“There’s always hope,” the documentary filmmaker Stanley Nelson says. “We’re alive and we can push for change. Young people know that there’s something wrong. They just don’t know how to fix it.”
, the current political climate seems particularly inhospitable to deep engagements with history. “It’s important that we know our history,” he explained to me, “so that we understand how we got to this moment. We’ve gotta keep fighting.” He spoke from his home in Harlem. This interview has been edited and condensed.
For later generations, the uprisings at Attica became a symbol of the horrors of American prisons and the inequalities baked into the criminal-justice system. Did people understand it that way at the time? Or were people tuning in mostly because of how wildly unprecedented and possibly frightening it was?
I was aware that these were historic times. In some weird way, all times are historic. But I remember coming home from school, at thirteen and fourteen, you know, and it would be on TV during the day—the dogs and the hoses, the marches and the speeches. And, with the Civil Rights Act and the Voting Rights Act, you couldn’t help but realize that there was something different about that time. It was an awareness of how divided this country was. There were some positive outcomes, sure.
A friend and I were walking down Broadway at 108th Street at nine-thirty one night. There was a dollar theatre and it was showing “The Murder of Fred Hampton.” For some reason, we went up to the box office—the guy was packing up ’cause the movie had already started—and we said, “Hey, we wanna see this movie. . . . Can we just go in? We don’t have a dollar.” And he was, like, “O.K.” So we went in and saw “The Murder of Fred Hampton.” It was a documentary, but it had an attitude.
I called my mother from a phone booth because I wanted to go over to her house to get a free meal after a day of looking for jobs. And she says, “You know, I’m looking at this article in the New Yorkabout this Black filmmaker—you should go knock on his door.” And it had his address, and his address was, like, across the street from the phone booth.
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