Q.  Playing someone this iconic.  And-- my question is more towards the research

of-- of going into Amelia's life.  And as a-- as a director, what do you focus on--

in a life this big?  And as an actor, what notes did you take away?  I-- I presume

it wasn't just reading the script.  I would--

Hilary Swank:  Uh-huh.

Q.  --hope that you did some research as well.  (LAUGHTER) And what were the

important notes that you took away from her personality?  Or, what surprised you

that you, sort of, hung onto in your performance and the making of the film?

Mira Nair:  You wanna go?

Hilary Swank:  I-- you know, I think-- obviously-- I learned about Amelia from a

very young age.  Can you guys all hear me alright?  Okay, and-- but what I learned

is what you learn in textbooks.  And so-- for me, obviously, getting under the skin

of a person-- that I'm playing is-- really important.  We're all specific human beings. 

We're specific.  We know-- you know, what our favorite color is.  We know

what we love.  We know what we don't like.

And trying to figure that out about a person-- that you're portraying is very important.  In reading-- there

was lots of literature-- about Amelia.  These two books.  They're two books I-- I-- I obviously read.  As--

as well as-- the book--  yeah, "20 Hours and 40-- " (BACKGROUND VOICE) "40 Minutes."  And--

so, reading-- reading all of-- all of the-- that literature.  Also, trying to understand who she was.

I think Amelia was a very private person.  So, you know, what she was expressing out in the world might not

necessarily have been what her true thoughts were.  So, just breaking down-- how her childhood formed who she

was.  But I think one of the things that-- that I took away from-- Amelia that I found very inspiring and

moving, and why I feel a lot of the people, more than any of my movies, have come up to me and said, "I

cannot wait to see 'Amelia.'"

And I-- I-- you know, it's something-- I kind of expected from women to really wanna see this movie.  But  a

lot of men are also coming up to me saying, "I can't wait to see this movie."  And I think what people are,

in my opinion, kind of, magnetized to is the idea this person, Amelia, who lived her life the way she wanted

to live it.  She-- she, you know, made no apologies for saying, "This is my life.  And this is how I see it. 

And this is how I want it to be done."

And-- I think that in 2009, that's really rare.  Especially for women.  I think it's more-- you know, it's a

more male-centric world.  And I think that a lot of male-- they're-- they're-- they're able to have the life

that they envision for themselves.  But women not-- not as much, even in 2009.  So, when we're talking about

somebody who lived in the '20s, when women just got the right to vote-- and '30s, you know, it's-- it's

incredible.

And so, it-- it-- it's obviously, a period piece.  Yet, it-- it even transcends what we even know now.  And I

think that's a reminder.  And it was, certainly, a reminder for me to live my life-- you only have one life. 

And it's so short.  And Amelia's was certainly short.  And she accomplished a lot in her lifetime.  More than

most people really do, I think, in-- in a really long life.

But it was just a reminder, you know, that you have to constantly, kind of, look within and continue to live

the life that you know you wanna live for yourself.  And not for other people.  You know, I think if you,

kind of-- even-- I-- I'll look at my life and say, "I might be doing this because it's-- my mother's idea of

my life."  Or your friend's idea.  Or your partner's idea, or whatever it is.

And I think Amelia was just such a great reminder that you can live the-- your life the way you want it and

find love and experience your dreams.  And-- you can have it all.  So, to me, that's what I really learned in

diving deep into who she was.  And-- you know, like I said, you only live once.  You might as well be doing

what you love. 

Mira Nair:  For me, there-- there is a lot of enigma, despite the fact that there's so much material with the

real Amelia and news reels and documentaries and so on.  There is still a very interesting enigma about who

Amelia really was.  And we, kind of, used that in the film as well.  For me, the real window on-- on to

understanding who she might have been was her own writings.  And she wrote really, very interesting turn of

phrase.

You know, there's more to life than being a passenger.  Why do you fly?  I fly for the fun of it.  You know,

she-- she had simple, pithy, but really-- pretty contemporary ways of s-- writing and speaking.  The-- you

know, I-- we used to jokingly call it, "the pre-nup agreement."  You know, she wrote the first pre-nup,

really, to George Putnam, who she resisted many, many times, you know-- of-- of her marriage.  And then she

laid down her conditions.  Which were very gracefully laid down.  But they were very direct and very modern,

you know?

You know, I don't-- you know, agree with marriage.  And anything that will keep me from my life and flying

and so on.  So, for me, the window was her own writings.  Her sense of humor, which was wonderfully a--

abundant in her writing.  And, I must say-- the way she spoke in-- in the news reels that I saw of her. 

