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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Yeo Yo Yo,

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Speaker 1: What up y'all?

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Speaker 2: This is Fonte Fonte Delo and we are back with

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Speaker 2: part two of our New York City in Studio interview

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Speaker 2: with filmmaker, music executive and all around wonderful human being

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Speaker 2: Lisa Cortes. In this episode, we're gonna talk about her

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Speaker 2: new documentary Little Richard I Am Everything, which you should

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Speaker 2: definitely check out because this is a great film and

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Speaker 2: it is available on YouTube, Amazon Prime, wherever you rent,

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Speaker 2: wherever you stream. Also, please listen to part one, where

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Speaker 2: at Lista talks about growing up for early musical memories

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Speaker 2: and also working at Deaf Drum Records at a very

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Speaker 2: crucial time in its history. We love this compo, and

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Speaker 2: we hope y'all do too. All right, Quest Love Supreme Peace.

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Speaker 3: I always wanted to know since you were there around

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Speaker 3: like eighty nine to ninety post Terodom, post Griff interview,

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Speaker 3: there is like a really scary period where like some

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Speaker 3: of us thart, like Deaf Jam was about to shut

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Speaker 3: down during the entire you know, Griff interview Public Enemy.

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Speaker 3: Things I remember, like seeing Chuck on Entertainment tonight. I

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Speaker 3: think with tape over his mouth or had a like

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Speaker 3: he sat for an interview but then like I'm not

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Speaker 3: giving any comment or whatever.

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Speaker 1: How weird was that period?

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Speaker 3: Like, were you guys the type to embrace a controversy.

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Speaker 3: Was it sort of like Dan the JDL might shut

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Speaker 3: us down or that sort of thing, or did le

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Speaker 3: or have to sort of get in front of the

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Speaker 3: bullet did his thing?

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Speaker 1: Okay?

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Speaker 4: I think the Ladler has always been an important strategist

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Speaker 4: in telling the true story of the artists and where

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Speaker 4: they were coming from. Bill was a great interpreter. Who

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Speaker 4: could call a guy trembay, who could you know, talk

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Speaker 4: to all these different people to really give them the

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Speaker 4: broader context of who this person is and what they're

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Speaker 4: talking about, why they're talking about it.

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Speaker 1: We got to get Bill ed on the show. Oh

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Speaker 1: my gosh, it too.

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Speaker 5: We got Lisa now.

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Speaker 1: So yeah, are you doing contact with your Oh my gosh.

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Speaker 4: Yes, Bill Ladler.

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Speaker 5: I imagine y'all have Jamsey Williams, seasonal.

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Speaker 4: Faith Smith, you know, even the deaf jam Soul songs artists.

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Speaker 4: We had a little reunion, so.

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Speaker 1: That's occasionally talked to. Did not know he was Puerto Rican.

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Speaker 4: Orn Tay Shawn, Chuck Stanley and Alison Williams. Alison Williams

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Speaker 4: and we went to Europe and I was the tour manager.

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Speaker 4: It was one of those if it's Tuesday, it must

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Speaker 4: be Belgium. Okay, if it's Wednesday, we got to get

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Speaker 4: in the bus and get the Frankfurt. And that was

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Speaker 4: Actually we had a reunion like two months ago, and

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Speaker 4: even the band members, you know, we're all there.

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Speaker 6: That's so full circle too, you said, Alison Williams. Then

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Speaker 6: I thought about you with the Luther concert. Then I

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Speaker 6: thought about Ramote, Harvey and.

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Speaker 5: The whole I am. It's just it's a beautiful, circular

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Speaker 5: kind of connection between all of y'all. That's beautiful.

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Speaker 4: Why did we the ghost room my life?

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Speaker 3: We would have been bffsed to, I believe. So, I mean, look,

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Speaker 3: what made the deal irresistible was that, you know, most

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Speaker 3: artists will the label will have options to instantly drop

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Speaker 3: if they see the bands not fit. And we didn't

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Speaker 3: even learn how to craft the song until our fourth album.

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Speaker 3: So in this situation, the thing that brought us there

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Speaker 3: was the fact that if you our contract was hooked

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Speaker 3: up so that if you did album number one, they

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Speaker 3: had to do two and three. If we did four,

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Speaker 3: they had to do five and six. It was really

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Speaker 3: the true reason why we've had seventeen albums under our

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Speaker 3: belt because label trust me. There are many times where

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Speaker 3: the label was like, get rid of it, damn another

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Speaker 3: two records. And so that's that's the story. So why

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Speaker 3: did you leave def Jam and what brought you to Mercury?

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Speaker 4: Well, x Stein offered me a gig and then everybody

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Speaker 4: did because people were afraid of Leora and Russell. But

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Speaker 4: they were like, yo, ed off is talking to her.

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Speaker 4: And then you know, I remember I met with Tommy

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Speaker 4: Mottola and you know, and just like the whole gamut.

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Speaker 4: And but I you know what I loved about ed

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Speaker 4: and I still love is we grew up listening to

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Speaker 4: all kinds of music, you know, because I got my

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Speaker 4: you know, I can sing all the Stairway to Heaven

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Speaker 4: and you know, Darkness on the Edge of Town Patty

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Speaker 4: Smith and Nick Drake and you know, then do a

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Speaker 4: little Brazilian lullaby with Sarah Vaugh and then drop into

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Speaker 4: a Cumbia A multitudes.

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Speaker 1: I think seems in love all day. She's talking about

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Speaker 1: Darkness spixteen.

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Speaker 4: Yeah, because there's a darkness on the edge of town.

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Speaker 4: And so and Ed. You know, as the son of

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Speaker 4: Billy x Stein growing up in California. He is a

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Speaker 4: diverse He's a good one to talk.

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Speaker 5: Talk to him. He's ready to go. Yeah.

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Speaker 1: Yeah.

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Speaker 4: And he said to me, Lisa, I said, and I

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Speaker 4: don't know if I just want to do black music.

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Speaker 4: He said, you can do whatever you want. And I

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Speaker 4: knew that I would want to produce the cast recording

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Speaker 4: of Jelly's Last cham which I did when I was

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Speaker 4: there working with George Wolf. I did records with John Lucienne.

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Speaker 4: You I just had loved so much, you know. And

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Speaker 4: then on the flip side, I'm working with hip hop,

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Speaker 4: I'm working with reggae. I worked with all kinds of music.

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Speaker 1: You know.

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Speaker 4: I was the person when Talking Loud came to the

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Speaker 4: States because I was the person in Incognito Omar Young Disciples.

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Speaker 1: So wait, were you the one that introduced.

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Speaker 4: Might have wowse hip hop? Zeleig is now acid jazz.

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Speaker 3: Literally, when Giles got the word that he lost us,

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Speaker 3: he didn't take that line. He flew to Wendy was like,

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Speaker 3: I still want and she let him do it because

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Speaker 3: I used.

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Speaker 4: To go to London and I was looped in with

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Speaker 4: all those folks and I when they brought the Talking

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Speaker 4: Loud label because of you know, it came to Mercury,

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Speaker 4: and I was a person like, yes, I want to

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Speaker 4: work with them, you know. I love what he was doing.

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Speaker 4: And when even when I had my label, I was

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Speaker 4: going to sign je Lisa Anderson and.

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Speaker 1: Bobby birds stepdaughter or daughter.

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Speaker 4: I think she's a cousin because Carleen is there is

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Speaker 4: a daughter and she's a cousin Olisa.

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Speaker 1: Oh shit, I worked on our record pressure.

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Speaker 4: I was going to sign.

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Speaker 7: This happens like once a week. Do you like?

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Speaker 2: Oh?

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Speaker 7: I played on her record.

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Speaker 1: This is Do you have a lot of demos?

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Speaker 3: I've worked on like five songs where her when we

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Speaker 3: were living in London and never got to Me and

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Speaker 3: the bass player of Jamaica Stewart, we worked on her

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Speaker 3: record and it never came out.

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Speaker 4: Well, it probably was for the UK label because I

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Speaker 4: was going to sign her before my tragic again but

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Speaker 4: we'll get to that.

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Speaker 5: Oh yeah.

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Speaker 4: So I was the point person for all the Talking

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Speaker 4: Loud folks, so of course I knew, you know Moreen

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Speaker 4: Spernstein and Jonathan doing Giant step and blah blah blah

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Speaker 4: blah blah. And that was that, you know, I was

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Speaker 4: so I love that Ed allowed me that space to

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Speaker 4: connect with and try things out and really be able

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Speaker 4: to broaden the scope of expression within black music, you know.

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Speaker 4: And I worked with Angela Windbush Angela. Angela's not Angela,

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Speaker 4: she's Angela. I thought it was Angelo, Okay, who is incredible.

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Speaker 4: She is producer, songwriter, voice like an angel.

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Speaker 1: You're in the studio with her or are you in?

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Speaker 4: But she was married to Yeah. I went to their

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Speaker 4: their Spaceship studio in California.

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Speaker 2: Okay, I wanted to ask Lisa. You mentioned Larry Smith.

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Speaker 2: He's just someone that we always just you know, very

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Speaker 2: rare we get people that actually work with him. So like,

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Speaker 2: what was he like in the studio? What was that

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Speaker 2: relationship like working with him? Because he's just an unsung

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Speaker 2: so it's.

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Speaker 4: Me DEENI and you know, he had this whole connection

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Speaker 4: to other UK artists because of Zomba multi instrumentalists and

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Speaker 4: just and a peacemaker. Because you have to remember a

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Speaker 4: lot of these artists are very young. This is all

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Speaker 4: new that they had a way and a pace and

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Speaker 4: Larry had come from where they had started, but he

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Speaker 4: had traveled and he had had the hits, and he

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Speaker 4: was really great talking to the artists and talking them

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Speaker 4: down and cooling them out. And you know, it's funny.

