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

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Speaker 2: Hey y'all, this is on paid bill from Team Supreme.

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Speaker 2: We're back with part two of our QLs interview with

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Speaker 2: Chris Robinson. Part one. Chris spoke about growing up in

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Speaker 2: Baltimore and cultivating a career as one of the biggest

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Speaker 2: music video directors of the nineteen nineties and two thousands.

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Speaker 2: He shared some secrets about working with Eric Abadu, Lord Treka,

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Speaker 2: Peter Gunns, and Ella Cool Jay. He also discussed his

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Speaker 2: new project, Shooting Stars, which covers the upbringing of bron James.

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Speaker 2: If you haven't already, please check out that episode. Now

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Speaker 2: here's part two.

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Speaker 3: I want to hear if there's a way that you

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Speaker 3: can give cautionary tales without compromising your position or your

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Speaker 3: relationships and whatnot. But this is a theory that I

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Speaker 3: have now at this stage of my life, which is

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Speaker 3: I think when we turn thirty or forty, this is

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Speaker 3: when we start to become experts. And I don't think

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Speaker 3: it's more or less that we become experts more than then.

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Speaker 3: I think in the first twenty twenty five thirty years

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Speaker 3: of our life we take an assessment of Okay, this

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Speaker 3: is pleasurable and this is painful, and so we basically

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Speaker 3: want to just do the greatest hits and just take

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Speaker 3: a compilation of all the pleasurable things and then apply

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Speaker 3: that to it, and then we become experts, Like we

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Speaker 3: know that you know, if you touch the soul if you're.

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Speaker 4: Going to get burnt.

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Speaker 3: You know, if you walk across the street without looking

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Speaker 3: both ways, you're going to get hit. So basically, you

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Speaker 3: know it's a compilation of life lessons, and then that's

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Speaker 3: how you're supposed to proceed on from forty and above.

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Speaker 3: So for you are there never again moments for directing

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Speaker 3: in terms of and I don't mean like I'll never

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Speaker 3: work with this particular person again, but you already know that,

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Speaker 3: Like all right, I can't double book that, Like what

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Speaker 3: what lessons have you learned that are like never again?

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Speaker 5: That's a crazy question. Open my brain up. It's wanting

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Speaker 5: the gigs so bad that you compromise what your vision is.

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Speaker 5: It is never ever, ever, ever ever worked for me, Right.

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Speaker 3: And so you said yes to an artist before you

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Speaker 3: even have a solid creative vision for it.

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Speaker 5: Oh, I've definitely done that and that's worked out. That

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Speaker 5: might be a timing thing right. What I what I'm

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Speaker 5: talking about is like, you have to take this job,

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Speaker 5: but you have to use this DP and you have

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Speaker 5: to shoot in this city, or you have to use

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Speaker 5: use this use either use someone or put a patina

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Speaker 5: on it that we want it to be right now.

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Speaker 5: Commercials are different, right because an ad agency works on

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Speaker 5: that for a year before you ever get a phone call,

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Speaker 5: so we understand their vision of what they're looking for.

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Speaker 5: But when it comes to something creative, anytime I've attempted

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Speaker 5: to do it it it didn't work or it wasn't satisfying.

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Speaker 5: So my advice would be, never compromise your your your

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Speaker 5: thought for the money. You know it just doesn't work.

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Speaker 5: I have a dad thing, as I always tell my son,

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Speaker 5: I go okay. When I was on JV, I could kick,

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Speaker 5: like so we were just in practice and I was kicking,

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Speaker 5: booming the ball and the coach was like, Robinson, you

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Speaker 5: could kick, you're aligneman. I ain't never seen a lineman kick.

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Speaker 5: I go, yeah, I can kick, so he gives me

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Speaker 5: the job. I'm kicking off. So before that, a coach

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Speaker 5: comes up to me and he goes, hey, man, you're

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Speaker 5: planning your foot all wrong. You got to put your

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Speaker 5: foot closer to the ball so you can get more

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Speaker 5: lyft on. So here we go our first scrimmage against

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Speaker 5: our high school rival, and I go out to the coach.

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Speaker 5: I plant my footwear, he tells me, and the ball

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Speaker 5: goes straight up and straight down, and I get fired.

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Speaker 5: I'm no longer kicking the ball, And that, to me

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Speaker 5: is the metaphor of when I'm listening, I'm in my flow.

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Speaker 5: I know how to do this, I know the people

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Speaker 5: I want to use, because it's a it's a business

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Speaker 5: in an art form where you you collaborate, but then

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Speaker 5: somebody tells you not to do what you do with

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Speaker 5: you working for you. And the reason you called me

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Speaker 5: because this is what I do, and I've done it

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Speaker 5: a couple times regretfully, because the opportunity was so big.

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Speaker 5: And so when they come at you, when they go, hey, man,

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Speaker 5: this opportunity is big. You're going to do what we say.

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Speaker 5: It's difficult to turn it down, you know, and if

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Speaker 5: you have enough political acumen, then you know how to

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Speaker 5: twist it and turn it to still do what you

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Speaker 5: want to do. Cool. I really don't have that gift,

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Speaker 5: you know what I mean. I'm like I'm true to

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Speaker 5: whatever that so I would say, never ever do that.

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Speaker 5: And I know it's a difficult thing, you know, because

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Speaker 5: the opportunities are what they are. But I think that

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Speaker 5: for me is the biggest one.

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Speaker 4: Are you the type of director?

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Speaker 3: And I don't mean micromanaging that annoying way, like always

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Speaker 3: over your shoulder looking, But for me, I feel like

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Speaker 3: at the editing is the most important part of your presentation,

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Speaker 3: like because editing can be I know, for some what's say, well, no,

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Speaker 3: the story concepts the most important part. And some people

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Speaker 3: would say no, it's actually the look of it, like

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Speaker 3: the art, direction, the lighting. Some people say the SHOT's

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Speaker 3: the most important part. For me, I fall in love

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Speaker 3: with the editing. I mean a lot of you know,

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Speaker 3: nine times out of ten, I'm working with footage that

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Speaker 3: already exists already, so it's not like I have to

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Speaker 3: shoot all my content. But in terms of storytelling, do

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Speaker 3: you allow your lighting person, your linsman, your editor, do

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Speaker 3: you give them free reign to do what they do?

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Speaker 3: Or are you always over their shoulder from soup to nuts,

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Speaker 3: like micromanaging what it is.

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Speaker 5: Like I do in that I'm giving everyone the vision.

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Speaker 5: I'm going, Hey, this is how I see it before

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Speaker 5: we ever get out there on the playing field, and

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Speaker 5: before we ever roll one second of zeros and ones.

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Speaker 5: It's not film anymore. So I always like to meet.

