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

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Speaker 2: I was just smoke saying, man, is it delicious?

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Speaker 3: It is, except my toast is like underdone because I

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Speaker 3: was rushing because I realized I was late for y'all.

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Speaker 4: So it's not as crunchy as I wanted to be.

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Speaker 1: Journey, you were friends. Now you can actually just walk

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Speaker 1: to the stove and.

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Speaker 3: Start cooking or just thanks, my.

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Speaker 1: First guest to start cooking at dinner. Wow on the show. Anyway,

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Speaker 1: let me let me do this, all right, I gotta

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Speaker 1: make up an intro because it would be disrespectful.

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Speaker 4: Wait, you don't have an intro prepared for me? I'm here? Wow?

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Speaker 2: All right, all right, all right, here we got podcasting.

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Speaker 1: All right, Ladies and gentlemen. Our guest today has the

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Speaker 1: distinct honor of being, okay, I around it off fourteen

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Speaker 1: years my junior. Yet I think she is clocked in

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Speaker 1: more years inner profession than mine, which basically means that

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Speaker 1: she's literally been acting since she came out the womb.

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Speaker 1: I think her first gig was when she was ten

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Speaker 1: months old, so that should put in perspective. Anyway, full disclosure,

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Speaker 1: we are close friends. So this is my preface way

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Speaker 1: of saying that I'm a lazy show host and introducer,

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Speaker 1: but I'm also a fan. So you know, it's important

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Speaker 1: to note that Journey Smollett is not anyone's overnight success.

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Speaker 1: She has the receipts to prove it. I'm gonna go

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Speaker 1: off the top of my favorites. Of course, there's full

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Speaker 1: House on her own, hanging with mister Cooper Cosby, the

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Speaker 1: CBS version, Oh Movies, gotch Eves by Your night Lights,

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Speaker 1: Friday Night Lights, World Bounce, The Great Debaters, True Blood, Parenthood,

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Speaker 1: Birds of Prey, let me cut to the damn chase.

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Speaker 1: It's as Letty lewis I pray at your last name

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Speaker 1: on the show. Yes, I believe it's Letty. Letty lewis

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Speaker 1: an instant African. I won't say I don't know to

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Speaker 1: call this afrofuturist or an American horror classic story. So

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Speaker 1: I will say that this is an instant American horror,

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Speaker 1: African futurist classic Lovecraft country that our guest has somehow

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Speaker 1: managed to turn, somehow ironically into a breakout role while

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Speaker 1: having a thirty year career under her belt. How's that

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Speaker 1: for winging? Is she watching me?

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Speaker 4: Sweat.

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Speaker 1: Right now, Ladies and gentlemen, please welcome actress, singer, activist, mother,

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Speaker 1: baseball bat swinger Flavor flav Understudy, and midnight chef Journey's

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Speaker 1: Wallet for the second time to Quest Love Supreme. Anyway,

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Speaker 1: how are you doing, journal? I know you'd rather be

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Speaker 1: doing anything but the groundwork of of doing interviews, So

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Speaker 1: I'll try to make this as painless as possible. Hi,

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Speaker 1: how's your day to day? I'm just gonna it's gonna

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Speaker 1: be recklessly How was your day to day?

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Speaker 4: I mean it was okay.

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Speaker 3: I've been sitting here all day long doing interviews and

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Speaker 3: zooms and things of that nature, so you know, happy

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Speaker 3: to do more.

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Speaker 1: You're still You're still.

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Speaker 3: I'm gonna have fun.

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Speaker 4: We have fun. Okay, good, I get it.

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Speaker 2: Journal.

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Speaker 1: I understand that if.

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Speaker 4: I'm happy to thank you for that introduction.

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Speaker 1: I'm like, wow, dude, that that was freaking off the time.

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Speaker 1: I was scared because I know I missed something that

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Speaker 1: you were in.

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Speaker 4: I don't remember what was it.

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Speaker 1: No, was like I won't mention temptation with Kim, but

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Speaker 1: I forgot you did that too, the music video. No,

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Speaker 1: she was in Temptation Tyler Perry. Yes, yes, yes, I forgot.

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Speaker 1: I knew I forgot something. There's probably forty two other

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Speaker 1: things that I've missed as well. Anyway, so you've been

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Speaker 1: sort of on the grind reintroducing yourself to twelve.

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Speaker 3: Time, right right right? You know my grind. One thing

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Speaker 3: people don't know about. First of all, Amir and I

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Speaker 3: have known each other for so long. We met, you

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Speaker 3: came to We didn't meet here, although you were here.

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Speaker 3: You were at the Gridiron Gang premiere. You told me,

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Speaker 3: do you remember.

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Speaker 1: That you indeed, I forgot to mention grid Iron? Yes,

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Speaker 1: I was there.

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Speaker 3: You were at the premiere of that, and then you

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Speaker 3: reached out to me on my Space.

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Speaker 1: I remember very well. Wow, you asked me still exist?

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Speaker 2: Now, Tom, No, are you sure the Facebook?

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Speaker 4: Facebook still exists?

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Speaker 1: It should it shouldn't right exactly. I'm actually checking to

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Speaker 1: see this is my space? Is my account still good?

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Speaker 1: Because name I think it's quite I don't know, I

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Speaker 1: don't like Justin Timberlake purchased it. So yeah, it's still

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Speaker 1: my Space still exists, ladies.

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Speaker 3: I still have some of like your old pictures on it,

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Speaker 3: but not all of it because I go, wow, how do.

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Speaker 1: I even find ship? I gotta see friendster is still up.

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Speaker 1: I'm sorry anyway, go ahead, dude.

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Speaker 4: We still have our Space accounts.

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Speaker 3: Yeah, yeah, you still.

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Speaker 4: I don't know if you can log in, but you

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Speaker 4: can still see, like if you have some pictures.

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Speaker 3: I know I can, it's an audio.

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Speaker 1: Yeah, my Space is still think. Yes, we are all

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Speaker 1: going on my Space.

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Speaker 3: I don't know you're ready to get you know where

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Speaker 3: I met. I mean we've been telling talking about Lovecraft.

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Speaker 1: I know, I know, and I've been like, I'm such

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Speaker 1: a fan of the show. I think I've been waking

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Speaker 1: you up out your sleep to ask you questions about

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Speaker 1: the show.

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Speaker 3: Yeah, pretty much, I do get. I'm glad like one

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Speaker 3: in the morning where you're like Ni.

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Speaker 1: Gro yo, that's compliment and and that's her cleaning up

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Speaker 1: the word. Yes, if we're going to hit it.

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Speaker 3: A little, can I just ask Journey yo. I'm just

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Speaker 3: glad to see you and Misha Green back together because

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Speaker 3: The Underground was like, my shit, it was my.

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Speaker 4: Show too, man, I mean, I'm.

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Speaker 3: It's what's so funny about Misha and and my relationship

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Speaker 3: with her is how we started off like we started

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Speaker 3: off hated each other. I couldn't stand the help I

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Speaker 3: could not stand her when I saw the pilot of Underground.

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Speaker 3: I remember calling my people being like, what did I

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Speaker 3: sign up for?

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Speaker 4: And how do I get out of this? She's experience. Well,

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Speaker 4: here's the thing she and I.

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Speaker 3: You know, initially she she one of the first things

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Speaker 3: she had said to me was she grabbed my hands.

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Speaker 4: She said, we're going to.

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Speaker 2: Be best friends.

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Speaker 3: Yeah, right, usually, And so as we started doing the pilot,

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Speaker 3: we just kept butting heads and became a running joke

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Speaker 3: on set that, oh, if Journey's in the scene, good

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Speaker 3: luck starting on time, Journey and Mishi're going to be

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Speaker 3: arguing for twenty minutes prior.

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Speaker 1: To the scene Thanksgiving. Wait are you loud? Wait now

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Speaker 1: I'm playing? Are you allowed to argue with your director?

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Speaker 4: Well, here's the thing she was.

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Speaker 3: It was the first time I was like the lead

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Speaker 3: of a show, and it was the first time she

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Speaker 3: was a showrunner of a show.

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Speaker 4: So we there was a lot of pressure on us, right, and.

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Speaker 3: I wanted, you know, I come with all my research

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Speaker 3: and my opinions about a cat. They're like, look, you

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Speaker 3: hired me to do a job, right, so let me

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Speaker 3: do my fucking job. And then here she comes being

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Speaker 3: like yes, but this is what my vision is. Blah

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Speaker 3: blah blah, and that's normal for people. But we just

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Speaker 3: had to figure out how to collaborate. We had to

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Speaker 3: figure out each other's love languages, because there was a

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Speaker 3: lot of just debating and arguing and not seeing eye

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Speaker 3: to eye with things. And then you know, once we

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Speaker 3: got over that. It was really the whipping scene in

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Speaker 3: the pilot of Underground, in which we argued to I

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Speaker 3: mean over talked it and I kept saying, look, it's

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Speaker 3: not on the page, it's not here.

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Speaker 4: What you want me to do?

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Speaker 3: I don't know how to make that sit in my

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Speaker 3: body in a truthful way. So and everything I would try,

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Speaker 3: we rehearsed it, and I would try things in my

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Speaker 3: body and she would just be like, no, that ain't it, No,

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Speaker 3: that ain't it. And I'm like, who is this headful?

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Speaker 3: Like you gotta let me try, you know. And so finally,

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Speaker 3: on the day of shooting, I told our director Anthony everywhere,

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Speaker 3: I said, I don't want.

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Speaker 4: To discuss it.

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Speaker 3: Don't talk to me about this scene. I'm gonna go

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Speaker 3: out there and do it. I don't know how I'm

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Speaker 3: gonna do it, but I'm gonna do it. I said,

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Speaker 3: the only thing is, please don't let me hear this

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Speaker 3: out on the web, because at this point I've got

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Speaker 3: nothing else to hold on to to get an actual

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Speaker 3: response out of me, you know.

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Speaker 4: And then I looked up and we're sitting on this plantation.

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Speaker 3: It was a real plantation in Louisiana, and I saw

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Speaker 3: this oak tree, and this tree had been there for

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Speaker 3: over two hundred probably two to three hundred years, and

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Speaker 3: I thought of Billie Holliday's strange fruit, and I thought

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Speaker 3: of all the strange fruit that had probably hung from

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Speaker 3: that tree. And I just prayed to the ancestors and

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Speaker 3: went out and did the scene.

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Speaker 4: And Anthony didn't cut.

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Speaker 3: He just kept doing take after take, angle after angle

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Speaker 3: without cutting.

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Speaker 4: And afterwards I couldn't stop crying.

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Speaker 3: I was crying for like a good ten minutes, and

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Speaker 3: Nisha and Aldis and Anthony just held me, and it

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Speaker 3: was an interesting breakthrough for me. Sha and I of like, Okay,

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Speaker 3: we just have to trust the process, and we just

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Speaker 3: have to trust the material, and we have to trust

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Speaker 3: each other because when it comes time, the work will

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Speaker 3: be there.

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Speaker 1: When when high intensity scenes have to be shot, be

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Speaker 1: it murder or the awkwardness of a love scene or

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Speaker 1: screaming or shouting or rage your iconic baseball bet scene.

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Speaker 1: How much preparation or time do you need to go

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Speaker 1: to a convincing dark place or is it like you

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Speaker 1: show up at set of five in the morning.

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Speaker 3: And go, oh, no, I'm not that person that I

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Speaker 3: would never I it just I'd have nothing to pull

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Speaker 3: from my.

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Speaker 4: Well would be empty. I've done it and it just

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Speaker 4: don't work out. So I spend a lot of time

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Speaker 4: doing re.

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Speaker 1: Search, okay. Robin Williams once shared a story about when

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Speaker 1: shooting with de Niro, Robin Williams and De Niro Awakenings, Awakenings.

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Speaker 1: There's a scene where Robin Williams and de Niro had

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Speaker 1: to like come outside of the hospital and they were

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Speaker 1: shooting a location in the Bronx. And you know, since

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Speaker 1: the beginning of the film, de Niro was in method

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Speaker 1: acting mode and stayed that character the entire duration of

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Speaker 1: the film, even when he went home. And because they

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Speaker 1: were on location in the Bronx and there were like

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Speaker 1: people on stamp by watching this one spectator I think

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Speaker 1: like distracted de Niro so much that they had to

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Speaker 1: shut production down. Like there was like an old drunk

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Speaker 1: black guy, and he was trying to get his attention

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Speaker 1: all day. Hey Bobby D, Bobby D. And then he

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Speaker 1: was like, hey Bobby D, you still love sucking on

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Speaker 1: that black pussy, And like Robert Williams like they try

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Speaker 1: to ignore it. And then Robert Williams looked at de

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Speaker 1: Niro and then they started dying, like they was laughing

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Speaker 1: on the floor, cracking up. And then de Niro couldn't

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Speaker 1: get back into his character. They had just shut down.

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Speaker 1: Oh and like let him reset and come back the

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Speaker 1: next day to do that that scene. So I always wondered,

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Speaker 1: like in terms of of channeling that, like how hard

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Speaker 1: is it to how long do you need to get

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Speaker 1: into that?

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Speaker 4: For one, that's a movie with budget they shut down

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Speaker 4: because someone gets out of character. Cool, that's like us.

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Speaker 4: I've never experienced that, you know.

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Speaker 3: It's it's interesting that you talk about that, because half

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Speaker 3: of the battle is fighting off the distractions.

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Speaker 4: You know.

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Speaker 3: Set is such a it's such a circus, you know,

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Speaker 3: and all the preparation you do, whether you get months

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Speaker 3: or weeks or however amount of time you get leading

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Speaker 3: up to you know, go time, when you get on set,

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Speaker 3: it's a whole different beasts. That's a different muscle that

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Speaker 3: you have to be able to express. It's almost like

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Speaker 3: a meditation, you know, it's a part of your brain

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Speaker 3: you got to go into where you are able to

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Speaker 3: just focus in on the intention in the character and

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Speaker 3: the truth that you're supposed to communicate.

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Speaker 4: It's quite challenging in scenes like that, but.

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Speaker 3: It's just different methods I've always I've used or I've

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Speaker 3: picked up you know, that just kind of helped me

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Speaker 3: in my process get there. And there's no like one

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Speaker 3: quick fix with it. It's like every project demands something different.

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Speaker 3: It demands a different level of physicality, a different level

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Speaker 3: of research, a different approach. There's not like a menu

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Speaker 3: or manual for any project I find, like, you know,

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Speaker 3: it might be music, it might be.

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Speaker 4: Being in the library for hours, it might you know,

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Speaker 4: it's is.

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Speaker 1: It a trial by a fire though? Or have you

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Speaker 1: had moments where you know, I mean, I'll say that

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Speaker 1: at least in your choices of what you choose to do,

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Speaker 1: there's always you know, a maverick there or you know,

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Speaker 1: I don't know, if Denzel is a person that pulls

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Speaker 1: you to the side and says, you know, I want

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Speaker 1: you to tweet this a little bit and whatever, like

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Speaker 1: is that even allowed, or if it's like low budgets,

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Speaker 1: like we only got room for two takes and be out.

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Speaker 4: Or oh no, no no.

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Speaker 3: I mean the goal is for sure to have those

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Speaker 3: people around you, you know, I for sure have that

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Speaker 3: anisia where.

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Speaker 4: She will tell me it's not there. Let's let's you know,

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Speaker 4: we're gonna go again. But you build up the trust

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Speaker 4: with your collaborators, with your other actors. The hardest thing

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Speaker 4: is working with people you don't trust.

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Speaker 3: I mean, you have to work so much harder to

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Speaker 3: protect the performance and protect the process when you feel like, oh,

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Speaker 3: this director don't know what the hell he or she's

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Speaker 3: doing right now, Like you know, that to me is

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Speaker 3: so terrifying because there's just a level there's more work

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Speaker 3: you gotta do.

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Speaker 4: You gotta work so much harder.

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Speaker 3: When when I did great debaters with d is just

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Speaker 3: like I mean, for one of like digging a massive class.

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Speaker 3: But I know we're not moving on until we got

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Speaker 3: it right. So we might take a penalty with lunch,

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Speaker 3: we might have to whatever what you know, hell or

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Speaker 3: high water, we're gonna get this rights.

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Speaker 1: Wow, I did not know that, oh absolutely.

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Speaker 3: I mean no, no, But here's the thing. I mean,

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Speaker 3: it's smart directors and smart showrunners know when to pick

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Speaker 3: and choose that stuff, you know, like this is this

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Speaker 3: is a scene. We gotta get this. And there have

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Speaker 3: been times even on Lovecraft, there were moments, you know.

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Speaker 3: For instance, with the exorcism scene, I had to go

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Speaker 3: up to the director and I had to say to him.

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Speaker 3: I was like, you know, me and Jonathan we're in

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Speaker 3: it and everything's being kind of shot except us, you know,

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Speaker 3: and is this when you're talking about that scene? Yeah,

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Speaker 3: in episode three when we're in the basement, and it

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Speaker 3: was it was one of those moments.

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Speaker 4: Where as an actor you got to protect the performance.

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Speaker 3: And so I went up to the director and I said, listen, Miuell,

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Speaker 3: me and Jonathan. I mean, like, we're giving it all,

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Speaker 3: and I don't you know, well you're going to get

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Speaker 3: to a point where there's nothing left to give, you know.

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Speaker 3: It was it was a scene we shot over the

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Speaker 3: process of three days, you know, and so there's all

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Speaker 3: these elements.

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Speaker 4: They're blowing these wind.

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Speaker 3: Fans, there's cgi and so there was so much going on,

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Speaker 3: and so the director had a lot on his plate

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Speaker 3: to kind of capture everything. But at the essence, there

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Speaker 3: is no scene if you don't have this performance right.

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Speaker 3: And so sometimes you gotta do that. You gotta like

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Speaker 3: pull a doctor's tail. And I thought you were going

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Speaker 3: to say they called the actors, so that can maybe

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Speaker 3: help a little bit, like instead of it just being.

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Speaker 4: They call those No.

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Speaker 3: No, what I'm saying is in shooting this big, this

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Speaker 3: big sequence that took three days to shoot, you know

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Speaker 3: it took It was a moment where I realized, oh,

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Speaker 3: we're we're doing the why we're behind us, we're doing

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Speaker 3: we're shooting stuff line instead of shooting.

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Speaker 4: Us right, you know.

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Speaker 3: Like so sometimes that happens where it's just a big

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Speaker 3: production and you gotta ask for what you need, you know.

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Speaker 3: And that's part of protecting the process too.

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Speaker 4: Fyi Journey.