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Speaker 4: I ran into Paul Schaeffer, came to a screening of

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Speaker 4: Little Richard over the weekend and Paul Schaeffer did a

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Speaker 4: hip hop record.

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Speaker 1: When My Radio is on.

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Speaker 4: And Larry Smith produce that song he produced they know

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Speaker 4: the album that has Will. Yeah, that's Larry didn't I

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Speaker 4: didn't write songs. Might put that deal together, so you know.

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Speaker 3: The world famous My first show was that Radio City

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Speaker 3: Music Hall thing. So Dion of Dionna and the Belmont

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Speaker 3: is also on the show and brings Paul Schafer out,

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Speaker 3: who I guess obviously just released the single, and I

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Speaker 3: remember like because Will and Jeff.

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Speaker 1: Weren't there or whatever, and they wanted to do that song.

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Speaker 3: And for half a second it's like they looked at

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Speaker 3: my direction like, oh, do you know a rap like

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Speaker 3: you know that sort of thing, and it was like, nah.

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Speaker 1: I'm not doing that, but you orchestrated that song.

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Speaker 4: Well that because it's a whole album with that Larry produces. Yeah,

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Speaker 4: that let me just went out there.

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Speaker 5: Let me be clear.

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Speaker 1: Yes, it's a dou wop.

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Speaker 3: It's like Dion of Dionna and the Bellmont's run around

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Speaker 3: soon it's it's Deon is in Paul's mind. He's doing

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Speaker 3: what boys the Men successfully did. He wanted to do

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Speaker 3: a dou wop joint with hip hop modern, you know,

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Speaker 3: and he's New York and you know, Paul was like

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Speaker 3: a nerdy hip New Yorker type whatever, so he wanted

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Speaker 3: to just a moogamate all that. And there was like

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Speaker 3: a few performances where Jeff and Will and Dion and

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Speaker 3: Paul Schafer.

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Speaker 1: Yeah, well this was no. It's eighty nine, so it's

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Speaker 1: like you don't say no to Paul Schafer.

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Speaker 5: Yeah, the check was.

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Speaker 1: Good, the opportunity, right, But you.

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Speaker 4: Know it's also how they then get invited to go

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Speaker 4: on David Letterman. The opportunity to tell us, yeah, that

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Speaker 4: was that was like how it didn't just happen there.

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Speaker 4: You know, all these people were resistant, you know, the

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Speaker 4: way now that they want to have push a t

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Speaker 4: on it whoever on the show. They didn't want to

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Speaker 4: have these artists. They did not, you know, want that children,

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Speaker 4: just like with Little Richard to be exposed.

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Speaker 3: He produced that song, So like, how do you you

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Speaker 3: became president of what was your highest position of mercury?

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Speaker 4: I was Vpvynar.

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Speaker 3: So for you in music, what do you deem like

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Speaker 3: your three crowning achievements? Yeah, like I seedd this and

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Speaker 3: blah blah blah happened? I like that song.

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Speaker 1: When my radio? How do you all know this, Steve?

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Speaker 1: Because I have taste?

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Speaker 4: It wasn't look because we should look up?

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Speaker 1: Wait because dad am I allowed to play this song

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Speaker 1: talking about.

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Speaker 5: Yeah, he gave you the things until he cuts things.

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Speaker 5: Her answers, all, right, here we go.

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Speaker 7: Ten seconds said yeah, ten seconds? Whose ten seconds?

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Speaker 8: I got it? So that's ten seconds. That's ten seconds

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Speaker 8: in the NFL. Well, this ship made mt V. Oh,

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Speaker 8: this is definitely Larry Smith drum track.

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Speaker 3: Straight from the Whodini's open Sesame sessions.

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Speaker 5: But what is Paul Shaffer doing?

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Speaker 1: Paul do you not know?

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Speaker 2: In the song he's the DJ college Oh.

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Speaker 1: I didn't even know that. Who DENI was a part

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Speaker 1: of this.

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Speaker 3: But you gotta understand, like in like Johnny Carson was

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Speaker 3: just the standard of Late Night.

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Speaker 1: I get it, and the lerman was like he was

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Speaker 1: hip him and Paul are as nerdy as they were.

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Speaker 3: They were like the cool guys that like not stuffy

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Speaker 3: suit like Carson. So you know this, I mean, no

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Speaker 3: one brought this ship and only nerd me. I'm the

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Speaker 3: one person that knows this song, all right, So okay,

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Speaker 3: I brought it. I'm sorry, go ahead, thank you.

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Speaker 4: For giving me time.

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Speaker 5: You see, how do so wait?

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Speaker 7: Three achievements?

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Speaker 3: Achievements or three magic moments that you got the witness

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Speaker 3: because I'm very impressed about you being in the room

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Speaker 3: with the Bomb Squad.

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Speaker 4: Okay, so Bomb Squad and Ice Cube singing back up

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Speaker 4: on the Lesson Zero soundtrack, the Danzig song and the

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Speaker 4: Roy Orbison song who Fades Away a Danzig Lonely and

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Speaker 4: Lesson Zero and Rick Rubin producers. Yeah, because you know,

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Speaker 4: I had thoughts that I was going to be a singer.

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Speaker 4: That's how I thought I could get a job in

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Speaker 4: the music industry and get discovered. And I very quickly

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Speaker 4: learned that it's not just about you got a great

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Speaker 4: voice and you you know, have a look and a

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Speaker 4: style and a vibe, but you also have the right label,

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Speaker 4: you have the right manager. You have like all the

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Speaker 4: stars have to line up and when I fell into

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Speaker 4: this Motley family that was so exciting and all these

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Speaker 4: different characters, and you know, in the office, you got

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Speaker 4: bottles coming in, you got people smoking crack outside. You

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Speaker 4: got like it was craziness. And I was like, I

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Speaker 4: can do the art, but I can also do the

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Speaker 4: commerce and I can be an advocate. And so I

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Speaker 4: gave up the singing. But for some reason they needed

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Speaker 4: a fourth voice, and I think I worked my way

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Speaker 4: in to join. So I love that moment because we're

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Speaker 4: not credited on those two songs, but it's Chuck Stanley, Allison, myself,

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Speaker 4: and I think Tayshawn might have been singing.

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Speaker 7: Yeah.

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Speaker 3: Really, So when did you, in your mind leave the

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Speaker 3: music industry?

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Speaker 4: So I started this label after several years at Mercury,

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Speaker 4: I was going to go to another label. So my

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Speaker 4: label was called Loose Cannon. Yeah, And it was very

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Speaker 4: challenging to have a small boutique label, struggling to have

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Speaker 4: the promotion. People take your records out because you know,

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Speaker 4: you become second and third. And I had like my

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Speaker 4: little team and we're doing our own you know, street

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Speaker 4: team and blah dah blah, and I just hit the

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Speaker 4: glass ceiling. I hit the ceiling and I ultimately left.

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Speaker 4: I took action for gender and racial discrimination. I was

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Speaker 4: the only woman in this worldwide company, and I didn't

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Speaker 4: have the same opportunities that I saw people around me

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Speaker 4: who were failing but going up, and you know I

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Speaker 4: and it was for my parents, because my parents were

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Speaker 4: so about we're not you know, like we as black

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Speaker 4: people have to stand up for injustices, not only for ourselves,

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Speaker 4: to be example for others, you know that, and not

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Speaker 4: only them, but their grand their parents, my grand you know,

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Speaker 4: they like I come from people who just were always

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Speaker 4: fighting to and not accepting and finding, you know, trying

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Speaker 4: to bring community forward. So I left and I didn't

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Speaker 4: listen to music for six months, and.

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Speaker 1: You established this label and established I.

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Speaker 4: Did the Till Shiloh record with Boujeoux, but and you know,

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Speaker 4: I'm I like all different shit. I put out a

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Speaker 4: folk group of Aboriginal women from Australia called Tittus. I

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Speaker 4: put out.

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Speaker 1: Titties titt I want to buy that record that on

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Speaker 1: Spotify was that.

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Speaker 3: I would actually play your own song if you had

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Speaker 3: a song, you gotta make yourself a song.

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Speaker 4: Do you have to make a titty record? And I'll

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Speaker 4: say background made, I'll come out, I'll come out of retirement.

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Speaker 1: I gotta have titties.

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Speaker 7: The musicales the musical.

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Speaker 4: He t I D d y Okay Australian Aboriginal now.

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Speaker 3: Okay, just so that I not feel like I'm not crazy,

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Speaker 3: Like there is definitely a discussion on like, guys, are

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Speaker 3: you sure this is the name that you want to

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Speaker 3: go by?

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Speaker 7: Aboriginal nipples?

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Speaker 1: They changed from nipple that was, and then they.

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Speaker 4: Tried but that didn't.

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Speaker 1: This is why you're you're so quick? Okay. I love it.

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Speaker 4: I love till Shiloh. It's a record I'm incredibly proud of.

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Speaker 4: But I also did the I reissued Red Fox and

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Speaker 4: Richard Pryor all those early comedy.

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Speaker 1: Records records they had been on. Laugh that's you, yes,

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Speaker 1: the reason for this.

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Speaker 4: Yeah, and so I got that catalog. I got people

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Speaker 4: like Walter Moseley to write the liner notes.

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Speaker 3: Come on, people don't even know about they he.

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Speaker 4: And so yeah, so boom, chapter close. I'm not listening

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Speaker 4: to music. What do you do?

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Speaker 5: You go to India?

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Speaker 4: So I went.

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Speaker 1: In India.

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Speaker 4: Well, I just I wanted to get away from everything,

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Speaker 4: to figure out what was gonna being next, and why

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Speaker 4: not go to a place where I was going to

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Speaker 4: be challenged?

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Speaker 7: And what year was this for you, Lisen?

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Speaker 4: This is nineteen ninety seven.