Before I even read the-- first script that was sent to me, I saw news reels of her.  And what really atr--

attracted me was her sense of-- I thought, her sense of great humility.

You know, that she did all this hoopla, publicity, and whatever-- in order so she could fly, you know?  And I

loved-- I mean-- humility is not an-- often-- not a real America trait.  And I come from somewhere (LAUGH)

where we are taught to be humble.  (LAUGH) So, I thought, "That's interesting, that she's consistently got

that humility, you know, in all-- whether she's getting the medals or whether she's flying in the-- in the

cockpit."  You know, she has a sense of, "I'm really here for the ecstasy of this flight, rather than for the

awards or the accolades."

Those were the things that really got me about her.  And then as we went deeper with the wonderful books, and

Anna Hamilton Felon (PH), the writer, who was a devotees of-- of Amelia in her youth as well-- she-- had been

given some Amelia Earhart luggage by her mother.  She had a piece of clothing (LAUGH) that actually had

Amelia's name on it.  And, no, she was one of those real devotees.  And so, between us all and our amazing

crew-- we hope that we have captured something-- in-- in Hilary's artistry-- of the beating

heart that was Amelia.

Q.  Ms. Swank, you were taking flying lessons, I understand.

Hilary Swank:  Yeah.

Q.  Could you talk a little about that?  And do you have future plans to get a license and maybe even become

involved with general aviation a little bit?

Hilary Swank:  Obviously, you can't play Amelia Earhart and not learn how to fly.  That would just be wrong

in every-- way.  (LAUGHTER) You know--

Mira Nair:  She would tell me what to do in the cockpit.  "No, Mira, over there."  (LAUGH) I said, "Okay,

just do it, you know?"  (LAUGH)

Hilary Swank:  I-- have to say, you know, when you're-- when you're a kid, there are so many firsts.  There

are so many things that you're learning all the time.  You're learning how to ride a bike.  You're learning

how to read.  There's so many things you haven't experienced.  And it's euphoric, you know?  You're really in

the moment.  And you're-- you know, and then as you become adults you-- you just somehow-- you-- you've

experienced a lot.  And there's not a lot of firsts anymore.

And learning how to fly, for me, was so euphoric.  Because it was like I was learning how to ride a bike.  It

was a first.  And, you know, it-- takes all of your senses.  You are completely immersed.  It's-- it's-- you

know, it's dangerous.  It's adventurous.  It's-- all of the things that I love and that I think Amelia loved.

I love to learn.  It was-- exciting to-- to learn something new that-- that really was challenging.  I didn't

realize how-- the calculations that go into flying.  I-- (LAUGH) it was like I was back in calculus.  And--

and I'm not a big sweater.  But I would find after a two hour-- flight lesson, I would land and my back was

drenched-- just from the concentration (LAUGH) and-- it's-- it was really-- it was really wonderful.

I flew 19 hours.  I was wanting to get my pilot's license.  But for obviously reasons-- for insurance

purposes, they couldn't really let me go up by myself in order to do that-- especially before filming a

movie.  (LAUGHTER) I'm sure now they're like, "Sure, go ahead."  (LAUGHTER)

Mira Nair:  After about two months.  (LAUGH)

Hilary Swank:  "Yeah, when you're done with the press, go for it, kid!"  (LAUGHTER) So,

but I would like to get my pilot's license.  It's something that-- you know, I like to see th-- see things

through to the end.  And I don't wanna just-- just say, "Yeah, I flew."  I'd like to-- to get my license and-

- and continue to go up on my own.  It's not something-- you know, one of the great things about my job is I

get to do all of these things that I may not experience had I not been an actor.  And-- I think-- sa-- saying

that I learned how to fly to play Amelia Earhart is pretty great.  (LAUGHTER) Yeah.

Q.  Mira, you talked about-- mentioned that Hilary brings a spiritual quality to a role.  The obviously,

she's a-- a courageous and a brilliant actress.  But I wonder what you mean by that.  And if you can tell me

why you think that she-- you know, why you chose her and why she is so amazing in the role.  And I'd also be

really interested to know what the rest of the panel think about-- Hilary's performance.  And-- and

(LAUGHTER) Hilary, you know, what do you got in common-- I know, you know, you're probably very modest--

about it.  But what do you think you've got in common with Amelia?