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Speaker 5: I like pre pro I like setting down, I like

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Speaker 5: looking at references, and I include the editor in that, right,

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Speaker 5: I'll send the treatment. If it was a video, I

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Speaker 5: would send the treatment to the editor before we ever shot,

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Speaker 5: you know. And there were certain guys like Jeff Sellers,

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Speaker 5: amazing dude, and he was like Scorsesees editor to me

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Speaker 5: because I could give him, you know, when we were

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Speaker 5: shooting two videos a week back in the day, I

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Speaker 5: had to have trust, you know, to go all right,

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Speaker 5: here's this, I'm going to shoot this. When I get back,

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Speaker 5: we'll talk. And Jeff ninety percent of the time, you know,

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Speaker 5: he would hit it, you know. So, But those kind

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Speaker 5: of relationships are few and far between, right, So in videos,

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Speaker 5: I worked with like four or five different editors.

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Speaker 3: When you were in the in the eye of the

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Speaker 3: storm of video making, how many videos, well, you said

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Speaker 3: a week, how many videos a month would you book?

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Speaker 5: Well, I know this, for three years in a row,

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Speaker 5: I hit between forty eight and fifty.

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Speaker 4: Wait, wait.

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Speaker 5: For three years in a row, right, I noticed because

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Speaker 5: that's when I had left part as in left HSI

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Speaker 5: and I had my own company. I did between fifty

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Speaker 5: videos a year to fifty. Probably the year I did

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Speaker 5: the most videos were like fifty six, so that was

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Speaker 5: doing a video one by the video with and Had.

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Speaker 5: I had three rotating producers who only worked with me.

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Speaker 5: I had about five rotating editors and my executive producer Roseanne,

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Speaker 5: which too early as well. He really managed all that well.

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Speaker 5: And it was go ahead, Chris, get on a plane,

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Speaker 5: go and I would have to show up and do

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Speaker 5: my job. And I you know, it was such a

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Speaker 5: beautiful time that we were able to do it and

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Speaker 5: still keep the integrity of the art right, because that

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Speaker 5: was big on that too.

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Speaker 6: No vacation, No vacation Crystal in three years.

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Speaker 5: Let me tell you, I was upset, but wanted to

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Speaker 5: take a vacation.

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Speaker 4: I remember listens.

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Speaker 5: I had this guy Michael Lucero. I don't know if

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Speaker 5: you guys know, yeah, Michael Sarah was amazing. He's passed,

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Speaker 5: you know, rec in pees. Michael Lucero did ninety three

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Speaker 5: to Infinity. Yes, he did busting dirty. And when I

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Speaker 5: when I first had a company interested in me, which

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Speaker 5: is where I met Roseanne. She was the executive producer

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Speaker 5: of his company. It was called What You See Is

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Speaker 5: What You Get, and they were in San Francisco, so

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Speaker 5: I flew out from Baltimore to San Francisco, met them,

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Speaker 5: and the whole nine. Well. He was such a good dude.

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Speaker 5: He was kind of like a you know, one of

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Speaker 5: these guys who climbed mountains and you know, kind of

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Speaker 5: kind of that kind of dude, but an amazing direction.

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Speaker 4: As that video. Okay, Yeah, learned.

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Speaker 5: A lot from him, learned a lot from him, learned

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Speaker 5: how to write treatments. Was such a such a good man.

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Speaker 5: But he every year he would take us on vacation

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Speaker 5: and we would going to Mexico. He would take the

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Speaker 5: company on vacation. And the first year I was there,

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Speaker 5: I wasn't really you know, getting a lot of work.

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Speaker 5: And I was pissed that they wanted to take a

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Speaker 5: vacation and he wanted to fly me in, pay for it,

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Speaker 5: pay for my room, and I did not go. And

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Speaker 5: I was like, who's taking a vacation. We need to work.

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Speaker 5: So I was a little over indexing. I was sitting

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Speaker 5: back then because I wanted it so bad. And you know,

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Speaker 5: there's great photos that Robin Frank, who was my rep,

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Speaker 5: has sent to me recently, like of that trip that

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Speaker 5: I missed that that I could have been at. You know, well,

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Speaker 5: I was sitting at home in Baltimore convention about you know,

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Speaker 5: not working instead of going on vacation exactly.

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Speaker 3: So can you walk me through the process, because I'm

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Speaker 3: learning now that in order to be creative, you should

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Speaker 3: really dedicate, or at least for me, what works for

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Speaker 3: me is a lot of silence, a lot of soulas

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Speaker 3: a lot of silence. I used to be the type

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Speaker 3: of person that sort of reveled and chaos, but I realized, like, oh,

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Speaker 3: like during the pandemic, then every idea came to me

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Speaker 3: and suddenly inspiration came. So okay, so in the eye

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Speaker 3: of that storm, So all right, let's go to let's

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Speaker 3: go to two thousand and five. Okay, right, Like, how

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Speaker 3: long do you sit with And I'm going back to

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Speaker 3: videos because I feel like video I feel like videos

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Speaker 3: are harder than movies because you basically have four minutes

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Speaker 3: to tell a story and really knock it out the park.

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Speaker 3: So what is your process? How long do you sit

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Speaker 3: with the song. Do you sit with a team of

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Speaker 3: people and think of ideas? Do you look at the

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Speaker 3: physical build to the person. Do you do you get

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Speaker 3: to know them and see if they're athletic, if they

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Speaker 3: know how to run, if they know how to drive

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Speaker 3: a car?

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Speaker 4: Like what they're in Walk me through the basic like.

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Speaker 3: How long do you sit with the song before you

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Speaker 3: suddenly see what it is?

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Speaker 5: It for music videos? Man? It is? It was. It's different.

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Speaker 5: It depends on what the song. The song truly inspired me, right,

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Speaker 5: So a script will inspire you, but the song really

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Speaker 5: inspired would inspire me. For instance, you know when I

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Speaker 5: heard you know, I received Nojega song what what what? What? What? What? What?

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Speaker 5: So super Thug? I got super Doug. I wrote that

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Speaker 5: in twenty minutes because I had had this idea about

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Speaker 5: camels in the desert and it had been around for

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Speaker 5: a long time in my head, is rolling around in

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Speaker 5: my head. So I wrote that. And it's funny because

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Speaker 5: my rep was like, this is the quickest treatment you've

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Speaker 5: ever written. Are you sure you want me to turn

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Speaker 5: this in? And I was like, yeah, this is it.

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Speaker 5: Because I was a little notorious for sending in a

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Speaker 5: treatment late because of exactly what you're describing or taking

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Speaker 5: your time living with it. So when I did, I

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Speaker 5: received you don't know my Name from Alicia. I remember

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Speaker 5: sitting in the house eight hours just listening to it,

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Speaker 5: and I kept almost s getting it. Then I flew

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Speaker 5: to La and I had an assistant. Her name was

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Speaker 5: Nia Andrews. She's in music like her dad was in

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Speaker 5: He wrote all freak out like he's part of that legacy.

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Speaker 5: So we drove around LA for eight hours. I remember

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Speaker 5: we went to Mallebook. We just were listening to this

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Speaker 5: song on repeat. And then later that night she called

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Speaker 5: me and she goes, well, what about you know? And

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Speaker 5: then the idea so she it would pingpong back and forth.