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Speaker 5: Okay, after the movie, before the movie.

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Speaker 4: This was before the movie. Yes, And I didn't really

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Speaker 4: eat that much.

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Speaker 1: I was I was afraid to eat.

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Speaker 4: I'm like, I don't know, I'm just gonna be a

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Speaker 4: vegetarian for three mouths. But I was traveling and just

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Speaker 4: like reading books by local, you know, Indian authors like

342
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Speaker 4: Mystery and Salomon Rushdie, and hanging out with tabola players

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Speaker 4: and Varanasi and just like doing yoga and going to

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Speaker 4: the beach and you know whatever. And I went to

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Speaker 4: a movie theater. When I was in the middle of

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Speaker 4: watching this film, I realized, like, I want to make movies.

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Speaker 4: And I had studied film as an undergrad, and I

348
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Speaker 4: just saw that film gave me a bigger platform to communicate.

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Speaker 4: And even if you watch a little Richard and you

350
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Speaker 4: don't understand language, you're going to see the this roller

351
00:20:00,440 --> 00:20:03,960
Speaker 4: coaster ride he goes on, You're going to have a

352
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Speaker 4: sense of how his music affected people. You're going to

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Speaker 4: see his legacy. And so film then became my next

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Speaker 4: kind of place to go to. I came back to

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Speaker 4: New York. I took a production class at New York

356
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Speaker 4: Film Academy. I started volunteering. I started from ground zero,

357
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Speaker 4: and I just did the hustle, you know. I worked

358
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Speaker 4: at Urban World Film Festival. I put the panels together,

359
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Speaker 4: I met people. I went to the Toronto Film Festival.

360
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Speaker 4: I would watch four films a day. I would go

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Speaker 4: meet directors, I would volunteer. I would use my music

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Speaker 4: background and try to help people out. And then finally,

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00:20:39,359 --> 00:20:41,720
Speaker 4: one day I got a call from someone I had

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Speaker 4: known for many years, and he said, I'm going to

365
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Speaker 4: New Orleans to make a movie. Would you like to

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Speaker 4: come and work for me and also for the director?

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Speaker 4: And that was Lee Daniels and that was Monster's Ball.

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Speaker 2: Oh you said go to New Orleans. I immediately thought.

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Speaker 2: My first thought was about it by Master F I was.

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Speaker 2: I was so hoping whatever you worked on about it?

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Speaker 4: But Lee Davis school too, you know, in the metaverse, maybe.

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Speaker 2: I did you know what I'm saying, I could totally

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Speaker 2: see you fitting in with Master V and I so would.

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Speaker 4: I mean like I would just I would love to

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Speaker 4: be there because I love these these people who are

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Speaker 4: entrepreneurs who are and are pulling, you know, from a

377
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Speaker 4: space and at the same time moving culture forward.

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00:21:34,960 --> 00:21:37,320
Speaker 1: But that was the Oscar winner. What were you experiences like?

379
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Speaker 5: So it was.

380
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Speaker 4: Really fantastic because Lee, so I'm insisting him. I'm assisting

381
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Speaker 4: Mark Forrester the director, and I would do the famous

382
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Speaker 4: drive to take our talent up to the place where

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Speaker 4: we shot all the andla.

384
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Speaker 1: So he's most was three hours.

385
00:22:00,520 --> 00:22:03,400
Speaker 4: Oh well, because I had worked with Most in the

386
00:22:03,440 --> 00:22:07,399
Speaker 4: interim years and I had done with Danny Hasten's a

387
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Speaker 4: video for Most. I had done Most and Tali Quali ePK,

388
00:22:13,760 --> 00:22:16,280
Speaker 4: you know, And I said to I told Lee about Most.

389
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Speaker 4: I was like, I love him and he's great and

390
00:22:18,200 --> 00:22:21,760
Speaker 4: he can act. Also Banam Badah part one then part two.

391
00:22:22,000 --> 00:22:24,359
Speaker 4: I would have to take the talent to Angola. So

392
00:22:24,400 --> 00:22:26,800
Speaker 4: we were all in New Orleans and we knew we

393
00:22:26,800 --> 00:22:28,800
Speaker 4: were going to go there at one point to shoot

394
00:22:28,880 --> 00:22:31,840
Speaker 4: some of the scenes there. So I remember like driving,

395
00:22:32,119 --> 00:22:34,879
Speaker 4: you know, the hour and a half with each way

396
00:22:35,080 --> 00:22:38,040
Speaker 4: with Heath Ledger and talking about life and books and whatever.

397
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Speaker 4: And then you go and you tour this place, that

398
00:22:41,400 --> 00:22:46,280
Speaker 4: former plantation still a plantation, and you know, seeing the

399
00:22:46,359 --> 00:22:50,199
Speaker 4: actual room that they execute people in and then the

400
00:22:50,320 --> 00:22:53,680
Speaker 4: drive back home in that conversation. So I spent a

401
00:22:53,720 --> 00:22:57,000
Speaker 4: lot of time with the talent, but I also started

402
00:22:57,000 --> 00:23:02,880
Speaker 4: spending time with the DP, with the accountant, with wardrobe

403
00:23:03,280 --> 00:23:11,679
Speaker 4: and understanding like what they did and scheduling and lead

404
00:23:11,720 --> 00:23:14,320
Speaker 4: like gave me that space to go and learn. So

405
00:23:14,400 --> 00:23:18,159
Speaker 4: I had my little indie knowledge, but I also have

406
00:23:18,560 --> 00:23:21,359
Speaker 4: arts and crafts knowledge. My mother was really big about

407
00:23:21,400 --> 00:23:24,440
Speaker 4: making things. I like to make things, whether it's a

408
00:23:24,480 --> 00:23:28,800
Speaker 4: record or a movie or a documentary. I get a

409
00:23:28,840 --> 00:23:31,080
Speaker 4: lot of joy with all the people I get to

410
00:23:31,160 --> 00:23:36,120
Speaker 4: work with and the assembly of it. And so that

411
00:23:36,240 --> 00:23:40,680
Speaker 4: opportunity allowed me to have that access. And and you know,

412
00:23:40,840 --> 00:23:44,560
Speaker 4: that was a low budget film, you know, Holly, but

413
00:23:44,600 --> 00:23:46,960
Speaker 4: it was. There's so many funny, crazy stories.

414
00:23:47,000 --> 00:23:48,719
Speaker 1: Can I ask what was the budget for it?

415
00:23:48,720 --> 00:23:51,040
Speaker 4: It's like around three three point five million.

416
00:23:51,200 --> 00:23:54,040
Speaker 1: Oh, y'all had to really cut corners and so nothing.

417
00:23:55,480 --> 00:23:59,240
Speaker 4: And you know, it's it's interesting because originally Wes Bentley

418
00:23:59,400 --> 00:24:02,640
Speaker 4: was supposed to play the lead and then Wes Bentley

419
00:24:03,200 --> 00:24:06,679
Speaker 4: kind of went off the rails, disappeared and Heath Ledger

420
00:24:06,840 --> 00:24:14,560
Speaker 4: was huge, but like we had, Yeah, so we had

421
00:24:14,560 --> 00:24:17,399
Speaker 4: to convince them that that Heath Ledger could do this

422
00:24:17,440 --> 00:24:20,280
Speaker 4: because he didn't have a Southern accent, and we got

423
00:24:20,359 --> 00:24:22,639
Speaker 4: him this. I did like I had my own little

424
00:24:22,720 --> 00:24:26,320
Speaker 4: mixing a dialogue coach, and then I had to splice.

425
00:24:26,400 --> 00:24:28,800
Speaker 4: I had to play from cassette to cassette to make

426
00:24:28,880 --> 00:24:31,679
Speaker 4: something that would sound good to So it was a

427
00:24:31,680 --> 00:24:34,040
Speaker 4: lot of fun. It was very interesting. Getting to live

428
00:24:34,080 --> 00:24:37,160
Speaker 4: in New Orleans was fantastic job.

429
00:24:37,520 --> 00:24:40,040
Speaker 6: Keep it light on the set because it was so heavy, like,

430
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Speaker 6: you know, a lot of love.

431
00:24:41,480 --> 00:24:43,679
Speaker 4: A lot of care, a lot of taking care of people,

432
00:24:45,600 --> 00:24:51,119
Speaker 4: you know, mama, but but also you know Mark Fordster.

433
00:24:51,200 --> 00:24:54,720
Speaker 4: It is his second film, and he just is a

434
00:24:54,760 --> 00:24:59,080
Speaker 4: brilliant director, very loving and caring, you know, creating that

435
00:24:59,160 --> 00:25:02,240
Speaker 4: safe space have the right people, like you know, when

436
00:25:02,280 --> 00:25:07,040
Speaker 4: you're doing certain scenes, you don't have everybody standing around,

437
00:25:06,680 --> 00:25:10,240
Speaker 4: you do last looks and then everybody's out and you

438
00:25:10,320 --> 00:25:13,560
Speaker 4: have to give them that privacy to go to some

439
00:25:13,600 --> 00:25:18,199
Speaker 4: really deep, emotional, vulnerable places. But nobody thought that that

440
00:25:18,359 --> 00:25:21,000
Speaker 4: film was going to do what it did, that halle

441
00:25:21,080 --> 00:25:23,639
Speaker 4: Berry would win the Academy Award, that it would go

442
00:25:23,680 --> 00:25:26,120
Speaker 4: on to make over thirty million dollars for a three

443
00:25:26,160 --> 00:25:31,520
Speaker 4: million dollar film. But what happened is Lee's like Miyon's Gate.

444
00:25:31,560 --> 00:25:33,680
Speaker 4: They made all the money. I'm not making any money.

