well, how was working with The Weinstein Company in doing this period

film? Did that create a lot of problems or was that an easy breeze?

Denzel Washington: No, I mean easy breeze no, but the bottom line is Harvey put his money

where his mouth is and I can't knock him for that. You know whatever

reputation he has as a tough guy and this and that, but he really didn't bother

me. He didn't want to give me as much as I wanted to do it -- you know as

much as I felt the film needed to make it -- but we came to a good number, we

made the picture, and he took the chance, and so I've got to give him credit for

that.

(Edward Howard): I'm sure it's a very good and polished looking film and I want to thank you

so much for talking to me. It was very inspiring and uplifting here.

Denzel Washington: My pleasure. Thank you.

(Edward Howard): Bye-bye.

Denzel Washington: Bye.

Operator: Your next question comes from the line of (Adam Bittleman) with

hollywoodchicago.com.

(Adam Bittleman): Hi, can you hear me?

Denzel Washington: Yes, excellent.

(Adam Bittleman): It's hollywoodchicago.com. I'm actually not in college.

Denzel Washington: Hollywood Chicago, okay.



(Adam Bittleman): Yeah, so I graduated from college. I went to the University of Missouri

Columbia Journalism School.


(Adam Bittleman): My question is around, you know, directing and acting. I've spoken to a lot

of directors who have also acted and vise versa and some of them put

themselves in the film and some of them don't. I spoke to Alison Eastwood

about Rails & Ties and why she didn't.

My question is so you've done two now where you've put yourself in the

films. What's your feeling on that in terms of just strictly directing or also

putting yourself in it?

Denzel Washington: It's strictly business. I didn't want to be in either film. It was strictly to get

the money. Basically, the studio said, "Well, if you're not in the film, your

budget is this. If you're in the film, this is your budget."

The budget that they wanted - you know and so they sort of back you into a

corner. You know they give you a budget that they know you can't make the

movie for and you know two or three years after you've been working on it

you know. And then I said, "Okay, I'll play a small role in it," and that still

wasn't enough money to make the kind of picture I wanted to make.

And it's not a big budget film. I mean we spent $25 million, but basically, the

number was going to be more like $10 or $12 million. So to make a film for

that, which is a lot of money, but a period film, it was going to be very

difficult. So I'm surely not interested. I am not interested in being in the films

I direct at all.



Did I make that clear?

(Adam Bittleman): Yeah and so now that you've been on both sides of the lens, obviously a

lot more on the acting side, which do you prefer? Because you know...

Denzel Washington: Well, it's not an either/or. You know right now, this is new and exciting at

this point in my life so I'm passionate about it. I have no plans to direct

another film right now. I'm going back in front of the camera probably for the

next couple of years until my twins graduate from high school at least and I

have some ideas for films I want to direct. So Clint Eastwood is my hero. You

know I want to do both.

(Adam Bittleman): Have you ever seen the film Rocket Science?

Denzel Washington: No, I haven't.

(Adam Bittleman): It came out in 2007 and it's about debate.

Denzel Washington: Oh yeah, I heard about that. Yeah, the documentary you mean.

(Adam Bittleman): Yeah.

Denzel Washington: Yeah, I heard about that. No, maybe not. There was another one I heard

about called Resolved I think.

(Adam Bittleman): Right. Yeah that's another one.

Denzel Washington: Did you hear about that one?



(Adam Bittleman): Yeah.

Denzel Washington: Yeah, I heard about them but I didn't see the one and in a way, I didn't

want to. I didn't want to be influenced. And you know the debate now is a

completely different style.

(Adam Bittleman): Right and that's kind of my question because obviously this completely

stands apart from, you know, something that might have come out recently.

Denzel Washington: Right.

(Adam Bittleman): So, okay. Yeah, check it out. It's an independent and you'd appreciate it.

Denzel Washington: Okay, cool.

(Adam Bittleman): Thanks for speaking.

Denzel Washington: All right.

Operator: Your next question comes from the line of (Bob Nesty) with Edge

Publications.


(Bob Nesty): Hey Denzel, how are you?

Denzel Washington: Good.

(Bob Nesty): I'm up in Boston so I know the territory you were filming in.

Denzel Washington: Oh, yeah.



(Bob Nesty): Yeah, I actually know the people over at Memorial Hall.

Denzel Washington: Oh, okay. What was their name Rita? No.

(Bob Nesty): No, (Eric Engle).

Denzel Washington: And what's the woman's name that runs...

(Bob Nesty): Oh, I don't know her.

Denzel Washington: Yeah, yeah. Yeah, (Eric).

(Bob Nesty): Yeah, he's a cool guy.

Denzel Washington: Yeah, he is a cool guy. I'll be up there. I'm going up there. We're screening

the film at I guess they call it the Harvard Film Center.

(Bob Nesty): Oh, the Harvard Film Archives.

Denzel Washington: Yeah, Harvard Film Archives. I guess that's Tuesday the 17th I believe or

18th.

(Bob Nesty): A week from Tuesday.

Denzel Washington: Yeah.