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Speaker 5: So there's some things I would do totally solo. There's

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Speaker 5: some things. Jesse Terrero used to be my assistant, good

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Speaker 5: brother and one of my best friends, and he would

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Speaker 5: he may come up with something. Neil Feldman was an

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Speaker 5: assistant minor. I'd given the outline and do it. But

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Speaker 5: about I'd say a good seventy percent of the time

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Speaker 5: it was just me dipping out. You know. I got

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Speaker 5: a house in Maryland, sitting on the back porch and

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Speaker 5: playing it in the headphones and just vibing and sometimes

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Speaker 5: that could take me two days, three days.

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Speaker 6: And I just say, says, you mentioned Alicia Keys video.

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Speaker 7: Did did you have everything in your head even the

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Speaker 7: casting of that video when you were thinking of the concept.

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Speaker 7: You don't know my name?

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Speaker 4: And did most steps show up on time?

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Speaker 5: Listen? I don't remember, Listen. He's an artist, brother, he

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Speaker 5: was never on schedule, always on time.

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Speaker 6: But yeah, but did you think so in your mind?

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Speaker 7: Is that did that come out the deck directly way

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Speaker 7: you wanted it to players and everything, or that just

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Speaker 7: came later.

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Speaker 5: Most, however, I really truly can't remember how most became involved.

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Speaker 5: But Alicia's very she still isn't she was? She lives

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Speaker 5: that whole complete life, right, So she wasn't just down

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Speaker 5: for some video model, you know, coming through. She wasn't

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Speaker 5: down for people all up in her mouth kissing her,

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Speaker 5: you know, even no matter what the concept was. She

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Speaker 5: was very focused on, you know, being authentic telling the story,

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Speaker 5: but also being respectful in her life versus just just

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Speaker 5: the art. And I don't I I've known most through

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Speaker 5: my boy Set Free another Philly Cat for.

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Speaker 8: Minutes Free, shout out to set Free and I truly

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Speaker 8: can't remember, but when he came through, I was so

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Speaker 8: happy because I love the movies he'd been in, and

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Speaker 8: he was down.

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Speaker 5: You know. It was not a lot of money involved

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Speaker 5: in it or anything like that. He just came through

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Speaker 5: and represented. And you know, I still think that video

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Speaker 5: I should create a movie. I love Frank Frankie and Johnny.

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Speaker 5: I think it would be so dope to to, you know,

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Speaker 5: do that. And we shot it pan Pan in Harlem,

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Speaker 5: and Pan Pan's not there anymore, right, So that brother

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Speaker 5: made the best sans yeah, Pam Pan was Do.

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Speaker 6: You mentioned that? Chris?

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Speaker 7: What's another video you feel that way about that? You

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Speaker 7: could have just continued on and it could have been

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Speaker 7: a whole like Christy, break You off to so many videos.

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Speaker 4: Chris did so many videos. I forgot he did my video.

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Speaker 3: I'm sitting here like, wait a minute, I think Chris

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Speaker 3: directed the Roots video and I just oh, ship because

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Speaker 3: when you said the wire I was like, wait a minute,

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Speaker 3: A couple of wire cats are in my video for

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Speaker 3: break You And then that's right.

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Speaker 5: But I produced that video, so I was, and we

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Speaker 5: did the thing under the bed and the whole joy,

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Speaker 5: but it was that was no I love that video.

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Speaker 9: You know, the era of kind of the big budget

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Speaker 9: videos just kind of pretty much evaporated. How did you

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Speaker 9: and the other directors how did y'all transition during that period?

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Speaker 4: Went to movies?

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Speaker 5: Listen? Listen?

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Speaker 4: And what was that like?

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Speaker 5: Man?

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Speaker 9: Kind of seeing that that ecosystem just kind of dwindle.

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Speaker 5: You are, man, it's such a great question.

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Speaker 4: And it's YouTube your Napster.

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Speaker 5: Oh yeah, Napster is my Napster because Napster is the

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Speaker 5: reason the video budgets disappeared too. And I'll tell you man,

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Speaker 5: I once again, I wish I could say I saw

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Speaker 5: it coming, but we did not. And we I remember

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Speaker 5: literally there was there was like a week where the

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Speaker 5: bottom dropped out. I think fortunately I had already like

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Speaker 5: maybe started working with Kevin on Real Husbands or whatever

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Speaker 5: it was. But you know, my bread and butter, it

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Speaker 5: was chopped at the knees. And it was very much

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Speaker 5: like almost thinking it was a joke at first, Like

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Speaker 5: you know, labels would call and go, yeah we got X,

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Speaker 5: and I'd be like, really, now we're okay, so what

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Speaker 5: is it really? Because you know who you know this

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Speaker 5: artist and what they you know, the budget you're telling

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Speaker 5: me is what they need for their you know writer,

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Speaker 5: you know, like what this artist is. So I think,

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Speaker 5: you know, for me, it was just a it was

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Speaker 5: just a very difficult switch. But I started to understand it,

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Speaker 5: and I actually would call people. I'd call all the

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Speaker 5: people I met over the years and go like, Yo,

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Speaker 5: what's going on, Like what's happening? Like I didn't understand

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Speaker 5: the ramifications of napster and digital and all that time,

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Speaker 5: I was still going to the record store getting CDs.

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Speaker 3: Yeah, you know, see, I think or you know, in

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Speaker 3: the music business, many people look at Usher's Confessions as

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Speaker 3: the last album of that era. I mean, it was

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Speaker 3: the last album. It's the last brick and mortar album

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Speaker 3: where it sold ten million units.

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Speaker 4: Wow.

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Speaker 3: And then you know, like it came on two thousand

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Speaker 3: and three and then the age of ripping and all

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Speaker 3: that stuff really came into play. But I also feel

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Speaker 3: like I have a theory that maybe for the video world,

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Speaker 3: even though it wasn't financially responsible, I kind of feel

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Speaker 3: like the Rock the Boat video really marked an end,

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Speaker 3: even though other opulent videos were made kind of after.

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Speaker 3: But I feel like the effect of the Rock the

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Speaker 3: Boat video and kind of what it represented like just

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Speaker 3: the whole thing with the Leah's death flying to other locations,

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Speaker 3: private planes.

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Speaker 4: Da da da, Big Boxers, Dad on a boat on

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Speaker 4: a yacht, Da da Da.

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Speaker 3: I definitely remember a moment where that just kind of

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Speaker 3: paused the whole entire industry for a second. So even

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Speaker 3: though it wasn't like a direct thing where it's like,

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Speaker 3: you know, like a nine to eleven thing that changes

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Speaker 3: the world, or a January sixth thing like where you

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Speaker 3: can literally see a tangible thing, but I kind of

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Speaker 3: always wanted to know, like in the video world, was

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Speaker 3: was that a moment that gave you personal pause.