445
00:25:34,119 --> 00:25:36,399
Speaker 4: I'm going to take Lee Daniels Entertainment that had been

446
00:25:36,440 --> 00:25:41,240
Speaker 4: a management company. Lee had represented Michael Shannon, Marina Baker,

447
00:25:41,359 --> 00:25:46,239
Speaker 4: and Wes Bentley. He represented all this great talent and

448
00:25:46,280 --> 00:25:50,080
Speaker 4: he said, let's start Lee Daniels Entertainment as a production company.

449
00:25:50,359 --> 00:25:53,320
Speaker 4: So the first film that we then did on our own,

450
00:25:53,800 --> 00:25:57,679
Speaker 4: which was very hip hop, was The Woodsman Kevin Bacon.

451
00:25:58,200 --> 00:26:00,800
Speaker 4: So that's when I then moved to phill Dai to

452
00:26:00,920 --> 00:26:04,639
Speaker 4: then make two films there. I'm a two one five a.

453
00:26:04,840 --> 00:26:05,960
Speaker 5: Day girl all day.

454
00:26:06,080 --> 00:26:08,480
Speaker 6: Yeah, yeah, that Cuba Good and Junior Joint that was

455
00:26:08,480 --> 00:26:11,359
Speaker 6: my shadow box was Joint.

456
00:26:11,400 --> 00:26:11,879
Speaker 5: That's the best I.

457
00:26:12,000 --> 00:26:15,880
Speaker 4: Ever I really liked, and most stuff you know, He's

458
00:26:15,880 --> 00:26:18,960
Speaker 4: in that also and Dave all and Greer and Eve.

459
00:26:19,359 --> 00:26:21,200
Speaker 4: So that was the other thing we always wanted to

460
00:26:21,240 --> 00:26:25,359
Speaker 4: be mixed up. Yeah, the music and and making it

461
00:26:25,480 --> 00:26:29,200
Speaker 4: interesting with the casting. And with those films, we found

462
00:26:29,240 --> 00:26:32,840
Speaker 4: the scripts, we developed them, we found the internet, you know,

463
00:26:32,960 --> 00:26:36,560
Speaker 4: our our investors, we did our pre sales, we did

464
00:26:36,560 --> 00:26:39,919
Speaker 4: the production, all the deals, and then the you know

465
00:26:40,080 --> 00:26:43,520
Speaker 4: post and then bringing it to a festival and delivery.

466
00:26:43,640 --> 00:26:45,920
Speaker 4: And in the beginning it was Lee, a guy named

467
00:26:45,960 --> 00:26:50,679
Speaker 4: Dave Robinson who did international sales, and myself and you know,

468
00:26:51,240 --> 00:26:53,600
Speaker 4: we were doing material that other people were not all

469
00:26:53,600 --> 00:26:57,439
Speaker 4: looking at. And after shadow Boxer with Helen Mirren and

470
00:26:57,520 --> 00:27:04,119
Speaker 4: Joseph Gordon Levin, Monique Cuba Gooding Jr. That's when Sapphire,

471
00:27:04,280 --> 00:27:06,760
Speaker 4: who we had been chasing for years, gave us the

472
00:27:06,880 --> 00:27:09,320
Speaker 4: option to push.

473
00:27:09,720 --> 00:27:12,720
Speaker 3: What took it so long that it was a struggle

474
00:27:12,760 --> 00:27:14,880
Speaker 3: to nail that deal down.

475
00:27:15,200 --> 00:27:18,199
Speaker 4: She just was protective of who to give her work to.

476
00:27:18,320 --> 00:27:20,080
Speaker 4: I know she had been chased when the book first

477
00:27:20,080 --> 00:27:23,000
Speaker 4: came out by Madonna, who had wanted to tell it right.

478
00:27:23,160 --> 00:27:25,960
Speaker 1: She directly called her and was like, all I know.

479
00:27:25,920 --> 00:27:29,960
Speaker 4: Is that she wanted to option the material. Yeah, and

480
00:27:30,920 --> 00:27:33,399
Speaker 4: we showed a shadow Boxer and she said, Yo, you

481
00:27:33,440 --> 00:27:36,359
Speaker 4: guys are afraid to go there because she remember in

482
00:27:36,359 --> 00:27:39,679
Speaker 4: the film there's Helen Maren who was an assassin and

483
00:27:39,720 --> 00:27:44,000
Speaker 4: she carries off hits with her step son K Gooding Jr.

484
00:27:44,000 --> 00:27:44,960
Speaker 4: Who's also her lover.

485
00:27:46,119 --> 00:27:48,560
Speaker 5: I read the script and I was blown away.

486
00:27:48,560 --> 00:27:50,200
Speaker 6: So when I saw the vision when it got done,

487
00:27:50,240 --> 00:27:52,440
Speaker 6: I was like, Yo, it's really one of my favorite films.

488
00:27:52,440 --> 00:27:54,199
Speaker 6: I'm sorry, I'm so hype about it, but it was

489
00:27:54,240 --> 00:27:55,000
Speaker 6: just a mind blower.

490
00:27:55,280 --> 00:28:01,680
Speaker 3: In doing the Apollo Theater documentary, where is the Apollos

491
00:28:01,960 --> 00:28:04,320
Speaker 3: their footage of I would have thought they would have

492
00:28:04,320 --> 00:28:09,080
Speaker 3: had more footage at least between their early years in

493
00:28:09,119 --> 00:28:13,320
Speaker 3: the forties and up until the mid seventies. They never

494
00:28:13,480 --> 00:28:15,880
Speaker 3: recorded or documented those shows at all.

495
00:28:16,359 --> 00:28:22,239
Speaker 4: There's very few shows that were that were captured, and

496
00:28:22,640 --> 00:28:25,040
Speaker 4: I mean, I've become like a you know, a big

497
00:28:25,200 --> 00:28:29,199
Speaker 4: archival person. And luckily on that show, there was a

498
00:28:29,400 --> 00:28:32,000
Speaker 4: Jerry I forgot Jerry's name, who had worked with Percy

499
00:28:32,040 --> 00:28:36,440
Speaker 4: when Percy took over and did the remodeling, and Jerry

500
00:28:36,480 --> 00:28:38,680
Speaker 4: lives in Yonkers, and I went to his house and

501
00:28:38,720 --> 00:28:42,120
Speaker 4: we crawled through the basement and he had those beautiful

502
00:28:42,160 --> 00:28:47,760
Speaker 4: tapes of the renovation and the reveal because Percy tried

503
00:28:47,800 --> 00:28:51,200
Speaker 4: to have a multimedia center, so he had he started taping.

504
00:28:51,520 --> 00:28:54,040
Speaker 4: And that's also the onslite of you know, showtime at

505
00:28:54,040 --> 00:28:56,960
Speaker 4: the Apollo. But you know, I mean, I would have

506
00:28:57,000 --> 00:28:59,120
Speaker 4: loved to have seen when in the Motown review was there,

507
00:28:59,240 --> 00:29:02,720
Speaker 4: and so many of those incredible classic moments but it

508
00:29:02,760 --> 00:29:05,360
Speaker 4: didn't exist, you know. And you know, I think the

509
00:29:05,440 --> 00:29:11,520
Speaker 4: thing about documenting Black stories is that oftentimes our archival

510
00:29:11,760 --> 00:29:14,800
Speaker 4: has been lost because we had to leave our homes

511
00:29:14,880 --> 00:29:17,200
Speaker 4: in the middle of the night and escape, or our

512
00:29:17,240 --> 00:29:20,480
Speaker 4: homes got burnt down, or you know, the flood came,

513
00:29:21,000 --> 00:29:21,640
Speaker 4: like you know.

514
00:29:22,080 --> 00:29:25,040
Speaker 1: Or we're just not sentimental. Well maybe that's a lot

515
00:29:25,080 --> 00:29:25,880
Speaker 1: I get.

516
00:29:27,320 --> 00:29:31,760
Speaker 3: Doctor willi Is literally blew up the Soul Trained stage

517
00:29:31,800 --> 00:29:33,920
Speaker 3: and everything the science because he didn't he didn't want

518
00:29:33,920 --> 00:29:36,760
Speaker 3: to pay for storage.

519
00:29:36,760 --> 00:29:38,840
Speaker 1: So he was like get rid of it all.

520
00:29:38,880 --> 00:29:42,120
Speaker 3: So they had to like crush it and like literally

521
00:29:42,160 --> 00:29:43,000
Speaker 3: his entire history.

522
00:29:43,000 --> 00:29:43,560
Speaker 1: He didn't care.

523
00:29:43,760 --> 00:29:46,600
Speaker 4: Yeah, and the value of black cultural product and black

524
00:29:46,640 --> 00:29:51,400
Speaker 4: cultural archival is is really important to me because as

525
00:29:51,840 --> 00:29:54,360
Speaker 4: I tell these stories, as you tell the stories you're doing,

526
00:29:54,720 --> 00:29:56,800
Speaker 4: we want to bring people back to that moment. We

527
00:29:56,880 --> 00:29:58,920
Speaker 4: just don't want a bunch of contemporary people saying it

528
00:29:58,960 --> 00:30:00,920
Speaker 4: was like this, It was like that. No, we wanted

529
00:30:00,960 --> 00:30:03,200
Speaker 4: to be immersive and we want you to see and

530
00:30:03,280 --> 00:30:06,320
Speaker 4: feel and get a sense of the journey that we're on.

531
00:30:06,760 --> 00:30:09,000
Speaker 1: We were talking outside before we started taping.

532
00:30:09,280 --> 00:30:12,680
Speaker 2: You said this documentary, the Little Richard doc about two

533
00:30:12,720 --> 00:30:15,680
Speaker 2: years working on what was the hardest part. Like what

534
00:30:15,800 --> 00:30:17,840
Speaker 2: was I guess the biggest kind of the bottleneck that

535
00:30:18,000 --> 00:30:18,720
Speaker 2: took the most time.