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Speaker 3: That was the first scene in Lovecraft that brought tears

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Speaker 3: to my eyes, Like that scene when you break into

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Speaker 3: tears and you know you're telling him to leave and

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Speaker 3: everything it was and I was curious. I was like,

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Speaker 3: you've played a you have played a lot of roles

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Speaker 3: that now we know we have labels for them, trauma,

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Speaker 3: trauma and triggers. And I was just curious, like, out

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Speaker 3: of all the roles, which was the one that you

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Speaker 3: really took home and you had to like shake it off,

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Speaker 3: like it's just you know, the more the more projects

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Speaker 3: I take going, the more I want the ones that

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Speaker 3: cost me something, you know, I want. I'm hungry for

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Speaker 3: the roles that make me have to sacrifice, make me

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Speaker 3: have to lay it all the alter. You know, for sure,

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Speaker 3: love Craft Country.

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Speaker 4: Is highly up there with having to make the sacrifice.

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Speaker 4: You know. It costs me so much mentally, physically, emotionally.

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Speaker 3: And let me tell y'all, you've only seen five episodes

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Speaker 3: the audience.

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Speaker 1: How many more are in the season.

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Speaker 4: There's five more.

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Speaker 3: There's a total of ten episodes, and where I know

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Speaker 3: it goes. It's like, but that's the thing that is

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Speaker 3: so incredible. As an artist, you know, you're hung are

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Speaker 3: hungry for things that challenge you. And Miisha Green, you

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Speaker 3: signed on to a project with her, her house is

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Speaker 3: going to challenge you.

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Speaker 4: You know, she's going to demand that you stretch.

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Speaker 1: How were you able to tell the depth of what

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Speaker 1: this was because you know, the pilot alone, I wasn't

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Speaker 1: familiar with the book. I wasn't familiar with the project

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Speaker 1: at all. I knew that you were doing it, I

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Speaker 1: knew Michael was doing so I was like, all right,

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Speaker 1: I'm a board, let's go. And as with a lot

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Speaker 1: of us, you know, thought okay, this is going to

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Speaker 1: be a civil rights period piece, and then it just

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Speaker 1: went to a whole nother place, even though in the

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Speaker 1: beginning it was there. But in my mind, I was

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Speaker 1: already crafting like Okay, well he's probably an author that

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Speaker 1: dreams of these space things and whatever. And so when

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Speaker 1: I realized, oh, what I'm about to get into and

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Speaker 1: what I'm trapped into, Like how's this conveade? Like are

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Speaker 1: you reading all ten episodes in the script before you

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Speaker 1: make the decision that I'm aboard? Like when did you

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Speaker 1: have your first oh shit moment? Or did they kind

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Speaker 1: of prep you ahead of time that this this is

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Speaker 1: what it was?

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Speaker 3: Well, so Underground season two had just been canceled and

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Speaker 3: they were trying to find a home for season three,

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Speaker 3: but it.

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Speaker 4: Didn't look promising. And I mean I.

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Speaker 3: Was getting a lot of offers, and this is the

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Speaker 3: first time in my career where this was happening.

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Speaker 4: Where you know, there were a lot.

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Speaker 3: Of offers we were fielding from some of the best

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Speaker 3: showrunners and creators in the in the game, and I

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Speaker 3: kept kind of fielding it with Risha, you know, she

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Speaker 3: was my like fifth invisible agent.

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Speaker 4: I'd be like, you know, what, what do you think

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Speaker 4: about this one? No Journey, it's trash, she can't do it. Okay,

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Speaker 4: well this one, I mean, it's the showrunner. He's an

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Speaker 4: emmya you know.

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Speaker 3: And so then she sent me the pilot of Lovecraft.

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Speaker 3: And I was aware of her working on it, but

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Speaker 3: when she she sent it to me, maybe like a

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Speaker 3: week or so after she had finished it, and I

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Speaker 3: mean instantly, just the way it opens it made me

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Speaker 3: miss her writing. It's so bold and audacious, right, And

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Speaker 3: I was like, wait, what the hell is she doing now?

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Speaker 3: And then when the character Letty came on, when I

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Speaker 3: tell you, I had this visceral reaction of like, oh fuck, no.

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Speaker 4: Can't nobody else play Letty but me? And what the

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Speaker 4: hell is Mesh doing? Why is she not talking to

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Speaker 4: me about me being Letty?

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Speaker 3: Did she not know that I am the only one

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Speaker 3: that could play We have to audition for this. I

397
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Speaker 3: didn't have to audition, but five months passed for me

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Speaker 3: reading the script, and I hadn't gotten an offer, you know,

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Speaker 3: they hadn't offered it to anyone else, just kind of

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Speaker 3: now building the world out and making certain hires that

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Speaker 3: brought on a director, et cetera. For still, she wasn't

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Speaker 3: talking to me about it, and as close as we are,

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Speaker 3: it just felt strange. And knowing Misha, she's the person

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Speaker 3: where it's like, you can't campaign for a project with Misha.

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Speaker 4: You know, she's only going.

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Speaker 3: To give a role to somebody if that's who she

407
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Speaker 3: wants to cast.

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Speaker 4: And so I was in Bad Robot.

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Speaker 3: I was at Bad Robot and jj Abram says to me,

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Speaker 3: he's like, hey, did you read the Lovecraft Country's Cook?

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Speaker 4: And I was like, yeah, you know, it's incredible, and

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Speaker 4: he's like, you should do it. And I'm like, y'all,

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Speaker 4: I think I should do it too. Misha hasn't mentioned

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Speaker 4: it to me, you know, what the hell you doing?

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Speaker 3: And he just, you know, I start panicking and he's like,

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Speaker 3: you should do it, very calmly, he says. I'm like, dude,

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Speaker 3: you don't have to convince me that I need to

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Speaker 3: do this, you know. And so Misha calls me a

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Speaker 3: few weeks later and she just says, you know, we

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Speaker 3: just hired this director, Yan DeMange.

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Speaker 4: He's dope. I want you to go meet him. Bye.

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Speaker 1: So wait, with something of this deep of an undertaking

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Speaker 1: with ten episodes, is it the same director for all

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Speaker 1: ten episodes?

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Speaker 4: No?

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Speaker 1: Okay, So how explain to me how that works because

427
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Speaker 1: it seems very consistent. And is it the director walking

428
00:23:25,560 --> 00:23:29,720
Speaker 1: in as the fish out out of water, to the

429
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Speaker 1: same cinematographer, to the same lighting director, to the same

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Speaker 1: like is everyone else consistent or is it a new

431
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Speaker 1: crew every time a new episode shot?

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Speaker 4: Well, for the.

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Speaker 3: Ten episodes, the pilot was its own individual crew, right,

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Speaker 3: So yeah, and Nisha and the producers were the pilot

435
00:23:50,920 --> 00:23:53,600
Speaker 3: built a crew that shot we shot in Chicago. But

436
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Speaker 3: for the season, really the consistency is provided by the showrunner,

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Speaker 3: Misha Green, you know who.

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00:24:01,560 --> 00:24:01,760
Speaker 4: You know.

439
00:24:01,840 --> 00:24:04,919
Speaker 3: She wrote most of the episode, she directs one of

440
00:24:05,040 --> 00:24:07,560
Speaker 3: one of the episodes, but as a showrunner, it's her

441
00:24:07,640 --> 00:24:11,400
Speaker 3: job to maintain that consistency. Also, the crew does stay

442
00:24:12,040 --> 00:24:15,280
Speaker 3: stay the entire time. So we had we had two

443
00:24:15,359 --> 00:24:19,240
Speaker 3: dp's who switched off, but still they maintained the same

444
00:24:19,280 --> 00:24:21,679
Speaker 3: look and feel of the show, same prop master, you know,

445
00:24:21,760 --> 00:24:24,160
Speaker 3: all the department heads stay the same.

446
00:24:24,240 --> 00:24:28,160
Speaker 4: But in TV, we yeah, we get a new director

447
00:24:28,200 --> 00:24:28,720
Speaker 4: every week.

448
00:24:29,240 --> 00:24:33,879
Speaker 1: Because I always wondered how how that works. Where Okay,

449
00:24:34,560 --> 00:24:38,959
Speaker 1: if if Marty Scorsese decides to direct an episode, obviously

450
00:24:39,000 --> 00:24:42,160
Speaker 1: he's going to use film with Schumacher as his as

451
00:24:42,160 --> 00:24:46,200
Speaker 1: his editor and use his particular style of shooting. And

452
00:24:47,040 --> 00:24:50,720
Speaker 1: if episode six is you know, Ernest Dickerson and he

453
00:24:50,760 --> 00:24:53,320
Speaker 1: does his little tricks in the one camera thing and whatever,

454
00:24:54,000 --> 00:24:57,720
Speaker 1: vim that's inconsistent, Like, is it basically agreed upon that

455
00:24:58,480 --> 00:25:01,520
Speaker 1: when directors come to do a series that they're coming

456
00:25:02,800 --> 00:25:06,280
Speaker 1: just to bring the showrunner's vision to life as supposed

457
00:25:06,320 --> 00:25:08,880
Speaker 1: to put their stamp on it or their trademark.

458
00:25:08,880 --> 00:25:12,199
Speaker 4: W I think it depends show by show, you know.

459
00:25:12,440 --> 00:25:16,240
Speaker 3: With this for sure, you know, and just watching the

460
00:25:16,240 --> 00:25:19,639
Speaker 3: way Mesha works, she wants the director to come in

461
00:25:20,560 --> 00:25:26,080
Speaker 3: and bring something fresh and exciting and new, and yet

462
00:25:26,200 --> 00:25:30,639
Speaker 3: the show, the feel, the vibe, some of it's gotta

463
00:25:30,960 --> 00:25:32,040
Speaker 3: be maintained, you know.

464
00:25:32,359 --> 00:25:35,399
Speaker 4: And then we as the actors, we know our characters.

465
00:25:35,440 --> 00:25:38,520
Speaker 3: So you're not coming in and telling me who Leeddy

466
00:25:38,600 --> 00:25:40,800
Speaker 3: Lewis is, Like I know who she is. You can

467
00:25:40,800 --> 00:25:43,239
Speaker 3: come in and tell me, well, how do we make

468
00:25:43,240 --> 00:25:45,360
Speaker 3: this more truthful or how do we dig deeper? Blah

469
00:25:45,359 --> 00:25:47,800
Speaker 3: blah blah. But I know who she is, you know.

470
00:25:49,119 --> 00:25:51,160
Speaker 3: So I've noticed that can be a challenge for some

471
00:25:51,400 --> 00:25:55,120
Speaker 3: directors and TV because it's different in film film, you know.

472
00:25:56,200 --> 00:25:57,280
Speaker 4: As an a tour, they.

473
00:25:59,080 --> 00:26:01,920
Speaker 3: It's shutting close, you know, like they're not really having

474
00:26:01,960 --> 00:26:04,840
Speaker 3: to take on the vision of the showrunner. And some

475
00:26:05,000 --> 00:26:07,879
Speaker 3: directors in TV excel in that, and some I've seen

476
00:26:07,880 --> 00:26:11,560
Speaker 3: them fall flat on their face because their ego is

477
00:26:11,600 --> 00:26:16,000
Speaker 3: so big that you know, they don't really want to collaborate.

478
00:26:16,840 --> 00:26:19,560
Speaker 1: You mean, when movie directors come to TV land, or

479
00:26:20,160 --> 00:26:21,880
Speaker 1: when big names come to TV.

480
00:26:21,760 --> 00:26:24,080
Speaker 4: Land, or I mean, it doesn't even have to be

481
00:26:24,119 --> 00:26:26,280
Speaker 4: big names. I've seen, folks.

482
00:26:27,240 --> 00:26:29,960
Speaker 3: I'm not gonna lie, Like even with with Nisha, I've seen,

483
00:26:30,680 --> 00:26:32,720
Speaker 3: you know, on Underground.

484
00:26:33,440 --> 00:26:34,880
Speaker 4: I remember there was this one director.

485
00:26:34,960 --> 00:26:38,239
Speaker 3: The entire cast he will I won't name them, the

486
00:26:38,400 --> 00:26:42,480
Speaker 3: entire cast hated this man on Underground and he just

487
00:26:42,640 --> 00:26:45,920
Speaker 3: he was that like work for hire, legendary director who

488
00:26:45,960 --> 00:26:52,000
Speaker 3: directed everything from you know, all the NBC, CBS type shows.

489
00:26:53,040 --> 00:26:57,120
Speaker 4: You can't yeah, yeah, yeah, he done it all and

490
00:26:57,400 --> 00:27:00,720
Speaker 4: this was just another gig for him. And so he

491
00:27:00,760 --> 00:27:02,399
Speaker 4: didn't really care to make this heights.

492
00:27:02,480 --> 00:27:05,480
Speaker 3: He didn't care to have like the nuance and the urgency,

493
00:27:05,600 --> 00:27:07,800
Speaker 3: And so we ate him alive because you could tell

494
00:27:08,000 --> 00:27:12,000
Speaker 3: it was just like he wasn't he wasn't trying to collaborate.

495
00:27:12,119 --> 00:27:14,159
Speaker 3: He wasn't he wasn't really interested.

496
00:27:14,160 --> 00:27:19,960
Speaker 4: It was a paycheck for him.

497
00:27:20,240 --> 00:27:22,480
Speaker 3: Can I ask you, I'm just so curious what it's

498
00:27:22,520 --> 00:27:25,359
Speaker 3: like working with Jonathan, who seems like he's about to

499
00:27:25,400 --> 00:27:29,520
Speaker 3: be the next like just amazing. And Michael Keith Williams,

500
00:27:29,560 --> 00:27:36,040
Speaker 3: because I know what I know. I mean, Michael, yes,

501
00:27:36,080 --> 00:27:39,480
Speaker 3: I'm sorry, but tell me about the magic?

502
00:27:39,520 --> 00:27:41,760
Speaker 4: What is that? Like? It's incredible.

503
00:27:42,160 --> 00:27:46,399
Speaker 3: I mean pinched myself sometimes truly, you know, like again,

504
00:27:46,480 --> 00:27:48,120
Speaker 3: we just trusted each other so much.

505
00:27:48,160 --> 00:27:54,119
Speaker 4: We all had like these rituals that Courtney started on

506
00:27:54,160 --> 00:27:58,000
Speaker 4: the pilot and Courtney, yes, excuse me, no, look the

507
00:27:58,119 --> 00:28:04,639
Speaker 4: entire cat I mean, I mean everybody, everybody.

508
00:28:04,240 --> 00:28:10,760
Speaker 3: Woomy, yeah, I mean everyone kills it. But yeah, we

509
00:28:10,800 --> 00:28:15,240
Speaker 3: had this this me, Jonathan and Michael inherited the tradition

510
00:28:15,400 --> 00:28:17,560
Speaker 3: that Courtney started where we would give each other fist

511
00:28:17,600 --> 00:28:18,600
Speaker 3: bump before each take.

512
00:28:18,800 --> 00:28:20,040
Speaker 4: I mean, like it was a religion.

513
00:28:21,760 --> 00:28:25,320
Speaker 3: The approach was so sacred for us. You I don't

514
00:28:25,320 --> 00:28:27,800
Speaker 3: care where we were starting from. I could be entering

515
00:28:27,920 --> 00:28:30,280
Speaker 3: on the other side of the field before that take

516
00:28:30,440 --> 00:28:32,440
Speaker 3: was going to start. We had to meet up in

517
00:28:32,520 --> 00:28:40,840
Speaker 3: fistbunk each other. If we didn't do it, we'd be like, yo,

518
00:28:40,880 --> 00:28:44,000
Speaker 3: that takes up because we didn't. We didn't where's the fistball?

519
00:28:45,400 --> 00:28:49,720
Speaker 3: But no, I mean working with them was just incredible

520
00:28:49,880 --> 00:28:53,200
Speaker 3: because you're only as good as your partner, you know,

521
00:28:53,360 --> 00:28:55,600
Speaker 3: when you can look into their eyes and you can

522
00:28:55,680 --> 00:28:59,680
Speaker 3: see truth and you never know, I mean, we never

523
00:28:59,760 --> 00:29:03,400
Speaker 3: knew what take, you know, what what the next take

524
00:29:03,520 --> 00:29:05,200
Speaker 3: was going to be like, because every take was fresh

525
00:29:05,240 --> 00:29:09,400
Speaker 3: and exciting and present and honest, challenging each other.

526
00:29:09,480 --> 00:29:10,760
Speaker 4: How far can we dig deeper?

527
00:29:10,880 --> 00:29:14,520
Speaker 3: I mean the moments me and Jonathan just on on

528
00:29:14,520 --> 00:29:17,560
Speaker 3: on on the sound stage, just going at it, just rehearsing,

529
00:29:17,760 --> 00:29:21,040
Speaker 3: you know, lines going back and forth over and over.

530
00:29:21,200 --> 00:29:25,520
Speaker 1: You know, how how could you explain what the processes

531
00:29:25,800 --> 00:29:29,480
Speaker 1: from the table read too? We have the take because

532
00:29:29,560 --> 00:29:32,880
Speaker 1: I'm I don't know if I've ever seen a movie

533
00:29:33,760 --> 00:29:39,440
Speaker 1: in which, uh like, I'm trying to parallel to musicianship

534
00:29:40,000 --> 00:29:45,160
Speaker 1: m are are the is the timing based at the

535
00:29:45,520 --> 00:29:48,800
Speaker 1: table read, And is the table read like a four

536
00:29:48,800 --> 00:29:51,760
Speaker 1: times overthing or is it just like whoever's in the scene,

537
00:29:52,440 --> 00:29:54,840
Speaker 1: we have an hour before we've done, let's go.

538
00:29:55,800 --> 00:29:57,600
Speaker 2: It's like when you're going to when you go into

539
00:29:57,600 --> 00:30:00,720
Speaker 2: an electric Lady for like a year and just make

540
00:30:00,760 --> 00:30:01,600
Speaker 2: grooves and stuff.

541
00:30:01,640 --> 00:30:05,080
Speaker 1: I wrote the entire album on the spot.

542
00:30:06,400 --> 00:30:10,000
Speaker 2: Two years later, you know, Tarik comes in and puts

543
00:30:10,040 --> 00:30:13,960
Speaker 2: his thing on and then that's it's like that, Yeah.