Mira Nair:  Well-- you know, for me, I-- I-- I think I'm trying to make a film which was finally about-- the

way Amelia wanted to ex-- achieve-- if she could achieve a balance between the ecstasy that she felt in the

sky and the responsibility that she felt on this earth.  And that see saw, which is a modern see saw of all

men and women today.  You know, how do you-- how do you combine your passion with your responsibility? 

Because that's what I wanted to do.  Something that was a tale that spoke to us today beyond-- this icon's

life.

You know, really feel that idea of how did she negotiate that balance?  In that sense, one time I joked with

Hilary.  And I said, you know, it's like a yogani in the sky.  Someone who (LAUGH) is-- is-- is ach--

trying to achieve this balance.  Anyway, when I said that she had this-- really has a spiritual quality, I

meant it really-- besides all the accoutrements of the outside-- you know, getting her to look and all of

that like Amelia, which is-- which is what we all do.  But it's really from within, I felt, that her strength

and also her daredevil quality.

And I mean, it is-- it is-- Hilary is-- completely a spiritual daredevil.  She is a daredevil, this chick. 

(LAUGHTER) And-- and she, you know, likes that.  She likes the adrenaline of, (CLAP) "Okay, you want me to

jump off the parachute?"  I said, "No, no, no, no.  (LAUGH) Hold on.  You don't have to really (LAUGH) go

down."  But she would do it in a second.

She would-- she's a physical and spiritual (LAUGH)-- seriously, a daredevil.  And that's not something you

can direct.  You know, you can't say, "Listen, I've gotta have that adrenaline (SNAP) in your eyes when you

jump."  You can't-- I mean, you can.  But it's not real.  It not-- it doesn't come from within.  With-- with

Hilary, it comes from within.  Because she is someone who gets excited about, you know, just taking leaps and

having-- taking challenges and then mastering them.  And then, spinning on them, you know?

So, in that sense, it was very Amelia-esque.  But also, there's a lot of real study and real work and real

Amelia's voice, literally, in her ear in s-- some ways, to understand what happened, so that all of it is

from-- is-- is something she-- as Hilary learns.  But when she actually was-- would perform-- with us and--

our ensemble and so on, it felt-- all of that was left.  You're-- you're feeling-- something from within, not

these things you put on and feel, it's from within.  And if you don't feel it, if you don't have that, you've

got a hollow performance.  You know, and that's not what we are dealing with, thankfully.

Q.  Susan and Elgen, since you guys have written, obviously, two of the foremost-- works on Miss Earhart, do

you wanna comment about what it was like to see it brought to life on the screen?

Susan Butler:  Well, I think that-- I think Hilary was amazing, actually.  I mean, how much she-- she does

take on the persona of-- of Amelia.  I saw the-- the-- movie last night.  And-- and-- at the end of the movie

when they are-- there are some film clips of Amelia.  And then, you realize, wow, for a moment, you can't

tell which is the real Amelia and which is Hilary.  I-- I think that it's-- they-- Mira and Hilary did a

fabulous job.

Hilary Swank:  Thank you.  I'm-- I don't know what to do sitting here all these complements, thank you. 

Susan Butler:  Elgen?

Elgen Long:  Oh, you deserve the compliments.  I'm very glad that the story of Amelia's being told, and I

think you'll all enjoy the movie-- immensely.  I can't give away the ending, but-- anyway, I think it's very

appropriate all the way around.  You did a good job, all of you.

Hilary Swank:  You're not so bad yourself, Elgen.

Elgen:  Thank you.

Q.  Like Hilary, what I learned about Amelia as-- a student was very few lines in the book.  And in thinking

about how this-- film is contemporary-- very recently-- a family in Colorado-- let a dirigible go up in the

air.  And people are thinking that was promotion for their passion.  And there-- there was a lot of that in

this film that I didn't know about.  Could anyone speak to that, whether you know, you can-- you know, the

contemporary way of promoting things for your passion?

Hilary Swank:  Of promoting things-- well-- promoting things for your passion like in-- as in press and going

around and so on-- well-- obviously, my passion lies in telling stories.  It's what I've wanted to do since I

was nine years old.  I love people.  I love what makes people unique and what makes them similar.

One of the things you had asked-- some similarities between Amelia and I, one of them is that she loved to

travel.  And I love to travel.  And I've been so fortunate in my career and in my job to travel all around

the world.  And part of that is to talk about the films that I am a part of.  You know, it's-- sometimes, I'm

not gonna lie, very grueling and difficult.

I mean, in the last-- 16 days, I was in Italy, and then back to Los Angeles, then Dubai, then London, then

back to Los Angeles, and now in New York.  I mean, that's-- I-- I-- stewards actually laugh and-- 'cause I

know them so well and say, "Hilary, you-- it's illegal for us to fly as much as you fly."  I'm constantly in

the air, and I'm constantly out promoting, you know-- my films.