536
00:30:19,280 --> 00:30:21,920
Speaker 4: Well, you know, we have this great partner, CNN Films,

537
00:30:21,960 --> 00:30:23,880
Speaker 4: and when you do a film from them, it's ninety

538
00:30:23,880 --> 00:30:28,360
Speaker 4: eight minutes, ninety seven and one hundred and one. Because

539
00:30:28,400 --> 00:30:29,960
Speaker 4: I kind of go like, we can it be one

540
00:30:30,040 --> 00:30:33,160
Speaker 4: hundred and one? No, So you know, like when you

541
00:30:33,240 --> 00:30:36,560
Speaker 4: got to back into that time, there's things that have

542
00:30:36,680 --> 00:30:40,000
Speaker 4: to fall out. For me, I wanted to talk a

543
00:30:40,040 --> 00:30:43,600
Speaker 4: little bit more in the film about the Shenanigans of

544
00:30:43,880 --> 00:30:46,640
Speaker 4: the music business, how it is that you can sign

545
00:30:46,680 --> 00:30:50,760
Speaker 4: someone and take everything and that they don't see. Yeah,

546
00:30:51,120 --> 00:30:53,640
Speaker 4: but as I like to say, I had to stay

547
00:30:53,640 --> 00:30:56,600
Speaker 4: on ninety five and not get off on exit five,

548
00:30:56,920 --> 00:30:59,840
Speaker 4: you know, because that would have taken us too long.

549
00:31:00,040 --> 00:31:01,160
Speaker 4: Our run time is.

550
00:31:01,120 --> 00:31:04,760
Speaker 1: This because they for broadcast purposes, you had to fit.

551
00:31:04,920 --> 00:31:07,200
Speaker 4: Yeah, that's their broadcast standard.

552
00:31:07,320 --> 00:31:10,280
Speaker 3: I was under the impression, and I believe that he

553
00:31:10,800 --> 00:31:15,040
Speaker 3: said this, that Michael Jackson at V gave him his

554
00:31:15,200 --> 00:31:15,720
Speaker 3: rights back.

555
00:31:16,000 --> 00:31:18,880
Speaker 4: So that's why John Branca is in the film. That's

556
00:31:18,880 --> 00:31:22,719
Speaker 4: why I interviewed him. Because John Branco, of course had

557
00:31:22,760 --> 00:31:26,920
Speaker 4: the relationship with Richard when Richard officiated at his marriage

558
00:31:27,200 --> 00:31:30,600
Speaker 4: that Michael Jackson was and Bubbles were best men at

559
00:31:30,680 --> 00:31:33,240
Speaker 4: for John Branca. There are pictures.

560
00:31:38,360 --> 00:31:39,800
Speaker 1: I just got maritate that.

561
00:31:41,560 --> 00:31:41,880
Speaker 5: Google.

562
00:31:42,320 --> 00:31:44,320
Speaker 4: Yes, it's the craziest picture.

563
00:31:46,520 --> 00:31:50,040
Speaker 7: Really. Yes.

564
00:31:50,280 --> 00:31:53,440
Speaker 4: And so Bronca, who you know, was Michael Jackson's attorney

565
00:31:53,480 --> 00:31:56,720
Speaker 4: and is still involved in the estate. I interviewed him

566
00:31:57,280 --> 00:32:01,360
Speaker 4: not only about that moment, but because when Richard protested

567
00:32:01,360 --> 00:32:05,760
Speaker 4: at ATV Music for his royalties and then Michael Jackson

568
00:32:05,840 --> 00:32:10,440
Speaker 4: bought the catalog. So in his books, in his autobiography,

569
00:32:10,920 --> 00:32:13,200
Speaker 4: Richard goes, oh, yeah, Michael gave me money. But I

570
00:32:13,280 --> 00:32:16,880
Speaker 4: learned very early on making this film that a lot

571
00:32:16,920 --> 00:32:20,360
Speaker 4: of things that Richard said, you know, were not completely true.

572
00:32:20,760 --> 00:32:23,560
Speaker 4: So I was like, okay, John Marica, you were there,

573
00:32:23,600 --> 00:32:26,440
Speaker 4: you were there all the time. Did Michael Jackson give

574
00:32:26,640 --> 00:32:29,880
Speaker 4: Little Richard money? And yes he did. I should have

575
00:32:29,920 --> 00:32:33,480
Speaker 4: asked him about sly Stone and Doris Day because maybe

576
00:32:33,480 --> 00:32:38,360
Speaker 4: he would have known about We could confirm, you know,

577
00:32:38,520 --> 00:32:41,480
Speaker 4: his h that Michael Jackson felt really bad, and he

578
00:32:41,520 --> 00:32:42,960
Speaker 4: did he gave him some bucks.

579
00:32:43,280 --> 00:32:47,760
Speaker 3: In your opinion, like, what was your mission statement in

580
00:32:47,920 --> 00:32:52,800
Speaker 3: doing Little Richard's story, Because there's so much to uncover

581
00:32:53,440 --> 00:32:56,840
Speaker 3: as an artist, as a human being, as a pop

582
00:32:56,880 --> 00:32:59,840
Speaker 3: culture figure, Like, what was your mission statement at like

583
00:33:00,600 --> 00:33:04,440
Speaker 3: before day one? I'm going to when people watch this,

584
00:33:04,640 --> 00:33:06,360
Speaker 3: they are going to blank.

585
00:33:07,000 --> 00:33:11,720
Speaker 4: The thesis mission was Little Richard's an icon? Why is

586
00:33:11,760 --> 00:33:16,000
Speaker 4: he an icon? Why is it that when he passed away,

587
00:33:17,040 --> 00:33:22,120
Speaker 4: this wide range of people from Bob Dylan to Harry

588
00:33:22,120 --> 00:33:27,640
Speaker 4: Allen to you know, Dave Grohl are talking to Bruce

589
00:33:27,680 --> 00:33:31,800
Speaker 4: Bingston talking about how important he is. He's so, why

590
00:33:31,880 --> 00:33:35,800
Speaker 4: is he an icon? Why does he matter? And if

591
00:33:35,840 --> 00:33:42,320
Speaker 4: he is the innovator, the architect, what did it take

592
00:33:42,400 --> 00:33:48,800
Speaker 4: to get there? Who is his fore mother, forefather? And

593
00:33:48,840 --> 00:33:53,920
Speaker 4: how does blackness and queerness factor into a conversation about

594
00:33:54,160 --> 00:33:54,760
Speaker 4: rock and roll?

595
00:33:54,840 --> 00:33:58,200
Speaker 6: Oh my god, the black queer conversation that you start

596
00:33:58,280 --> 00:34:01,200
Speaker 6: very early on in the movie. That was the initial

597
00:34:01,240 --> 00:34:05,040
Speaker 6: thing that blew me away seeing black queer people, beautiful

598
00:34:05,080 --> 00:34:08,040
Speaker 6: black queer people of that time because we don't see

599
00:34:08,080 --> 00:34:12,680
Speaker 6: black and white photos of like trans people and what

600
00:34:12,760 --> 00:34:15,680
Speaker 6: that meant. So after I saw the movie, I had

601
00:34:15,680 --> 00:34:17,640
Speaker 6: a physical reaction, Like, I had so much of a

602
00:34:17,719 --> 00:34:19,839
Speaker 6: reaction I had to like, I had to reach out

603
00:34:19,840 --> 00:34:22,280
Speaker 6: to Lisa. Did you expect for us to not only

604
00:34:22,560 --> 00:34:26,240
Speaker 6: be of course empathetic and sympathetic, but also pissed.

605
00:34:26,680 --> 00:34:29,239
Speaker 5: I was mad at times. Towards the end.

606
00:34:29,280 --> 00:34:33,279
Speaker 6: I got mad seeing like Mick Jacker and you know,

607
00:34:33,320 --> 00:34:35,560
Speaker 6: the Paul McCartneys of it. I don't know, I got

608
00:34:35,600 --> 00:34:37,759
Speaker 6: mad because I was like, I got mad when Little

609
00:34:37,800 --> 00:34:40,960
Speaker 6: Richard said, you know, Elvis told me that it was

610
00:34:41,040 --> 00:34:43,400
Speaker 6: if it wasn't for me, there would be no him. Basically,

611
00:34:44,239 --> 00:34:45,480
Speaker 6: did you know that that was?

612
00:34:46,160 --> 00:34:48,200
Speaker 4: I knew. I wanted it to be immersive, you know,

613
00:34:48,239 --> 00:34:50,799
Speaker 4: because you can't just do Little Richard at shut up.

614
00:34:51,120 --> 00:34:54,680
Speaker 4: You know, he's more than the one note comedic foil

615
00:34:55,160 --> 00:34:58,840
Speaker 4: that he had it become on these talk shows. He

616
00:34:58,960 --> 00:35:03,440
Speaker 4: is so deeply nuanced. And also he's this connector to

617
00:35:03,600 --> 00:35:07,280
Speaker 4: the Beatles, to the Rolling Stones, to Jimmy Hendricks, James Brown.

618
00:35:07,840 --> 00:35:11,800
Speaker 4: He brings him to making and that's where James cuts

619
00:35:11,920 --> 00:35:15,040
Speaker 4: his first hit. And when Little Richard blows up at

620
00:35:15,040 --> 00:35:18,200
Speaker 4: the same time and goes to Hollywood to be in

621
00:35:18,239 --> 00:35:21,040
Speaker 4: these you know, rock and roll movies, he has James

622
00:35:21,080 --> 00:35:24,680
Speaker 4: Brown got on the road as him because people didn't

623
00:35:24,680 --> 00:35:26,879
Speaker 4: know what Little Richard looked like. So he's like, oh,

624
00:35:26,920 --> 00:35:29,800
Speaker 4: you go out as me? You know he was Also

625
00:35:29,840 --> 00:35:33,840
Speaker 4: he was so giving and has been there's been a

626
00:35:33,880 --> 00:35:38,759
Speaker 4: lot of erasure about his contributions. So yeah, you gotta

627
00:35:38,840 --> 00:35:41,360
Speaker 4: be you gotta feel moved by it. You got to

628
00:35:41,400 --> 00:35:43,360
Speaker 4: be mad, and you have to say, you know what,

629
00:35:43,640 --> 00:35:48,480
Speaker 4: we need to know our history and an inclusive history,

630
00:35:49,120 --> 00:35:52,280
Speaker 4: a history that many people are trying to either negate

631
00:35:52,520 --> 00:35:58,000
Speaker 4: or criminalize. And you know what, sorry, people, this is America.