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Speaker 5: Like like your your soul, like your soul was like

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Speaker 5: put on pause. And I think we all had been

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Speaker 5: moving at one hundred miles an hour for so many

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Speaker 5: years and have had all these relationships and were so

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Speaker 5: deeply entrenched and you know, going for excellence that we

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Speaker 5: didn't realize the you know, how precious life is right

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Speaker 5: because we were so indexed on working. An example is

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Speaker 5: when the pandemic happened and I was home for three

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Speaker 5: weeks and I was bugging out a little bit. I

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Speaker 5: realized that I hadn't been anywhere for more than two

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Speaker 5: weeks for twenty years, right, so I had to stop

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Speaker 5: moving around. And I'm sure you guys went through that

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Speaker 5: same thing. And to your point, you know, when that

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Speaker 5: video happened and all those things happened, there was a

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Speaker 5: real the party will almost stopped, right, There was a

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Speaker 5: there was a halt, and because we all felt like

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Speaker 5: a Leo was our little sister, a little cousin, and

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Speaker 5: we loved it. It was a different kind of a

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Speaker 5: feeling when that happened. And and you know, we're all

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Speaker 5: jumping on planes and jumping on private planes and we're moving.

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Speaker 5: You know, we've been to I've been to Brazil to shoot.

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Speaker 5: We never really took We never thought about it about

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Speaker 5: safety and what could happen. And I think, look, that's

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Speaker 5: just something that happens in life. And I think it

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Speaker 5: just was business as usual for us to achieve a

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Speaker 5: great art form. I think we're hype. I think that

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Speaker 5: video is beautiful, and I think, of course, like you know,

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Speaker 5: you know, Hype himself as an artist wasn't only a

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Speaker 5: music video director. He was like our north star, and

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Speaker 5: he was tight with these artists and had relationships with

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Speaker 5: these artists in a way where you know, hi Williams

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Speaker 5: video could change in life as a musical artist, right,

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Speaker 5: And it just felt like all of our business, all

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Speaker 5: of our craft, had took a moment to breathe in

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Speaker 5: when that happened. So I agree with you, man, it

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Speaker 5: was It was tragic and beautiful at the same time.

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Speaker 3: I always wanted to know, if you can name a name,

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Speaker 3: what artist always makes you go back to the drawing

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Speaker 3: board and re does Like for me, I will say

387
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Speaker 3: that I was in a situation where I know never

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Speaker 3: to give the song that I want to give Jill

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Speaker 3: Scott or ericabad As the first song, like I actually

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Speaker 3: create and sometimes trek like it's always it's almost like

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Speaker 3: I had to do a horse and pony show, like

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Speaker 3: all right, here's the song, and it's not the song,

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Speaker 3: and then I'll do a second song. All right, I

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Speaker 3: tried hard, here's the song, and then I'll do the

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Speaker 3: song really want to give you.

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Speaker 4: All right, here's a song that like, yeah, this is

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Speaker 4: the one.

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Speaker 3: So is there an artist that always makes you go

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Speaker 3: back to the drawing board to read I don't like

400
00:24:08,760 --> 00:24:11,840
Speaker 3: this treatment. I don't like this treatment or where you

401
00:24:11,960 --> 00:24:15,560
Speaker 3: have to explain to them like in other word, okay, well,

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Speaker 3: I guess with the Honey video and you said Erica,

403
00:24:18,880 --> 00:24:20,280
Speaker 3: you didn't say she's michaeromanergy.

404
00:24:20,359 --> 00:24:25,480
Speaker 5: But you know, I know, no, I am not saying

405
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Speaker 5: she's micro. She is of an amazing artist.

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Speaker 3: Yeah, we're going to recreate these classic album covers, which

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00:24:32,359 --> 00:24:37,680
Speaker 3: looks good on paper, but absolutely what artist like makes

408
00:24:37,720 --> 00:24:40,240
Speaker 3: you always go back to the drawing board because they

409
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Speaker 3: just don't see it in the paragraph that you're.

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Speaker 6: Challenge. It's a good challenge.

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00:24:47,040 --> 00:24:48,959
Speaker 4: Yeah, no, no, an annoying challenge.

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Speaker 5: I immediately know too. Artist one is busted.

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Speaker 7: By that's a good challenge, that's a good chanter.

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Speaker 5: Hymes is a visual he you want to talk about

415
00:25:01,040 --> 00:25:04,600
Speaker 5: somebody who's paying attention to the visual I mean, and

416
00:25:04,920 --> 00:25:07,480
Speaker 5: wants to call you at two a m. Because he's

417
00:25:07,520 --> 00:25:12,280
Speaker 5: on that time as a musician in the studio, exactly exactly.

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Speaker 5: I don't understand why you didn't pick the phone up

419
00:25:15,680 --> 00:25:20,399
Speaker 5: at two am like he is, you know, to his credit.

420
00:25:20,760 --> 00:25:23,320
Speaker 5: I mean, look at I just on his tribute. I

421
00:25:23,359 --> 00:25:26,200
Speaker 5: was looking at the Janet Jackson video that he did,

422
00:25:26,840 --> 00:25:33,640
Speaker 5: and that thing is is crazy just booha. Everything he

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00:25:33,840 --> 00:25:37,520
Speaker 5: does has a visual component to it. So what happens

424
00:25:37,640 --> 00:25:42,679
Speaker 5: is he likes the first treatment too, But then you

425
00:25:42,760 --> 00:25:46,640
Speaker 5: get there and he's in the details. He's going classic classic,

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00:25:46,680 --> 00:25:49,840
Speaker 5: busted rhymes and bust I love you, my man, and

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Speaker 5: we already know what it is, classics. But when we

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00:25:53,960 --> 00:26:01,880
Speaker 5: did past the cavassier that was each set up was

429
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Speaker 5: a conversation like he classically, he didn't. He Diddy's fight

430
00:26:08,560 --> 00:26:12,360
Speaker 5: scene he felt was better than his fight scene, and

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Speaker 5: he wanted to rechoreograph the fight scene to make sure

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Speaker 5: that it's his video. So I get that we re

433
00:26:20,600 --> 00:26:26,200
Speaker 5: choreographed that that fight scene in that room. Now at

434
00:26:26,200 --> 00:26:29,960
Speaker 5: the time when the clock is ticking and you're gonna

435
00:26:30,000 --> 00:26:34,000
Speaker 5: go into overtime, and you've written the treatment, and you've

436
00:26:34,000 --> 00:26:38,280
Speaker 5: done the costume design, and you've got all the martial

437
00:26:38,359 --> 00:26:41,280
Speaker 5: artists who are going to be in it, and you

438
00:26:41,359 --> 00:26:45,320
Speaker 5: have the moment that seems like a request that is

439
00:26:46,960 --> 00:26:51,520
Speaker 5: gonna be tough to create, but it doesn't matter because

440
00:26:51,680 --> 00:26:55,720
Speaker 5: we still did it. And when you when you look

441
00:26:55,720 --> 00:26:57,879
Speaker 5: at that video, when I look at that video, I go, wow,

442
00:26:58,840 --> 00:27:04,199
Speaker 5: we probably had sixty five percent of that on paper,

443
00:27:04,880 --> 00:27:09,080
Speaker 5: sixty five percent of that plan. And what Buster will

444
00:27:09,160 --> 00:27:14,840
Speaker 5: will do is he's not just making arbitrary request. He's

445
00:27:14,880 --> 00:27:19,640
Speaker 5: so deep in it that he's pushing you. He's pushing

446
00:27:19,760 --> 00:27:22,600
Speaker 5: for greater, he's pushing for better. So he's not the

447
00:27:22,640 --> 00:27:25,800
Speaker 5: guy who just disappears and goes and smokes. He's on

448
00:27:25,840 --> 00:27:29,280
Speaker 5: the set setting in the director's chair, looking at playback.