But-- you know, I think as Amelia did, she understood that without that, without the understanding of the

business side of things, you can't have your career.  If I'm not willing to go out and talk about the things

that I'm a part of, which I in fact love, so it's not like it's really difficult to get in touch with why I'm

a part of a film-- then you can't have the other side of it.

You know, and that makes complete sense to me.  It makes sense to me that-- you know, I understand the

business side of it, and-- although I really love the art side of it-- and I-- they-- they're intertwined. 

And-- you know, you just try and do the best you can, and-- I think-- I think that-- I-- I wonder what Amelia

would say.  I mean, I remember her saying that it was hard, and you know, there's that-- there's a line in

the movie, "I feel like-- I'm-- I'm jumping through hoops.  This white horse jumping-- was it white horse--

jumping through hoops."

You know, sometimes you feel a little bit like your in a circus.  But-- it's-- it's-- you know, it's when--

it's-- it's kind of when things become more personal, and you feel like I'm just an actor tryin' to talk

about my-- my love for movies.  And you know, and you just have to-- to-- to remember why you're

doing it.  And-- and be in touch with that really.

Q.  First, as a two time Oscar winner, you have your pick of roles.  So, is this something you always wanted

to do, to play Amelia, or what?  And secondly-- as a woman, how did you relate to her open marriage?

Hilary Swank:  I wouldn't say I-- was always longing to play Amelia Earhart, but I do long to play roles that

challenge me and-- scare me and-- make me learn new things about the world, about myself, about my art.  So--

when it-- when-- you know, I had-- I had read a script on Amelia about ten years ago, right after I-- did

Boys Don't Cry, and it didn't capture Amelia to me.

And so, it was obviously not a movie that I was a part of.  When this one came across my desk-- I-- I just

felt that connection which I-- I spoke to you about.  I think one of the things that I also touched on was--

was-- was Amelia's way of going about her life, the way in which she carried herself and the way she

expressed herself.  And I feel like if we could all be so up front and forthright about our feelings, our

emotions, our-- our desires, our needs-- and-- and it-- it could somehow, I think, manage expectations out of

relationships.

But I think it's really challenging to be that honest.  And it's really-- you know, even with the people that

you really love and you feel are-- are supposed to be loving you unconditionally, it's really hard because

of-- I mean, there's a lot of reasons why, we could sit here all day and talk about that.  But I think that,

you know, Amel-- Amelia's way about living her life was very honest and very open.

So, when she lived her life the way she wanted and the way she said she want-- wanted to live it, she had

already expressed that's how she was gonna do it.  So, it wasn't like she was hurting anybody along the way. 

It was like she said this is-- you know, and it was almost made it an-- an unconditional sort of relationship

that they had-- which is really rare.  You know, I respect anyone who is able to be so forthright about

their-- themselves.  Again, I think that that's-- a lot of what our life is about figuring out.  How can we

be as honest and live as honestly-- as-- as ourselves and in our relationships.

Q.  I thought you did a wonderful job in bringing this story to life, how important was it to bring the

relationship part about-- out?  And Hilary, Uma just complimented you on doing this, and said that it's

possible that you may get an Oscar, what do you think about that?

Hilary Swank:  Thank you.

Mira Nair:  What was the first question?  Ah, their relationships.  Well, I think-- into--

actually as a continuation of what Hilary just said in terms of it is so difficult and yet it is the

perennial, eternal-- desire we have to keep our relationship as strong as they can be and to be as full in

our passion in indulging what we want to achieve whether it's flying or whatever else.

But to keep that balance going is-- is again, an ancient tale that we are all, as modern women, especially

who are encouraged to work and who are working and who are leading the way in many ways, how do we keep that

balance?  That was very much a part of this-- Our Amelia, the movie, you know, as much as it was a real

adventure tale, a real journey of someone who wanted to fly around the world.

And you-- I structured the film such that you feel like you're in the cockpit beside Amelia with her as she's

traversing the world.  But as much as it is that journey of-- of aviation and annihilating distance as-- as

Amelia would say that flying annihilated distance between the world, and that was what she did and wanted to

see.  It was also about her negotiating her love and her life on earth and her desire, for instance-- her

maternal-- instincts as well without having children and how she-- loved children and loved young people and

wanted to be-- bigger than-- have a life that was more meaningful beyond herself.