544
00:30:15,240 --> 00:30:19,680
Speaker 1: I mean, because I don't I look for other nuances

545
00:30:19,680 --> 00:30:22,520
Speaker 1: that I don't think the average person looks for when

546
00:30:22,720 --> 00:30:28,240
Speaker 1: I'm watching, and I guess as a musicianship, I'm seeing

547
00:30:28,280 --> 00:30:31,920
Speaker 1: you guys as instruments trying to figure out the the

548
00:30:32,000 --> 00:30:37,600
Speaker 1: yin and yang balance of timing and the pacing of

549
00:30:37,640 --> 00:30:41,440
Speaker 1: a conversation. And you know, like for Insan, if you

550
00:30:41,520 --> 00:30:45,200
Speaker 1: watch Woody Allen films, he's world famous for wanting his

551
00:30:45,280 --> 00:30:48,720
Speaker 1: actors to talk on top of each other because he's like,

552
00:30:48,760 --> 00:30:50,880
Speaker 1: everyone talks on top of each other in New York City.

553
00:30:50,920 --> 00:30:54,719
Speaker 1: So I want to make that real. But can you

554
00:30:55,000 --> 00:30:58,600
Speaker 1: walk us through like what from script till we got it?

555
00:30:58,680 --> 00:31:05,440
Speaker 1: Like how how much preparation is put in for the rehearsals?

556
00:31:05,480 --> 00:31:08,600
Speaker 4: Again, it varies project to project. I just speak about Lovecraft.

557
00:31:08,760 --> 00:31:13,120
Speaker 3: I mean with the pilot we had, we had very

558
00:31:13,160 --> 00:31:18,280
Speaker 3: little rehearsal. A lot of the prep was about diving

559
00:31:18,320 --> 00:31:21,560
Speaker 3: into the inner struggle, the inner workings of the character, right,

560
00:31:21,760 --> 00:31:26,960
Speaker 3: you know. But the table read, you know, a lot

561
00:31:27,080 --> 00:31:30,880
Speaker 3: people approach the table read differently, but this one I

562
00:31:31,000 --> 00:31:33,480
Speaker 3: remember they actually filmed the table read, which was a

563
00:31:33,520 --> 00:31:37,160
Speaker 3: first for me because JJ was shooting Star Wars in

564
00:31:37,200 --> 00:31:39,480
Speaker 3: London and couldn't make the table read, so they filmed

565
00:31:39,480 --> 00:31:44,160
Speaker 3: it so he could watch it. But you know, everybody,

566
00:31:44,240 --> 00:31:47,520
Speaker 3: you know, some actors at the table reads they just

567
00:31:47,600 --> 00:31:49,280
Speaker 3: kind of phone it in, and then some actors go

568
00:31:49,800 --> 00:31:53,360
Speaker 3: full in. So honestly, the piece, like you said, it's

569
00:31:53,560 --> 00:31:57,120
Speaker 3: very much so like a symphony, and it's not really

570
00:31:57,360 --> 00:32:01,520
Speaker 3: formed until you get in it, you know, but every

571
00:32:01,520 --> 00:32:03,320
Speaker 3: step along the way helps inform it.

572
00:32:03,960 --> 00:32:07,080
Speaker 4: And so whether it's rehearsals, or whether it's.

573
00:32:06,960 --> 00:32:11,880
Speaker 3: Even costume designers and hair stylists and makeup artists or

574
00:32:12,440 --> 00:32:16,440
Speaker 3: you know, every everybody kind of adds a level of

575
00:32:16,560 --> 00:32:20,960
Speaker 3: a layer too to the project that you don't that

576
00:32:21,080 --> 00:32:23,760
Speaker 3: you feel and you may not see it. And so

577
00:32:23,800 --> 00:32:26,240
Speaker 3: when you talk about pacing, and rhythm and stuff like that.

578
00:32:26,880 --> 00:32:29,400
Speaker 3: You know, a lot of that's just informed on the day.

579
00:32:29,680 --> 00:32:34,240
Speaker 3: It's informed through instinct, it's informed response. You know, I

580
00:32:34,640 --> 00:32:37,560
Speaker 3: hear you, I respond, I listen, I respond. It's just

581
00:32:37,600 --> 00:32:39,160
Speaker 3: like this conversation, haven't you know?

582
00:32:40,160 --> 00:32:40,960
Speaker 1: I hear your journey?

583
00:32:41,040 --> 00:32:42,920
Speaker 5: I was, I was on that, I was on the

584
00:32:43,000 --> 00:32:56,800
Speaker 5: tonight show.

585
00:32:51,600 --> 00:32:57,720
Speaker 3: It. I still I still have you saved on my

586
00:32:57,800 --> 00:33:03,440
Speaker 3: phone as Steve, where's my coffee? Damn?

587
00:33:04,800 --> 00:33:08,240
Speaker 1: Or that just sounds like Steve friends with each other?

588
00:33:08,320 --> 00:33:10,440
Speaker 4: Yes, where's my coffee? Journey?

589
00:33:10,520 --> 00:33:12,720
Speaker 3: Was it easier to do something like Lovecraft coming off

590
00:33:12,720 --> 00:33:14,360
Speaker 3: of Birds of Prey since it's a little lighter?

591
00:33:17,120 --> 00:33:18,200
Speaker 1: Love Craft is lighter?

592
00:33:18,480 --> 00:33:23,560
Speaker 3: I mean, no, I'm saying, since I meant to say,

593
00:33:23,600 --> 00:33:25,640
Speaker 3: since Birds of Prey was so light, is it easier

594
00:33:25,640 --> 00:33:27,680
Speaker 3: to go into love Craft instead of coming from heavy

595
00:33:27,680 --> 00:33:28,080
Speaker 3: to heavy?

596
00:33:29,320 --> 00:33:32,840
Speaker 4: There's nothing there's no nothing easy about any of it.

597
00:33:32,960 --> 00:33:36,520
Speaker 3: I mean, not easy in your spirit and your you know,

598
00:33:36,560 --> 00:33:37,880
Speaker 3: because you just I.

599
00:33:37,800 --> 00:33:41,280
Speaker 4: Mean, look, I don't seek ease. Is the Internet of progress?

600
00:33:42,240 --> 00:33:45,760
Speaker 1: I don't need Okay, Well let's go back to the

601
00:33:45,880 --> 00:33:53,000
Speaker 1: goddam beginning, all right there? Uh No, I.

602
00:33:52,960 --> 00:33:57,640
Speaker 3: Mean, look, birds of Prey was definitely different because look,

603
00:33:57,640 --> 00:34:01,320
Speaker 3: I had to train for five months to a martial artist,

604
00:34:01,520 --> 00:34:05,920
Speaker 3: you know, so it's it's.

605
00:34:04,720 --> 00:34:08,640
Speaker 4: It definitely required different muscles than love Craft.

606
00:34:08,680 --> 00:34:11,879
Speaker 3: Country and like the whole comic book world is its

607
00:34:11,880 --> 00:34:16,239
Speaker 3: own beast and and I tried to approach that with

608
00:34:16,680 --> 00:34:19,279
Speaker 3: the same amount of reference that I would approach the

609
00:34:19,320 --> 00:34:23,960
Speaker 3: text of Lovecraft, you know, But the approaches each project

610
00:34:24,000 --> 00:34:27,000
Speaker 3: is going to require different things, you know. I shot

611
00:34:27,040 --> 00:34:30,640
Speaker 3: the pilot for Lovecraft, then went and trained for Birds

612
00:34:30,640 --> 00:34:32,279
Speaker 3: of Prey, shot Birds of Prey, and then went back

613
00:34:32,320 --> 00:34:35,239
Speaker 3: and shot, you know, the remaining season of love Crowd.

614
00:34:35,280 --> 00:34:38,360
Speaker 3: It's funny because Misha afterwards was like, so these.

615
00:34:38,280 --> 00:34:43,440
Speaker 4: Arms they gotta go. Damn, these black canary arms you got,

616
00:34:43,560 --> 00:34:44,960
Speaker 4: like got a state.

617
00:34:45,239 --> 00:34:48,399
Speaker 3: Your character is really important her. I mean, you look great.

618
00:34:48,480 --> 00:34:50,440
Speaker 3: I don't know the politically correct way to say this

619
00:34:50,560 --> 00:34:52,560
Speaker 3: with a bunch of fellas in the room, but on

620
00:34:52,640 --> 00:34:56,399
Speaker 3: love Craft, the tailor, the way things are fitting you,

621
00:34:56,560 --> 00:34:59,279
Speaker 3: I just have never seen your It looks amazing er.

622
00:34:59,480 --> 00:35:00,840
Speaker 4: Thank you, thank you, thank you.

623
00:35:00,920 --> 00:35:05,239
Speaker 3: We worked hard at that, you know, the the.

624
00:35:04,480 --> 00:35:09,600
Speaker 4: Tailoring and costumes and things, the darts, you know, the

625
00:35:09,719 --> 00:35:11,240
Speaker 4: dark look. It's true.

626
00:35:11,320 --> 00:35:14,880
Speaker 3: We looked at we looked at thousands of images of

627
00:35:15,440 --> 00:35:18,759
Speaker 3: costumes from this time, from this era, and the just.

628
00:35:18,719 --> 00:35:23,719
Speaker 4: The integrity that they had in the clothing. I mean, look,

629
00:35:23,800 --> 00:35:24,319
Speaker 4: you know, I'm in.

630
00:35:24,520 --> 00:35:28,479
Speaker 3: T shirt and sweats right now, like by nature, I'm

631
00:35:28,520 --> 00:35:33,400
Speaker 3: not letty, you know, but for that to get the

632
00:35:33,440 --> 00:35:34,160
Speaker 3: era right.

633
00:35:34,000 --> 00:35:37,480
Speaker 4: And to do it justice, Hey, the tailoring is a

634
00:35:37,480 --> 00:35:38,280
Speaker 4: big part.

635
00:35:39,640 --> 00:35:45,240
Speaker 1: It really was amazing. All right, let's get the Denise

636
00:35:45,400 --> 00:35:47,320
Speaker 1: Fraser questions out the way, because.

637
00:35:48,560 --> 00:35:54,879
Speaker 2: What's your favorite what's the toughest question you were asked today?

638
00:35:55,360 --> 00:36:00,000
Speaker 1: Okay, just so that just so that we can uh

639
00:36:00,400 --> 00:36:05,000
Speaker 1: to go on. Whether you indeed have history. Yeah, it's

640
00:36:05,120 --> 00:36:09,560
Speaker 1: known that you've been acting from the womb in the

641
00:36:09,680 --> 00:36:13,480
Speaker 1: very beginning. Though, it just hit me that I remember,

642
00:36:14,360 --> 00:36:18,239
Speaker 1: like I remember your face everywhere, like you there's a

643
00:36:18,320 --> 00:36:21,640
Speaker 1: gazillion things that you've done as a youngster in which

644
00:36:21,640 --> 00:36:24,640
Speaker 1: I remember your face. I mean, you know, I'm sure

645
00:36:24,960 --> 00:36:28,920
Speaker 1: you've done Martin before you've done like I've remember certain things.

646
00:36:29,320 --> 00:36:34,160
Speaker 1: Was there ever talk about developing you your own show?

647
00:36:34,280 --> 00:36:37,759
Speaker 1: Like how did you avoid the well, I guess what

648
00:36:37,760 --> 00:36:40,000
Speaker 1: I would call the Disney trap, because I think Disney

649
00:36:40,200 --> 00:36:45,280
Speaker 1: was handing out shows like hotcakes between the mid nineties

650
00:36:45,320 --> 00:36:47,719
Speaker 1: and two thousand and five, like you could have easily

651
00:36:47,840 --> 00:36:51,319
Speaker 1: been in that, you could have been that's so ravenized,

652
00:36:51,600 --> 00:36:53,880
Speaker 1: you know what I mean, right, or that sort of thing.

653
00:36:54,000 --> 00:37:00,239
Speaker 3: How uh, what's crazy is Disney has built some careers

654
00:37:00,280 --> 00:37:04,640
Speaker 3: clear you know. I mean there's a lot of actors

655
00:37:04,680 --> 00:37:09,319
Speaker 3: and entertainers I respect that have come from Disney and

656
00:37:09,400 --> 00:37:14,239
Speaker 3: so but my mother, my mom was I say this

657
00:37:14,480 --> 00:37:19,960
Speaker 3: with as much respect as I can you know about another.

658
00:37:19,719 --> 00:37:25,440
Speaker 2: But she was like, that's always a cattle man, like

659
00:37:26,480 --> 00:37:27,640
Speaker 2: so house snobby was she?

660
00:37:27,760 --> 00:37:29,600
Speaker 3: Journey? How snobby was she?

661
00:37:29,600 --> 00:37:30,319
Speaker 4: She know?

662
00:37:30,480 --> 00:37:34,600
Speaker 3: I was offered to do like my own Disney show

663
00:37:34,760 --> 00:37:36,000
Speaker 3: several times and stuff like that.

664
00:37:36,080 --> 00:37:38,719
Speaker 4: She just wouldn't let me do it. She wouldn't let

665
00:37:38,719 --> 00:37:38,960
Speaker 4: me do it.

666
00:37:39,000 --> 00:37:42,280
Speaker 3: My agent at the time, I thought she was crazy

667
00:37:42,480 --> 00:37:44,680
Speaker 3: because I could have made so much money and.

668
00:37:44,640 --> 00:37:46,799
Speaker 4: We were broke y'all, Like growing up we were so.

669
00:37:46,840 --> 00:37:53,000
Speaker 3: Poor at moments, like my brother talking about how do

670
00:37:53,040 --> 00:37:55,520
Speaker 3: you remember that time when we had like nothing but

671
00:37:56,040 --> 00:37:59,880
Speaker 3: like a wilted carrot and an apple and refrigerator like

672
00:38:00,640 --> 00:38:06,480
Speaker 3: we were there is seven hundred of us, and you know,

673
00:38:07,600 --> 00:38:10,760
Speaker 3: everybody get.

674
00:38:10,640 --> 00:38:14,879
Speaker 4: Some lental beans, I mean some beans and rice tell.

675
00:38:14,840 --> 00:38:16,600
Speaker 1: Us about the hard times journey.

676
00:38:16,320 --> 00:38:19,520
Speaker 3: You know, I mean, we my family growing up, My

677
00:38:19,560 --> 00:38:22,719
Speaker 3: mom didn't she really didn't care about money, and so

678
00:38:24,040 --> 00:38:27,000
Speaker 3: especially after my parents divorced, we really struggled, you know,

679
00:38:28,680 --> 00:38:32,719
Speaker 3: and there were moments where it was just like, oh, and.

680
00:38:32,640 --> 00:38:34,799
Speaker 4: My mom wouldn't let she wouldn't let me do it.

681
00:38:35,920 --> 00:38:38,480
Speaker 3: There were so many things, but my mother is very

682
00:38:38,480 --> 00:38:39,760
Speaker 3: proud of the fact that she would.

683
00:38:40,360 --> 00:38:42,080
Speaker 4: She would say all the time, I can go and

684
00:38:42,080 --> 00:38:43,280
Speaker 4: sell pussy on the corner.

685
00:38:43,680 --> 00:38:45,919
Speaker 3: I don't need to make money, you know, I don't

686
00:38:45,960 --> 00:38:50,040
Speaker 3: need to my kids. You know, I can make money

687
00:38:50,040 --> 00:38:52,239
Speaker 3: if I really need to. And she never she never,

688
00:38:52,440 --> 00:38:56,200
Speaker 3: she never did it, just so y'all know. But her

689
00:38:56,239 --> 00:39:06,879
Speaker 3: point was that embellishment. Yes, her point was that our

690
00:39:07,000 --> 00:39:10,800
Speaker 3: art was not to be bought and sold by the

691
00:39:10,880 --> 00:39:15,040
Speaker 3: highest bidder, you know, and she just had this level

692
00:39:15,040 --> 00:39:17,480
Speaker 3: of integrity. But she was also the woman that, you know,

693
00:39:17,680 --> 00:39:21,759
Speaker 3: was making me read Katherin Hepburn's by autobiography when I

694
00:39:21,800 --> 00:39:24,640
Speaker 3: was thirteen. So how did you end up in Full House?

695
00:39:24,680 --> 00:39:24,799
Speaker 4: Then?

696
00:39:24,920 --> 00:39:26,840
Speaker 3: Well, I guess what made her convince her to do

697
00:39:26,880 --> 00:39:28,440
Speaker 3: Full House? Full House?

698
00:39:28,520 --> 00:39:30,879
Speaker 4: I mean, well that was before I was offered any

699
00:39:30,920 --> 00:39:35,239
Speaker 4: sort of Didney show. But you know that was I

700
00:39:35,239 --> 00:39:36,399
Speaker 4: don't know. You got to ask her.

701
00:39:36,600 --> 00:39:40,400
Speaker 6: It was it was like an audition that the character.

702
00:39:41,239 --> 00:39:43,880
Speaker 6: The character was written as a little white girl, and

703
00:39:45,320 --> 00:39:48,400
Speaker 6: the casting director called my agent and said.

704
00:39:48,480 --> 00:39:52,080
Speaker 3: You know, whether or not i'd be willing to my

705
00:39:52,160 --> 00:39:54,279
Speaker 3: mom would let me come in or something like that.

706
00:39:54,719 --> 00:39:56,000
Speaker 4: I'm not entirely show, y'all.

707
00:39:56,000 --> 00:39:56,600
Speaker 2: I was four.

708
00:39:56,800 --> 00:40:01,520
Speaker 3: I know, I understand, but I just need to talk

709
00:40:01,560 --> 00:40:01,680
Speaker 3: to you.

710
00:40:01,920 --> 00:40:06,200
Speaker 1: But also I thought, weren't there rules that uh as

711
00:40:06,200 --> 00:40:09,040
Speaker 1: far as acting hours? Like most of those actors that

712
00:40:09,080 --> 00:40:11,960
Speaker 1: I know back then were like I know the Sprouse

713
00:40:12,000 --> 00:40:15,360
Speaker 1: as well, Cole and Dylan, like usually they come in Paris.

714
00:40:15,520 --> 00:40:21,080
Speaker 1: Even Michelle Tanner's one person played by Mary Kate. Why

715
00:40:21,280 --> 00:40:25,440
Speaker 1: were you off the role and not using a body double?

716
00:40:25,600 --> 00:40:27,120
Speaker 1: Or you're a sibling.

717
00:40:27,160 --> 00:40:29,000
Speaker 3: Joeys Sweeten, they had no body double.

718
00:40:29,719 --> 00:40:33,600
Speaker 4: I mean again, y'all are asking you don't remember?

719
00:40:33,640 --> 00:40:33,960
Speaker 3: She said?

720
00:40:33,960 --> 00:40:37,640
Speaker 2: She was so.

721
00:40:37,760 --> 00:40:38,759
Speaker 3: By you. Do you remember that?

722
00:40:39,480 --> 00:40:42,879
Speaker 1: I figured I figured you asked in time here.

723
00:40:42,960 --> 00:40:45,359
Speaker 4: I remember. I do remember doing full House.

