From KCRW, I'm Kim Masters, and this is the business.

When Oscar-winning costume designer Ruth E. Carter first saw Chadwick Bozeman in his iconic Black Panther suit, she was amazed.

But then he spoke up.

My mouth was on the floor. I just was like, wow, these superhero suits, they really do transform. But then he said, yeah,

but this helmet smashes my nose, I can't breathe, and I can't really lift my arm above my elbow.

I was like, well, that's got to change. Carter joins us to talk about her book, the art of Ruth E. Carter,

which includes pictures and stories from her dazzling career. A chance encounter

with Spike Lee kicked off a long collaborative relationship, starting with school days in 1988,

up through Chirac in 2015. Carter also talks about designing the costumes of Wakanda in both

Black Panther movies and why she calls working on a Stephen Spielberg production,

a race to the finish line. But first, we banter. Stick around. It's the business from KCRW.

I am joined by my partner in banter. Matt Bellany. Hello, Matt. Hi there. So I will just touch

base with the usual strike watch as we are Hello, Matt. Hi there. So I will just touch base with the usual strike watch. As we are

speaking, negotiations have been ongoing between the studios and SAGAFTA. I am told that the first session,

which was a few days before this conversation, went well, was encouraging. But I think we probably both agree that we've got

the fantastic four studio team, Bob Iger, David Zaslov, Donna Langley, and Ted Sarandos in the room

negotiating at the Sag after headquarters, which in itself is quite a concession for the royalty

of Hollywood.

Well, as long as Fran Drescher didn't accuse Bob Eager of being Vladimir Putin, then it's

probably a good sign that the talks are going well. Yeah, that could be it. But the talks

are continuing as we speak. We think they want to wrap this up quickly and get everybody back

to work. But at this moment, no deal.

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