(Bob Nesty): Is it difficult being the actor and the director at the same time?



Denzel Washington: You know what, once I knew I was going to be in the movie, I said, "All

right, look. Just embrace it and go with it." I don't waste a lot of time on my

own performance; I just do three or four takes and keep moving and in a way,

it's interesting. With both films, I found a way to make it work for me.

In Antwone Fisher, I was the psychiatrist, so all I was doing was watching

Derek anyway, asking him questions, and watching him. So I would always

shoot in his direction first, you know, and ask questions and watch him and

then turn the camera around and take two or three takes.

Here I was sort of the director of The Debaters as well being their professor,

so I just embraced that and it's tiresome. I mean you don't - really I play all the

parts because in the development process, I would read the parts out loud, I

would, you know, think of what I would do or what I would say, and that was

how I would work on the screenplay.

So it's not something I look forward to not being in a film that I direct and I'm

pretty sure it will be the next one that I won't act in it.

(Bob Nesty): Do you pay attention to the buzz around the film? You mentioned buzz

earlier.

Denzel Washington: The bugs?

(Bob Nesty): The buzz. The buzz. The Oscar buzz.

Denzel Washington: Oh, oh, oh. You know that now - I mean I've been in this business too

long. You know that's all gravy. Do you know what I mean? For me the joy is

making the film, and now finding out that people are responding.



We had a great screening last night for the Director's Guild, which is the

toughest audience because, you know, it's a room full of directors and got a

standing- you know the film got a standing ovation and everybody loved it

and so that's great.

So now from here through March or through the Oscars, it's all - you know

we'll see. You sort of have to keep an even keel because you just - you know

I've been around too long. You can't get too high and you can't get too low.

(Bob Nesty): Well, thank you. It's a very impressive film. Thanks again.

Denzel Washington: Oh, thank you.

Operator: Your next question comes from (Ramon Ramirez) with The Daily Texan.

Denzel Washington: Okay, (Ramon).

(Ramon Ramirez): Hi, this is actually (Ramon).

Denzel Washington: (Ramon).

(Ramon Ramirez): (Ramon). Yeah, I'm here in Austin, Texas at The University of Texas.


(Ramon Ramirez): First of all, thanks for taking the time to talk to (unintelligible).

Denzel Washington: You know we scouted locations there.

(Ramon Ramirez): Yeah, yeah.



Denzel Washington: Yeah, we were all over.

(Ramon Ramirez): Oh really, wow.

Denzel Washington: We got the tour of the tower.

(Ramon Ramirez): Oh yeah? Awesome, awesome. Cool.

First of all, I just want to say this isn't like a backhanded question because you

know having seen, you know, all the trailers, and everything. I think it's an

important story that deserves an audience and needs to be told. But you know

movies like Fred Claus and Alien vs. Predator 2 have - it seems kind of like

Americans are extra cynical this year, you know, just given the world and

given everything that's happening.

So how do you sort of deflect criticism that, you know, "Oh, here's another

inspired by a true story holiday movie that's going to aim at the heartstrings."

Denzel Washington: Well, first of all, I don't deflect criticism.

(Ramon Ramirez): Okay.

Denzel Washington: You know those who can, do. Those who can't, criticize those who can.

(Ramon Ramirez): Right.

Denzel Washington: So I just make the movie. You know people have their opinions about it

and I don't need to deflect anything. I'm a positive person, you know, so

there's room for Fred Claus and there's room for The Great Debaters. You



know people still - the biggest film in my career in terms of box office before

American Gangster was Remember the Titans.


Denzel Washington: So go figure. So Remember the Titans did about 120 million in box office

and Gangster is going to do about 100 and whatever, 40 or 50. So some

people will say, "Well, that's you know." You know people are going to say

what they say.


Denzel Washington: I think if you operate in fear, you'll be paralyzed.

(Ramon Ramirez): Absolutely, but is it really that easy to be able to say, "I don't deflect

criticism," because I mean, you know, you're...

Denzel Washington: I just said it.


Denzel Washington: It's that easy, yeah. I mean you know listen, you can't let circumstances

control your life. You know there's always going to be something, there's

always going to be naysayers, there's always going to be detractors, there's

always going to be critics, there's always - you know that's a part of life. So

what do you do? Do you not do them?

You know and Fred Claus isn't for everybody either.



(Ramon Ramirez): Right. Yeah, I wasn't trying to turn the focus to Fred Claus and I'm not

trying to be...

Denzel Washington: Don't knock Fred Claus man. Fred Claus is cool.

(Ramon Ramirez): Right, right. Yeah, yeah. No, definitely. I'm not trying to be like the jerk

college kid here.

Denzel Washington: No problem, man. No problem.

(Ramon Ramirez): But I mean I just kind of want to clarify like is it because of your

experience or just in general you don't feel the need to worry about what other

people are going to say.

Denzel Washington: What good would it do?




Denzel Washington: Think about it. Worrying about what someone else says, how is that going

to help you, you know.

(Ramon Ramirez): Absolutely.

Denzel Washington: You're a student at Texas.

