MATTHEWS: Well, "Hidden Figures" is out in select theaters at Christmastime, in fact, Christmas Day and a wider release following on January 6. Well, I'm joined right now by those people who made this movie come to life, including the stars of the film. Taraji P. Henson is right there. She's the superstar. Octavia Spencer, I've been in love with her for a long time. Janelle Monae, thank you. There you are. And you all look very glamorous right now. In the movie, you're dressed like bureaucrats, which is very interesting. Kevin -- the great Kevin Costner. And, of course, singer/songwriter Pharrell Williams, who composed the sound track for the movie and the score, as well. And director Ted Melfi. I love "St. Vincent."
TED MELFI, DIRECTOR: Thank you.
MATTHEWS: With Bill Murray. I want to talk to you, Taraji, because you were the -- you just dominate that movie. I had to say that and... (CROSSTALK)
MATTHEWS: -- and the scenes of putting up with Jim Crow and putting up with Jim Crow in a federal institution. But what grabbed me in the beginning was the cop who stopped you guys in your '57. I love '57 Impala Chevvies. We all did. We always love them. Stops you in your car. And all -- and after he's got the usual color mentality going on, a black/white thing going on, white/black. And all of a sudden he realizes that you're in the space program. And his patriotism kicks in.
TARAJI P. HENSON, ACTOR: Yes. MATTHEWS: Tell me about it.
HENSON: Well, I think that's the overall message of this story. When we put our differences aside as humans, that's when we're able to move the human race forward, because at the end of the day, we're all humans. You know, a mind doesn't have a color, you know?
MATTHEWS: Yes.
HENSON: When it comes to calculating numbers, I don't care what color you are. I don't care who you sleep with at night. Can you -- can you find the math?
MATTHEWS: I love the -- the -- the score when this person that Taraji is playing is a very smart woman, like everybody, has to go to the bathroom. And everybody knows the experience of having to go to the bathroom now. But you were on an airplane or wherever you are. And then she has the color bar. She's got to go to a -- and it's like a bad dream. I've got to go to the Dill Building, where there's a colored woman's bathroom. And you've got this great music. Tell me about the music you put in there.
PHARRELL WILLIAMS, SINGER/SONGWRITER: Man, the music was largely just led by...
MATTHEWS: It's called "Running."
WILLIAMS: Yes, sir. That song was -- was just based on the story. It's like when we got the script, it was like OK, these women are living in the matrix of the 1960s, where the physics and the gravity for African-Americans was much more heavier. And it was twice as heavier on a woman. So having to run to the bathroom, which is not on the other side of the building, but the on -- on the other side of the campus -- and there were campus bikes. But for women, we -- we forget, as men, you know, long skirts, long dresses. So they had to run, rain or shine...
MATTHEWS: Yes.
WILLIAMS: -- 30 to 45 minutes round trip to the other side of the campus just to use the bathroom.
MATTHEWS: So Ted and the other ladies here -- high heels are a big part of this for some reason.
UNIDENTIFIED FEMALE: Yes.
MATTHEWS: I -- I -- maybe it's the -- your photography, but it -- you -- the women look great, of course, but you're always shooting the legs, shooting at the shoes. And the shoes, at one point, get caught and you almost get killed in this -- it's in the middle of a wind... (CROSSTALK)
MATTHEWS: -- a wind tunnel.
UNIDENTIFIED FEMALE: Well, yes.
MATTHEWS: So now you're in a wind tunnel. You look great, by the way, in the wind tunnel. Your legs get caught in this... (CROSSTALK)
MATTHEWS: -- so everybody is looking at your legs, looking at the shoes.
UNIDENTIFIED FEMALE: Yes.
MATTHEWS: And -- and you get stuck and the guy says the shoe ain't worth it. (LAUGHTER)
MATTHEWS: I mean this...
UNIDENTIFIED FEMALE: Yes.
MATTHEWS: -- and then there's the other scene when the -- when you're running to the bathroom, it's all high heels in the -- so women in high heels being African-American in a Jim Crow setting and wearing high heels.