724
00:40:45,400 --> 00:40:48,600
Speaker 3: I remember the feeling of the live studio audience and

725
00:40:49,360 --> 00:40:52,160
Speaker 3: in between takes they would play music and I would

726
00:40:52,160 --> 00:40:54,400
Speaker 3: like dance for the audience and they would go crazy.

727
00:40:54,560 --> 00:40:57,200
Speaker 4: But I remember, I remember.

728
00:40:56,880 --> 00:40:58,920
Speaker 1: That little Richard was your grandfather.

729
00:40:59,120 --> 00:41:03,520
Speaker 3: I remember little Richard was Little Richard was my uncle

730
00:41:03,600 --> 00:41:06,600
Speaker 3: and the whole thing in my household because my mom

731
00:41:06,640 --> 00:41:08,279
Speaker 3: and dad were like big music heads.

732
00:41:08,280 --> 00:41:10,680
Speaker 4: It was the coolest thing that I was working with him.

733
00:41:10,760 --> 00:41:14,920
Speaker 3: And you know, so I remember things like that, the

734
00:41:14,960 --> 00:41:18,080
Speaker 3: power of you know, the power you could have over

735
00:41:18,120 --> 00:41:20,879
Speaker 3: an audience and to get a reaction out of them,

736
00:41:21,040 --> 00:41:23,319
Speaker 3: the feeling of them laughing at something you would do

737
00:41:23,520 --> 00:41:24,040
Speaker 3: the best.

738
00:41:24,200 --> 00:41:27,480
Speaker 4: You know. It was a little like theater in in

739
00:41:27,520 --> 00:41:29,399
Speaker 4: a sense. You know, for my four or five six

740
00:41:29,440 --> 00:41:31,719
Speaker 4: year old self, what.

741
00:41:31,719 --> 00:41:35,680
Speaker 1: Do you consider your first real like get into it?

742
00:41:36,120 --> 00:41:37,520
Speaker 1: Would that be eased by you?

743
00:41:38,320 --> 00:41:40,239
Speaker 4: I would consider it used by you? That I mean

744
00:41:40,520 --> 00:41:42,279
Speaker 4: before that, Jack was.

745
00:41:46,160 --> 00:41:51,200
Speaker 3: I do remember being at Francis word Cochola's branch, his

746
00:41:51,200 --> 00:41:55,640
Speaker 3: his vineyard, and I mean Robins Williams teaching me how

747
00:41:55,640 --> 00:42:00,840
Speaker 3: to improv, you know, because those scenes that we did together,

748
00:42:00,920 --> 00:42:02,680
Speaker 3: those were all improv That's all he did.

749
00:42:03,360 --> 00:42:04,400
Speaker 4: You know, he's the king of that.

750
00:42:05,400 --> 00:42:07,480
Speaker 3: And he just would he kept telling me about just

751
00:42:08,120 --> 00:42:09,960
Speaker 3: don't think, you know, just say the first thing that

752
00:42:10,000 --> 00:42:11,279
Speaker 3: comes off the top of your head.

753
00:42:11,280 --> 00:42:12,560
Speaker 4: What do you notice about me? Like he would do

754
00:42:12,600 --> 00:42:13,880
Speaker 4: all these exercises with me.

755
00:42:15,080 --> 00:42:17,560
Speaker 3: But Eve's Value, for sure, was the first time that

756
00:42:17,640 --> 00:42:20,560
Speaker 3: I felt like, oh, I want.

757
00:42:20,360 --> 00:42:23,000
Speaker 4: To do this. Prior to that, it was it was

758
00:42:23,040 --> 00:42:23,560
Speaker 4: like kids.

759
00:42:23,640 --> 00:42:25,880
Speaker 3: You know how kids played baseball for Little League or

760
00:42:25,920 --> 00:42:28,360
Speaker 3: something like that. You know, it was a hobby, it

761
00:42:28,520 --> 00:42:32,719
Speaker 3: wasn't a passion. And then with eaves Value, it's interesting

762
00:42:32,840 --> 00:42:38,080
Speaker 3: I learned. I just learned a deeper appreciation for the

763
00:42:38,160 --> 00:42:39,000
Speaker 3: craft of it.

764
00:42:39,880 --> 00:42:45,719
Speaker 1: You know, at the time, at well, you were what

765
00:42:45,800 --> 00:42:47,319
Speaker 1: ten to eleven for eves By.

766
00:42:48,280 --> 00:42:50,399
Speaker 4: We started three days after I turned ten.

767
00:42:51,480 --> 00:42:54,760
Speaker 1: Okay, So I mean at that time, were you still

768
00:42:56,920 --> 00:43:01,160
Speaker 1: in your formative years Like, okay, well I'm doing this now,

769
00:43:01,239 --> 00:43:03,320
Speaker 1: but I really want to be like what did you

770
00:43:03,360 --> 00:43:06,640
Speaker 1: want to be when you were older as a groun?

771
00:43:06,760 --> 00:43:08,040
Speaker 1: Like did you want to be an actress?

772
00:43:08,120 --> 00:43:13,200
Speaker 3: Or was it I mean throughout my like adolescence it

773
00:43:13,320 --> 00:43:17,200
Speaker 3: kind of I loved doing it eves By you, Like

774
00:43:17,200 --> 00:43:18,720
Speaker 3: I said, it was the first time that I fell

775
00:43:18,800 --> 00:43:21,640
Speaker 3: in love with it. I got that high, that stimulation

776
00:43:21,800 --> 00:43:25,640
Speaker 3: that you get from losing yourself in a character. I

777
00:43:25,640 --> 00:43:30,440
Speaker 3: started understanding from Sam and Casey, you know, different tricks

778
00:43:30,480 --> 00:43:31,319
Speaker 3: and things.

779
00:43:31,000 --> 00:43:34,560
Speaker 4: That you do and approaching the craft. But I have

780
00:43:34,640 --> 00:43:37,160
Speaker 4: to say, even throughout, like my teenage years.

781
00:43:36,880 --> 00:43:39,279
Speaker 3: And my adolescence, there were moments that I thought, I

782
00:43:39,320 --> 00:43:41,240
Speaker 3: want to quit. I don't want to do this because

783
00:43:41,640 --> 00:43:45,160
Speaker 3: the industry was just and is. It can suck the

784
00:43:45,200 --> 00:43:48,839
Speaker 3: life out of you. You know, it can make you

785
00:43:49,200 --> 00:43:51,680
Speaker 3: if you don't let it. It can It can.

786
00:43:51,560 --> 00:43:55,440
Speaker 4: Bring out the worst qualities in yourself and in other people.

787
00:43:56,160 --> 00:44:00,919
Speaker 4: And I became a little jaded. I'm not gonna lie.

788
00:44:02,360 --> 00:44:05,480
Speaker 3: And I thought, probably around the time I was like

789
00:44:05,719 --> 00:44:09,160
Speaker 3: nineteen or twenty, I thought, I'm gonna go and work

790
00:44:09,320 --> 00:44:14,840
Speaker 3: in like the philanthropic world or be an accountant because

791
00:44:14,840 --> 00:44:20,480
Speaker 3: I loved math. And then I went on a trip

792
00:44:21,080 --> 00:44:23,160
Speaker 3: with you know, I was you know, Amir, I was

793
00:44:23,160 --> 00:44:25,080
Speaker 3: doing like working with artists for New South Africa.

794
00:44:25,160 --> 00:44:25,799
Speaker 4: I had you come.

795
00:44:26,160 --> 00:44:28,000
Speaker 1: Yeah, you were an activist at the age of three.

796
00:44:28,360 --> 00:44:29,759
Speaker 1: We get to that part of your life.

797
00:44:29,840 --> 00:44:34,120
Speaker 3: Yeah, And so my trip to South Africa with artists

798
00:44:34,160 --> 00:44:38,239
Speaker 3: for New South Africa, the delegation of artists like with

799
00:44:38,400 --> 00:44:43,200
Speaker 3: Sam Sam Jackson and his wife Latanya and Debra Santana,

800
00:44:43,280 --> 00:44:46,880
Speaker 3: Carlos Santana, Alfred Woodard and a bunch of other artists

801
00:44:46,880 --> 00:44:49,280
Speaker 3: paid for me to come with them to South Africa

802
00:44:49,760 --> 00:44:51,600
Speaker 3: and that trip changed my life.

803
00:44:51,880 --> 00:44:57,800
Speaker 4: And when I was over there, I just watched how

804
00:44:57,880 --> 00:44:59,279
Speaker 4: powerful art can be.

805
00:45:00,080 --> 00:45:02,319
Speaker 3: Know that we were able to build wells and we

806
00:45:02,320 --> 00:45:05,239
Speaker 3: were able to I just watch the impact that these

807
00:45:05,360 --> 00:45:07,440
Speaker 3: artists and their work had.

808
00:45:07,520 --> 00:45:10,800
Speaker 4: Across seas, you know, overseas.

809
00:45:11,000 --> 00:45:15,799
Speaker 3: And just felt kind of convicted in the sense like, well,

810
00:45:15,800 --> 00:45:19,160
Speaker 3: if I have a gift, if I have been given.

811
00:45:20,120 --> 00:45:22,239
Speaker 4: This gift, how dare I not use it?

812
00:45:22,280 --> 00:45:24,960
Speaker 3: Because I could actually have a greater impact when people

813
00:45:25,960 --> 00:45:26,839
Speaker 3: if I use it.

814
00:45:28,360 --> 00:45:31,480
Speaker 1: In my head, you're activists first and then you act

815
00:45:31,520 --> 00:45:33,280
Speaker 1: on the side.

816
00:45:33,840 --> 00:45:38,080
Speaker 3: That's because you know me from the like, Yo, we're

817
00:45:38,080 --> 00:45:39,320
Speaker 3: gonna stop for Obama.

818
00:45:39,440 --> 00:45:41,600
Speaker 4: We're on phone bank and knock.

819
00:45:41,400 --> 00:45:43,800
Speaker 1: On doors, and yeah, I will say.

820
00:45:44,080 --> 00:45:46,680
Speaker 4: With me like you you always, I.

821
00:45:46,600 --> 00:45:50,640
Speaker 1: Will say that, yeah, Journ Before I knew Journey, I mean,

822
00:45:51,880 --> 00:45:56,120
Speaker 1: I thought political activism and that sort of work was

823
00:45:56,280 --> 00:46:02,880
Speaker 1: you know, was just were performative HOTEP actors and and

824
00:46:03,120 --> 00:46:07,640
Speaker 1: Neil Young and sting for the you know, for Walden Woods. No,

825
00:46:07,719 --> 00:46:09,319
Speaker 1: I mean, you know, at the time, it was just

826
00:46:09,400 --> 00:46:12,600
Speaker 1: like besides voting.

827
00:46:12,280 --> 00:46:14,319
Speaker 3: From the message of the music town clean up, the

828
00:46:14,320 --> 00:46:15,000
Speaker 3: ghetto town.

829
00:46:16,160 --> 00:46:20,839
Speaker 1: Yeah, yo, but no one spoke my language, and you know, somehow,

830
00:46:21,520 --> 00:46:24,919
Speaker 1: being in a small household, I was like, Oh, they've

831
00:46:24,920 --> 00:46:27,640
Speaker 1: been doing this shit since there was two Like your

832
00:46:27,640 --> 00:46:31,120
Speaker 1: first protest was when LA was burning, right.

833
00:46:31,719 --> 00:46:34,799
Speaker 4: Yeah, that's the first protests I remember. Yeah, it was

834
00:46:34,800 --> 00:46:35,640
Speaker 4: like five.

835
00:46:37,120 --> 00:46:40,920
Speaker 3: In the nineteen ninety two uprising that I clearly remember

836
00:46:41,040 --> 00:46:43,520
Speaker 3: my mom having us on the street corner. We had

837
00:46:43,560 --> 00:46:46,359
Speaker 3: all made signs about Rodney King.

838
00:46:46,960 --> 00:46:49,560
Speaker 4: It was right after the.

839
00:46:48,640 --> 00:46:54,040
Speaker 3: The cops who viciously beat him were quitted and they

840
00:46:54,080 --> 00:46:57,520
Speaker 3: were like all the uprisings happening, and she had us

841
00:46:57,600 --> 00:46:58,759
Speaker 3: right out there, you know.

842
00:47:00,760 --> 00:47:02,840
Speaker 4: But my mother, you know, my mother and my father

843
00:47:03,040 --> 00:47:07,640
Speaker 4: met uh in the movement working with Angela Davis in Oakland.

844
00:47:07,920 --> 00:47:10,000
Speaker 4: You know, I was working with Angela Davis.

845
00:47:10,000 --> 00:47:12,680
Speaker 3: That's dope. My mother and my father and my father,

846
00:47:12,760 --> 00:47:16,200
Speaker 3: I know, but I'm just thinking, that's Dopeica.

847
00:47:16,280 --> 00:47:17,200
Speaker 2: Did you a journey meet?

848
00:47:18,080 --> 00:47:18,239
Speaker 3: Uh?

849
00:47:18,560 --> 00:47:25,560
Speaker 1: You mean after my I guess I think we first

850
00:47:25,600 --> 00:47:30,320
Speaker 1: met at the roots uh jam session?

851
00:47:31,080 --> 00:47:32,319
Speaker 4: You asked me to host it?

852
00:47:33,080 --> 00:47:37,040
Speaker 1: I did. Was this the Chappelle one or the year.

853
00:47:36,880 --> 00:47:38,960
Speaker 2: Before l A the l A one?

854
00:47:38,960 --> 00:47:41,919
Speaker 4: It was? It was the it was l A one.

855
00:47:41,960 --> 00:47:43,840
Speaker 4: It was like the second year y'all had done it.

856
00:47:44,600 --> 00:47:45,240
Speaker 4: I think.

857
00:47:48,440 --> 00:47:50,319
Speaker 2: I didn't. They didn't let me in, but I was

858
00:47:50,360 --> 00:47:51,759
Speaker 2: there the.

859
00:47:51,760 --> 00:47:53,440
Speaker 3: Line you had to get to the roots jam at

860
00:47:53,480 --> 00:47:54,959
Speaker 3: like when the door was open, it.

861
00:47:54,880 --> 00:47:57,200
Speaker 2: Was I would have crammed me that night and then

862
00:47:57,200 --> 00:47:58,840
Speaker 2: I couldn't get into the party.

863
00:47:59,000 --> 00:48:02,680
Speaker 1: No, no, no, there's been a lot of gray root

864
00:48:03,560 --> 00:48:09,200
Speaker 1: is real like this. This was way before in the heights.

865
00:48:09,480 --> 00:48:18,960
Speaker 1: This was this was like two thousand and five. I think, Okay, tucked.

866
00:48:17,120 --> 00:48:18,120
Speaker 4: Up a journey.

867
00:48:18,160 --> 00:48:20,040
Speaker 3: How are you maneuvering now? I know you guys are

868
00:48:20,040 --> 00:48:23,000
Speaker 3: a big activist family, So man, how are you maneuvering

869
00:48:23,000 --> 00:48:26,480
Speaker 3: in the midst of the clusterfuck of twenty twenty? And

870
00:48:27,520 --> 00:48:30,439
Speaker 3: how are you maneuvering towards the election when it comes

871
00:48:30,440 --> 00:48:34,799
Speaker 3: to your activism? No, I mean it's like you got

872
00:48:34,800 --> 00:48:37,000
Speaker 3: to attack it from so many ways, you know, For one,

873
00:48:37,040 --> 00:48:40,520
Speaker 3: this clusterfuck of twenty twenty, I don't I mean, I

874
00:48:40,520 --> 00:48:42,560
Speaker 3: don't understand it. You know.

875
00:48:44,000 --> 00:48:47,680
Speaker 1: Now that your mother is it harder for you to

876
00:48:48,080 --> 00:48:49,239
Speaker 1: to pound the pavement more.

877
00:48:50,080 --> 00:48:50,920
Speaker 4: What's interesting?

878
00:48:51,360 --> 00:48:56,960
Speaker 3: So COVID it was quite sobering because there was a

879
00:48:57,000 --> 00:49:01,840
Speaker 3: point in which we were quarantined and the curfewed.

880
00:49:03,080 --> 00:49:06,120
Speaker 4: And it was it was when I tell you, it

881
00:49:06,160 --> 00:49:07,920
Speaker 4: brought a rage out inside of me.

882
00:49:09,760 --> 00:49:15,040
Speaker 3: I hadn't been curfewed since nineteen ninety two with the

883
00:49:15,080 --> 00:49:18,360
Speaker 3: uprising then, you know, here in La with my family,

884
00:49:18,680 --> 00:49:23,040
Speaker 3: and so now to be a mom same city and

885
00:49:23,120 --> 00:49:24,120
Speaker 3: curfewed again.

886
00:49:25,239 --> 00:49:25,440
Speaker 4: You know.

887
00:49:27,160 --> 00:49:30,080
Speaker 3: The first time I stepped outside the house after, you know,

888
00:49:30,160 --> 00:49:32,640
Speaker 3: during this whole quarantine process, was to go to a

889
00:49:32,680 --> 00:49:37,760
Speaker 3: meeting in a church basement for BLM and doctor Malina

890
00:49:37,800 --> 00:49:38,680
Speaker 3: Abdullah and.

891
00:49:40,600 --> 00:49:41,960
Speaker 4: Janea the Future.

892
00:49:41,640 --> 00:49:46,359
Speaker 3: And Kendrick and you know, all of the folks who

893
00:49:46,360 --> 00:49:49,720
Speaker 3: are doing such incredible work on the ground were there.

894
00:49:50,000 --> 00:49:52,520
Speaker 3: And honestly, it was a selfish thing for me to

895
00:49:52,600 --> 00:49:57,000
Speaker 3: go because I needed to feel.

896
00:49:55,960 --> 00:49:57,920
Speaker 4: That I could do something with this rage.

897
00:49:58,320 --> 00:50:00,879
Speaker 3: I needed to channel it in some way, and even

898
00:50:00,880 --> 00:50:03,560
Speaker 3: if it was just showing up and I don't really

899
00:50:03,600 --> 00:50:06,480
Speaker 3: know what I'm contributing, but I'm gonna show up, right,

900
00:50:06,719 --> 00:50:08,800
Speaker 3: you know. That's actually why I'm asking you, because I

901
00:50:08,800 --> 00:50:10,520
Speaker 3: feel the same way, like I need to do something,

902
00:50:10,680 --> 00:50:14,440
Speaker 3: so I'm just and so I find myself reaching out

903
00:50:14,480 --> 00:50:18,239
Speaker 3: to like Patrees or or folks just being like, all right,

904
00:50:18,280 --> 00:50:20,360
Speaker 3: where are we going now? Because I just need to

905
00:50:20,960 --> 00:50:25,799
Speaker 3: you know, every Wednesday here in La BLM organizers in

906
00:50:25,840 --> 00:50:30,120
Speaker 3: front of Jackie Lacy's office.