(Ramon Ramirez): Yes, sir.



Denzel Washington: Okay, so worrying about your professor's opinion of you is not going to

help you on your exam.


Denzel Washington: You've got to prepare for the exam. You don't go, "Well shoot, I'm not

going to take the test because the teacher doesn't like me." You know or, "I'm

worried about what they might say of me." If you have to stand in front of the

class and make presentation, you can't not do it because you're worried about

what criticism you might get from the students. You know you've got to live

life man. Just live it.

(Ramon Ramirez): Well, thanks. I appreciate the input.

Denzel Washington: Okay, all right.

Operator: Your next question comes from the line of (James Thomas) with The Sentinel

Newspaper.


(James Thomas): Good afternoon, Mr. Washington.

Denzel Washington: How are you?

(James Thomas): I'm doing fine.


(James Thomas): The first thing I want to say is thank you for many years of entertaining us.



Denzel Washington: Well, thank you. Or you are welcome I guess I should say.

(James Thomas): Yeah, that is number one. Number two, I also want to thank you for the

positive image that you portray of - or that you do period every day in life

with you and your family.

Denzel Washington: Well, thank you.

(James Thomas): You are a perfect example on how an African-American male should be.

Denzel Washington: I'm a work in progress.

(James Thomas): Yes, you are.

Denzel Washington: I won't say perfect example. We're all works in progress.

(James Thomas): Speaking of family, the question I have is how much influence does your wife

have on you picking scripts?

Denzel Washington: You know what, in this film, she was the one that thought I should hire

Jurnee to play (Samantha Book). She hasn't read them all. You know my son

has actually - my oldest boy who seems to be moving into the business a little

bit, he had some ideas and he talked me into doing Training Day in fact.

(James Thomas): Oh, okay.

Denzel Washington: Yeah and American Gangster. So I can blame both of those on him.

But my wife will read some of them and my family - they are all movie buffs

so I encourage them to read scripts that I'm looking at but sometimes I'm



looking at 10 or 15 of them. And sometimes once I've already had a good

feeling about something, I'll give it to her to read. But this one was just one

where when I read it, I just knew I wanted to be a part of it and I'm sure she

felt the same way.

(James Thomas): You know speaking of teams, how important is the production team? I mean

you've got Todd Black with you, Molly Allen. There is the costumer designer

Sharon Davis. You know how important is working with people that you feel

comfortable with?

Denzel Washington: Very important. And you know to me, one of the things I really enjoyed

with this process was the fact that from Antwone Fisher almost all of my main

team members came back. The editor didn't come back because he couldn't,

but the cinematographer, Philippe Rousselot, came back. Todd Black, my

producing partner came back. Molly came back. Sharon Davis who did

costumes came back.

We had a brilliant production designer on this film by the name of David

Bomba who is from Mississippi and I'm sure I'll be working with him again

and that was because he actually - there was an opening there because the

production designer on Antwone Fisher wasn't available. Willie Burton, a

two-time Academy Award winning sound mixer came back.

So it is - you know you've got to spend two or three or four intense months

with these folks and obviously you want the best and I think we had the best,

but it's also important to me for people to get along and to enjoy the process.

It's too hard; it was 100 degree days every day of hot. There was a lot of long,

long hours and you want to be around people that you want to be around. I

think that's very important.



(James Thomas): You shared a few things earlier and I want to know if I can quote you on these

because they were really good quotes. Number one was, "If you operate in

fear, you're paralyzed."

Denzel Washington: Yeah and you attract what you fear. You know I can't - you know I always

call it the cup maker. If I'm making a cup, I don’t walk around while I'm

making it and ask everybody's opinion on what they think I should do. You

know as an artist I just can't do that. I am influenced by what people think, but

you make the cup, you put the cup on the table, and some people are going to

like it and some aren't you know.

(James Thomas): Yeah and the other thing you said that I thought was very interesting was, "Do

what you've got to do..."

Denzel Washington: "So that you can do what you want to do."

(James Thomas): That's right.

Denzel Washington: I should have given out t-shirts on the movie because that's my mantra. I

don't know where I got that from. Somebody will be calling and saying, "Oh,

you stole that from somewhere." I probably got it from somewhere, but I've

been telling my kids that for the longest and you know that's a life lesson. You

know we always want to - especially in today's society when things move fast,

instance this and fast food that, and we lose sight of - there's a process. You've

got to go through things to get there, you know, and you can't do what you

want to do first.

You know and it was probably something very simple like my son or daughter

wanting to go somewhere. "Well, did you do your homework?" "Well, no."

"Well, go do what you got to do so that you can do what you want to do," and



then you can feel comfortable about doing what you want to do. Dad can't

question you; he can't say anything.

(James Thomas): I appreciate that. And the last question I have to ask is this, your idol is Clint

Eastwood and I love Clint Eastwood too. So does that mean as time goes by

and you get to the point where you're saying, "You know what, I want to

move from acting straight into directing..."