UNIDENTIFIED FEMALE: Yes, we did it all. (LAUGHTER)
UNIDENTIFIED FEMALE: Just like we continuously do every day. What's so -- so inspiring about this film and these women is that they did not allow those obstacles to deter them. What's so -- so inspiring about this film and these women is they -- they did not allow those obstacles to deter them and stop them from their dreams. Yes, you know, we were dealing with -- with racism. We were dealing with sexism. We were dealing with classism. But the great thing about when NASA and all the men and women put all those isms to bed and buried them all, that's when they achieved the extraordinary together. They all realized that at the end of the day, we all breath the same color.
MATTHEWS: You know, Kevin, it's so great to have you on, because I think of you all the time in a movie I've seen. And I'll see this a lot of times, but I think I've seen "Thirteen Days" 100 times. And you played -- right in the middle of the Cuban missile crisis, a white world, as if there wasn't a black world there. And here you have a movie that's pretty much the same time period.
KEVIN COSTNER, DIRECTOR: Yes.
MATTHEWS: '61, '62. In fact it is '62.
COSTNER: Yes.
MATTHEWS: Or... (CROSSTALK)
MATTHEWS: -- this movie includes the reality of American life much better.
COSTNER: Yes, well, you know, it seems like a lot of stories don't get told. They are in the pages of history. They don't -- they don't come out. And you can give some of that a pass because how many stories can you possibly tell? If you look beneath the surface, you'll find this story. The thing that I found was that if you are going to tell the original story of John Glenn, all right, not -- not able the women who were working off to the side, like we know in (INAUDIBLE), but if you're going to tell that story of John Glenn, there's a moment where he was going to go or wasn't going to go. So it would be like telling a joke and maybe leaving out the punch line. There was a moment where he was going to go or not go, and it hung on the balance of a -- of a young woman who was going to have to do the math by hand. Now, I don't know about you, but in great storytelling, you don't leave out that bit.
MATTHEWS: Yes.
COSTNER: So if we don't learn about these human computers -- they were called computers -- I can see that story emerging going hmmm, I would have liked to have known about that a long time ago. But not knowing about that seminal moment...
UNIDENTIFIED FEMALE: Yes.
COSTNER: -- where he was saying I ain't going unless I know, that should have been a part of what we knew about for a long time. MATTHEWS: He was a good guy in the movie, right, Octavia?
OCTAVIA SPENCER, ACTOR: He was a good guy period, I mean, but I learned something about him that I didn't know. And it made him that much more of an American hero to me, because he did something that was unpopular at the time. He put his life in the hands of this African-American woman.
MATTHEWS: Yes.
SPENCER: If her numbers didn't match up, he wasn't going to go. If her numbers matched up, of course he went.
MATTHEWS: He wanted to know where he was going to land.
SPENCER: Absolutely.
UNIDENTIFIED FEMALE: Exactly. (CROSSTALK)
MATTHEWS: That's key information if you're in this thing and they've got to get to it with the ship, you know. And the -- but you were in "The Help."
SPENCER: I was in "The Help."
MATTHEWS: In that movie, I'll always remember that meal you cooked up for that white lady. (LAUGHTER)
MATTHEWS: (INAUDIBLE) going to remember that (INAUDIBLE). Oh, this tastes interesting. (LAUGHTER)
MATTHEWS: And so you've gotten at it from a -- the Jim Crow thing a couple of ways now.
SPENCER: Yes, well Jim Crow is a very difficult time to immerse yourself in.
UNIDENTIFIED FEMALE: Right.
SPENCER: But when you're doing a period film, we have agency as -- as contemporary women that African-American women did not have in -- in the Jim Crow era. So there's something wonderful to be said about the solidarity that we felt on the set. Very insulated. Ted created a safe place for us to work and have fun.
MATTHEWS: I like the way, Taraji, you looked up at that sign as you go out of the room, which says "colored computers." It's still up there. They actually designated you by your ethnicity. Let's take a look at another part of the movie.
(BEGIN VIDEO CLIP)
UNIDENTIFIED FEMALE: Katherine, go find your way over there. That Colonel Jim is a tall glass of water.
UNIDENTIFIED FEMALE: There he is, tall, strong, commanding.
UNIDENTIFIED FEMALE: Oh, and I'll bet he's like the day and night.
UNIDENTIFIED FEMALE: Mary, it's so (INAUDIBLE).
UNIDENTIFIED FEMALE: (INAUDIBLE).
UNIDENTIFIED FEMALE: (INAUDIBLE).
UNIDENTIFIED FEMALE: He's coming over.