449
00:27:29,760 --> 00:27:32,800
Speaker 5: And as you're moving through your data as a director,

450
00:27:34,040 --> 00:27:37,520
Speaker 5: you you know there's certain time things you have to hit.

451
00:27:37,960 --> 00:27:42,199
Speaker 5: But interestingly enough, I think we did shoot like an

452
00:27:42,200 --> 00:27:44,840
Speaker 5: extra eight hours on that video.

453
00:27:45,119 --> 00:27:47,800
Speaker 3: So do you already have overages written in the budget?

454
00:27:48,400 --> 00:27:50,359
Speaker 3: Do you already have overages written in the budget?

455
00:27:50,400 --> 00:27:53,360
Speaker 5: When you know that is what you try to do,

456
00:27:53,600 --> 00:27:57,520
Speaker 5: right and like once again my executive producer, Roseanne Cunning,

457
00:27:57,960 --> 00:28:01,359
Speaker 5: that's what you try to do. But the reality is

458
00:28:01,480 --> 00:28:06,359
Speaker 5: you cannot predict some things. Now, the tough conversation that

459
00:28:06,400 --> 00:28:09,520
Speaker 5: I've seen many times is when the producer goes over

460
00:28:09,600 --> 00:28:14,200
Speaker 5: to the you know, music video reping goes, okay, we're

461
00:28:14,200 --> 00:28:17,800
Speaker 5: having this is this much time? Or Chris wants a crane,

462
00:28:18,440 --> 00:28:20,320
Speaker 5: the crane broke and we have to bring in another

463
00:28:20,480 --> 00:28:23,600
Speaker 5: whatever that is. The record label has to sign off

464
00:28:24,200 --> 00:28:30,000
Speaker 5: to say, okay, you know cost plus if the crane

465
00:28:30,040 --> 00:28:33,119
Speaker 5: costs you another ten thousand dollars, we'll pay for it.

466
00:28:33,760 --> 00:28:37,800
Speaker 5: And usually that's where the power shifts, right, because the

467
00:28:37,840 --> 00:28:43,240
Speaker 5: power because we already have a contract. So no matter

468
00:28:43,280 --> 00:28:47,880
Speaker 5: what happens, I need to do what's on this treatment

469
00:28:48,520 --> 00:28:51,680
Speaker 5: to fulfill the contract to get paid. Like that's just

470
00:28:51,720 --> 00:28:55,320
Speaker 5: a reality of the business that it's really the only

471
00:28:55,360 --> 00:28:57,920
Speaker 5: way that you can do it right. You have to

472
00:28:57,960 --> 00:29:04,160
Speaker 5: make sure that it's done. But there's extenuating circumstances that

473
00:29:04,200 --> 00:29:07,960
Speaker 5: I've seen over the years. But if the artists in

474
00:29:08,040 --> 00:29:14,120
Speaker 5: the label are like down with you, right, you can

475
00:29:14,560 --> 00:29:17,640
Speaker 5: you can change things a little bit to accomplish the

476
00:29:17,680 --> 00:29:21,400
Speaker 5: same goal. But you know, I think I think Buster

477
00:29:21,840 --> 00:29:27,040
Speaker 5: is is you know, he understands it early. He understands like, Okay,

478
00:29:27,080 --> 00:29:30,440
Speaker 5: this even if this treatment is a we've got to

479
00:29:30,480 --> 00:29:33,120
Speaker 5: move quickly. So this treatment is a blueprint. We're going

480
00:29:33,200 --> 00:29:35,280
Speaker 5: to get it where it needs to be once we

481
00:29:35,360 --> 00:29:36,920
Speaker 5: get there, you know what I'm saying.

482
00:29:38,000 --> 00:29:42,120
Speaker 3: Okay, I vowed to never do this on this podcast,

483
00:29:42,640 --> 00:29:47,240
Speaker 3: but since you're here, I gotta know the politics.

484
00:29:48,600 --> 00:29:53,680
Speaker 4: Of video jawns. Come on.

485
00:29:53,760 --> 00:29:59,800
Speaker 3: Now, there's entire careers and Instagram accounts that have made

486
00:30:00,080 --> 00:30:04,600
Speaker 3: legends out of the right seven seconds in a.

487
00:30:04,680 --> 00:30:08,080
Speaker 6: Video is that still a thing? No, y'all think that.

488
00:30:09,280 --> 00:30:10,200
Speaker 4: I don't think videos are.

489
00:30:11,720 --> 00:30:16,080
Speaker 6: As the Baxter, you know, like I'm thinking of like so.

490
00:30:16,200 --> 00:30:19,520
Speaker 3: But the thing is that by this by this era,

491
00:30:21,080 --> 00:30:27,360
Speaker 3: you know, even video uh models have just as much

492
00:30:27,720 --> 00:30:34,120
Speaker 3: leverage as the artists themselves. And so is there how

493
00:30:34,120 --> 00:30:39,240
Speaker 3: do you wrangle like and I'm not trying to objectify,

494
00:30:39,360 --> 00:30:43,760
Speaker 3: like their product placement, but is it written ahead of time?

495
00:30:43,920 --> 00:30:48,440
Speaker 3: Like Okay, I'll make sure that you know when you're

496
00:30:48,440 --> 00:30:53,560
Speaker 3: wrangling with her manager whoever it is Gloria, like dude,

497
00:30:53,600 --> 00:30:56,880
Speaker 3: that when when Grace was a jib, like Grace was

498
00:30:57,080 --> 00:31:02,280
Speaker 3: responsible for like half from from Kreem.

499
00:31:02,080 --> 00:31:04,640
Speaker 4: All the way down, like all those videos.

500
00:31:05,200 --> 00:31:07,280
Speaker 3: So but but she told me that she was there

501
00:31:07,320 --> 00:31:09,720
Speaker 3: to ring, not only wrangle, but also to protect them,

502
00:31:09,880 --> 00:31:10,400
Speaker 3: you know what I mean.

503
00:31:11,160 --> 00:31:13,720
Speaker 4: And so, but I.