Denzel Washington: Absolutely. I didn't want to act and direct now. These aren't vanity

projects because I wanted to be - you know I've had great success as an actor

and I have no desire to want to direct myself. I mean that's the last thing I

wanted to do. It was strictly in order to get these kinds of stories, which are a

little bit tougher to get made. You know I have a lot of box office clout, you

know obviously, so I leveraged some of that in order to get these kinds of

stories told.

(James Thomas): We appreciate it too. Thank you again for your time.


Operator: Your next question comes from the line of (Lauren Paggitt) with The

Spectator.


(Lauren Paggitt): Hi, Mr. Washington.

Denzel Washington: Hi, where are you (Lauren)?

(Lauren Paggitt): Seattle.



Denzel Washington: Seattle, okay. Did the wind slow down up there yet?

(Lauren Paggitt): I'm a huge fan and I really enjoy your work so I just wanted to let you know

that.

Denzel Washington: Did the wind die down up there yet?

(Lauren Paggitt): It's still pretty stormy outside, but we're trying to stay in today.

So you go from being just basically a bad ass in American Gangster to an

inspirational role model in this upcoming film, so I'm just curious how you

mentally prepare from going from one movie to the next because in a lot of

your films, you know, you play a lot of different characters. So do you go

through any sort of like cleansing or mental preparation for what you do?

Denzel Washington: No, I just leave it at work. You know when I'm done with something like -

I guess, you know, I've been at it for a while now. Years ago, I read a book by

James Cagney called Cagney by Cagney, and he just talked about it. He

essentially said, "Hey, it's no big deal. It's just your job." You know this is my

job. As Julia Roberts said, "We're ordinary people with extraordinary jobs."

You know when I was younger, I carried the role around and, you know,

agonized for months or whatever, but basically, by the time I finish a film, I'm

tired of that character anyway. You know so it's not too hard to just walk

away from it.

And in the case of these two stories, I'd been working on The Great Debaters

for four years anyway, so I was really ready to go, ready to go. So as soon as I

finished American Gangster, which was last November of 2006, I - you know

I dropped it on a Monday and Tuesday I was in the office and getting started



because I was ready to go. So I don't think there's any American Gangster

character - there's no Frank Lucas in my Mel Tolston.

(Lauren Paggitt): That would be awkward. And then just one more quick question going off of

the previous journalist. Would you gravitate towards more of an (Indie) or

low-budget film in the future? Because it sounds like - I don't want to like

assume, but maybe you're a little burned out with the huge blockbuster like

(unintelligible) smaller.

((Crosstalk))

Denzel Washington: The story is first. No, I wouldn't pick it by size, bigger or smaller. It's the

story. You know I'm an actor. You know I was trained on - you know I grew

up and started my acting on, you know, Tennessee Williams and Eugene

O'Neill, and Shakespeare. Those are the writers, you know, I read first -

Pinter.

And so the play is the thing you know. I mean I'm looking for good material. I

wouldn't dare say, "Oh, well my next film has to be a $4 million film or my

next film has to be a $100 million film." I'm looking for a good story and then

the business aspects of it come second.

(Lauren Paggitt): Great. Well, thank you very much.

Denzel Washington: You are very welcome.

Operator: Your next question comes from (William Kerns) from Lubbock, Texas.

Denzel Washington: Lubbock.



(William Kerns): Lubbock, Texas. How are you?

Denzel Washington: That's right, the Red Raiders.

(William Kerns): Texas Tech, you bet ya.

Denzel Washington: That's right. I grew up in The Boys Club in Mount Vernon and we were

the Red Raiders. So when I was in high school, I wanted to go to Texas Tech

just because they were called the Red Raiders and their uniforms looked like

ours.

(William Kerns): Well, there's something I can use.


(William Kerns): Well, listen before I get to The Great Debaters, I wanted to go ahead and

follow up on one thing you said earlier where you said that your son had

helped you make the decision to do Training Day and Gangster.


(William Kerns): Did you have reservations about those characters?

Denzel Washington: I had never done anything like that. And the thing for me was wanting to

see - like in the case of Training Day for example, in the original script, I don't

even think he died on screen and I said, "No, if he's going to live in the worst

way, he has to die in the worst way."

So the way the film ends with him getting blown to pieces and everybody

turning - the whole community turning their back on him and all that. That



was all stuff that Antoine Fuqua and I developed after, you know, we got the

script. Because you know I just felt - but I can't say I had reservations or

anything like that. Once we got the material in a good place, I was quite

comfortable with it. I had a good time.

(William Kerns): Okay, the other thing is basically from the time that you made Antwone and

then going on to The Great Debaters, I'm just curious what it is that you

learned when directing that first film that made you a more efficient

filmmaker the second time behind the camera?

Denzel Washington: Preparation. I didn't know how to prepare the first time. Now I knew how

to prepare and a ton of preparation. Hours and hours, and days and days, and

every night we finished work - if we finished work at 9:00, I was there at the

next location at 3:00 in the morning - 4:00 in the morning you know long

before anybody got there. Going to my locations every weekend, weekend,

after weekend, after weekend. A long time ahead of time.