She really was aware that that's why she created-- a large part of the 99s-- the-- that's why she signed with

Lucre-- Lucretia-- Mott Amendment for Women's Rights.  She did beyond what she always wanted to do.  She did-

- that was a big part of her.  So, the love-- I mean, I was very intrigued with how she would negotiate her--

her passion, her love, her-- I loved the fact that she entered the relationship with George Putnam, her

publisher and her publicist, first resisting it, then acknowledging that-- that this was a really interesting

and necessary almost partnership.

She respected him, she cared for him.  But my belief was that he loved her.  He was-- he was the lover, she

was the beloved.  And then, as-- as she lived her life and as she-- as she exercise-- I mean, as he made it

possible for her to fly and to get the Electra and to go around the world and all her dreams, she began to

really understand the worth of this man, the value of what he really-- that he really understood her.

And that is a very beautiful idea of-- I mean, that's a great love story.  You know, where someone has that

partnership which then becomes love.  But it becomes love at a moment where you can't-- you-- you know sort

of that you're-- no, she doesn't know, Amelia doesn't know, but the world knows that she's not coming back to

him.

And that's a very-- a very-- I mean, stunning human tale, I think.  And-- and her relationship with Gene

Vidal is-- is-- you know-- you know, coming close to someone who shares her actual dreams of flying, and who

understands the adrenaline of flying, someone she can share that whole world.  And that's human.

You know, you-- you have that connection, you wanna consummate it in some way.  And-- and yet, they remained

such friends, you know, despite the affair being over, they were great friends.  And we got a lot of that

from actually spending a day-- Hilary and I spent a day with Gore Vidal-- Gene Vidal's son.

And a number of things he told us-- about his-- his own relationship with Amelia.  That's why Gore is kind of

important in the movie, and-- I mean, I love that, you know, the-- the sort of nuance and the gray of men and

women, how we need each other and how we have to leave each other also to do our passions.  It's-- it's an

eternal tale.

Hilary Swank:  Well, first, I-- I-- I just-- you know, it's-- to-- to have such a compliment from-- another

actress that I admire so much is-- is a great honor.  And I have to say-- you know, Amelia was so, I think,

so supportive of other women.  And I feel like-- you know, women-- aren't always supportive of another

woman's strengths.

And I think powerful women are-- are-- are supportive of the underdog woman or the-- the women who are

suffering from inequality, yet when it's-- another woman's strength, the-- they find it hard to

muster up-- a lot of accolades or-- or-- or you know-- things to say about them.  So, one, it's very, very

nice to hear such a nice compliment from someone that I admire so much.

You know, and I also wanted to comment that for-- in my opinion, Mira being at the helm of this ship-- was

such a perfect match because I think it's rare to see a woman carrying herself-- in-- in the way in which you

do.  I think Mira also makes no apologies for her strengths.  And it's interesting when you see a woman in a

place of power, a lot of times, they're apologizing for it.  "I'm sorry, but can you please do this or can

you please do that."

It's a lot of-- "I'm sorry but," before they what it is that they need.  So, to be with Mira and to see her

ask for what she needs, to see her--  direct with the strength in which she carries herself and with the

vision that she carries, I think, was perfect to direct a story about Amelia Earhart.  So, I just-- you know,

when you said that, it was the first time I heard it, and it was really-- and it just warms my heart.  You

know-- I think that-- that's-- it's a hard enough world out there in general, and then you add the layer of

being a woman, and then, you know, we just need to be there for each other.  So, thanks for letting me know

that. 

Q.  What does it mean to you to see the origin of the 99s come to life on screen, and then to have Fox

Searchlight and Mira and Hilary donate the films costumes to the Amelia Earhart Birthplace Museum?

Susan Larson:  It sort of feel like what Amelia started-- 80 years ago, in fact, 80 years ago almost to the

week, and not-- and less than 80 miles from here, Amelia Earhart and 98 other women began the organization

now known as the 99s, the international organization of women pilots.

We're now over 5,000 strong worldwide.  In fact, there is a section in India.  (APPLAUSE) And we have a

chapter in-- the area where you're flying.  The-- it's-- it's really-- so wonderful I've been reading Susan

Butler's book.  I've got Elgen Long's geared up and ready to read again.  These are wonderful, delightful

people who've written-- know about Amelia far more than I do.

And by playing Amelia and by direction Amelia the movie, you two have your own insight into this woman.  But

for the 5,000 plus women who are members of this organization, they look at Amelia as the icon, as the

individual that planted that passion.  They had the passion, but this gave them the inspiration to continue

in a journey that would only start as seeds.