504
00:31:13,600 --> 00:31:19,240
Speaker 3: Didn't realize that there's like negotiations where this particular artist

505
00:31:19,320 --> 00:31:22,000
Speaker 3: has a certain cache and she wants to be featured

506
00:31:22,040 --> 00:31:25,200
Speaker 3: and da da da da da. Is that just is

507
00:31:25,240 --> 00:31:29,400
Speaker 3: that just decided or is it random or is it

508
00:31:29,440 --> 00:31:33,200
Speaker 3: already pre planned at the gate? Like Okay, we'll make

509
00:31:33,240 --> 00:31:35,239
Speaker 3: sure that you're the you're the featured and we're not

510
00:31:35,240 --> 00:31:37,600
Speaker 3: going to feature your rival that you might have beef

511
00:31:37,640 --> 00:31:41,239
Speaker 3: with and said video or is it just like up

512
00:31:41,280 --> 00:31:42,840
Speaker 3: to the artist who gets in or not.

513
00:31:44,120 --> 00:31:49,000
Speaker 5: Now Listen, in my experience, it's always been this is

514
00:31:49,040 --> 00:31:53,560
Speaker 5: gonna be a boring answer. It's always been like casting

515
00:31:53,600 --> 00:31:57,120
Speaker 5: on a feature film. Yeah, you would think like, oh,

516
00:31:57,280 --> 00:32:00,320
Speaker 5: that's kind of random, you know, or you look kidding,

517
00:32:00,360 --> 00:32:02,520
Speaker 5: you go, that must be random where they get all

518
00:32:02,560 --> 00:32:05,560
Speaker 5: old girls from a club. No, the answer is there's

519
00:32:05,600 --> 00:32:08,960
Speaker 5: a casting director. Ulysses Torero. Jesse's brother is one of

520
00:32:08,960 --> 00:32:12,920
Speaker 5: the best of every wow. And you know at that

521
00:32:13,120 --> 00:32:17,480
Speaker 5: in that point, there was an era where those young

522
00:32:17,560 --> 00:32:20,600
Speaker 5: ladies that were you know, video vixens or whatever you

523
00:32:20,600 --> 00:32:23,600
Speaker 5: want to call him. It was a portal. Right, so

524
00:32:23,720 --> 00:32:28,840
Speaker 5: now you decide, you know, like there's very memorable moments

525
00:32:28,440 --> 00:32:34,120
Speaker 5: of different video vixens in videos, right, So, but then

526
00:32:35,160 --> 00:32:38,040
Speaker 5: it was it's literally a portal. Like think about every

527
00:32:38,080 --> 00:32:42,160
Speaker 5: actress who does shot shout out to Melissa for it.

528
00:32:42,240 --> 00:32:45,280
Speaker 5: I mean, you want to talk about the hype Williams

529
00:32:45,280 --> 00:32:48,960
Speaker 5: of video vixens like he was she was go you

530
00:32:49,000 --> 00:32:52,600
Speaker 5: know that Datakis video knocked yourself out, like she's amazing.

531
00:32:52,720 --> 00:32:55,840
Speaker 5: But but let's let's talk about her the portal. Now

532
00:32:55,880 --> 00:32:58,520
Speaker 5: she is in another part of the business. Now she

533
00:32:58,560 --> 00:33:01,840
Speaker 5: does podcasts. Now she's she she was, you know, part

534
00:33:01,840 --> 00:33:06,880
Speaker 5: of that era with the magazine with Daytwine Thomas and

535
00:33:08,760 --> 00:33:11,040
Speaker 5: you know what I mean. And then let's talk about

536
00:33:11,120 --> 00:33:15,040
Speaker 5: Lauren London. The first thing she did was she was

537
00:33:15,040 --> 00:33:19,120
Speaker 5: Paul Hunter's assistant number one. He was in Drop It

538
00:33:19,200 --> 00:33:21,160
Speaker 5: Like It's Hot, which is a new video. She was

539
00:33:21,200 --> 00:33:26,320
Speaker 5: in Parell's video. Right, and my assistant at the time,

540
00:33:26,520 --> 00:33:31,680
Speaker 5: brother named Carl Reid. They were friends and he goes, Chris,

541
00:33:32,800 --> 00:33:37,520
Speaker 5: you should you should audition Lauren for atl And I

542
00:33:37,600 --> 00:33:42,080
Speaker 5: said absolutely, No, No, I'm not. I'm not I'm going

543
00:33:42,120 --> 00:33:44,240
Speaker 5: I'm not having a video girl. I'm trying to be

544
00:33:44,280 --> 00:33:47,000
Speaker 5: a serious filmmaker. But he was like, look, man, you

545
00:33:47,080 --> 00:33:48,680
Speaker 5: got to just be a good brother, man. You got

546
00:33:48,680 --> 00:33:50,320
Speaker 5: to get her a shot. She wants to be an actress.

547
00:33:50,600 --> 00:33:54,120
Speaker 5: And she came in and it's a great story because

548
00:33:54,160 --> 00:33:57,040
Speaker 5: she came in and she was late. We had packed

549
00:33:57,080 --> 00:34:00,720
Speaker 5: the film equipment up right. She she came and she goes,

550
00:34:00,760 --> 00:34:02,600
Speaker 5: I got a pee, I got a pine. Can I

551
00:34:02,600 --> 00:34:05,800
Speaker 5: go to the bathroom? So she delayed us further in

552
00:34:05,800 --> 00:34:08,840
Speaker 5: the bathroom. Okay. So I'm just sitting there looking a

553
00:34:08,920 --> 00:34:15,759
Speaker 5: car like see okay, and we said action and I

554
00:34:15,800 --> 00:34:19,960
Speaker 5: had been looking for new, new for probably eight to

555
00:34:20,000 --> 00:34:22,040
Speaker 5: ten weeks. Wow, and it was her.

556
00:34:24,080 --> 00:34:24,520
Speaker 4: Wow.

557
00:34:25,040 --> 00:34:27,799
Speaker 9: Was it true in the ATL that a lot of

558
00:34:27,840 --> 00:34:30,400
Speaker 9: big boys lines that heat improv a lot of that

559
00:34:30,640 --> 00:34:31,840
Speaker 9: or how did how did that?

560
00:34:32,400 --> 00:34:33,160
Speaker 4: Because we got it?

561
00:34:33,480 --> 00:34:36,279
Speaker 3: I wanted to ask about it.

562
00:34:37,320 --> 00:34:39,680
Speaker 5: Let me tell you something. What he said, you do

563
00:34:40,040 --> 00:34:44,439
Speaker 5: that money in my face, like try not to let

564
00:34:45,080 --> 00:34:49,799
Speaker 5: Big Boy is genius with his his ad libs. And

565
00:34:49,840 --> 00:34:53,080
Speaker 5: the way big Boy was moving was, you know, he's

566
00:34:53,120 --> 00:34:57,759
Speaker 5: big boys from outcast. He didn't really understand you know,

567
00:34:58,400 --> 00:35:00,600
Speaker 5: oh it's a six am call, Yeah, to be there

568
00:35:00,640 --> 00:35:03,279
Speaker 5: all these things. And he would come directly from the

569
00:35:03,320 --> 00:35:07,359
Speaker 5: studio to set, not having slept or whatever it was.