I had long conversations with my DT working through all the driving scenes,

working through all the debating scenes. Preparation, preparation, preparation.

(William Kerns): All right and the last question that's basically how difficult was it in terms of

making this a period film and making it all look (unintelligible)?

Denzel Washington: I had great people. You know Sharon Davis, who did Antwone Fisher with

me who I've known actually for 30 years. Sharon has been nominated two of

the last three years I think for Ray. She was nominated in costume design and

also for Dreamgirls. Philippe Rousselot, who is a brilliant cinematographer

and I think a two-time - I think he's a two-time Academy Award winner.

Willie Burton is a two-time Academy Award winning sound mixer.



So David Bomba, the production designer, I had seen his film Walk The Line

and My Dog Skip and, you know, just put great people around you and let

them do what they do best.

(William Kerns): All right, thank you very much and like everybody else I'll go ahead and say

thank you for your career as well. It's been wonderful.


Operator: Your next question comes from (Charles McFadden) with The Duke

Chronicle.

Denzel Washington: Oh, Duke.

(Charles McFadden): Hi, Denzel.

Denzel Washington: Duke.

(Charles McFadden): Yeah.

Denzel Washington: My wife grew up down there in North Carolina.

(Charles McFadden): Oh, no way.

Denzel Washington: Yeah. Yeah in fact, she was a child prodigy, a (Vancliben) competitor, and

I think - I don't know if she was sponsored by the Duke's at one point, the

family, or something like that, but she had some connection to them.

(Charles McFadden): That's fantastic.




(Charles McFadden): So did you draw any inspiration from someone from your past, perhaps a

favorite teacher for the role of Mel Tolston?

Denzel Washington: And you know what, and going back to my wife, her father was the

principal of a school in Newton, North Carolina. I think it was called Central

or East Central High and it was one of the top schools in North Carolina, and

they had great debate teams I believe - orating teams. They had great orchestra

and high academic standards.

So he's long gone now; he's been- he passed away maybe ten years ago. But I

thought of men like him in making this film and educators. And you know it's

a unique situation that they had at Wiley College. In those days, these young

professors could go to the Harvards, and the Yales, and the different schools,

but they couldn't teach at those schools. So a lot of them came back not only

because they couldn't teach at the other schools, but probably because they

wanted to come back to these small colleges like Wiley.

Wiley had I think 360 students, but they had fantastic teachers and it was a

unique situation, a unique laboratory for learning, and I think that's why they

excelled.

(Charles McFadden): Also, I know you are a big fan of Sidney Poitier. You gave a tribute to him

when you won the Oscar. I actually did a paper on him and I actually grew up

in the same building as him in New York City.

Denzel Washington: Is that right?

(Charles McFadden): Yeah, did you draw from any one of his roles for this film or no?



Denzel Washington: No, no. No, I can't say I did. But you know, he's just a great man, and a

great actor, and a nice guy.

(Charles McFadden): Yeah.

Denzel Washington: But no, I can't say that I did.

(Charles McFadden): All right, well thank you so much Denzel.


Operator: Your next question comes from (Ben Johnston) from Texas A&M University.

Denzel Washington: Aggie born, Aggie bread.

(Christa): And actually, this isn't (Ben); he couldn't be here today. My name is (Christa).


(Christa): Anyway, first of all I guess on a lighter note, a couple of us wonder where you

actually keep your Oscars.

Denzel Washington: Next to each other. In the study. You know we've got like a room. Our

library really is where all of the awards and diplomas and, you know,

graduation photos and all of that kind of stuff so we just keep all that piled in

the same room.



(Christa): Okay and also another question. Could you tell me a little bit what it's been

like working with Forest Whitaker and what is he like compared to some of

the other actors and actresses that you've...?

Denzel Washington: I was nervous, you know, because I've directed, you know, two films, but

in both films, I didn't have a major star. There was mostly, you know, young

kids so it was like, "What's this going to be like," you know. But he was

gracious, and kind, and sensitive, and just wonderful. It was a great

experience.

(Christa): Great. All right, well thank you very much Mr. Washington.


Operator: Your next question comes from (Erin May) from Harvard University.

Denzel Washington: Uh-oh. Uh-oh. I just got off the phone. Do you know (Alan Counter)? Dr.

(Counter)?

(Erin May): Pardon.

Denzel Washington: Do you know Dr. (Counter)?

(Erin May): Oh, Dr. (Counter). Yes, I have met Dr. (Counter).

Denzel Washington: Yeah, I just got off the phone with him. You know we're going to be up

there. We're going to show the film up there Tuesday the 18th I think it is.

(Erin May): Really.



Denzel Washington: Yeah, at the Harvard...

(Erin May): Actually, I saw it yesterday, but I'd definitely go again.

Denzel Washington: Oh, good. I hope everybody else heard that. That is good isn't it?

(Erin May): Yeah, it was really great because I actually did see it in high school as well, so

I enjoyed really all aspects of it.


(Erin May): I guess my question is do you have - I don't know if you can really say, but

what are your plans for the future as far as asking any actors that you'd

specifically like to work with or directors that you'd like to work with that you

haven't before or that you have before.