632
00:35:58,520 --> 00:36:04,360
Speaker 4: There's documentation of drag balls in DC in eighteen hundred.

633
00:36:04,960 --> 00:36:09,319
Speaker 4: So don't come through now and say like, no, this

634
00:36:09,360 --> 00:36:10,439
Speaker 4: has always been here.

635
00:36:15,320 --> 00:36:18,320
Speaker 3: What is your hope, because I think this is probably

636
00:36:18,360 --> 00:36:21,680
Speaker 3: the most compelling argument that one can happen again. I

637
00:36:21,760 --> 00:36:28,360
Speaker 3: know that there's a big sort of divide between and

638
00:36:28,440 --> 00:36:31,520
Speaker 3: really I'm not just saying conservative people. I'm being real

639
00:36:31,600 --> 00:36:35,560
Speaker 3: like with conservative blacks, like would turn a blind eye

640
00:36:35,640 --> 00:36:36,560
Speaker 3: to them or whatever.

641
00:36:36,719 --> 00:36:36,799
Speaker 4: Like.

642
00:36:36,840 --> 00:36:41,640
Speaker 3: It's very interesting even in watching like Soul Train a

643
00:36:41,719 --> 00:36:45,920
Speaker 3: place where literally like you know that you know the

644
00:36:46,040 --> 00:36:50,920
Speaker 3: LGBTQIA culture is, especially in the mid seventies and disco

645
00:36:50,920 --> 00:36:53,319
Speaker 3: period and all that stuff. There's an artist from DC,

646
00:36:54,280 --> 00:36:58,000
Speaker 3: a group named the Dynamic Superiors. They give one of

647
00:36:58,040 --> 00:37:01,120
Speaker 3: the greatest performances I've ever seen on a show, but

648
00:37:01,280 --> 00:37:04,080
Speaker 3: the lead singer is way beyond what we would call

649
00:37:04,160 --> 00:37:10,239
Speaker 3: like flamboyant whatever like, and Don's reaction to him is

650
00:37:10,320 --> 00:37:13,160
Speaker 3: it's it's clearly like I'm just going to act like

651
00:37:13,600 --> 00:37:14,080
Speaker 3: you're not.

652
00:37:14,160 --> 00:37:16,560
Speaker 1: There, like yeah, he got it.

653
00:37:16,840 --> 00:37:21,680
Speaker 3: Yeah, it wasn't even it wasn't even like hostility, and

654
00:37:21,719 --> 00:37:24,839
Speaker 3: it wasn't it was I've never even seen indifference, Like

655
00:37:25,920 --> 00:37:28,239
Speaker 3: most people will just be like ignoring, like okay, like

656
00:37:28,320 --> 00:37:32,440
Speaker 3: you're not there. But it's it's a level of conservatism

657
00:37:32,520 --> 00:37:36,440
Speaker 3: that I can't even describe that Don does to him.

658
00:37:35,840 --> 00:37:38,520
Speaker 1: Whereas like I'm clearly not going to acknowledge the.

659
00:37:38,719 --> 00:37:41,720
Speaker 3: What I see here is what I feel I don't understand,

660
00:37:41,800 --> 00:37:43,840
Speaker 3: so let me just act like it's not there. But

661
00:37:43,880 --> 00:37:47,840
Speaker 3: I feel like this film could actually sort of open

662
00:37:49,320 --> 00:37:51,960
Speaker 3: that door, Like is that for you?

663
00:37:52,040 --> 00:37:55,279
Speaker 4: Like yeah, I think people learning this history, learning that

664
00:37:55,600 --> 00:37:59,040
Speaker 4: you know the complexities of someone that most people really

665
00:37:59,080 --> 00:38:01,560
Speaker 4: love little Richard, Like you know, you say little Richard

666
00:38:01,680 --> 00:38:05,480
Speaker 4: like oh tooty fruity Lontel Sally, you people start shouting.

667
00:38:05,600 --> 00:38:06,520
Speaker 1: Literally, I didn't know about that.

668
00:38:07,800 --> 00:38:10,160
Speaker 7: I don't know what but you do.

669
00:38:10,280 --> 00:38:12,720
Speaker 1: Now I have no doubt.

670
00:38:12,840 --> 00:38:16,319
Speaker 4: And I went to Florida to screen it. I was like, God,

671
00:38:16,320 --> 00:38:18,000
Speaker 4: I don't want to go to Florida. We know it's

672
00:38:18,040 --> 00:38:18,480
Speaker 4: going on in.

673
00:38:18,560 --> 00:38:28,960
Speaker 3: Florida, an even as we'll go to America's.

674
00:38:25,520 --> 00:38:27,719
Speaker 4: It was the best thing. First of all, there's like

675
00:38:27,760 --> 00:38:30,400
Speaker 4: all these older people who you know, they've got this

676
00:38:30,520 --> 00:38:33,480
Speaker 4: memory of the routines and they saw him and they

677
00:38:33,520 --> 00:38:37,799
Speaker 4: love this story and they embraced this story. They didn't go, oh,

678
00:38:37,840 --> 00:38:39,719
Speaker 4: I like this part, but I don't like the queer part.

679
00:38:40,160 --> 00:38:42,719
Speaker 4: And then I talked to the young people who were like, yeah,

680
00:38:42,760 --> 00:38:45,719
Speaker 4: they want to take African American, you know, ap history out.

681
00:38:46,400 --> 00:38:50,920
Speaker 4: And so what this film does, it's very corrective to

682
00:38:50,920 --> 00:38:55,440
Speaker 4: to a history that has not included the multitudes that

683
00:38:55,560 --> 00:38:57,719
Speaker 4: someone like a Richard contained.

684
00:38:57,880 --> 00:39:00,719
Speaker 2: Do you think that he I mean, we accepted all

685
00:39:00,760 --> 00:39:03,760
Speaker 2: of him. Do you think he accepted all of himself.

686
00:39:04,480 --> 00:39:06,840
Speaker 4: I don't think so. I mean he's on such a

687
00:39:06,920 --> 00:39:07,480
Speaker 4: roller coaster.

688
00:39:07,600 --> 00:39:11,480
Speaker 3: And that part where you really go into the eighties

689
00:39:11,560 --> 00:39:14,080
Speaker 3: version of him where we deny it, like that made

690
00:39:14,120 --> 00:39:17,440
Speaker 3: me inherently sad. Yeah, yeah, like nothing sadder than a

691
00:39:17,480 --> 00:39:20,520
Speaker 3: person that has to suffer as themselves or whatever.

692
00:39:20,719 --> 00:39:25,560
Speaker 1: So have you screened it for anyone with the two

693
00:39:25,680 --> 00:39:27,759
Speaker 1: on the far left digit of their birth year, like

694
00:39:27,840 --> 00:39:31,960
Speaker 1: a millennials gen z. What is their reaction to it?

695
00:39:32,800 --> 00:39:36,400
Speaker 4: They actually are like, oh, this isn't some old fogy stuff.

696
00:39:37,440 --> 00:39:39,600
Speaker 4: They're all I think, I get a lot of where

697
00:39:39,640 --> 00:39:44,359
Speaker 4: can I get a mirrored suit? I have that great

698
00:39:44,400 --> 00:39:47,840
Speaker 4: fashion moment. But I think that you know, they like

699
00:39:47,920 --> 00:39:52,960
Speaker 4: the music and they're they're really captivated by how his

700
00:39:53,080 --> 00:39:58,560
Speaker 4: DNA went forth to artists like and how he paved away.

701
00:39:58,920 --> 00:40:03,080
Speaker 4: You don't have saucy Santana, you don't have next, you

702
00:40:03,160 --> 00:40:03,880
Speaker 4: don't have.

703
00:40:03,960 --> 00:40:06,040
Speaker 5: Right, yes, a little. I was like, I wanted all

704
00:40:06,040 --> 00:40:08,040
Speaker 5: of them in it. Actually at the end, towards the end,

705
00:40:08,239 --> 00:40:09,960
Speaker 5: you start talking about.

706
00:40:09,080 --> 00:40:12,200
Speaker 1: That, did they not want to?

707
00:40:12,600 --> 00:40:15,120
Speaker 4: I called the people I always do charts when I'm

708
00:40:15,200 --> 00:40:19,200
Speaker 4: directing films of you know, who's the family, who are

709
00:40:19,200 --> 00:40:23,719
Speaker 4: the friends, who's the artists, and in this case, who

710
00:40:23,760 --> 00:40:28,080
Speaker 4: are the incredible black and queer scholars who are not

711
00:40:28,320 --> 00:40:32,200
Speaker 4: the usual history of rock and roll. I was very

712
00:40:32,239 --> 00:40:38,080
Speaker 4: intentional in the academic voices who are narrating.

713
00:40:38,440 --> 00:40:44,080
Speaker 2: I was really happy to see Sandre in it like she.

714
00:40:43,960 --> 00:40:47,760
Speaker 4: I mean when she says, you know, it's not appropriation,

715
00:40:48,560 --> 00:40:53,680
Speaker 4: it's obliteration. I was like, okay, everybody could go okay,

716
00:40:53,880 --> 00:40:57,080
Speaker 4: you know what it's about, and like it tore him asunder.