UNIDENTIFIED FEMALE: Now why would he be doing that?
UNIDENTIFIED FEMALE: Because Mary's waving at him. UNIDENTIFIED FEMALE: No. Ladies, I must leave.
UNIDENTIFIED FEMALE: Sonalea (ph), fix your hair (INAUDIBLE).
UNIDENTIFIED FEMALE: Hello, Colonel. I'm Dorothy Vaughn. That's Mary Jackson. I believe you met her (INAUDIBLE).
UNIDENTIFIED MALE: Yes, ma'am. (INAUDIBLE).
UNIDENTIFIED FEMALE: And this is Katherine (INAUDIBLE). She's not married. She's a widow with three beautiful little girls, so well behaved, angels on Earth is what we like to call them. Dorothy. A slice of pie?
UNIDENTIFIED FEMALE: I love working.
UNIDENTIFIED FEMALE: Excuse me. UNIDENTIFIED FEMALE: You already have a slice of pie?
(END VIDEO CLIP)
MATTHEWS: So it's so great you're doing this.
UNIDENTIFIED MALE: Yes.
MATTHEWS: OK, I'm so glad you took this project. I'm so glad you took this project, everybody took it, because Hollywood needs it. Let's talk. This is not a reaction to Hollywood's...
UNIDENTIFIED MALE: Yes, we...
MATTHEWS: -- it's not a redo?
UNIDENTIFIED MALE: Yes. No, we had...
MATTHEWS: But it's something.
UNIDENTIFIED MALE: Yes. We need these this story. We and we need our little girls to see this story when it -- when it -- we need the little boys to see this story. We need to know -- we need people to know that history wasn't a bunch of white guys in a room.
MATTHEWS: Yes.
UNIDENTIFIED MALE: The history of NASA was very diverse. NASA celebrates these women.
UNIDENTIFIED FEMALE: Yes.
UNIDENTIFIED MALE: Thesewomen are not hidden from NASA. NASA has been honoring these women for a long time. So it's great to tell the general public that.
MATTHEWS: Well, guys, thank you all.
UNIDENTIFIED FEMALE: Thank you.
MATTHEWS: It's an honor to meet you all.
UNIDENTIFIED MALE: Thank you.
MATTHEWS: And Kevin and everybody here, and Pharrell.
UNIDENTIFIED MALE: Thanks for having us.
UNIDENTIFIED FEMALE: Thank you.
MATTHEWS: The music gets to even me.
WILLIAMS: Thank you. MATTHEWS: Mr. Straight Arrow.
UNIDENTIFIED FEMALE: And we get to keep our cups?
MATTHEWS: You can keep the mugs.
UNIDENTIFIED FEMALE: OK. MATTHEWS: We're going to get you hats. This is a great opportunity, because I think this is, as I said, politics and culture are together. (CROSSTALK)
UNIDENTIFIED MALE: By the way... MATTHEWS: They are the same thing, this collection, whatever you think of it, culture and politics are together. We've got to put it all together.
UNIDENTIFIED FEMALE: Yes. MATTHEWS: Merry Christmas to everybody.
UNIDENTIFIED FEMALE: Thanks. UNIDENTIFIED MALE: Happy New Year.
UNIDENTIFIED FEMALE: Thank you so much.
UNIDENTIFIED FEMALE: Merry Christmas to you. (CROSSTALK)
UNIDENTIFIED MALE: I was just going to say, you're not Mr. Straight Arrow. We've been watching you for years.
UNIDENTIFIED FEMALE: Yes.
UNIDENTIFIED FEMALE: Yes.
UNIDENTIFIED FEMALE: Yes.
UNIDENTIFIED MALE: And your interviews and the way that you keep people straight is amazing. And when people veer off and they don't answer the question, there's no one that slices through it better than you. (CROSSTALK)
UNIDENTIFIED MALE: That's why they call it HARDBALL.
UNIDENTIFIED FEMALE: Thanks.
MATTHEWS: Well, thank you. (CROSSTALK)
MATTHEWS: I didn't have it. That's not in the script. (LAUGHTER)
MATTHEWS: We'll be right back. Thank you.
UNIDENTIFIED MALE: Thank you.
UNIDENTIFIED FEMALE: Thank you.
UNIDENTIFIED FEMALE: Thank you. MATTHEWS: We'll be right back. END