(Erin May): What are your plans for the future?

Denzel Washington: There's a lot of great directors out there. I mean I can't even tell you, there

are so many good ones.

But I've got a couple of projects that are lined up already for me to act in and

I'm going back to work with someone I've worked with a lot. Tony Scott and I

are going to do a film in the spring. Me and John Travolta actually are

working with Tony Scott so that should be fun.

(Erin May): Oh.



Denzel Washington: We'll be shooting that in New York.

But there's a lot of great directors. I mean from (Steven Freers), to Spielberg,

to Scorsese, to you know, Tim Burton. There are a lot of great directors you

know and hopefully one of these days I'll get to work with them.

(Erin May): Great and then I just have one more question, a smaller question. What is it

like in general filming on location? I know you guys came up to Harvard.

Denzel Washington: Right, I love it because you get that feeling. I mean walking the Yard and

being, you know, like we were going back and forth just because there were

concerns about the budget you know. So we were looking for locations in

Louisiana to feel like Harvard, but it just wasn't the same thing. And to walk

into that Memorial Hall, and what you feel I think is great for the actors. I

think it's great for everybody involved in making the film to get a sense of the

real place. I always like it.

(Erin May): Great. Well, thank you very much for your time.

Denzel Washington: You are very welcome. You are welcome.

Operator: Your next question comes from the line of (Cory Craft) with Crimson White.


(Cory Craft): Hi again. So you've talked a little bit about the awards and, you know, you've

won two yourself and both of the films that you have this year are gaining a

lot of award talk. Could you talk a little bit more about how - you know that

talk must be pretty intimidating I would think for an actor and director. How

does that affect your work?



Denzel Washington: You know what, I've been around a long time. I've been in this game for a

little while and I've seen how it goes, and what it has taught me to do is not

get too high and not get too low. You know make the movies; that's the joy for

me. What people will say, what they will give you for it, whether they will,

whether they won't, that's all really gravy. Just the fact first of all - and I'm not

just saying this. But just the fact that they are talking about that is already a

victory.

You know for me what success is as it relates to The Great Debaters is getting

every young person in America to see this film, you know, and if Oscars help

that happen, whatever helps that happen, you know, I'm all for it. But that's

why I made the film because I want people to see it.

(Cory Craft): Thank you very much. I can't wait to see it.


Operator: Your next question comes from the line of (Samantha Hackett) with The

University Times.

(Samantha Hackett): Can you hear me?

Denzel Washington: Yes.

(Samantha Hackett): First of all, thank you so much.

Denzel Washington: Where are you (Samantha)?

(Samantha Hackett): I'm in Charlotte, North Carolina.




(Samantha Hackett): Yeah and my question - actually, quite a few of them have been answered,

which has been quite helpful.


(Samantha Hackett): But you seem to have made such an effort to seek out these powerful roles

and you for instance present such like power, and persuasion, and perspective

in your roles and I think that seems to be such a priority for you. Was that an

active decision at the beginning of your career?

Denzel Washington: Not at all.

(Samantha Hackett): Not at all.

Denzel Washington: Not at all.

(Samantha Hackett): It just kind of worked out that way?

Denzel Washington: No, it just kind of worked out that way. I mean I did a play going way

back when you weren't even born. I did a play called A Soldier's Play, which

won a Pulitzer Prize and became a film. As a result of that, a director by the

name of Richard Attenborough saw me and said he wanted me to play Steven

Biko in his film Cry Freedom. I'm like, "When do we start," you know.

As a result of that, Spike Lee had seen me do a play about Malcolm X and

wanted to make a film about Malcolm X. "Do you want to be in it?" I'm like,



"When do we start," you know. So it wasn't a plan; it never has been and it

still isn't.

The common denominator is they were good stories and powerful men. And

you know I can't say, "Oh and well in 2009, I'm going to play so and so and

then in 2011, I plan to do," you know. Not at all.

(Samantha Hackett): And in your trailer, which is very well put together, it mentions just this is

like a time of change. And you know it's just (navigable) that basically every

time is a time of change.

And have you considered the relevance of this film coming out like less than a

year before such a major election, which is for better or worse the poster child

of debate? And here we have frontrunners of different states, race, gender, and

then, you know, there's this whispered question, "Is America ready?"

And it makes me stop and think like not necessarily specifically about politics,

but your movie is set in the 30s and the story that it's based off of or inspired

by set progress into motion. And can you not help but kind of wonder why are

we still asking ourselves this question at this stage in the game?

Denzel Washington: Well, you know, my father was a minister. He, you know, died and he

always talked about, you know, Jesus is coming soon and the world is ending.

And as a young wise guy, I asked, "What makes you think it's going to happen

when you're here?" I said, "Isn't that the ego?" And after I got up off the floor

- you know but I've always said that you know. Things are changing and we

look at the world sometimes in terms of our 50, or 60, or 80 years that we're

here.