907
00:50:30,400 --> 00:50:33,680
Speaker 4: She's got to go, that woman has got to go, right.

908
00:50:33,760 --> 00:50:39,400
Speaker 4: And I one of the times when I went, I

909
00:50:39,480 --> 00:50:41,680
Speaker 4: didn't do anything. I just witnessed.

910
00:50:41,719 --> 00:50:45,120
Speaker 3: And there were so many families who were there and

911
00:50:45,800 --> 00:50:49,840
Speaker 3: got up and spoke, you know, families of lost ones,

912
00:50:49,920 --> 00:50:53,359
Speaker 3: you know, families of folks who have been taken from

913
00:50:53,480 --> 00:50:59,080
Speaker 3: us by the hands of the LAPD or some sort

914
00:50:59,120 --> 00:51:02,560
Speaker 3: of police force, right and just to bear witness.

915
00:51:02,640 --> 00:51:05,000
Speaker 4: You know, just to give someone a hug. You know,

916
00:51:05,800 --> 00:51:08,200
Speaker 4: for me, it was honestly food for my soul to

917
00:51:08,280 --> 00:51:08,960
Speaker 4: be there.

918
00:51:09,040 --> 00:51:11,600
Speaker 3: And anytime I've gone to neither protests or something like that,

919
00:51:11,680 --> 00:51:14,879
Speaker 3: I feel like I'm being fed by being a part

920
00:51:14,920 --> 00:51:15,480
Speaker 3: of it, you know.

921
00:51:16,640 --> 00:51:18,840
Speaker 4: But what we're most of the stuff that we're able

922
00:51:18,840 --> 00:51:20,239
Speaker 4: to do now is through zoom.

923
00:51:20,280 --> 00:51:23,640
Speaker 3: Or on email, organizing letters that we're trying to write,

924
00:51:23,840 --> 00:51:28,560
Speaker 3: putting pressure on the police, unions or you know, whatever approach.

925
00:51:28,600 --> 00:51:32,480
Speaker 3: We take a lot of it.

926
00:51:32,480 --> 00:51:36,759
Speaker 4: It's from a distance that organizing is happening. But navigating it.

927
00:51:36,719 --> 00:51:40,880
Speaker 3: As a mom, I mean, you know, it's different because,

928
00:51:41,040 --> 00:51:45,319
Speaker 3: for instance, my mother would have had me out there, right,

929
00:51:45,800 --> 00:51:47,600
Speaker 3: And yeah, it wasn't.

930
00:51:47,800 --> 00:51:50,960
Speaker 4: If it wasn't for COVID, I'd have my sons at

931
00:51:50,960 --> 00:51:51,960
Speaker 4: these protests with me.

932
00:51:52,200 --> 00:51:54,600
Speaker 3: You know, I've gone with like my brothers and stuff,

933
00:51:55,160 --> 00:51:58,600
Speaker 3: but I haven't taken Hunter just because it's freaking COVID.

934
00:51:58,760 --> 00:52:02,080
Speaker 4: And it just felt like, Okay, I just I put

935
00:52:02,200 --> 00:52:04,319
Speaker 4: myself at risk, but I'm gonna keep him here, you know.

936
00:52:04,480 --> 00:52:08,680
Speaker 4: But I yeah, man, I don't. I don't know.

937
00:52:08,840 --> 00:52:12,880
Speaker 3: It's it's definitely navigating everything in life right now is

938
00:52:12,920 --> 00:52:14,680
Speaker 3: extra challenging being a mom.

939
00:52:14,719 --> 00:52:17,120
Speaker 4: I'm not gonna lie. Co Parenting is a whole new

940
00:52:17,160 --> 00:52:18,479
Speaker 4: thing that wasn't a part of the plan.

941
00:52:19,680 --> 00:52:24,040
Speaker 2: You have to journey, right, you want to you want

942
00:52:24,040 --> 00:52:27,880
Speaker 2: to go down co parenting all great, all day yo.

943
00:52:28,600 --> 00:52:33,560
Speaker 2: I could go deepunt co parenting, no ship, but.

944
00:52:34,120 --> 00:52:35,120
Speaker 1: People take care of you.

945
00:52:35,360 --> 00:52:36,120
Speaker 3: Ain't a co parent?

946
00:52:36,440 --> 00:52:39,640
Speaker 1: You ain't. You ain't a co parent nothing because the

947
00:52:39,719 --> 00:52:40,440
Speaker 1: co parent.

948
00:52:40,320 --> 00:52:47,520
Speaker 2: Steve he was up today show.

949
00:52:49,160 --> 00:52:50,440
Speaker 1: Steve show.

950
00:52:52,000 --> 00:52:54,080
Speaker 2: In times of COVID, And you don't know what the

951
00:52:54,120 --> 00:52:56,560
Speaker 2: fuck to like remote learn your kid or not remote

952
00:52:56,600 --> 00:52:58,279
Speaker 2: learn your kid or send your kid to the.

953
00:52:58,280 --> 00:53:03,640
Speaker 4: Things journey it's your well, I mean, Hunters and.

954
00:53:03,560 --> 00:53:05,919
Speaker 5: You have to wait, wait, how is he now, Amy,

955
00:53:06,000 --> 00:53:08,680
Speaker 5: You're supposed to be home homes learning me, home.

956
00:53:08,560 --> 00:53:13,560
Speaker 1: School, yeah, Journey, have my home school teacher, like I'm

957
00:53:13,560 --> 00:53:16,040
Speaker 1: supposed to be learning you. That's what we say us

958
00:53:16,320 --> 00:53:16,879
Speaker 1: supposed to.

959
00:53:18,680 --> 00:53:18,879
Speaker 3: Three.

960
00:53:19,400 --> 00:53:23,080
Speaker 4: He's three, but right, yeah, he's so bright. But he

961
00:53:23,200 --> 00:53:24,280
Speaker 4: is learning how.

962
00:53:24,160 --> 00:53:27,640
Speaker 3: To read, he's learning early mathematics, and I mean he's

963
00:53:27,680 --> 00:53:28,840
Speaker 3: still he's.

964
00:53:28,920 --> 00:53:30,680
Speaker 4: I think he's going to be quite advanced.

965
00:53:30,719 --> 00:53:33,080
Speaker 1: So does he know what a sesame Street is?

966
00:53:33,760 --> 00:53:36,440
Speaker 4: Absolutely for a long time. He loves that.

967
00:53:36,440 --> 00:53:39,000
Speaker 1: Bill right here is the god of sesame.

968
00:53:38,600 --> 00:53:42,480
Speaker 2: Street, all right, Bill and the lot of comedy and

969
00:53:42,520 --> 00:53:44,320
Speaker 2: good looks homeschool.

970
00:53:46,719 --> 00:53:48,879
Speaker 1: Right now, the god of sesme Street is getting drunk

971
00:53:48,960 --> 00:53:49,279
Speaker 1: right now.

972
00:53:50,880 --> 00:53:57,680
Speaker 2: Thursday, Thursday, rage day, you know Thursday, Yeah, right, fall

973
00:53:57,680 --> 00:54:03,399
Speaker 2: out of COVID. No idea what day it is.

974
00:54:02,880 --> 00:54:03,480
Speaker 1: Hey, Journey.

975
00:54:03,520 --> 00:54:05,680
Speaker 5: I have a story that's I don't know if it's

976
00:54:05,719 --> 00:54:08,319
Speaker 5: a similar story, but it's some kind of segue from

977
00:54:08,480 --> 00:54:11,759
Speaker 5: your story when you were talking about being both quarantined

978
00:54:11,880 --> 00:54:17,040
Speaker 5: and under a curfew. We had the same thing here

979
00:54:17,280 --> 00:54:21,080
Speaker 5: in New York there at one point there happening simultaneously,

980
00:54:21,840 --> 00:54:24,960
Speaker 5: and I was just inside, you know, thinking how strange,

981
00:54:24,960 --> 00:54:26,680
Speaker 5: and I was looking it up like when was the

982
00:54:26,760 --> 00:54:30,200
Speaker 5: last time New York City had had a curfew And

983
00:54:30,239 --> 00:54:32,840
Speaker 5: it was like, I forget it was in the nineteen

984
00:54:32,960 --> 00:54:36,480
Speaker 5: thirties or something like that. But I was up here

985
00:54:36,880 --> 00:54:40,160
Speaker 5: in my apartment thinking it's so strange quarantined and curfewed

986
00:54:40,239 --> 00:54:42,640
Speaker 5: at the same time, you know, and I hear the

987
00:54:42,680 --> 00:54:46,640
Speaker 5: mother loving ice cream man coming down the street.

988
00:54:47,520 --> 00:54:52,759
Speaker 1: The ice cream truck. I heard an ice cream truck coming.

989
00:54:53,840 --> 00:54:57,520
Speaker 5: I was like, this is just a bizarrow world right now, Like,

990
00:54:57,760 --> 00:55:00,319
Speaker 5: I'm not supposed to go running outside, go get an

991
00:55:00,320 --> 00:55:05,360
Speaker 5: ice cream, I swear.

992
00:55:05,480 --> 00:55:10,160
Speaker 3: And then like the the mayor here like called the

993
00:55:10,239 --> 00:55:12,960
Speaker 3: National Guard, and it was just like come on, I mean,

994
00:55:13,000 --> 00:55:17,120
Speaker 3: it was literally reminiscent of the nineteen ninety two situation

995
00:55:17,360 --> 00:55:20,359
Speaker 3: and really, come on, people, what are you doing?

996
00:55:20,400 --> 00:55:23,360
Speaker 1: They were just to Beverly Hills.

997
00:55:23,680 --> 00:55:25,400
Speaker 4: I mean, but it just was not enough.

998
00:55:25,760 --> 00:55:29,160
Speaker 3: I have friends who were injured by the Rubbert bullets,

999
00:55:29,200 --> 00:55:30,040
Speaker 3: like Kendrick was.

1000
00:55:30,440 --> 00:55:34,760
Speaker 4: You know potest Kendrick bullets. Yeah, and I know several

1001
00:55:34,760 --> 00:55:38,400
Speaker 4: people actually, you know, the tear. It was just ridiculous

1002
00:55:38,440 --> 00:55:38,680
Speaker 4: to me.

1003
00:55:38,760 --> 00:55:42,440
Speaker 3: And one of the things though, that doctor Malina was

1004
00:55:42,440 --> 00:55:45,080
Speaker 3: talking about, is really the success of this movement is

1005
00:55:45,120 --> 00:55:47,960
Speaker 3: going to depend on our imagination.

1006
00:55:48,960 --> 00:55:51,279
Speaker 4: You know, how big can we dream? And I think

1007
00:55:51,280 --> 00:55:52,960
Speaker 4: that's such a powerful way.

1008
00:55:53,320 --> 00:55:58,040
Speaker 3: Of framing the discussion around this, because people want to

1009
00:55:58,080 --> 00:56:00,200
Speaker 3: talk about like, oh, defund the police. Well know what,

1010
00:56:00,200 --> 00:56:01,719
Speaker 3: We're going to be there to show up when you

1011
00:56:01,760 --> 00:56:06,360
Speaker 3: actually need it, And it's like, no, can you dream

1012
00:56:06,760 --> 00:56:08,880
Speaker 3: about a reality that.

1013
00:56:09,239 --> 00:56:10,640
Speaker 4: Has never existed before?

1014
00:56:11,239 --> 00:56:13,920
Speaker 3: You dream about a world in which you do not

1015
00:56:14,120 --> 00:56:16,600
Speaker 3: call the National Guard on your own people? Can you

1016
00:56:16,719 --> 00:56:19,560
Speaker 3: dream about a world in which this one size fits all?

1017
00:56:20,520 --> 00:56:23,799
Speaker 3: Actually you realize no, people.

1018
00:56:23,520 --> 00:56:27,280
Speaker 4: Are different sizes. So you can't do a one size fist.

1019
00:56:27,160 --> 00:56:28,920
Speaker 3: And dream of a world where people know the history

1020
00:56:28,960 --> 00:56:31,640
Speaker 3: of this country for real, because that's a whole other thing.

1021
00:56:31,640 --> 00:56:33,719
Speaker 3: And know I'm policing. I know you get frustrated with

1022
00:56:33,760 --> 00:56:35,319
Speaker 3: that too, because all of a sudden people have woken

1023
00:56:35,400 --> 00:56:36,920
Speaker 3: up and they're like, wait, this happened.

1024
00:56:37,160 --> 00:56:39,520
Speaker 4: That happened the history of the police is this they

1025
00:56:39,560 --> 00:56:42,200
Speaker 4: did originally? We're established with it, you know what I mean?

1026
00:56:44,160 --> 00:56:49,000
Speaker 1: Not to be the party poop about today's development. Trump

1027
00:56:49,080 --> 00:56:52,719
Speaker 1: wants to uh, well, it was a lot to go

1028
00:56:52,800 --> 00:56:59,680
Speaker 1: on there. But Trump wants to enforce a mandatory what

1029
00:56:59,800 --> 00:57:06,560
Speaker 1: he what He's calling a patriotic education, in other words,

1030
00:57:06,560 --> 00:57:12,720
Speaker 1: a forced a forced lesson on patriotic history in America?

1031
00:57:13,000 --> 00:57:17,040
Speaker 1: Is that kind of kind of a reversal to the

1032
00:57:17,800 --> 00:57:20,440
Speaker 1: what was? What was in the New York Times? How

1033
00:57:20,480 --> 00:57:23,080
Speaker 1: they you know, some schools now are starting to put

1034
00:57:23,080 --> 00:57:28,080
Speaker 1: in a curriculum about, you know, the truth about slavery

1035
00:57:28,080 --> 00:57:29,680
Speaker 1: in America that they haven't done before.

1036
00:57:31,160 --> 00:57:34,800
Speaker 4: He was eighteen, attacking the sixteen nineteen projects.

1037
00:57:35,640 --> 00:57:39,200
Speaker 1: Yeah, so yeah, kind of his version of that. But

1038
00:57:39,600 --> 00:57:45,400
Speaker 1: you know, of course, but he was registered, right, a mandatory.

1039
00:57:46,080 --> 00:57:48,680
Speaker 1: You want to know what's you know, what's hilarious not

1040
00:57:49,080 --> 00:57:52,560
Speaker 1: this is not This is not hilarious at all. Yeah,

1041
00:57:52,720 --> 00:57:56,240
Speaker 1: I'm kind of a man without an island here. One

1042
00:57:56,280 --> 00:57:58,760
Speaker 1: of the things that's happening that is not getting out

1043
00:57:58,760 --> 00:58:01,320
Speaker 1: there in the news is the fact that they're also

1044
00:58:01,400 --> 00:58:05,920
Speaker 1: switching without warning, like new units. Like where I used

1045
00:58:05,960 --> 00:58:11,520
Speaker 1: to vote has has suddenly changed, right, my my polling

1046
00:58:11,560 --> 00:58:16,680
Speaker 1: location has changed, and now that it's technically like over

1047
00:58:16,720 --> 00:58:19,280
Speaker 1: the city limits or whatever, I got to start all

1048
00:58:19,320 --> 00:58:26,080
Speaker 1: over again. So yeah, I just found that I found

1049
00:58:26,080 --> 00:58:27,760
Speaker 1: out a week and a half ago that I have

1050
00:58:27,840 --> 00:58:30,440
Speaker 1: to reregister to vote, Like there's and I'm certain that

1051
00:58:30,480 --> 00:58:33,520
Speaker 1: there's a lot of people in that position. You know. I,

1052
00:58:34,080 --> 00:58:37,280
Speaker 1: in any other normal circumstance, I would have just assumed that, yeah,

1053
00:58:37,280 --> 00:58:41,640
Speaker 1: I'm registered, and I go to my normal place that

1054
00:58:41,640 --> 00:58:45,080
Speaker 1: I've been going to for the last thirty years. And

1055
00:58:45,160 --> 00:58:49,480
Speaker 1: something told me, let me, let me make sure that

1056
00:58:49,520 --> 00:58:51,919
Speaker 1: they didn't pull flint Yo. They pulled a flip plan.

1057
00:58:52,000 --> 00:58:55,280
Speaker 3: They pulled it, especially in your state because you're voting

1058
00:58:55,280 --> 00:58:56,400
Speaker 3: in a red state. Correct.

1059
00:58:56,920 --> 00:59:00,560
Speaker 1: No, I'm a Pennsylvanian, which is a red state, right.

1060
00:59:00,600 --> 00:59:04,880
Speaker 1: But here's the thing, though, it's a big state now

1061
00:59:05,720 --> 00:59:09,200
Speaker 1: where I'm currently about to get a house. You know

1062
00:59:10,040 --> 00:59:14,800
Speaker 1: if if I if I claim Pennsylvania, then I have

1063
00:59:14,880 --> 00:59:18,560
Speaker 1: to live the life of two people and pay taxes.

1064
00:59:19,040 --> 00:59:20,720
Speaker 3: That's the weird part when you have to figure out

1065
00:59:20,680 --> 00:59:22,800
Speaker 3: what you want to do as a voter. I mean,

1066
00:59:22,960 --> 00:59:25,040
Speaker 3: I moved to California now, so it's it's weird because

1067
00:59:25,040 --> 00:59:27,320
Speaker 3: it's such a blue state. But I kind of miss

1068
00:59:27,720 --> 00:59:31,280
Speaker 3: living in Pennsylvania. My boy, I feel like my voice California.

1069
00:59:31,320 --> 00:59:36,720
Speaker 1: Now, are you still yeah?

1070
00:59:37,160 --> 00:59:39,680
Speaker 4: I feel like there's a lot of confusion out there.

1071
00:59:40,400 --> 00:59:40,640
Speaker 2: Mask.

1072
00:59:41,200 --> 00:59:43,760
Speaker 1: I want everyone to check this just just to make sure,

1073
00:59:44,000 --> 00:59:49,000
Speaker 1: because I'm telling you that playing like, I've gotten no

1074
00:59:49,160 --> 00:59:51,600
Speaker 1: letters saying that anymore.

1075
00:59:51,720 --> 00:59:54,600
Speaker 5: It's called redistrict redistricting or something like that.

1076
00:59:55,000 --> 00:59:56,280
Speaker 4: They're doing a bunch of stuff.

1077
00:59:58,400 --> 01:00:04,760
Speaker 3: Okay, so vote save dot Us slash Obama is one

1078
01:00:04,920 --> 01:00:05,920
Speaker 3: place you can go.

