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Director Peter Farrelly has admitted that he did not seek input from Shirley’s relatives because he didn’t think the musician had many left until this fall. Speaking to, Farrelly said, “I feel bad about that, I wish we could have done more. To be honest, the people looking into it just didn’t find them—they screwed up.” He also said that he and his team were “very aware” of “certain tropes, like the white savior trope—the white guy saves the black guy—as well as the black savior trope—the black guy saves the white guy. I’m sure there will be some criticism that the film is not authentic because it’s not dark enough. But that’s not my style.

We didn’t want to preach to the choir.” n The controversy raises the question of whether getting any Don Shirley movie is better than no Don Shirley movie. Actor Mahershala Ali certainly saw the value in the former, especially given that Green Book tackles the “diversity of experience within the black American experience. A story that I’ve never seen onscreen.” n Speaking to this September, Ali explained, “There’s been a percentage of wealth in America that’s been black for a very long time, or people who are middle class—people who have had all different sorts of educational experiences. Some people can look at them as not being worthy of their blackness.

One of the key things for me is when Don Shirley says, ‘I’m not black enough, and I’m not white enough. What am I?’ There’s so many African-Americans who are told by other African-Americans that they’re not black enough, as well as by white people. ‘Oh, you don’t sound like me.’ ‘You’re not really from the hood.’” n For a more refined story about Shirley, one told from his perspective, we will just have to refer to his music.

When did your passion leave your living room? N I went to a performing-arts school in Cincinnati, where I took the flute, then French horn, then trumpet. Then I went to DePaul University in Chicago for acting. I’m very thankful I went to college, because I’ve seen the difference that it makes for me in the professional world.

After graduation, I was building a name for myself in the Chicago theater scene, but there was always this pull to L.A. So I decided to do the scarier thing before I got too comfortable. N And only three months after you moved, you were cast in a Barry Jenkins film? N It was super-fast.

My friend was auditioning for the male lead, and he asked me to read Tish with him for his audition tape. Immediately I just felt something in my spirit say, “This role is for you, this is what you have been waiting for.” So I submitted my own tape and kept thinking, If I just get in the room they’ll know. But let me in the room! Two weeks later Barry flew me to New York to read with Stephan James, who had already been cast.

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Of course I’m freaking out—it’s the biggest audition I’ve ever had. I remember talking to my mom, and she said, “Didn’t you say it was yours if you get in the room?

You’re going to the room, so get your ass in there and let them know that it’s you!” n So how was it? People kept offering me water. And I kept saying, “No, no, I don’t need any.” And Barry said, “Oh, yeah, KiKi, she’s not thirsty, she hungry.” And I was like, “Yes, I am hungry for this role. So, let’s get to work.” n What did you learn from working with him? N Barry helped me trust my preparation and natural instincts—he really improved my confidence. N What was it about the story that you loved? N The film talks in such a real way about the injustices the black community faced in the early 70s but still face today, issues of wrongful incarceration and what the justice system looks like for black people growing up in poverty.

But at the core of it is a really beautiful love story between Tish and Fonny. I don’t feel like I’ve seen this for young black actors—there’s this tenderness that I just don’t see. N What does KiKi stand for? N It’s short for Kiandra.

My mom knew from the beginning that they were gonna call me KiKi. N She knew you needed a stage name.