Amelia Earhart is the woman, and this we just believe from the gift and the connection with Fox and with

Hilary and-- and Mira, to-- I'm really looking forward to a resurgence to women believing in themselves, to

finding-- taking that passion and finding as you even said so well, of finding the way to get the journey and

negotiate those relationship, and find a way to live the passion and be inspired.

0Please, we really are looking forward to the women of the 21st Century being inspired by this movie, and

moving into aviation and starting a whole new wonderful career and life for themselves.  Some will find a

career in it.  Others will fly just for the fun of it.  And they will all absolutely love this whole new

life, I hope. 

Q.  I wanted to ask a question-- about the aircraft that we have here-- I mean, they brought it all the way

from Georgia and it's gorgeous, but--

Susan Larson:  Beautiful, right? 

Q.  What did you think-- I mean, you had one of these Electra's on-- on set--

Mira Nair:  Oh, yes.

Q.  --what was sort of the impact whenever you saw that aircraft?  I mean, did it really help you sort of get

into that mode of portraying Amelia as she went off on her--

Hilary Swank:  Mira fought hard to get that plane there.  I mean, it's a character in the movie.  How can you

have--

Mira Nair:  Well-- Lydia Filcher who is our producer who's here-- went on a mission, from the first week

we began shooting that we have to have the real Electra.  And as we know, there are only hardly ten in the

world.  And when-- when they flew in this one, this was the one we had actually in Toronto-- in the Toronto

section of the movie.

And oh, my God, just look at it.  I mean, it's such-- firstly, an astonishing design, astonishing piece of

design-- astonishing-- I mean, it was exciting.  I used to call it my hero.  With all due respect to Richard

Gere-- the Electra was definitely a big hero-- a big character.  And that's why Lydia and I really went on a

mission to make sure we had one for-- for the actual final flight.

0Because one of the things I didn't wanna make was a big computer fest of a movie.  You know, like have

every-- I really wanted the real planes in the real places.  And that-- and-- and we really recreated

Amelia's final flight around the world very systematically.  We chose South Africa as our base, and we

created the different countries that she went to in the whole region of the Southern Africa, but with the

real Electra.  And it's-- I mean, Mark Wolf , our aerial cinematographer, it was all plane to plane

cinematography.  We actually used the plane, immediate, everywhere.

And it just couldn't have been more dramatic-- epic, you know, exciting.  In fact, the-- I have to say that

the format of the film, I chose to shoot in anamorphic, the widescreen, you know, cinemascope-- format which

I had never done because of the Electra, because I wanted it to be the horizontal width to really recreate

the-- the-- the width of the planes, both the Electra especially, but also the Friendship, and also the

Vega.  So, you couldn't really have-- you have to have a sweeping horizontal wide frame for this kind of

movie, otherwise, it-- you know, it doesn't have the action adventure aspect which I was very resolute to

give you.  But the Electra, without it, we couldn't have.

I mean, you can't tell the story without the Electra.  I mean, the whole latter part of the-- it's-- it's--

it's talked about throughout the film, and in the latter part of the film, it's a character in the movie.  I

think one of the interesting things that people take for granted now is-- I mean, look, I-- I was just

telling you, I just spent 36 hours in the air in-- in the last, you know, five days.

So, I was in the air practically more than I was on the ground, and you know, I just got onto the flight and

sat back and enjoyed it.  And you know, I mean, really think about it, we fly all the time.  There's hundreds

of planes in the air right now.  And they're gonna be there tomorrow and they're flying all the time.  And

it's just-- you know, when Amelia was doing it, it was a sport, and she hoped that someday it would be-- a

way-- of transportation.

And this plane in particular is a beast to fly.  It's not easy.  You know, and it's-- it's-- you know, it--

flying when Amelia was flying was dangerous.    So, to fly that-- that around the world is really,

really-- I mean, if you really take that into consideration, it's quite remarkable.  You know-- we-- when we

had the plane-- I-- I taxied it.  And it's-- it's-- I was like (MAKES NOISE).  (LAUGHTER)  I didn't obviously

get to fly this plane, but-- it was-- it's-- it's-- it's a whole other-- other thing.

Q.  Can you talk about how beneficial it was for you to have all of that archival footage that we talked

about about Amelia?  And also, what do you think Amelia's reaction would be to how commonplace flying has

become now?

