Vanessa Williams is working on her biopic 'to make sure it's right'

Out: 'On The Other Side Of The Tracks' captures a sense of longing and discovery with its nostalgic sound, and the lyrics about 'the great big world on the other side of the tracks.' Throughout your career — from becoming Miss America to breaking ground in music, film, and Broadway — how did the 'great big world' open up to you? What were some of the most unexpected or transformative experiences that shaped your perspective as you navigated spaces not traditionally open to Black women?

Vanessa Williams: Well, first, I have to say, you are the first one that has picked that track as their favorite, which is great. As a musical theater major at Syracuse University, that was your uptempo number that you would give for your auditions. As a musical theater major, you had to learn this record, as it's from [the] Little Me [musical], and it gives you a chance to really kind of show your chops in terms of a singer performer.

I would say, thematically, the record usually meant that the railroad tracks would divide a community; there was a poor side and the rich side. This record was one of those first ones that was more of an autobiographical look at where I am in my life — it can be applied to everybody. Everybody always thinks the grass is greener… that's a common theme, but not always the truth, but it gives us fire in our belly and gives us a reason to long and search and yearn and work toward a goal. You got to be happy where you are.

Your album, Survivor, feels like a powerful reclamation of self. Looking at the title track, what does the word 'survivor' mean to you at this point in your life. Has that definition evolved through your personal and professional journeys?

I think 'survivor,' in general, means to stick to it. You stuck to it. You didn't give up. I certainly don't see survivors as a victim where many people think you're a victim and you've survived because that's just how a lot of people perceive that. My definition of survivor is still being in the game, still having something to say. I don't want to add because that adds a lot of pressure. You should be actively pursuing what you want to and succeeding in what you want to and continue to do. I definitely think survivor, to me, is hanging in there.

Music has been a core part of your artistry, with hits that have transcended generations. How has your relationship with music evolved over time, and is there a personal soundtrack or song that represents where you are in life today?

I don't know whether there's one soundtrack that sums up everything that I've gone through or that I'm aware of. I'm sure there's something that I can relate to, but my relationship with music has been lifelong. Both my parents are music teachers. My house was always surrounded by music, and my parents were teaching downstairs on the piano, upstairs in the dining room. Plus, music was a requirement in a household, so we chose an instrument and we had to play it all the way until we graduated high school.

I was lucky to not only be able to take my skill set, which was singing, and be able to have wonderful people believe in me and lend their artistry to make beautiful music, which turned into hits and have a career based on that success. I was lucky enough to have ‘Save The Best For Last’ be passed on by Bette Midler and Babara Streisand – I was the third person to get the record in their hands. I had no idea it was going to be a tremendous hit that would last number one for six weeks. All those things are all kind of a blessing.

Your portrayal of Wilhelmina Slater on Ugly Betty was iconic for many reasons, including how she exuded both power and vulnerability. How did you find inspiration for such a complex character, and what aspects of Wilhelmina's personality mirrored your own that fans would never guess?

Well, I think [a TV show is] lucky to have four seasons. It is amazing. Nowadays, there are not a lot of shows that have 24 episodes that you get a chance to see year after year. You're lucky if you get eight to 10, period, and if it actually moves on. Back in the day, when you had some security, and also when you sign onto a role and the group of writers were together in a writers room.

Now, everybody's all zooming in and all that stuff, but there used to be a writer's room, and all the writers would get in and brainstorm and have a board and work out the season. The more they see you interact, that's how they get their inspiration for the next story arc. think Wilhelmina was enhanced and grew because the writers were like, oh, let's put her in this situation. As far as mirroring each other, she can't cook, and I can, so… [laughs]. We are similar because we both didn't have any real fears. I can say she had a lot of assistance where I'm more self sufficient.

You've navigated the highs and lows of fame with grace, particularly after the Miss America scandal. Reflecting on that chapter now, do you see it as a pivotal moment that reshaped how you defined your personal and professional boundaries?

Boundaries — we didn't have that word back then. Boundaries were not really a concept, and it was really difficult to not take everything personally, just as when you're on social media. Like, I don't read comments, because I put it out and I move on. What saved me was that it got so crazy, and I'm doing a documentary about it soon. It got so crazy with people and their assumptions and judgments.

The silliness and the craziness allowed me to say, 'Well, this is all judgment. They don't really know who I am.' That was my boundary of protection, saying, 'You guys can go crazy, but you don't know who I am.' They think they know, but they don't know. I guess that would be my version of a boundary that I created at 21 years old.

Can we ever expect a biopic? Or a documentary?

Yes, we're working on it right now. There's a biopic and a documentary in the works. I want to make sure it's right, and I'm not willing to, you know, make it cheesy. There's a lot I'm layering in. I know that is what's imperative: the support that I have for my family, my parents especially, and then my community. Music needs to be a part of everything.

You often play roles that exude confidence and command respect, but have there been any roles that were particularly difficult for you to connect with emotionally?

There's not one role that I felt like, 'Oh, I can't do this, I'm doing a crap job.' I know that there's somewhere I can find a way to make it organic and believable. When I first got the script for Soul Food, they wanted me to play Maxine, the mother, because at that time I had three kids. After I read the script, I went, 'No, Terry is the one for me.' I also understood her from back when I played her. She's trying. She has the burden and the education. And, to make sure that the wheels don't fall off the tracks, she's got to take care of the bills and the will and the estate and all that stuff. There's usually one person within the family that is always burdened with that, and everybody just says, 'Okay, well, they handle it.' Also, between her cousin sleeping with her husband, all that being the top layer of it all. That was one of those decisions that definitely paid off.

Another one was doing the film Race with Arnold Schwarzenegger. My agent had told me that they were casting and they were thinking about a costar for Arnold. The director didn't want me, and the producer didn't want me, but I flew myself out and did a screen test with Arnold. I knew that I could do it, and I wanted to be able to be in a gigantic action film. It worked out! Arnold said, 'Listen, people have judged you just like they've judged me. People thought I was Mister Universe, and it was all body, and I had nothing else to give. Same thing with you. They judged you as a beauty queen, and they thought your career was over. We both have made it and succeeded in what we wanted to do.' And that's how we bonded.

Miranda Priestly is a powerful, uncompromising figure. As a Black woman stepping into this role, how important is it for you to redefine traditionally white characters, and what impact do you hope it has on audiences, especially young Black women?

The wonderful thing about this role has been that I can create it. It's never been done before, so that was the reason why I signed on. Meryl Streep did it in the movie, but theater is a whole different genre. I'm so happy that I get a chance to be fashionable and strong and powerful and sensitive in the role. Matt Henry, who plays Nigel, is another Black performer who's amazing.

When I signed on, I never thought about making headlines because I'm a Black woman portraying this role. I wanted to do that role because I know I can nail it, and it's exciting to do it. When I have my speech — when Miranda's husband Stephen is leaving her — it gets sad, and it gets vulnerable, and the audience is in the palm of my hand. I have a number called 'Stay On Top,' which you’ll see in act two. This is when you see Miranda confessing that she's known all that's going to happen, and these are the sacrifices that she had to make to stay on top. Whether it was friendships, whether it was her marriage… all of those pains and hardships she had to sacrifice in order to stay on top in her job.