717
00:40:57,920 --> 00:41:01,319
Speaker 4: And I love that in this film we have that

718
00:41:01,440 --> 00:41:05,040
Speaker 4: level of commentary because that's who we are. You know,

719
00:41:05,760 --> 00:41:08,680
Speaker 4: we can we can be talking about we can deconstructuty

720
00:41:08,719 --> 00:41:13,040
Speaker 4: fruity and you know Richard on the as Princess Levone

721
00:41:13,160 --> 00:41:15,439
Speaker 4: as a drag queen, but we can also talk about

722
00:41:15,520 --> 00:41:20,800
Speaker 4: a harm to our community because those are all apart.

723
00:41:21,080 --> 00:41:24,160
Speaker 4: You know, if someone said to me, they'll take our rhythm,

724
00:41:24,200 --> 00:41:25,240
Speaker 4: but they won't take.

725
00:41:26,840 --> 00:41:27,040
Speaker 6: Right.

726
00:41:27,920 --> 00:41:30,359
Speaker 4: And so to know little Richard, you know, you need

727
00:41:30,400 --> 00:41:32,480
Speaker 4: to know the joy, but you also need to know

728
00:41:33,080 --> 00:41:37,640
Speaker 4: the intense pain of him feeling invisible, feeling that all

729
00:41:37,680 --> 00:41:40,399
Speaker 4: of his contributions and all these people he helped out

730
00:41:41,239 --> 00:41:44,080
Speaker 4: are not there. Like when he's at the Otis Redding,

731
00:41:44,160 --> 00:41:47,440
Speaker 4: he goes, I still sing, you can record with me,

732
00:41:47,719 --> 00:41:51,439
Speaker 4: you know, call me, And and that is the part

733
00:41:51,440 --> 00:41:54,839
Speaker 4: of the complexity of his journey that is more than

734
00:41:55,160 --> 00:41:56,799
Speaker 4: oh I'm the bronze lie Barachi.

735
00:41:58,360 --> 00:41:59,719
Speaker 5: You made us get to know him a little more.

736
00:41:59,719 --> 00:42:02,239
Speaker 6: And I actually also kind of answered the conflict with it,

737
00:42:02,280 --> 00:42:04,440
Speaker 6: I think all of us because it was like was

738
00:42:04,480 --> 00:42:07,920
Speaker 6: he wasn't he Now I understand even his own personal

739
00:42:07,920 --> 00:42:11,000
Speaker 6: conflict and why I felt that way because he was unsure.

740
00:42:11,320 --> 00:42:13,520
Speaker 5: Yeah, yeah, yeah, I wish you would have known that.

741
00:42:13,520 --> 00:42:16,359
Speaker 5: We would have loved him regardless, but thank you all.

742
00:42:16,480 --> 00:42:19,400
Speaker 2: I definitely feel like it will help people now you

743
00:42:19,480 --> 00:42:22,279
Speaker 2: really it's a beautiful film, like we we've.

744
00:42:22,440 --> 00:42:23,120
Speaker 7: Super enjoyed it.

745
00:42:23,160 --> 00:42:24,680
Speaker 6: The black dust, that's what I wanted to ask about.

746
00:42:24,719 --> 00:42:26,600
Speaker 6: I'm sorry, what was the black dust in your mind

747
00:42:28,520 --> 00:42:29,360
Speaker 6: throughout the movie?

748
00:42:29,560 --> 00:42:34,560
Speaker 4: It's beautiful black dust sis energy. I believe he is elemental.

749
00:42:35,080 --> 00:42:39,399
Speaker 4: He came from another planet. He's a super nova, and

750
00:42:39,520 --> 00:42:44,880
Speaker 4: he arrived and unleashed this energy that we established in

751
00:42:44,920 --> 00:42:47,239
Speaker 4: the beginning of the film, and it continues and it

752
00:42:47,320 --> 00:42:53,440
Speaker 4: grows in specific places of innovation, of expansion, of creation

753
00:42:54,200 --> 00:42:58,040
Speaker 4: and how the energy is him. And that was a

754
00:42:58,080 --> 00:43:01,799
Speaker 4: great motif, you know, working with the editors, because I

755
00:43:01,840 --> 00:43:03,759
Speaker 4: was like, how do we do it? How do we

756
00:43:03,800 --> 00:43:04,279
Speaker 4: show this?

757
00:43:04,640 --> 00:43:04,840
Speaker 7: You know?

758
00:43:05,600 --> 00:43:12,520
Speaker 1: And sequences to the music, Yeah, how did you choose them?

759
00:43:12,960 --> 00:43:14,120
Speaker 7: The reinterpreters of the song.

760
00:43:14,280 --> 00:43:17,279
Speaker 4: So when I pitched this film, I always said I

761
00:43:17,320 --> 00:43:22,080
Speaker 4: wanted to have dreamscapes. I love magic realism, and I

762
00:43:22,160 --> 00:43:26,560
Speaker 4: wanted to have contemporary artists who are part of his legacy.

763
00:43:27,120 --> 00:43:29,759
Speaker 4: You know, when I spoke to Valerie June, who does

764
00:43:29,760 --> 00:43:34,120
Speaker 4: the Sister Rosetta tharp uh scene, I said sister and

765
00:43:34,160 --> 00:43:37,399
Speaker 4: she said Rosetta. I mean, she just like completed good

766
00:43:37,760 --> 00:43:41,600
Speaker 4: and she understood why Sister Rosetta is important to this.

767
00:43:42,280 --> 00:43:46,600
Speaker 4: Corey Henry I adore, and Corey started in the church.

768
00:43:47,239 --> 00:43:50,960
Speaker 4: Then he goes and you know, he does gospel, hip hop,

769
00:43:51,400 --> 00:43:55,720
Speaker 4: jazz pop, and I just thought musically he could bring

770
00:43:55,800 --> 00:43:59,120
Speaker 4: so much. He's such a he's so fantastic and Pastor

771
00:43:59,239 --> 00:44:01,960
Speaker 4: Key that that is not a little Richard song. But

772
00:44:02,080 --> 00:44:05,319
Speaker 4: I'm a big fan of John p Key and that's

773
00:44:05,360 --> 00:44:07,880
Speaker 4: one of my favorite songs standing in Need of Prayer,

774
00:44:08,200 --> 00:44:12,760
Speaker 4: and I thought it really spoke to how low Richard

775
00:44:13,000 --> 00:44:17,879
Speaker 4: is when he has lost every everything and like the

776
00:44:17,960 --> 00:44:19,800
Speaker 4: only thing he has is God.

777
00:44:20,280 --> 00:44:21,799
Speaker 1: Was there convincing him to do it?

778
00:44:22,440 --> 00:44:22,560
Speaker 5: No?

779
00:44:23,360 --> 00:44:24,240
Speaker 1: Oh really, Okay.

780
00:44:24,400 --> 00:44:26,879
Speaker 4: We've been talking for years about a project I want

781
00:44:26,880 --> 00:44:30,040
Speaker 4: to do with him, Okay, And when I called and

782
00:44:30,080 --> 00:44:33,040
Speaker 4: I told him what was about, he said yes, and

783
00:44:33,080 --> 00:44:37,000
Speaker 4: he knew Richard and he was really helpful for us

784
00:44:37,040 --> 00:44:40,560
Speaker 4: by even finding the church, et cetera. So you know,

785
00:44:40,640 --> 00:44:45,200
Speaker 4: all of those artists are part of this desire to

786
00:44:45,280 --> 00:44:49,279
Speaker 4: make this immersive and to be also in scenes that

787
00:44:49,560 --> 00:44:54,200
Speaker 4: are part of portal's opening portals of possibility for Richard

788
00:44:54,239 --> 00:44:58,239
Speaker 4: being seen by a sister Rosetta creating Tooty Fruity, and

789
00:44:58,320 --> 00:45:03,279
Speaker 4: even the portal of I've lost everything and I'm now

790
00:45:03,320 --> 00:45:06,480
Speaker 4: going back to the church. There, they're big emotional shifts

791
00:45:06,520 --> 00:45:06,879
Speaker 4: for him.

792
00:45:07,600 --> 00:45:11,320
Speaker 3: I hate to admit this, Fonte, but my actual introduction

793
00:45:11,400 --> 00:45:12,440
Speaker 3: to John p Key.

794
00:45:14,320 --> 00:45:20,520
Speaker 1: Crash, John Peakey, Oh wow.

795
00:45:20,760 --> 00:45:24,160
Speaker 3: Well you know what, at least as we wrap up,

796
00:45:24,760 --> 00:45:28,239
Speaker 3: I'm actually sitting here like in some sort of Paltrow

797
00:45:28,560 --> 00:45:30,720
Speaker 3: esque sliding doors.

798
00:45:34,200 --> 00:45:34,960
Speaker 1: I'm expansive.

799
00:45:35,520 --> 00:45:36,960
Speaker 7: You are the expansivest.

800
00:45:37,120 --> 00:45:41,680
Speaker 3: Just a forty eight hour decision changed the entire course

801
00:45:41,719 --> 00:45:46,960
Speaker 3: of my life, of which I am extremely happy of

802
00:45:47,480 --> 00:45:50,000
Speaker 3: my journey, especially in light of Okay, so.

803
00:45:50,080 --> 00:45:52,400
Speaker 1: Yeah, I would have got seventeen albums on Death Jam Doug.

804
00:45:52,640 --> 00:45:56,200
Speaker 3: Right, But even if that, I'm like, Okay, this is

805
00:45:56,200 --> 00:45:59,879
Speaker 3: a tourist in the hair journey and was it better

806
00:45:59,920 --> 00:46:03,960
Speaker 3: for me on my second album to sell seventeen million copies?