570
00:35:07,600 --> 00:35:11,680
Speaker 5: And every day I'd be worried. Every day he delivered

571
00:35:12,360 --> 00:35:17,920
Speaker 5: every scene. Uh, you know he always added that extra

572
00:35:19,200 --> 00:35:21,120
Speaker 5: that was beyond the script. Yeah, he had lived a

573
00:35:21,160 --> 00:35:21,840
Speaker 5: lot of that stuff.

574
00:35:21,840 --> 00:35:26,120
Speaker 4: And how was it with I? Was that was him?

575
00:35:26,560 --> 00:35:28,319
Speaker 4: I don't think that was his first Was that his

576
00:35:28,360 --> 00:35:28,960
Speaker 4: first feature?

577
00:35:29,440 --> 00:35:35,799
Speaker 5: It was? It was? It was It was similar in

578
00:35:35,840 --> 00:35:41,240
Speaker 5: the fact that he wasn't he didn't he never worked

579
00:35:41,239 --> 00:35:45,279
Speaker 5: on a set before, so you know, me and him,

580
00:35:45,360 --> 00:35:50,280
Speaker 5: I had done his very first video I'm serious before

581
00:35:51,000 --> 00:35:55,960
Speaker 5: before exactly, so so I was always like, man, this

582
00:35:56,040 --> 00:35:58,359
Speaker 5: kid is dope and Dallas awesome. Was like, I think

583
00:35:58,400 --> 00:36:01,879
Speaker 5: t I could really play the scroll, So Tim would

584
00:36:02,120 --> 00:36:04,080
Speaker 5: I think. He came in the first day in a

585
00:36:04,200 --> 00:36:07,560
Speaker 5: Rose Royce and he came to said he pulled up

586
00:36:07,600 --> 00:36:11,319
Speaker 5: for the set was a Rose roy and then he

587
00:36:11,440 --> 00:36:14,440
Speaker 5: had a big like you know, when it's a movie,

588
00:36:14,600 --> 00:36:18,120
Speaker 5: it's favorite nation, So every actor has the same kind

589
00:36:18,160 --> 00:36:21,000
Speaker 5: of a trailer, and he had he had his own

590
00:36:21,040 --> 00:36:23,759
Speaker 5: winner bagel and all the other actors were in like

591
00:36:23,760 --> 00:36:26,799
Speaker 5: a two banger. So you know, I talked to him

592
00:36:26,840 --> 00:36:31,120
Speaker 5: and I said, brother, you know you're leading this like

593
00:36:31,360 --> 00:36:34,640
Speaker 5: this is everybody's looking to you. You are number one

594
00:36:34,680 --> 00:36:39,040
Speaker 5: on the call shoot, So I mean in our other world,

595
00:36:39,120 --> 00:36:41,680
Speaker 5: in your music world, because he's in the studio every

596
00:36:41,719 --> 00:36:44,360
Speaker 5: night too. He's super popular. He's becoming the king of

597
00:36:44,400 --> 00:36:48,239
Speaker 5: the South. I just had a conversation with him and

598
00:36:48,280 --> 00:36:53,520
Speaker 5: we just got on the same page about work ethic,

599
00:36:54,239 --> 00:36:59,000
Speaker 5: coming in being the leader because we're all looking to you,

600
00:36:59,719 --> 00:37:04,080
Speaker 5: and is the lead in this picture and you know

601
00:37:04,480 --> 00:37:08,440
Speaker 5: he I think the hardest part for any artist is

602
00:37:08,760 --> 00:37:14,120
Speaker 5: not being ti or being tipped to your audience. Being

603
00:37:14,160 --> 00:37:17,879
Speaker 5: with Shad, who is the high school a guy who

604
00:37:17,920 --> 00:37:20,239
Speaker 5: just got out of high school, who has got to

605
00:37:20,239 --> 00:37:24,640
Speaker 5: show vulnerability. But I think what we both learned for

606
00:37:25,080 --> 00:37:28,120
Speaker 5: each other because both of our you know, you can

607
00:37:28,160 --> 00:37:32,319
Speaker 5: never do your first movie again, right, so everything was

608
00:37:32,320 --> 00:37:35,359
Speaker 5: bet on Tip for me. Everything for Tip was bet

609
00:37:35,440 --> 00:37:38,239
Speaker 5: on me. Like, so we both had to you know,

610
00:37:38,360 --> 00:37:40,960
Speaker 5: we're gonna win the super Bowl. The quarterback and the

611
00:37:41,000 --> 00:37:47,359
Speaker 5: receiver better be connected. All references, so, you know, we

612
00:37:47,560 --> 00:37:49,480
Speaker 5: I think we did a good job. I think it's

613
00:37:50,120 --> 00:37:52,440
Speaker 5: you know, people still reference it and still love it.

614
00:37:53,080 --> 00:37:58,640
Speaker 5: And I watched him turn into a superstar. That's the

615
00:37:58,680 --> 00:38:02,880
Speaker 5: one human being our watch turned from a really hot

616
00:38:02,960 --> 00:38:07,520
Speaker 5: commodity into a superstar through that process. That was up.

617
00:38:08,120 --> 00:38:09,880
Speaker 4: How did you know that Evan Ross was right for

618
00:38:09,960 --> 00:38:11,040
Speaker 4: that role? Hm?

619
00:38:11,080 --> 00:38:11,239
Speaker 7: Hmm.

620
00:38:11,680 --> 00:38:14,840
Speaker 5: He you know what he came, he came into the audition.

621
00:38:15,000 --> 00:38:16,920
Speaker 5: I didn't know who he was. I met him in

622
00:38:16,920 --> 00:38:21,239
Speaker 5: the Los Angeles and and I didn't know he was

623
00:38:21,280 --> 00:38:26,040
Speaker 5: Diana Ross's son until we were shooting. Okay, really good, good,

624
00:38:26,200 --> 00:38:30,759
Speaker 5: but yeah, I just was Evan as a restaurant out here. Now,

625
00:38:30,840 --> 00:38:36,960
Speaker 5: Evan's look, good man, Evans, what the restaurant leons?

626
00:38:36,440 --> 00:38:37,560
Speaker 6: Leons? Okay, thank you.

627
00:38:38,520 --> 00:38:41,560
Speaker 5: It's on Venture and he has a club called Warwick

628
00:38:42,040 --> 00:38:42,800
Speaker 5: on Sunset.

629
00:38:43,400 --> 00:38:45,759
Speaker 7: Then there didn't didn't know that was his People will

630
00:38:45,800 --> 00:38:47,399
Speaker 7: look at Evan Ross and like, what is he doing

631
00:38:47,560 --> 00:38:49,000
Speaker 7: besides being married to Ashley Simpson.