1079
01:00:06,920 --> 01:00:08,480
Speaker 4: Baram Obama had posted.

1080
01:00:08,120 --> 01:00:10,920
Speaker 1: This, so I trust yes, I saw this yesterday and

1081
01:00:11,000 --> 01:00:11,600
Speaker 1: reposting it.

1082
01:00:11,840 --> 01:00:15,360
Speaker 3: He said, dot us vote say dot Us slash Obama.

1083
01:00:15,840 --> 01:00:19,439
Speaker 3: You can go there to see if you're registered.

1084
01:00:19,040 --> 01:00:22,720
Speaker 4: And find out about early voting. We all got space.

1085
01:00:24,200 --> 01:00:33,400
Speaker 1: Say slash Obama Obama space right exactly. I don't know

1086
01:00:33,400 --> 01:00:37,760
Speaker 1: how actually well the journey said, though rings true. A

1087
01:00:37,760 --> 01:00:41,680
Speaker 1: lot of people don't know that. Where I'm formally from Candom,

1088
01:00:41,720 --> 01:00:45,680
Speaker 1: New or Philadelphia, right across the water in Candam, New Jersey,

1089
01:00:45,880 --> 01:00:50,479
Speaker 1: they've already started the process. They're seventy percent in of

1090
01:00:51,160 --> 01:00:55,280
Speaker 1: sort of starting from scratch, not necessarily defunding the police,

1091
01:00:55,280 --> 01:00:58,880
Speaker 1: but starting just watching it over and starting a new

1092
01:00:59,280 --> 01:01:03,320
Speaker 1: and the results are astounding, you know, because one thing

1093
01:01:03,400 --> 01:01:06,560
Speaker 1: is that most police officers are not from the neighborhoods

1094
01:01:07,400 --> 01:01:09,040
Speaker 1: yeah that they watch.

1095
01:01:09,240 --> 01:01:12,280
Speaker 3: So it's like the manifesto that they that was one

1096
01:01:12,280 --> 01:01:13,600
Speaker 3: of the things I wish they would put it back

1097
01:01:13,600 --> 01:01:13,960
Speaker 3: out here.

1098
01:01:14,000 --> 01:01:17,560
Speaker 1: So they followed that. Like Camden right now is actually

1099
01:01:17,640 --> 01:01:23,880
Speaker 1: like probably leading the charge and very exemplary of what

1100
01:01:24,080 --> 01:01:28,640
Speaker 1: should be happening. Like you have officers that are walking

1101
01:01:28,840 --> 01:01:31,240
Speaker 1: the beat more than they are in their cars. So

1102
01:01:31,320 --> 01:01:33,840
Speaker 1: it's like you have to be of the people. You

1103
01:01:33,920 --> 01:01:36,760
Speaker 1: have to be from the area, and they know everyone

1104
01:01:36,760 --> 01:01:40,920
Speaker 1: by name, not to mention you know. The thing is

1105
01:01:41,040 --> 01:01:45,200
Speaker 1: is like it's like also being in the medical profession,

1106
01:01:45,440 --> 01:01:49,800
Speaker 1: Like there's a certain amount of tests and and a

1107
01:01:49,880 --> 01:01:51,640
Speaker 1: process that you have to go through, Like if you

1108
01:01:51,640 --> 01:01:53,240
Speaker 1: were a doctor, you would have to go through these

1109
01:01:53,240 --> 01:01:57,240
Speaker 1: things that most police officers never have to go through, right,

1110
01:01:57,440 --> 01:02:00,640
Speaker 1: And so this is happening right now Camden, New Jersey.

1111
01:02:00,760 --> 01:02:07,720
Speaker 1: And like crime, like two thousand and six, Candom was

1112
01:02:08,160 --> 01:02:11,960
Speaker 1: what number three was three or two? Like the most

1113
01:02:12,080 --> 01:02:15,160
Speaker 1: violent city in America. Tell you they were.

1114
01:02:15,080 --> 01:02:16,320
Speaker 2: Average New Jersey.

1115
01:02:16,640 --> 01:02:19,000
Speaker 1: Yeah, camp un yes.

1116
01:02:19,000 --> 01:02:21,640
Speaker 3: Yes, nice. Used to go visit people in prison over there.

1117
01:02:22,240 --> 01:02:24,919
Speaker 1: Yeah, it was bad. I mean the number is so bad.

1118
01:02:24,960 --> 01:02:29,320
Speaker 1: That's why Philadelphia kind of it led over into Philadelphia,

1119
01:02:29,320 --> 01:02:32,520
Speaker 1: like Philly's most violent years between two thousand and six

1120
01:02:32,560 --> 01:02:35,440
Speaker 1: and two thousand and nine as a result of what

1121
01:02:35,480 --> 01:02:38,440
Speaker 1: was happening in Candem it's it's fallen down like seventy

1122
01:02:38,520 --> 01:02:39,280
Speaker 1: percent now.

1123
01:02:39,360 --> 01:02:43,760
Speaker 4: So it's wild. You know where where the funding and

1124
01:02:43,800 --> 01:02:44,880
Speaker 4: where the money goes.

1125
01:02:44,920 --> 01:02:49,200
Speaker 3: You know, here in La the LAUSD, the school district

1126
01:02:49,600 --> 01:02:50,960
Speaker 3: has their own police force.

1127
01:02:51,920 --> 01:02:55,400
Speaker 4: I mean it's wild to me that you could spend

1128
01:02:56,200 --> 01:02:59,680
Speaker 4: they spent I think roughly seventy four million dollars just

1129
01:02:59,720 --> 01:03:03,160
Speaker 4: having a police presence in schools with children.

1130
01:03:04,360 --> 01:03:09,400
Speaker 3: I mean, do you imagine if you funneled that money,

1131
01:03:09,600 --> 01:03:15,560
Speaker 3: if you channel that money into community led initiatives, right, person,

1132
01:03:15,920 --> 01:03:19,320
Speaker 3: give seventy four million dollars to those children's parents and

1133
01:03:19,360 --> 01:03:23,240
Speaker 3: have them have a presence in their children's high school.

1134
01:03:23,360 --> 01:03:27,160
Speaker 3: I mean, like pay pay old daddy or mama who

1135
01:03:27,640 --> 01:03:30,800
Speaker 3: you know is that working three four jobs and barely

1136
01:03:30,840 --> 01:03:31,920
Speaker 3: able to see their children.

1137
01:03:32,400 --> 01:03:34,080
Speaker 4: Pay them to be in the schools.

1138
01:03:34,400 --> 01:03:35,760
Speaker 3: You know, why are you got to have an actual

1139
01:03:35,800 --> 01:03:40,920
Speaker 3: police presence? You're just funneling these children right into prison.

1140
01:03:41,680 --> 01:03:45,880
Speaker 4: You know. But it's priorities, It's it's priorities, and well, yeah,

1141
01:03:45,920 --> 01:03:46,560
Speaker 4: that is the plan.

1142
01:03:47,200 --> 01:03:50,120
Speaker 3: Unfortunately twenty one, what is it going to be?

1143
01:03:51,520 --> 01:03:55,760
Speaker 1: Wow? Are you still giving speeches? Journey? Yeah, So as

1144
01:03:55,760 --> 01:03:58,960
Speaker 1: we were staying earlier, you know when I was like

1145
01:03:59,000 --> 01:04:02,840
Speaker 1: all right, I'll do this, Like Journey was like, okay,

1146
01:04:03,040 --> 01:04:06,080
Speaker 1: you're you're pounding the pavement with us, Like I don't

1147
01:04:06,080 --> 01:04:08,120
Speaker 1: even have a say in the matter that it was like,

1148
01:04:08,920 --> 01:04:10,800
Speaker 1: or you don't get an invite to Thanksgiving or some

1149
01:04:10,840 --> 01:04:14,680
Speaker 1: ship like that. So I'll do this. And so in

1150
01:04:14,720 --> 01:04:16,720
Speaker 1: my mind I'm just thinking like, okay, well, i'll drive

1151
01:04:16,760 --> 01:04:19,560
Speaker 1: a van, I'll do something, just like, no, you're going

1152
01:04:19,600 --> 01:04:20,200
Speaker 1: to give speeches.

1153
01:04:20,240 --> 01:04:24,520
Speaker 2: I'm like, you love a good public appearance in there,

1154
01:04:25,440 --> 01:04:28,200
Speaker 2: public speaking, public face.

1155
01:04:28,320 --> 01:04:31,920
Speaker 3: Right now, Yes, you can't talk, but sometimes, you know

1156
01:04:33,040 --> 01:04:33,880
Speaker 3: not somebody.

1157
01:04:35,320 --> 01:04:38,160
Speaker 4: And me was out doing everything he was. We were

1158
01:04:38,200 --> 01:04:42,720
Speaker 4: literally knocking on was it Philly or somewhere in Ohio?

1159
01:04:43,200 --> 01:04:44,400
Speaker 4: I don't remember where we were.

1160
01:04:44,800 --> 01:04:53,400
Speaker 1: We were in Jesus Christ. Are we about our okay, journey,

1161
01:04:53,400 --> 01:04:54,600
Speaker 1: are we going to tell the story?

1162
01:04:55,040 --> 01:04:55,320
Speaker 3: Oh?

1163
01:04:55,480 --> 01:04:57,240
Speaker 4: That story the time.

1164
01:04:57,280 --> 01:04:59,800
Speaker 1: I want to tell the story. Oh you know the story?

1165
01:05:00,160 --> 01:05:04,880
Speaker 2: Answers yes, Oh.

1166
01:05:05,160 --> 01:05:11,760
Speaker 3: Said no, huh, okay, tell it, I'll tell it. I

1167
01:05:11,800 --> 01:05:15,200
Speaker 3: mean it's it's we were you're talking about the Marina

1168
01:05:15,240 --> 01:05:15,800
Speaker 3: del Ray one.

1169
01:05:16,560 --> 01:05:17,240
Speaker 1: Yeah.

1170
01:05:17,400 --> 01:05:21,840
Speaker 4: So often what we were doing is we were phone bank.

1171
01:05:22,000 --> 01:05:24,600
Speaker 3: You know, he's talking about eight like really when we

1172
01:05:24,680 --> 01:05:31,120
Speaker 3: started heavily getting No, no, no, it was Maria del Ray.

1173
01:05:32,440 --> 01:05:35,000
Speaker 1: We were leaving a place where white people were. That's

1174
01:05:35,000 --> 01:05:36,240
Speaker 1: all I remember, Marina.

1175
01:05:38,320 --> 01:05:43,720
Speaker 3: Yeah, we were leaving a grassroots organizing meeting for Obama

1176
01:05:43,800 --> 01:05:44,520
Speaker 3: and eight.

1177
01:05:46,040 --> 01:05:49,080
Speaker 4: And he was during the primaries. He hadn't even won yet.

1178
01:05:50,640 --> 01:05:51,080
Speaker 1: Tuesday.

1179
01:05:51,800 --> 01:05:53,680
Speaker 4: Yes, we were depressed, and we were depressed.

1180
01:05:54,080 --> 01:05:54,960
Speaker 1: Lost Calf.

1181
01:05:56,200 --> 01:05:59,400
Speaker 4: California to Hillary. We were so depressed.

1182
01:05:59,680 --> 01:06:04,600
Speaker 3: And so he was driving his Mini coup whatever whenever

1183
01:06:04,640 --> 01:06:13,120
Speaker 3: I mean, would come to l A, would.

1184
01:06:10,000 --> 01:06:12,160
Speaker 1: Listen, you could you could tell like who's knowing me?

1185
01:06:12,360 --> 01:06:14,320
Speaker 1: Like based on the car I was driving doing.

1186
01:06:15,080 --> 01:06:16,080
Speaker 3: And it just goes from them.

1187
01:06:16,400 --> 01:06:22,400
Speaker 1: Yeah, you remember, I forgot the we were depressed. Then

1188
01:06:22,440 --> 01:06:24,560
Speaker 1: we then we go see like there will be blood

1189
01:06:24,640 --> 01:06:27,560
Speaker 1: or something like. It was something depressing, just.

1190
01:06:27,520 --> 01:06:31,760
Speaker 4: Something I remember. I don't remember. But we got pulled over.

1191
01:06:33,280 --> 01:06:35,320
Speaker 2: That's that's that's that's the story.

1192
01:06:35,520 --> 01:06:36,800
Speaker 1: That's slightly putting it.

1193
01:06:37,200 --> 01:06:41,160
Speaker 4: Yeah, I forgot, I mean pretty much we had. It

1194
01:06:41,200 --> 01:06:44,560
Speaker 4: was almost like that scene I think of traffic.

1195
01:06:46,440 --> 01:06:50,040
Speaker 1: Traffic, it was it was it was. It was traffic

1196
01:06:50,040 --> 01:06:51,720
Speaker 1: for you. It was more like boys in your hood

1197
01:06:51,720 --> 01:06:54,280
Speaker 1: for me, trapping.

1198
01:06:55,320 --> 01:06:57,720
Speaker 3: It was so many stories in traffic, which was.

1199
01:06:57,640 --> 01:07:02,760
Speaker 2: A crash, but they're both like the same kind of movie.

1200
01:07:02,840 --> 01:07:05,280
Speaker 4: They are a lot of stories, and I always confuse him.

1201
01:07:05,960 --> 01:07:08,560
Speaker 3: AnyWho, we get pulled over and I pull out my

1202
01:07:08,760 --> 01:07:10,240
Speaker 3: camera and I'm.

1203
01:07:10,080 --> 01:07:13,280
Speaker 1: Like starting to It's not like it's a phone camera.

1204
01:07:13,320 --> 01:07:14,440
Speaker 1: It's like that.

1205
01:07:18,800 --> 01:07:20,560
Speaker 2: You have to hit the red button like a ghetto

1206
01:07:20,600 --> 01:07:24,120
Speaker 2: boom box, like one of the motherfuckers.

1207
01:07:24,160 --> 01:07:25,880
Speaker 4: So the cop walks up to the car and and

1208
01:07:25,920 --> 01:07:27,040
Speaker 4: then Journey has the record.

1209
01:07:27,880 --> 01:07:32,320
Speaker 1: Yeah, yeah, it was uh there is like.

1210
01:07:31,640 --> 01:07:34,280
Speaker 4: Journey, were that damn thing. Wait, you ain't ele Baker

1211
01:07:34,360 --> 01:07:35,960
Speaker 4: right now? Okay, like to take the time to be

1212
01:07:36,040 --> 01:07:40,680
Speaker 4: ele Baker. Put it away because it's massive, And so

1213
01:07:41,360 --> 01:07:43,080
Speaker 4: they they she was.

1214
01:07:43,040 --> 01:07:46,200
Speaker 1: Ready to start the revolution in the car, ready.

1215
01:07:45,920 --> 01:07:50,640
Speaker 3: To televise it. And you know they they asked a

1216
01:07:50,680 --> 01:07:54,400
Speaker 3: mere to get out of the car. Don't tell them why.

1217
01:07:54,560 --> 01:07:56,520
Speaker 3: Then they asked me to get out of the car.

1218
01:07:58,000 --> 01:08:01,120
Speaker 3: They start patting him down. They walk him to the

1219
01:08:01,160 --> 01:08:04,920
Speaker 3: back of the car and handcuff him, put him in

1220
01:08:04,960 --> 01:08:08,520
Speaker 3: the back of the car. They pat me down, search

1221
01:08:08,640 --> 01:08:13,800
Speaker 3: me in ways that I will say it was incredibly violated.

1222
01:08:14,920 --> 01:08:21,040
Speaker 1: I knew they they yeah. I mean the difference between

1223
01:08:21,600 --> 01:08:25,240
Speaker 1: now and then is that, of course, with the the

1224
01:08:25,280 --> 01:08:28,799
Speaker 1: technology cell phones. You don't know if you're being recorded

1225
01:08:28,880 --> 01:08:31,679
Speaker 1: or not. But that was definitely, I mean there's definitely,

1226
01:08:32,600 --> 01:08:34,160
Speaker 1: you know, a moment in time where they were just

1227
01:08:34,200 --> 01:08:37,840
Speaker 1: reckless because they knew that nobody's ever going to see

1228
01:08:37,880 --> 01:08:40,200
Speaker 1: this or believe this or get away with this. Even

1229
01:08:40,240 --> 01:08:41,800
Speaker 1: when they were asking me questions like.

1230
01:08:41,760 --> 01:08:44,880
Speaker 3: Yeah, what were they say, like what happens? We keep going?

1231
01:08:45,439 --> 01:08:48,120
Speaker 1: The thing is is that I know, you know, it's

1232
01:08:48,200 --> 01:08:51,120
Speaker 1: it's it's like the price. It's like it's like being

1233
01:08:51,120 --> 01:08:54,920
Speaker 1: on the prices right, And it's like when you're home,

1234
01:08:55,640 --> 01:09:00,760
Speaker 1: you know that you know that bottle Windexes whatever, nine

1235
01:09:00,800 --> 01:09:02,439
Speaker 1: or whatever, Like when you're home, you know, you know

1236
01:09:02,479 --> 01:09:06,760
Speaker 1: all the answers on Jeopardy, But when you're there and

1237
01:09:07,760 --> 01:09:11,439
Speaker 1: you see the look in their eyes, I was just like,

1238
01:09:12,080 --> 01:09:16,400
Speaker 1: I'm gonna die tonight, Like this is this is the

1239
01:09:16,520 --> 01:09:22,760
Speaker 1: it's the most helpless emasculating feelings ever. And you know

1240
01:09:22,800 --> 01:09:26,599
Speaker 1: he's talking about where's your register? I forgot what question

1241
01:09:26,680 --> 01:09:29,880
Speaker 1: he asked, and I said, well, you know my I said,

1242
01:09:30,520 --> 01:09:32,840
Speaker 1: you know, my assistant at the office. And then I

1243
01:09:32,880 --> 01:09:37,439
Speaker 1: mean like office, like it's like you can't be too

1244
01:09:37,439 --> 01:09:42,759
Speaker 1: smart or else your assassin or that sort of thing,

1245
01:09:43,520 --> 01:09:47,240
Speaker 1: and your mind is just blink because they know you

1246
01:09:47,240 --> 01:09:50,000
Speaker 1: don't know your rights of course, you know, knowing what

1247
01:09:50,040 --> 01:09:53,519
Speaker 1: I've seen now, like we shouldn't have gotten out the car.

1248
01:09:54,360 --> 01:09:56,040
Speaker 3: Yeah, how did he even put handcuffs on you?

1249
01:09:56,080 --> 01:09:56,280
Speaker 4: Well?