Hilary Swank:  I think-- well, to answer the last question first, I think she'd be thrilled.  It was

something that she was-- you know, always commenting about-- when she was working with Gene-- I think,

weren't they-- one of the first-- creators of the FAA as we-- know it now.  And-- you know, she-- it was all

about-- the progress of aviation in any way-- and shape and form she could-- be a part of that.  The footage

on Amelia, I think there's something like, maybe-- maybe 16 minutes.  It might only be 12 minutes.  A lot of

it is from newsreels so it's more her--

Mira Nair:  Public face.  Yeah.

Hilary Swank:  --public face.  So-- but there are little moments within the newsreel where you-- she doesn't

know the camera's on, and you actually see her tone down her-- her-- her way of speaking and her-- kind of

physicality.  But I mean, I really felt like Amelia had a specific physicality.  I mean, she had-- a unique

pattern in which she spoke-- which was really the most challenging-- accent that I have done to date.

It was-- I've spent over eight weeks-- trying to figure out how she spoke.  And-- you know, there's that

period way of speaking, you know, that you hear Katherine Hepburn and you see all the old movies, and there's

that way of speaking which can sound on, for lack of a better word, kind of posh.  It sounds kind of upper

class.

And Amelia wasn't that.  She was a girl from Kansas.  And she sounded a lot-- she sounded period, yet she

sounded different than that.  And trying to figure that cadence out and also not make it the elevated public

persona that she-- she put on except when needed, was really-- it was really quite a challenge-- to figure

that out.

And-- you know, thankfully, I had Mira saying, you know, push it a little here, bring it back here, that's a

little too much here because it was-- it was a challenging-- I think-- to-- to walk that line, to find the

hum-- the qual-- the human quality in it and also to relate to it now because we don't speak like that, so.

Mira Nair:  I would often say, "A little less Amelia."

Hilary Swank:  She would.  (LAUGHTER) She'd say, "A little less Amelia."  Isn't that funny.

Mira Nair:  And-- Hilary would get it like that.  (LAUGHS)

Hilary Swank:  And I'd say, "Really?  Am I doing that?"

Q.  I was just wondering, what was your experience-- from a man's perspective in writing about Amelia

Earhart.  And then, also, as an aviator yourself, what was your experience-- you flying her roots?

Elgen Long:  Well, Amelia, I knew how she felt trying to fly around the world for the first time because I

did the same kind of flight, I made the first flight around the world over the north and south poles, it was

just the opposite direction, she was going the equator.  So, I-- it gave me some insight into what she was

trying to accomplish at least from the aviation point of view.

But Amelia made most of her-- assets to-- in order to afford to fly like that by lecturing.  And her lect--

her lectures had a message that very much appealed to women.  Women appreciated the message that she was

teaching.  This is in the 1920s just after the 19th amendment gave 'em the right to vote.  And Amelia-- took

the money that she made by lecturing for five months out of the year to put together these flights and make

them.

And this flight around the world was-- was a grand flight.  It was something neither man nor woman had ever

done.  But her message was that women should be able to do and lead their lives as they saw fit.  And the

mores of the times wouldn't allow that.  And I recently had-- an experience that demonstrated this, and--

that it's-- it's-- something still in motion.

I went to-- last year, to launching of a 690 foot naval vessel, the USNS Amelia Earhart.  It was a very

emotional affair.  The ship was launched.  It was commissions and went out on its first mission for the Navy

down to the South Pacific.  And they went to Howland Island where Amelia was destined.  In that-- or near

that area, they paused the ship and they threw a wreath overboard, struck eight bells and lowered the ship's

flag to half-mast.

The wreath was thrown overboard by the third in command, the second mate and navigator of the ship, a lady by

the name of Michelle Stark.  That would have been unheard of in Amelia's time.  So, it's-- it's a mo--

message that has-- is still in motion.  And it's still affecting the world today.  Amelia still has an affect

on us.  And I think the movie brings that out beautifully.

Q.  Tell me-- I want to know, did you walk away from this role completely satisfied in the knowledge of

Amelia because I enjoyed it so much, it just whetted my appetite to learn more.

Hilary Swank:  Thank you, first of all.  You know, I think-- in order to play a role, I think you have to try

and dive in-- in so many different aspects and ways and-- I felt like by the end of it, I had a pretty good

idea of-- of who Amelia was, or at least what we feel Amelia was from what we-- from the books we were

reading and the information we had, and then, just trying to go deeper in telling the stories through the

scenes that-- that were written on the page.