You know when you look back at 400 years or 300 years of slavery and five

years or ten years of legislation, everything is not going to be just perfect



necessarily in my generation or your generation. But we do have to

understand our place in history and that we have to keep fighting and keep

moving forward.

Yes, there's always - like for example, Ebony Magazine is coming out and on

the cover - they've got Oprah and myself on the cover talking about The Great

Debaters. And in the corner, it talks about the hangman's noose - you know

the whole thing the people have been seeing that around again.

(Samantha Hackett): Yeah.

Denzel Washington: And you go, "Well, is there ever going to come a time when that's never

around?" Maybe, but I don't know, but it's big news because it's unusual. In

1935, it wasn't news at all because it was commonplace.

(Samantha Hackett): Right and that's the...

Denzel Washington: So there has been a lot of progress, but the other aspect -- not to cut you

off -- that I tried to install in the film is I always show young people and how

it affected kids because racism is taught - hatred is taught. Do you know what

I mean?

(Samantha Hackett): Oh, exactly.

Denzel Washington: Ignorance is taught. You're not born ignorant. It takes education. It does.

(Samantha Hackett): Exactly, yeah.

Denzel Washington: You have to be taught to be - to have the narrow opinions and it comes

from somewhere. So until we stop passing it on generation-to-generation, then



it's not going to change completely. But it is changing; it is changing

absolutely.

(Samantha Hackett): And this movie was your own I guess -- you may be humble to say small,

but your public effort of...

Denzel Washington: Contribution.

(Samantha Hackett): Yeah.

Denzel Washington: Absolutely.

(Samantha Hackett): Yeah and I also would want to wish you a happy early birthday.

Denzel Washington: Well, thank you. It's good to be 29, or 30. Excuse me; I'll be 30 this week.

(Samantha Hackett): Only 10 or 11 years between us.

Denzel Washington: There you go.

(Samantha Hackett): You'd never know.

Denzel Washington: Never know.

(Samantha Hackett): And I just really want to thank you for your time and I appreciate it.

Denzel Washington: You are welcome. Thank you. All right.

Operator: Your next question comes from the line of (Monica Thorpe) with Art (Zoulet)

Magazine.




(Monica Thorpe): Hi, Mr. Washington, how are you doing?

Denzel Washington: I'm good. How are you doing? Where are you?

(Monica Thorpe): I'm in Atlanta. I'm a junior journalism major at Clark Atlanta University.

Denzel Washington: Oh, wow. Okay, did you know my son?

(Monica Thorpe): No, but I knew he went to Morehouse.

Denzel Washington: Yeah, yeah.

(Monica Thorpe): Yeah, but my question is do you feel any kind of pressure as an African-

American actor to portray a certain image in all of your films especially when

most of your audiences are African-American?

Denzel Washington: No, I don't feel pressure from the community. I put maybe some pressure

on myself. You know I have my own standards. I think that - I mean I'm

aware of it. You know it's like I tell my children, "If you see me in a dress, it's

because I'm in a coffin and get it off of me."

You know there are certain things I just won't do and maybe that has as much

now just being a father as it does to the old image or the African-American

community. But I really - it's more about me looking in the mirror and feeling

comfortable about what I've done, you know, or what I'm about to do.

(Monica Thorpe): Okay and I have one last question.




(Monica Thorpe): Once you retire from acting...

Denzel Washington: Retire? I'm not retiring. What do you mean retire?

(Monica Thorpe): (Unintelligible) not going to retire.

Denzel Washington: Retired? They're going to have to wheel me out.

(Monica Thorpe): Oh, wow.

Denzel Washington: You don't have to retire from acting. George Burns was 99 and he was still

acting.

(Monica Thorpe): Oh wow, I didn't know that.

Denzel Washington: Yeah, no. no. That's a bad word. But anyway, what were you going to say?

Once I - what else would I do?

(Monica Thorpe): No, what type of legacy would you like to leave behind for future actors?

Denzel Washington: Well, you know, I just - you know just do your best, you know, and pay

attention to the details. I always say the universal stems from the specific, and

just pay attention to details, work hard, and stay humble. Put God first and

stay humble and work hard, you know, and keep it simple you know.

You know I live a relatively normal life. There's no need for 900, you know,

entourage people and all that nonsense you know. Stay good at and keep

trying to improve at what you do, you know.



In my business, people - you start out as an actor and you end up a celebrity

and some people become professional celebrities. I don't practice celebrity;

I'm trying to get better at my craft and I think you're never too old for that. So

I'll never retire from trying to get better as a human being and as an artist.

(Monica Thorpe): I just...

Denzel Washington: Hello. Hello.

(Monica Thorpe): Hello.


(Monica Thorpe): I just wanted to let you know you're my favorite actor.

Denzel Washington: Well, thank you very much.

(Monica Thorpe): This is so exciting talking to you.

Denzel Washington: It's my pleasure.

(Monica Thorpe): Thank you so much.

Denzel Washington: Okay, bye-bye.

(Monica Thorpe): Bye-bye.

Operator: Your next question comes from the line of (Valentina Papaya) with The Red

and Black.