1250
01:09:56,320 --> 01:09:59,400
Speaker 3: What, like, I don't well, they didn't give us any explanation.

1251
01:09:59,520 --> 01:10:01,800
Speaker 3: They then uncuffed me and put me in the back

1252
01:10:01,840 --> 01:10:05,040
Speaker 3: with the mirror, and we sat there. It felt like

1253
01:10:05,080 --> 01:10:07,360
Speaker 3: an eternity sitting in the back of that car together.

1254
01:10:07,479 --> 01:10:09,639
Speaker 4: We like neither one of us knew what to say.

1255
01:10:09,680 --> 01:10:11,800
Speaker 4: We just sat there in silence, you know, in.

1256
01:10:11,760 --> 01:10:15,000
Speaker 3: The back or in front, in back, Oh my god, that's.

1257
01:10:16,600 --> 01:10:16,800
Speaker 1: Back.

1258
01:10:17,080 --> 01:10:17,720
Speaker 3: Yeah.

1259
01:10:17,760 --> 01:10:19,599
Speaker 4: And then they came back.

1260
01:10:20,320 --> 01:10:24,000
Speaker 3: They had like, you know, looked throughout everything in his

1261
01:10:24,040 --> 01:10:26,360
Speaker 3: car and my purse and and just kind of like

1262
01:10:26,840 --> 01:10:30,040
Speaker 3: handed him back his driver's license and said, Okay, the

1263
01:10:30,080 --> 01:10:30,599
Speaker 3: weirdest ship.

1264
01:10:30,800 --> 01:10:33,920
Speaker 1: The weirdest ship was they wanted to look in the

1265
01:10:33,960 --> 01:10:42,160
Speaker 1: trunk and journey and I had stopped by Borders because Dawn,

1266
01:10:42,800 --> 01:10:47,200
Speaker 1: my manager, had just moved to LA and I was like, Okay,

1267
01:10:47,200 --> 01:10:50,439
Speaker 1: I'm gonna get her. I'm gonna get her a deluxe cract.

1268
01:10:50,479 --> 01:10:53,799
Speaker 1: I'm gonna get her a deluxe scrabble game. In my mind,

1269
01:10:53,960 --> 01:10:57,360
Speaker 1: I was like, he's going to open this trunk and

1270
01:10:57,439 --> 01:11:00,680
Speaker 1: see all these scrabbles and psychology books in the in

1271
01:11:00,760 --> 01:11:04,439
Speaker 1: the back, and he's going to say, there's no way,

1272
01:11:05,439 --> 01:11:10,519
Speaker 1: it's just car belongs to these two. Oh and his

1273
01:11:10,600 --> 01:11:14,160
Speaker 1: thing was that, and I never verified it. I think

1274
01:11:14,200 --> 01:11:17,639
Speaker 1: we did ask like why did you pull us over? Richard?

1275
01:11:17,960 --> 01:11:21,639
Speaker 1: Rich was calling me on the phone. Here's the weird ship.

1276
01:11:22,880 --> 01:11:25,960
Speaker 1: Rich was calling me on the phone about Princess table

1277
01:11:26,000 --> 01:11:31,240
Speaker 1: at the jam session, and me, quote being a good citizen,

1278
01:11:31,439 --> 01:11:33,559
Speaker 1: I was like, Okay, let me pull the car over

1279
01:11:33,640 --> 01:11:35,479
Speaker 1: so I can take this phone call, you know, or

1280
01:11:35,960 --> 01:11:38,280
Speaker 1: I could have just picked up the car, you know

1281
01:11:38,400 --> 01:11:43,360
Speaker 1: call while I was driving, but I didn't, and we

1282
01:11:43,479 --> 01:11:48,800
Speaker 1: happened to be in front of a Mini coup dealership.

1283
01:11:48,920 --> 01:11:53,960
Speaker 3: I guess, oh yeah.

1284
01:11:52,200 --> 01:11:53,559
Speaker 1: I mean he said some shit about you know.

1285
01:11:53,760 --> 01:11:56,880
Speaker 3: He said he said something as if the lights the

1286
01:11:57,000 --> 01:11:58,880
Speaker 3: plates didn't match.

1287
01:11:58,640 --> 01:12:02,600
Speaker 4: The rental car uh contract?

1288
01:12:03,000 --> 01:12:05,760
Speaker 3: And we were like, but how'd you know to pull

1289
01:12:05,840 --> 01:12:08,000
Speaker 3: us over to check to see if the plates matched

1290
01:12:08,080 --> 01:12:09,560
Speaker 3: the rental car contract?

1291
01:12:09,720 --> 01:12:13,120
Speaker 4: Like you didn't have a contract when you decided to

1292
01:12:13,160 --> 01:12:14,559
Speaker 4: pull us over to know if they.

1293
01:12:14,479 --> 01:12:19,120
Speaker 3: Didn't match and and it just was pretty much they

1294
01:12:19,200 --> 01:12:22,639
Speaker 3: let us go without a ticket, without a warning, without anything,

1295
01:12:22,680 --> 01:12:25,360
Speaker 3: because there was nothing that Emir had actually done wrong.

1296
01:12:25,560 --> 01:12:28,240
Speaker 3: It was just he was driving while black in a

1297
01:12:28,320 --> 01:12:32,360
Speaker 3: mini coup with a big fro, right, and and we

1298
01:12:32,479 --> 01:12:40,000
Speaker 3: just felt, honestly, we just when we drove away.

1299
01:12:38,439 --> 01:12:44,000
Speaker 4: Ruined in silence. And may you kept you kept that week?

1300
01:12:44,040 --> 01:12:47,760
Speaker 1: That's a weird thing. Yeah, I don't even consider it,

1301
01:12:47,840 --> 01:12:50,240
Speaker 1: like even to look at that. I think that's when

1302
01:12:50,280 --> 01:12:54,120
Speaker 1: I started just putting my ships in the room, like

1303
01:12:54,200 --> 01:12:58,280
Speaker 1: I honestly, if you week, was it that week? The

1304
01:12:58,320 --> 01:12:59,320
Speaker 1: following Sunday I did?

1305
01:12:59,640 --> 01:13:04,640
Speaker 2: That was two thousand and eight, right, yeah, yeah, and so.

1306
01:13:04,479 --> 01:13:06,439
Speaker 4: Did you Bill. I'm going to say it again.

1307
01:13:06,920 --> 01:13:07,439
Speaker 3: It's nice.

1308
01:13:07,520 --> 01:13:09,840
Speaker 1: Oh damn, that was too Okay, you're right.

1309
01:13:09,720 --> 01:13:13,240
Speaker 2: Bill, you not I get pulled over. I did winogrammy,

1310
01:13:13,720 --> 01:13:14,160
Speaker 2: thank you.

1311
01:13:16,320 --> 01:13:17,360
Speaker 1: Anyway, So that's.

1312
01:13:19,080 --> 01:13:23,360
Speaker 3: Talk about it. I was just I was gonna let

1313
01:13:23,360 --> 01:13:24,960
Speaker 3: that just because I know he know better. He was

1314
01:13:25,000 --> 01:13:25,479
Speaker 3: gonna that.

1315
01:13:26,160 --> 01:13:28,880
Speaker 1: No, no, no, I'm the mini Cooper.

1316
01:13:29,400 --> 01:13:31,880
Speaker 2: I'm sorry. I'm making a joke. I shouldn't, but I'm

1317
01:13:31,920 --> 01:13:33,920
Speaker 2: so fucked up by all this. I don't know what

1318
01:13:34,000 --> 01:13:35,479
Speaker 2: to say.

1319
01:13:36,400 --> 01:13:38,519
Speaker 1: This is the one story I rarely share in public

1320
01:13:38,560 --> 01:13:43,200
Speaker 1: because it's just, you know, just the process, just to

1321
01:13:43,240 --> 01:13:43,840
Speaker 1: process it.

1322
01:13:44,479 --> 01:13:47,400
Speaker 3: But it was that word you kept using, you kept saying, jarn,

1323
01:13:47,479 --> 01:13:49,000
Speaker 3: I just feel so emasculated.

1324
01:13:49,680 --> 01:13:52,400
Speaker 2: Yeah, for you to say it. Also, the two of

1325
01:13:52,439 --> 01:13:54,400
Speaker 2: you in the back of a cop card not speaking

1326
01:13:54,400 --> 01:13:58,000
Speaker 2: to each other is a is the quietest quiet I

1327
01:13:58,080 --> 01:14:00,960
Speaker 2: think I've ever heard of. Quiet. You're the most talking

1328
01:14:01,000 --> 01:14:02,800
Speaker 2: to people I've met in a long time. I feel

1329
01:14:02,800 --> 01:14:04,719
Speaker 2: like you would have a lot to say in this particular,

1330
01:14:04,800 --> 01:14:09,479
Speaker 2: crazy fucked up moment. Quiet. It's even more the intense

1331
01:14:09,520 --> 01:14:11,320
Speaker 2: than we.

1332
01:14:11,320 --> 01:14:16,160
Speaker 1: Live in such a machismo society where I don't let

1333
01:14:16,240 --> 01:14:20,760
Speaker 1: other men overpower them in anything and intellect, physically or

1334
01:14:20,760 --> 01:14:24,479
Speaker 1: those things. But it's almost like this unspoken thing that

1335
01:14:24,640 --> 01:14:28,320
Speaker 1: citizens know that any moment a cop can in your

1336
01:14:28,360 --> 01:14:31,600
Speaker 1: life within the bounds of the quote unquote.

1337
01:14:31,240 --> 01:14:34,519
Speaker 3: Law, and for you as do about it, and you

1338
01:14:34,560 --> 01:14:35,360
Speaker 3: had journey.

1339
01:14:35,080 --> 01:14:37,680
Speaker 4: With you so as a man's that's what I was

1340
01:14:37,720 --> 01:14:40,719
Speaker 4: gonna say. It's it's deep.

1341
01:14:40,880 --> 01:14:44,439
Speaker 3: It goes back to the slave days of like, you know,

1342
01:14:45,120 --> 01:14:48,360
Speaker 3: the emasculation of the black man, of like, Okay, we're

1343
01:14:48,400 --> 01:14:49,519
Speaker 3: going to do this in front of.

1344
01:14:49,479 --> 01:14:54,479
Speaker 4: You and in front of this woman and guess what.

1345
01:14:54,760 --> 01:14:55,920
Speaker 4: Guess what you can't do.

1346
01:14:56,400 --> 01:14:59,200
Speaker 3: You can't stop us, right, And so that's what we

1347
01:14:59,360 --> 01:15:02,880
Speaker 3: both could feel as we were driving away, and he

1348
01:15:03,000 --> 01:15:04,720
Speaker 3: kept being like, Joe, I'm so sorry, and I kept

1349
01:15:04,760 --> 01:15:05,439
Speaker 3: being like, what.

1350
01:15:05,439 --> 01:15:06,120
Speaker 4: Could you have done?

1351
01:15:06,120 --> 01:15:08,439
Speaker 3: There was nothing you could have done. Like, we made

1352
01:15:08,479 --> 01:15:11,200
Speaker 3: it out alive. That's better than a lot of people

1353
01:15:11,240 --> 01:15:16,120
Speaker 3: in this situation can say, like, and that's a shitty

1354
01:15:16,280 --> 01:15:18,360
Speaker 3: that's a shitty reality to have to settle for.

1355
01:15:18,479 --> 01:15:19,639
Speaker 4: It's like, oh, well, at least we.

1356
01:15:19,600 --> 01:15:20,720
Speaker 1: Made it out a lot.

1357
01:15:20,840 --> 01:15:23,640
Speaker 4: But we did, y'all. We made it out alive. You know.

1358
01:15:24,960 --> 01:15:27,720
Speaker 3: That's the shitty thing of driving while black, and the

1359
01:15:27,720 --> 01:15:29,240
Speaker 3: shitty thing of you.

1360
01:15:29,160 --> 01:15:35,719
Speaker 4: Know, walking and walking by black black or black and male.

1361
01:15:35,960 --> 01:15:36,240
Speaker 4: You know.

1362
01:15:36,840 --> 01:15:41,920
Speaker 1: Yeah, have you had any situation like that ever? Or since?

1363
01:15:42,600 --> 01:15:42,760
Speaker 3: Oh?

1364
01:15:42,800 --> 01:15:43,680
Speaker 4: God? Yeah?

1365
01:15:44,960 --> 01:15:45,160
Speaker 2: More?

1366
01:15:45,840 --> 01:15:49,800
Speaker 3: Yeah, you know, I've shot so much in the South too,

1367
01:15:50,680 --> 01:15:53,600
Speaker 3: you know, so I've had several experiences. I mean, I

1368
01:15:53,600 --> 01:15:57,360
Speaker 3: remember shooting Great Debaters. Was that after before I can't remember.

1369
01:15:57,479 --> 01:15:59,280
Speaker 3: I think that was before, but I remember we did

1370
01:15:59,320 --> 01:16:01,840
Speaker 3: the lynching scene and I was driving a set in

1371
01:16:01,880 --> 01:16:05,280
Speaker 3: the van and over the radio I heard one of

1372
01:16:05,320 --> 01:16:09,000
Speaker 3: the teamsters say, well, we're having a lunchend today, ladies

1373
01:16:09,040 --> 01:16:09,599
Speaker 3: and gentlemen.

1374
01:16:10,120 --> 01:16:12,880
Speaker 4: I mean like, yeah, I've dealt with.

1375
01:16:12,800 --> 01:16:18,320
Speaker 3: Some crazy as stuff, you know, yeah, as you all

1376
01:16:18,400 --> 01:16:21,360
Speaker 3: have too. Yeah, but you deal with it and then

1377
01:16:21,400 --> 01:16:23,840
Speaker 3: you acted out. It's different, you like re enacted. So

1378
01:16:23,880 --> 01:16:26,960
Speaker 3: it's it's to me, it's like, well that's my that's

1379
01:16:27,000 --> 01:16:30,640
Speaker 3: my way of channeling the pain. I guess, yeah, is

1380
01:16:31,080 --> 01:16:32,280
Speaker 3: trying to place it somewhere.

1381
01:16:32,600 --> 01:16:35,200
Speaker 4: You know. Obviously with love Craft, there was a lot

1382
01:16:35,280 --> 01:16:38,400
Speaker 4: I had to pull bro Okay, a lot in my

1383
01:16:38,479 --> 01:16:41,160
Speaker 4: life was shitty at that time.

1384
01:16:42,720 --> 01:16:46,640
Speaker 1: But when is there talks of season two or a

1385
01:16:46,720 --> 01:16:47,759
Speaker 1: return or.

1386
01:16:48,760 --> 01:16:50,840
Speaker 3: I don't know, that's interesting.

1387
01:16:51,000 --> 01:16:54,559
Speaker 1: Wait, still, this is not an instant slam dunk.

1388
01:16:54,600 --> 01:16:57,200
Speaker 4: And she said we will see like we will see

1389
01:16:57,520 --> 01:17:03,400
Speaker 4: like we will see I mean as in like the

1390
01:17:03,439 --> 01:17:06,320
Speaker 4: powers that be that's above my pay grades.

1391
01:17:06,720 --> 01:17:08,439
Speaker 3: To get their ship together. That's what I know.

1392
01:17:10,720 --> 01:17:10,800
Speaker 4: What.

1393
01:17:12,120 --> 01:17:16,519
Speaker 1: Yeah, I'd be genuinely hurt if nothing angers me more

1394
01:17:16,600 --> 01:17:21,840
Speaker 1: when I get emotionally involved in a series only for

1395
01:17:21,880 --> 01:17:23,200
Speaker 1: it to be yanked away.

1396
01:17:24,600 --> 01:17:28,360
Speaker 2: Phone calls saying that you can't make your phone calls

1397
01:17:28,360 --> 01:17:30,400
Speaker 2: of what I am exactly.

1398
01:17:30,640 --> 01:17:33,840
Speaker 3: The good news is that all signs point to very

1399
01:17:34,000 --> 01:17:39,559
Speaker 3: positive response from folks from critics from I mean the

1400
01:17:40,320 --> 01:17:44,400
Speaker 3: I was recently told the pilot is like it's, you know,

1401
01:17:44,560 --> 01:17:46,559
Speaker 3: setting records for how many people have watched it.

1402
01:17:46,640 --> 01:17:52,200
Speaker 1: So yeah, I'm that I count for I count for

1403
01:17:52,240 --> 01:17:55,559
Speaker 1: twenty eight of those views journeys the Pilot like maybe

1404
01:17:55,680 --> 01:17:59,599
Speaker 1: eleven times because I've made other people me too, watch

1405
01:17:59,640 --> 01:17:59,960
Speaker 1: as well.

1406
01:18:00,080 --> 01:18:03,240
Speaker 4: We we're we're in good shape, y'all. We're in good shape.

1407
01:18:03,439 --> 01:18:04,800
Speaker 3: Let me ask you this, what does it feel like

1408
01:18:04,840 --> 01:18:08,120
Speaker 3: being a part It's an interesting time where we have Lovecraft,

1409
01:18:08,200 --> 01:18:11,120
Speaker 3: Pea Valley, the Shy. I feel like I'm leaving somebody

1410
01:18:11,120 --> 01:18:13,040
Speaker 3: out this one more other show that are like female

1411
01:18:13,280 --> 01:18:16,599
Speaker 3: black female show watch just.

1412
01:18:16,640 --> 01:18:19,719
Speaker 4: Run not Run. Yeah yeah, yeh yeah yeah yeah, yeah

1413
01:18:19,880 --> 01:18:21,880
Speaker 4: yeah yeah. It's an interesting time, does it? I mean,

1414
01:18:21,880 --> 01:18:23,439
Speaker 4: do you feel that like you're yours? Is you're a

1415
01:18:23,479 --> 01:18:24,200
Speaker 4: part of that too? With me?

1416
01:18:25,160 --> 01:18:28,479
Speaker 3: Oh yeah, it's incredibly exciting. And I think one of

1417
01:18:28,520 --> 01:18:32,479
Speaker 3: the exciting things for me about Lovecraft when I read

1418
01:18:32,479 --> 01:18:36,120
Speaker 3: the pilot was it just deconstructs this classic genre and

1419
01:18:36,240 --> 01:18:38,720
Speaker 3: such a radical and bold it was a racist So

1420
01:18:38,760 --> 01:18:40,880
Speaker 3: this is really like a fuck you to him. Somebody

1421
01:18:40,920 --> 01:18:42,880
Speaker 3: said that to me, like Lovecraft was like a whole races.

1422
01:18:44,400 --> 01:18:44,920
Speaker 4: It's great.