You know, I feel in-- in getting to play these roles, they're all in my heart.  You know, it-- and it's--

it's-- it's my life's just richer walking around with Amelia in it-- in my heart, you know, she's right in

there.  It's really-- it's-- it's wonderful.  And-- I try and remind myself, you know, in my-- throughout

some things that I'm experiencing, I-- I often think about what would my-- the characters I play do in these

situations?  You can't help but have that-- that-- the-- that in you.  So, it's-- it's just-- it makes for a

really rich life.  And I-- I feel like she's in there.  Thanks.

Q.  Yeah, my question is this, we're back to the theme of inspiration.  Mira Nair and Susan Larson, you are

both inspiring because you are achieving in areas that are still somewhat difficult for women to-- gain and

make any headway in.

I'd like to speak to you about your-- your role as mentors.  Mira, I know that you have the Maisha

Foundation.  I'd like you to speak about that a bit, and how you are pioneering women's roles in film.  And

I'd like Susan, for you to speak about the scholarship that the 99s have put in place for young women pilots

as well.

Mira Nair:  Oh.  Yes, please.    

Susan Larson:  If I could start, thank you.  You ans-- you asked about my role here.  Actually, my role,

thankfully, is a very shared role.  It's shared, as I say, with over 5,000 women.  But there are many of us

here today, if-- would this be an opportunity to have them stand please so you all can see the 99s who are

here today.  Ladies, please stand. 

These are all-- these women came from around the world to be here today.  And I do mean from across-- what I

call Amelia's pond, otherwise known as the North Atlantic.  And they are here and these are all role models,

they're all mentors for all women.  I-- I say, it's lovely to have such a shared role that I have.  It's--

it's-- it's just-- it's a joy for me.

And many of these women have been pilots for 50 and longer years.  Some are flying for-- various-- airlines

and cargo operations.  We have a 747 pilot here.  We have helicopter pilots here.  We have student pilots

here.  And some of those, speaking of the student pilots, and where they've come from-- they come through a

process to get where they have done these-- the Amelia Earhart Scholarships.

These scholarships are available to members.  They only need to be a member for one year.  And then, they can

qualify to apply for these scholarships.  And they're full scholarships for a whole leg up in your career. 

So, for women looking to make a career in aviation, this is a fabulous opportunity to take advantage of

something we offer as an organization, the money has been raised internally.

And we are just so proud-- so proud of Amelia to have-- with-- we-- say, we started back in the late '40s, so

it was just about ten years after she was lost that in honor-- in her honor, the organization began this. 

So, we are-- we are just delighted to be able to-- to do this.  And I'm just so glad there's so many 99s here

with me today.  I just-- really makes my heart pound.  Makes me feel so good.  Thank you, gals.

Mira Nair:  Well-- I always began with the question before I became a film director as-- if art could change

the world, and it's a very idealistic and simple and hard question, but I have also made a few films that

have really impacted and changed the way we have thought about things.

My first film was Salaam Bombay about street kids in Bombay.  It became-- sort of, really directly impacted

the government policy on street kids, and then, we set up the salaambalack trust which is a foundation

for street kids.  And now, 5,000 street kids and 17 centers later, 21 years of this is carrying on.  So, this

can sometimes happen with cinema and sometimes not.  I mean, cinema is such a wide-ranging, entertaining,

extremely powerful vehicle.

But about-- when I made my second film, Mississippi Masala, I made it in Uganda and East Africa, and have

since lived in Uganda for many-- much-- long-- part of the year, and noticed over the 20 years I've lived

there that there is very little of Africa on screen.  And every-- the few times we see the stories of Africa,

they are hardly every made by Africans.

And so, we set up-- Lydia Pilcher, my producer is also a board member of Maisha.  We set up Maisha which is a

Swahili word which means life-- to-- start our own film school in East Africa which gives-- it's a free

school, give scholarships to Rwandese, Kenyans, Tanzanians, and Ugandans.  And we bring the-- the-- it's all

year round, it's-- at the summer institute, we give 48 fellowships then, and then we teach all year-- in the

four different countries.

And it's basically based on the principle that if we don't tell our own stories, no one else will.  And--

and-- the idea is to create.  And now, we are in our sixth year, and we create local film culture of the

highest order.  We have great writers and directors from all the world coming to teach our students.  And the

idea is to tell our own stories, like Amelia did.

And like Amelia-- very much-- I mean, one of the big reasons I said I wanted to make Amelia was because she

had a dream, she pursued it, and she also had an incredible grace and responsibility to the world at the same

time as she was pursuing her dream.  And that's what I think, you know, art should do.  And cinema certainly

has the power to do.  And I hope that through the Maisha Film School, we will now have stories from that

continent that are rarely seen.  Thank you so much for asking.