Denzel Washington: Okay, The Red and Black.

(Valentina Papaya): Hi, Denzel.

Denzel Washington: Hi, what's the Red and Black?

(Valentina Papaya): It's the student paper at The University of Georgia.

Denzel Washington: Oh, okay near Athens.

(Valentina Papaya): That's right.

Denzel Washington: Okay. Who are you guys playing this year in the bowl game? Who did you

guys get?

(Valentina Papaya): Hawaii. I don't know.

Denzel Washington: Oh, that's right, Hawaii.

(Valentina Papaya): Yeah, yeah, yeah.


(Valentina Papaya): We're doing pretty well.


(Valentina Papaya): Well, I guess I was wondering did you find in making this film parallels in

the time periods in context of the film to kind of that of today?



Denzel Washington: Well, I was saying to someone earlier that it was important for me - like

there was one scene in the film where they hit this pig and they run into this

family, and I wanted to show the white family's kids. Their kids are like

watching their dad and watching this black family. The black family's kids are

watching their dad and watching the white kids and watching their father.

I was just, you know, showing how ignorance if you will is passed on or

bigotry. You know our children are watching us, and they learn from us, and

we need to take responsibility for that. I don't know if that answered the

question, but...

(Valentina Papaya): Sure, it sure did. I've got one more. What about the film do you think

students, like university students, will be able to identify with? Or what do

you think is most relatable for (unintelligible)?

((Crosstalk))

Denzel Washington: You know I always tell people when they say, "What do you expect

someone to get from the film?" I say, "It depends on what you bring to it." I

think it's a good story - an honest and fun story. I think that they will be

inspired. I think they will be entertained. A movie should, you know,

hopefully have you laugh, cry, and cheer and this one does all three. All three.

We had a screening last night for the Director's Guild and standing - people

were cheering. It's like a sports movie to me in a sense. It's debating but it's

like a sport.

(Valentina Papaya): Great.

Denzel Washington: So tell everybody at The University of Georgia, Denzel said they have to

go to the movie. There will be an exam in January.



(Valentina Papaya): Okay. Okay and is there anything in cinema past or present that

particularly stimulates you or inspires you?

Denzel Washington: Life and the opportunity to influence others. The opportunity to lift and

help others that inspires me. I wake up every day looking for an opportunity

you know.

Right now, I'm having this great opportunity to talk to all of these young

people - all of you young people from all over the country and to share some

of my ideas and that's inspiring. Being on this side of the grass is inspiring.

(Valentina Papaya): Thank you so much and take care and you're an inspiration so thank you.


Operator: Your next question comes from the line of (Adam Asher) with The Review.


(Adam Asher): Hey Mr. Washington, how are you?

Denzel Washington: How are you doing (Adam)?

(Adam Asher): I'm wonderful thank you.


(Adam Asher): I'm down here in Newark, Delaware by the way.



Denzel Washington: In Delaware. (New York), Delaware?

(Adam Asher): Yeah.

Denzel Washington: Oh, okay. A friend of mine has a house down there at the - what's that

beach we go down to like near Rehoboth. Are you down that way near

Wilmington?

((Crosstalk))

(Adam Asher): (Unintelligible) maybe. It might be in Dewey or Lewes, there's a bunch of

those beaches down there.

Denzel Washington: Yeah, okay. Yeah, what was it, Dewey?

(Adam Asher): Yeah.

Denzel Washington: Yeah, yeah, I remember that one. Bethany.

(Adam Asher): Yep.

Denzel Washington: It's nice down there.

(Adam Asher): It's a fun place.

Denzel Washington: Yep.

(Adam Asher): In preparing for this film, I know you went to debate camp. How was that and

also I wanted to know preparation for other films. Like what's the most

interesting thing you've done in preparing for another film?



Denzel Washington: Well, I didn't go to debate camp; I set up a debate camp for my debaters.

You know when I prepare for films, you know, if I'm playing a naval officer,

then I want to go to the Navy and see what officers do. So I wanted to set up a

situation for the kids, the young actors, where they could test their skills and

find out what it's all about.

So Texas Southern - Dr. (Freeman) who is the head of the debating team at

Texas Southern, which is one of the better debate teams in the country. I

talked to him and we put together like a one-week camp for our young actors

and had to go and take classes and do parliamentary debate and debate against

the Texas Southern freshman team. And they would do things like - he would

give them a subject, and they would only have five minutes to prepare and

they've got to get up there. And the good news is they are actors so they know

how to influence, you know, and how to sway the audience.

And also, I looked at it as an opportunity for those four young actors to bond

and to come together as a group so I always like doing things like that. I'm

always doing preparation. You know when I played Mo' Better Blues, I

practiced trumpet forever. And in The Hurricane, I boxed for two years before

we did the movie, so I tried to create that situation for the actors as well.

(Adam Asher): Great, thank you very much.


Operator: Mr. Washington, this concludes today's conference.

Denzel Washington: Excellent. Thank you.



Operator: Thank you.

Denzel Washington: Bye.

Operator: This concludes today's conference call, you may now disconnect.

END

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