1423
01:18:45,840 --> 01:18:48,599
Speaker 3: Yeah, you know, so this is like a real good

1424
01:18:48,680 --> 01:18:51,719
Speaker 3: fuck you. I love it. Did you know that A mirror?

1425
01:18:52,280 --> 01:18:53,080
Speaker 1: No school me.

1426
01:18:53,880 --> 01:18:57,040
Speaker 3: Yeah, no, it's it's mentioned briefly in the pilot A

1427
01:18:57,080 --> 01:18:59,519
Speaker 3: mir when you uh so when you watch it for

1428
01:18:59,560 --> 01:19:03,559
Speaker 3: the seventh team time when Atticus is when Atticus says

1429
01:19:03,640 --> 01:19:09,400
Speaker 3: to Uncle George, you know about the essay that Lovecraft

1430
01:19:09,479 --> 01:19:11,680
Speaker 3: wrote called on the Creation of Niggers.

1431
01:19:12,000 --> 01:19:17,360
Speaker 1: Yeah, okay, that's what I thought. You dropped another easter

1432
01:19:17,439 --> 01:19:20,720
Speaker 1: egg that I wasn't aware of where you have to

1433
01:19:20,760 --> 01:19:24,280
Speaker 1: watch twice or three times to catch something that you

1434
01:19:24,320 --> 01:19:25,240
Speaker 1: didn't catch before.

1435
01:19:27,080 --> 01:19:29,680
Speaker 4: Yeah. I do have to say. I keep telling me

1436
01:19:29,760 --> 01:19:31,960
Speaker 4: Sha that I don't know if people are gonna love

1437
01:19:32,000 --> 01:19:34,479
Speaker 4: her or hate her by the end of the season.

1438
01:19:35,760 --> 01:19:36,679
Speaker 1: It was it was made.

1439
01:19:39,080 --> 01:19:39,479
Speaker 2: That's good.

1440
01:19:39,880 --> 01:19:42,839
Speaker 1: I think. I think the timing came out perfectly because

1441
01:19:43,439 --> 01:19:47,160
Speaker 1: in quarantining this gives you all the time in the

1442
01:19:47,160 --> 01:19:51,040
Speaker 1: world you need to really really concentrate on this.

1443
01:19:52,120 --> 01:19:54,720
Speaker 4: But I just got to give you a warning. I

1444
01:19:54,880 --> 01:19:56,760
Speaker 4: just where she takes y'all the.

1445
01:19:56,760 --> 01:20:01,160
Speaker 1: Emotions episode right. Yeah, as of the taping, we're only

1446
01:20:01,200 --> 01:20:02,400
Speaker 1: on number five, and.

1447
01:20:02,400 --> 01:20:05,080
Speaker 3: Might we say that number five was was its own thing.

1448
01:20:05,120 --> 01:20:07,919
Speaker 3: I was just proud of all my heterosexual extra masculine

1449
01:20:07,920 --> 01:20:11,160
Speaker 3: men who continue their love craft journey. Because it was heavy.

1450
01:20:12,520 --> 01:20:14,200
Speaker 1: New day and age. Man, this man.

1451
01:20:14,120 --> 01:20:16,760
Speaker 3: Stopped at don't be like people. Some certain dudes wasn't

1452
01:20:16,800 --> 01:20:18,400
Speaker 3: like there's a lot of men that were like, hey,

1453
01:20:19,040 --> 01:20:19,960
Speaker 3: that's still watching.

1454
01:20:19,960 --> 01:20:23,320
Speaker 1: But that aren't used to Michael K. Williams sort of

1455
01:20:23,360 --> 01:20:24,840
Speaker 1: being fluid in all his roles.

1456
01:20:25,080 --> 01:20:28,360
Speaker 3: No, not for him. The actual act, the sexual act

1457
01:20:28,479 --> 01:20:30,479
Speaker 3: was heavy. I had to ask for it myself, and

1458
01:20:30,520 --> 01:20:32,599
Speaker 3: I'm I just I was say it was heavy.

1459
01:20:32,720 --> 01:20:35,200
Speaker 2: It was happy when you do your man voice, that's

1460
01:20:35,200 --> 01:20:35,679
Speaker 2: all I'm saying.

1461
01:20:36,040 --> 01:20:36,519
Speaker 4: That's what I do.

1462
01:20:37,920 --> 01:20:40,600
Speaker 3: But the two things were both. That was heavy and

1463
01:20:40,640 --> 01:20:42,599
Speaker 3: so it was also what was happy was going with

1464
01:20:42,600 --> 01:20:46,080
Speaker 3: with Ruby, So that was that was just brilliant. I'm

1465
01:20:46,120 --> 01:20:49,800
Speaker 3: just I'm just warning you if you think, if you

1466
01:20:49,880 --> 01:20:51,480
Speaker 3: think she has taken.

1467
01:20:51,160 --> 01:20:57,960
Speaker 4: You places deeper going to she is going to mess

1468
01:20:58,000 --> 01:21:00,479
Speaker 4: with your mind emotion.

1469
01:21:00,680 --> 01:21:04,000
Speaker 1: I have a question and episode for how much of

1470
01:21:04,040 --> 01:21:11,040
Speaker 1: that was green screen or actual location? The the plank scene.

1471
01:21:11,720 --> 01:21:17,519
Speaker 3: Oh okay, I mean look obviously a lot of it below.

1472
01:21:18,080 --> 01:21:21,920
Speaker 4: You know, we were we were up in some of

1473
01:21:22,120 --> 01:21:22,640
Speaker 4: in some of it.

1474
01:21:22,680 --> 01:21:25,080
Speaker 3: They had us like on wires maybe like one hundred

1475
01:21:25,120 --> 01:21:29,280
Speaker 3: feet up or something like that, so they had to

1476
01:21:29,320 --> 01:21:30,479
Speaker 3: fill in the rest of it.

1477
01:21:30,560 --> 01:21:32,360
Speaker 4: But it was, it was It was a lot of

1478
01:21:32,400 --> 01:21:34,320
Speaker 4: fun to do some of that stuntwork, you know.

1479
01:21:34,400 --> 01:21:38,200
Speaker 1: I would be remiss to say that there is a

1480
01:21:38,400 --> 01:21:41,120
Speaker 1: love Craft Country Radio.

1481
01:21:41,439 --> 01:21:46,800
Speaker 3: Yes, Shannon, and it's it's breaks down all the episodes.

1482
01:21:48,120 --> 01:21:50,519
Speaker 1: It's really so driving to the farm. That's kind of

1483
01:21:50,520 --> 01:21:53,040
Speaker 1: what I'm and.

1484
01:21:53,160 --> 01:21:57,000
Speaker 3: I highly recommend after watching each episode go and listen

1485
01:21:57,040 --> 01:22:00,760
Speaker 3: to that because they really do a great.

1486
01:22:00,040 --> 01:22:04,240
Speaker 4: Out of breaking it down from the writer's perspective, too.

1487
01:22:08,120 --> 01:22:11,240
Speaker 3: Thoroughly broken down well before a mere ends or whatever.

1488
01:22:11,280 --> 01:22:12,880
Speaker 3: I just want to say, Journey, I just got to

1489
01:22:12,920 --> 01:22:15,160
Speaker 3: tell you, as a representation of fanhood out here, I

1490
01:22:15,200 --> 01:22:17,679
Speaker 3: appreciate every role you have chosen and all the energy

1491
01:22:17,720 --> 01:22:18,639
Speaker 3: you have put into them.

1492
01:22:19,000 --> 01:22:21,080
Speaker 4: Like, thank you so much, just thank you.

1493
01:22:21,640 --> 01:22:24,839
Speaker 1: Yes, any are you allowed to talk about future projects

1494
01:22:24,880 --> 01:22:28,160
Speaker 1: that you're working on? There is everything super n d A.

1495
01:22:30,320 --> 01:22:31,559
Speaker 1: We'll see it when we see it.

1496
01:22:34,120 --> 01:22:35,360
Speaker 4: You'll hear about something soon.

1497
01:22:35,960 --> 01:22:38,320
Speaker 3: Oh wait, Journey, how do you feel filming in a

1498
01:22:38,400 --> 01:22:49,760
Speaker 3: COVID America? Who says I'm gonna be in America? The workplaces,

1499
01:22:50,240 --> 01:22:54,400
Speaker 3: other places. Listen when I tell you they have found places,

1500
01:22:54,560 --> 01:22:57,439
Speaker 3: because it ain't wonder I've never been to. I'm excited

1501
01:22:57,479 --> 01:23:01,720
Speaker 3: to go to. But it's definitely gonna be different. You know,

1502
01:23:01,720 --> 01:23:02,679
Speaker 3: some of the stuff we have.

1503
01:23:02,640 --> 01:23:03,160
Speaker 4: To do.

1504
01:23:04,600 --> 01:23:07,640
Speaker 3: This project I'm about to do. You gotta like quarantine

1505
01:23:07,680 --> 01:23:10,759
Speaker 3: for two weeks. I'm like, yeah, I've been quarantine, but okay, I'll.

1506
01:23:10,600 --> 01:23:13,520
Speaker 2: Continue quarantine in the quarantine.

1507
01:23:13,640 --> 01:23:17,559
Speaker 1: It's a thing medine.

1508
01:23:17,280 --> 01:23:20,360
Speaker 2: Does, y'all dottery, Yeah, we get tested.

1509
01:23:20,720 --> 01:23:21,840
Speaker 1: It can't be around each other.

1510
01:23:22,360 --> 01:23:23,160
Speaker 2: No, it's too.

1511
01:23:23,040 --> 01:23:25,240
Speaker 4: Close't be around each other.

1512
01:23:26,040 --> 01:23:28,639
Speaker 1: No, Actually I was joking, but I think you're serious. Bill.

1513
01:23:28,920 --> 01:23:32,200
Speaker 2: Yeah, of course I'm serious, very serious person. But also

1514
01:23:32,600 --> 01:23:36,880
Speaker 2: uh they Yeah, I think it's like one person. If

1515
01:23:36,920 --> 01:23:38,800
Speaker 2: the rector is it's it's the same way. Everything else

1516
01:23:38,840 --> 01:23:41,040
Speaker 2: is filmed. Everything's in zones zone A and zone B

1517
01:23:41,240 --> 01:23:44,800
Speaker 2: and da dada, and it's ridiculous and that's what we're doing.

1518
01:23:45,120 --> 01:23:48,559
Speaker 2: But it is country, okay, wherever you're going.

1519
01:23:49,240 --> 01:23:53,360
Speaker 1: I hope you appreciate how painless this was?

1520
01:23:53,360 --> 01:23:53,519
Speaker 4: Was it?

1521
01:23:53,640 --> 01:23:54,479
Speaker 3: You should have asked her.

1522
01:23:56,840 --> 01:24:00,519
Speaker 4: It was a lot of fun, from one to from.

1523
01:24:00,520 --> 01:24:03,599
Speaker 1: One to getting teeth pulled. How easy was this interview.

1524
01:24:04,439 --> 01:24:06,360
Speaker 4: It was too point seven.

1525
01:24:06,840 --> 01:24:11,280
Speaker 2: Okay, I was wondering.

1526
01:24:10,920 --> 01:24:15,679
Speaker 1: Where the missteps were. But okay, anyway, what happened early birthday?

1527
01:24:15,720 --> 01:24:19,680
Speaker 4: Journey the early birthday? Oh thank you?

1528
01:24:21,800 --> 01:24:24,599
Speaker 2: Co parenting is a journey and I'm not even fucking around.

1529
01:24:25,000 --> 01:24:30,200
Speaker 2: Just wait a minute, journ journy. One last question, dude,

1530
01:24:30,720 --> 01:24:36,160
Speaker 2: you're you're singing you finally? How how was the process

1531
01:24:36,360 --> 01:24:40,839
Speaker 2: of singing? Birds pray and and and.

1532
01:24:41,240 --> 01:24:44,800
Speaker 4: That was really you and birds are prey sing Excuse me?

1533
01:24:45,040 --> 01:24:51,719
Speaker 1: Wait, wait, wait, shut I know, I'm sorry. I offense

1534
01:24:51,960 --> 01:24:53,920
Speaker 1: if you can see Journey's face right now.

1535
01:24:53,840 --> 01:24:57,519
Speaker 4: So sorry, Journey. It was me saying I do my stunts.

1536
01:24:57,560 --> 01:25:01,200
Speaker 4: I mean, you know you just like my character is

1537
01:25:01,240 --> 01:25:04,759
Speaker 4: gonna do a I've gotta do all the uncomfortable things

1538
01:25:04,840 --> 01:25:05,479
Speaker 4: you can say.

1539
01:25:05,840 --> 01:25:08,479
Speaker 3: I love scene, if we're gonna do martial arts, if

1540
01:25:08,479 --> 01:25:12,040
Speaker 3: we're gonna love love, Yes, thank you? Okay, oh yeah, okay,

1541
01:25:12,320 --> 01:25:14,400
Speaker 3: you killed it. Then you sang your ass off in that.

1542
01:25:14,360 --> 01:25:18,040
Speaker 4: Movie, So okay, thank you. You've been trying to get

1543
01:25:18,040 --> 01:25:19,720
Speaker 4: me to sing. E've been trying to get me to

1544
01:25:19,760 --> 01:25:22,559
Speaker 4: sing forever. It's the thing I am most terrified to do.

1545
01:25:24,400 --> 01:25:31,000
Speaker 1: And singing you come from a singing family. Imagine do

1546
01:25:31,080 --> 01:25:33,439
Speaker 1: the dishes together, singing and all that stuff.

1547
01:25:33,920 --> 01:25:35,000
Speaker 4: Oh we do.

1548
01:25:35,280 --> 01:25:40,519
Speaker 3: But first of all, Amir didn't tell y'all how he

1549
01:25:40,560 --> 01:25:42,760
Speaker 3: came over to Thanksgiving dinner one year.

1550
01:25:44,080 --> 01:25:46,920
Speaker 1: And that was the whole premise of the last time

1551
01:25:46,960 --> 01:25:48,120
Speaker 1: you guys will to show.

1552
01:25:49,360 --> 01:25:55,800
Speaker 3: That's right, every Thanksgiving, a mere text me who on

1553
01:25:55,840 --> 01:25:58,439
Speaker 3: that text threat me Jake, Jesse, Jazz like.

1554
01:25:58,479 --> 01:26:01,560
Speaker 1: The entire familist. I want to know what time.

1555
01:26:01,960 --> 01:26:04,960
Speaker 4: At, like ten o'clock, what night he'll text us and

1556
01:26:05,000 --> 01:26:06,320
Speaker 4: be like, y'allat dinner.

1557
01:26:06,080 --> 01:26:07,840
Speaker 1: Here, No, y'all take the turkey out.

1558
01:26:07,920 --> 01:26:13,560
Speaker 3: Yeah you'll always eat, Yes, only real black. Give me

1559
01:26:14,080 --> 01:26:16,880
Speaker 3: only one Thanksgiving because everyone's got to make their dish,

1560
01:26:16,920 --> 01:26:19,240
Speaker 3: and everyone's dish has gotten better than the other person,

1561
01:26:19,280 --> 01:26:20,040
Speaker 3: and everyone.

1562
01:26:19,800 --> 01:26:22,880
Speaker 1: It's like we went light on Journey. Journey has made

1563
01:26:22,960 --> 01:26:28,240
Speaker 1: houses with her hands. Journey is she could be tool time,

1564
01:26:28,400 --> 01:26:29,120
Speaker 1: like like.

1565
01:26:29,240 --> 01:26:35,120
Speaker 4: Yeah we do coventry, carpentry.

1566
01:26:35,680 --> 01:26:38,840
Speaker 1: She's a plumber, model homes with.

1567
01:26:41,280 --> 01:26:43,519
Speaker 3: I watched the decorating shows. I see them killing all

1568
01:26:43,600 --> 01:26:44,240
Speaker 3: right this storm.

1569
01:26:44,880 --> 01:26:45,920
Speaker 1: Yeah I can.

1570
01:26:46,040 --> 01:26:48,040
Speaker 3: I can refinish your heart with flour you need me to,

1571
01:26:49,320 --> 01:26:50,160
Speaker 3: I can.

1572
01:26:51,280 --> 01:26:51,599
Speaker 2: Today.

1573
01:26:52,120 --> 01:26:55,559
Speaker 1: Journey is the most raid look it up on paper.

1574
01:26:55,640 --> 01:26:56,160
Speaker 3: You need.

1575
01:26:56,640 --> 01:26:58,920
Speaker 4: We're great, hand baby, you need basically.

1576
01:26:58,520 --> 01:27:01,240
Speaker 2: Sending all that ship.

1577
01:27:01,680 --> 01:27:02,800
Speaker 4: I should just got paper.

1578
01:27:03,280 --> 01:27:05,599
Speaker 5: No, that's that's fucking thing.

1579
01:27:06,160 --> 01:27:08,519
Speaker 4: Yeah, okay, you're not handy, Bill stop.

1580
01:27:08,720 --> 01:27:11,639
Speaker 2: Much for the record, I am not. However, my house

1581
01:27:11,720 --> 01:27:14,040
Speaker 2: just got renovated. It finished literally today. I'm not even

1582
01:27:14,080 --> 01:27:18,040
Speaker 2: fucking around the poly your thing, fucking semigloss got done today.

1583
01:27:19,560 --> 01:27:21,000
Speaker 3: Journey talking about putting her head on.

1584
01:27:21,360 --> 01:27:23,959
Speaker 2: I can install a fucking ceiling fan.

1585
01:27:24,520 --> 01:27:29,280
Speaker 1: Soilking Journey, I mean every clearly, seriously. Hey, hey, I

1586
01:27:29,400 --> 01:27:31,639
Speaker 1: was on the tonight show nine hundred thousand right now.

1587
01:27:31,680 --> 01:27:35,920
Speaker 1: I got to have like a twenty eight mansion. I'm

1588
01:27:35,920 --> 01:27:39,320
Speaker 1: not lying. We we appreciate you, and thank you.

1589
01:27:39,400 --> 01:27:39,719
Speaker 4: Jeremy.

1590
01:27:40,280 --> 01:27:45,040
Speaker 1: All right on, behalf of the entire team Supreme. This

1591
01:27:45,160 --> 01:27:48,120
Speaker 1: is Quest Love and we will see you on the

1592
01:27:48,160 --> 01:27:59,559
Speaker 1: next go round. All right, good night, Much Love. Supreme

1593
01:27:59,640 --> 01:28:06,720
Speaker 1: isduction of iHeartRadio. For more podcasts from iHeartRadio, visit the

1594
01:28:06,800 --> 01:28:10,439
Speaker 1: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1595
01:28:10,479 --> 01:28:11,120
Speaker 1: favorite shows.