807
00:46:05,040 --> 00:46:07,320
Speaker 3: And now you know, twenty twenty three, I'm going to

808
00:46:07,360 --> 00:46:08,960
Speaker 3: jail for Sbiona.

809
00:46:08,760 --> 00:46:14,520
Speaker 1: Wow or to be on this path. But now I'm like, damn.

810
00:46:14,960 --> 00:46:18,279
Speaker 3: If I just signed in Mercury, I think I would

811
00:46:18,320 --> 00:46:22,120
Speaker 3: have had an amazing ass relationship with Lisa Kurtez.

812
00:46:22,440 --> 00:46:23,600
Speaker 5: Like it's never too late.

813
00:46:23,680 --> 00:46:26,320
Speaker 3: I never had regrets, but I'm now trying to figure

814
00:46:26,320 --> 00:46:30,120
Speaker 3: out what would have happened in my life if we

815
00:46:30,320 --> 00:46:32,759
Speaker 3: just went through it and we had Lisa at the.

816
00:46:32,719 --> 00:46:35,440
Speaker 2: Top of the pyraid could have been on Brian McKnight albums.

817
00:46:35,680 --> 00:46:37,279
Speaker 2: Yeah you know what I mean.

818
00:46:38,080 --> 00:46:40,800
Speaker 4: You would have met ralph raphaelsa earlier.

819
00:46:41,000 --> 00:46:41,560
Speaker 5: Wow?

820
00:46:41,719 --> 00:46:45,880
Speaker 7: Right? Oh oh yeah? Do you have a Latin quarter story?

821
00:46:46,680 --> 00:46:48,959
Speaker 4: I survived a story?

822
00:46:49,160 --> 00:46:50,480
Speaker 1: Oh so she?

823
00:46:50,520 --> 00:46:51,799
Speaker 5: I mean she had to she had to go.

824
00:46:52,760 --> 00:46:55,279
Speaker 4: No, I've had many hit the ground, hit the ground.

825
00:46:55,080 --> 00:46:55,719
Speaker 5: Before we rap.

826
00:46:55,760 --> 00:46:57,200
Speaker 6: I just want to say Lisa, because I said to

827
00:46:57,239 --> 00:46:58,680
Speaker 6: Lisa after I watched this movie, Okay, so.

828
00:46:58,640 --> 00:47:00,880
Speaker 5: Lisa, this was amazing. I don't know what you're going

829
00:47:00,960 --> 00:47:01,479
Speaker 5: to do next.

830
00:47:01,560 --> 00:47:03,520
Speaker 6: Can you just tell the folks the two projects that

831
00:47:03,560 --> 00:47:05,560
Speaker 6: you got cooking that's going to be blowing their minds

832
00:47:05,600 --> 00:47:05,960
Speaker 6: away too.

833
00:47:06,880 --> 00:47:10,560
Speaker 4: So premiering at Rebecca, I have something called The Space Race.

834
00:47:11,000 --> 00:47:15,000
Speaker 4: It is the story of Ed Dwight who almost became

835
00:47:15,080 --> 00:47:19,640
Speaker 4: an astronaut black Man. But and it focuses on the shuttlemen,

836
00:47:20,200 --> 00:47:23,920
Speaker 4: the black astronauts who in nineteen eighty three, Guy Blueford,

837
00:47:23,920 --> 00:47:28,279
Speaker 4: Fred Gregory, Ron McNee, you go to space. But it's

838
00:47:28,280 --> 00:47:31,440
Speaker 4: really about this community because it's also Victor Glover and

839
00:47:31,520 --> 00:47:37,880
Speaker 4: Leland Melvin. It's about afrofuturism and black astronauts and moving

840
00:47:37,960 --> 00:47:40,919
Speaker 4: things forward. So that's the space you're doing this. Yep,

841
00:47:40,920 --> 00:47:41,520
Speaker 4: it's all done.

842
00:47:41,600 --> 00:47:44,080
Speaker 1: I've got to get thunder Cat to do the score.

843
00:47:47,280 --> 00:47:53,240
Speaker 4: Tomp is on it, so it's a good. Next one

844
00:47:53,600 --> 00:47:57,920
Speaker 4: is The Empire of Ebony. It's a three part series

845
00:47:58,000 --> 00:48:03,040
Speaker 4: on Eunice Johnson and I know somebody here as a

846
00:48:03,080 --> 00:48:05,120
Speaker 4: collection of these maxaxines.

847
00:48:05,239 --> 00:48:07,560
Speaker 1: I do I do? You know?

848
00:48:07,600 --> 00:48:10,480
Speaker 3: At one point I was part of the board, so

849
00:48:10,960 --> 00:48:13,720
Speaker 3: you know the moment. So they're doing the food version

850
00:48:13,719 --> 00:48:18,799
Speaker 3: of the moment. And at one point we owned the

851
00:48:18,840 --> 00:48:19,680
Speaker 3: Ebony Kitchen.

852
00:48:21,160 --> 00:48:22,399
Speaker 1: We had to dismantle the.

853
00:48:22,360 --> 00:48:25,400
Speaker 3: Board and you know, raise more money, so we had

854
00:48:25,400 --> 00:48:26,680
Speaker 3: to sell our Ebony Kitchen.

855
00:48:26,719 --> 00:48:30,480
Speaker 1: But literally they move it to me from the building when.

856
00:48:30,280 --> 00:48:34,440
Speaker 3: We dismantled it, and very meticulous and we moved it

857
00:48:34,520 --> 00:48:37,040
Speaker 3: to New York and set it up back in its

858
00:48:37,040 --> 00:48:40,600
Speaker 3: original seventies sixties.

859
00:48:41,840 --> 00:48:46,799
Speaker 4: Sort of like but yeah, man, I was, Yeah, it's

860
00:48:47,239 --> 00:48:51,080
Speaker 4: you know, how do you build a media empire where

861
00:48:51,120 --> 00:48:54,080
Speaker 4: in a space that did not exist? And how can

862
00:48:54,120 --> 00:48:57,480
Speaker 4: you be a race man and a capitalists doing this?

863
00:48:58,600 --> 00:49:01,000
Speaker 4: And then finally I'm eating a rate film coming out.

864
00:49:01,080 --> 00:49:05,560
Speaker 4: The milk goes on forever, the art of David Hammond's

865
00:49:05,640 --> 00:49:09,480
Speaker 4: and I produced The Invisible Beauty, which is the story

866
00:49:09,480 --> 00:49:14,400
Speaker 4: of Beth and the model music activists.

867
00:49:14,400 --> 00:49:28,160
Speaker 1: All right, so closing, can you give us a tale

868
00:49:28,200 --> 00:49:29,040
Speaker 1: from the Latin quarter.

869
00:49:29,760 --> 00:49:32,640
Speaker 7: The fucking Timbola ships so good every time.

870
00:49:32,760 --> 00:49:34,520
Speaker 1: Well, it's like Mexican Colombia.

871
00:49:34,920 --> 00:49:37,120
Speaker 7: Every there's some Kombea in it. I'm just saying.

872
00:49:37,239 --> 00:49:42,920
Speaker 4: Anyway, moving, I remember going and having to hide in

873
00:49:42,960 --> 00:49:45,400
Speaker 4: the bathroom and and that's all I'll say.

874
00:49:46,320 --> 00:49:48,920
Speaker 1: I take the shift, ladies and gentlemen. That was tilt.

875
00:49:52,400 --> 00:50:02,520
Speaker 1: I can't stop doing it. Thank you very much. I

876
00:50:02,560 --> 00:50:04,120
Speaker 1: appreciate it. I apologize.

877
00:50:04,160 --> 00:50:08,880
Speaker 3: And it took three decades for our BFF courtship to start,

878
00:50:08,920 --> 00:50:11,880
Speaker 3: but no time like the president.

879
00:50:11,640 --> 00:50:15,600
Speaker 4: Well, and congratulations to you, thank you. I feel like

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00:50:15,840 --> 00:50:19,560
Speaker 4: every Academy Awards we need to go back and give

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00:50:19,600 --> 00:50:25,480
Speaker 4: you guys, your award again properly. But the art, the

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00:50:25,520 --> 00:50:29,680
Speaker 4: work is there. So many people talk about the glorious

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00:50:29,680 --> 00:50:32,960
Speaker 4: summer soul. But thank you and you know, like and

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00:50:33,080 --> 00:50:35,360
Speaker 4: all the projects you. I want to come and interview

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00:50:35,400 --> 00:50:38,319
Speaker 4: and to hear you talk about all your films that

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00:50:38,360 --> 00:50:39,640
Speaker 4: you're doing like you're doing.

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00:50:39,440 --> 00:50:41,600
Speaker 1: The risk of talk about myself all the time.

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Speaker 5: Yes, we don't.

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Speaker 7: On the next Quest Love Supreme, Quest.

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Speaker 5: Love, we don't do that. We are going to do that.

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00:50:50,280 --> 00:50:51,400
Speaker 4: Oh no, thank you.

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00:50:54,239 --> 00:50:57,000
Speaker 3: And Sugar Steve and I'm Big Bill and the Great

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00:50:57,040 --> 00:51:02,400
Speaker 3: Polsa Cortez Quest Love out cousin Jake and Brittany and

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00:51:02,520 --> 00:51:07,600
Speaker 3: also thank you again live live at cd M Studios

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Speaker 3: in Manhattan.

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00:51:08,440 --> 00:51:11,080
Speaker 1: Thank you very much for hosting us. Count that money,

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00:51:13,160 --> 00:51:14,439
Speaker 1: that money, count that money.

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00:51:15,640 --> 00:51:18,720
Speaker 7: That's what that's that's go around.

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Speaker 1: What's Love Supreme is a production of iHeart Radio.

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00:51:33,760 --> 00:51:37,080
Speaker 3: For more podcasts from iHeart Radio, visit the iHeart Radio app,

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00:51:37,280 --> 00:51:40,360
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.