632
00:38:49,040 --> 00:38:50,160
Speaker 5: That's dope counting.

633
00:38:53,960 --> 00:38:58,560
Speaker 3: I have one more question about videos mhm, and be

634
00:38:58,680 --> 00:39:00,760
Speaker 3: honest about the mind state of directors.

635
00:39:00,800 --> 00:39:04,040
Speaker 4: I know you're saying I can only speak for myself, but.

636
00:39:05,560 --> 00:39:11,319
Speaker 3: Half the time, do you guys already have treatments in

637
00:39:11,360 --> 00:39:17,839
Speaker 3: your head or stock footage pre shot already that you're

638
00:39:17,880 --> 00:39:20,120
Speaker 3: just waiting for the right artist to sell that one?

639
00:39:22,719 --> 00:39:22,799
Speaker 7: Like?

640
00:39:22,840 --> 00:39:27,560
Speaker 3: In other words, is every video a bespoke kind of

641
00:39:29,200 --> 00:39:34,040
Speaker 3: customized video. I'm only asking this because you know, I

642
00:39:34,320 --> 00:39:36,319
Speaker 3: had a situation with I don't know, I don't know

643
00:39:36,320 --> 00:39:40,600
Speaker 3: if you know who Sanji is. He did far size,

644
00:39:40,640 --> 00:39:45,920
Speaker 3: passed me by yep, and a dude always wanted to

645
00:39:45,920 --> 00:39:49,400
Speaker 3: work with Sanji and we finally got a chance to

646
00:39:49,440 --> 00:39:55,400
Speaker 3: work with them on our Tipping Point record, and my

647
00:39:55,560 --> 00:39:59,800
Speaker 3: manager was always like summing right here, like what a

648
00:40:00,000 --> 00:40:00,239
Speaker 3: we were?

649
00:40:00,280 --> 00:40:00,400
Speaker 4: Like?

650
00:40:00,800 --> 00:40:01,319
Speaker 6: Hold up?

651
00:40:01,719 --> 00:40:03,880
Speaker 4: Wait a minute, we did the Star video.

652
00:40:04,520 --> 00:40:06,279
Speaker 6: Oh, I was wondering which one okay?

653
00:40:06,320 --> 00:40:10,279
Speaker 3: And Rich is like, why do I feel like he

654
00:40:10,360 --> 00:40:12,800
Speaker 3: shot this video already and just basically sold us a

655
00:40:12,880 --> 00:40:15,080
Speaker 3: bit because the thing was we weren't there for it.

656
00:40:15,200 --> 00:40:18,279
Speaker 3: When you talked about shooting your b shots without the

657
00:40:18,360 --> 00:40:23,520
Speaker 3: artist first, I was like, wait a minute, that might

658
00:40:23,600 --> 00:40:28,880
Speaker 3: be a Sandy trick from which it's my manager, Rich Nichols,

659
00:40:28,880 --> 00:40:31,360
Speaker 3: rest in peace. It's this assessment that we got got

660
00:40:31,880 --> 00:40:35,880
Speaker 3: and basically like he had already shot the video already

661
00:40:36,520 --> 00:40:40,160
Speaker 3: and sold it to us, and we just shot our

662
00:40:40,160 --> 00:40:42,200
Speaker 3: shots like at the end for a day or whatever.

663
00:40:42,360 --> 00:40:47,600
Speaker 3: But like, do you do stock shooting of stuff, you know,

664
00:40:47,800 --> 00:40:52,640
Speaker 3: like neighborhood shots or just random things that doesn't have

665
00:40:52,719 --> 00:40:53,440
Speaker 3: a home yet.

666
00:40:53,920 --> 00:40:54,520
Speaker 4: Is that a thing?

667
00:40:55,640 --> 00:41:00,680
Speaker 5: No? I listened in my experience. I'm just kidding.

668
00:41:02,080 --> 00:41:03,640
Speaker 6: I don't go watch this video again.

669
00:41:03,719 --> 00:41:03,879
Speaker 5: Chris.

670
00:41:03,960 --> 00:41:06,439
Speaker 6: I think they might've got got a look.

671
00:41:07,000 --> 00:41:11,840
Speaker 5: I think they're all Everything is bespoke for every director.

672
00:41:12,440 --> 00:41:16,000
Speaker 5: One reason is, you know, the label owns everything. So

673
00:41:16,280 --> 00:41:19,840
Speaker 5: we would finish a video, you would see two thousand

674
00:41:19,840 --> 00:41:23,160
Speaker 5: feet of it, but we'd send the whole twenty thousand

675
00:41:23,160 --> 00:41:25,480
Speaker 5: feet of film to the label. So I don't know

676
00:41:25,480 --> 00:41:28,000
Speaker 5: if they that's when we were shooting film, but the

677
00:41:28,080 --> 00:41:31,880
Speaker 5: label owns everything, period, point blank.

678
00:41:32,040 --> 00:41:35,840
Speaker 4: But yeah, but I mean, like right, okay, back in

679
00:41:35,880 --> 00:41:36,760
Speaker 4: the day, like all.

680
00:41:36,600 --> 00:41:39,560
Speaker 3: My reels go to the label. But now by turning

681
00:41:39,640 --> 00:41:42,600
Speaker 3: a record, I'm just turning that record. They're not getting

682
00:41:42,600 --> 00:41:45,399
Speaker 3: the demos and the stuff that didn't make the record, right,

683
00:41:45,680 --> 00:41:47,719
Speaker 3: they're opposed to you.

684
00:41:48,680 --> 00:41:51,520
Speaker 5: I always here's what's funny. I always talk to my

685
00:41:51,640 --> 00:41:54,719
Speaker 5: producer and I say, you know, we should do and

686
00:41:54,760 --> 00:41:57,640
Speaker 5: it's exactly what you said. I said, when we shoot

687
00:41:57,640 --> 00:42:01,680
Speaker 5: a video, why don't we have this conset? Because let's

688
00:42:01,680 --> 00:42:09,560
Speaker 5: say this, for every video you shoot, you wrote five

689
00:42:09,680 --> 00:42:14,040
Speaker 5: treat there's five videos I didn't get right. I'm battling

690
00:42:14,120 --> 00:42:18,719
Speaker 5: hype Benny. We're all battling each other. So for every

691
00:42:18,800 --> 00:42:23,440
Speaker 5: video I did, there were five concepts that are setting

692
00:42:23,440 --> 00:42:27,200
Speaker 5: on my shelf. I always thought it would be a

693
00:42:27,239 --> 00:42:30,920
Speaker 5: genius idea to shoot all the components of the video

694
00:42:31,000 --> 00:42:35,200
Speaker 5: and then put the artist in it. But you never

695
00:42:35,400 --> 00:42:39,080
Speaker 5: really could do it because everything has a certain vibe.

696
00:42:39,160 --> 00:42:42,560
Speaker 5: Every song had a certain vibe. Like I said, I

697
00:42:42,640 --> 00:42:45,560
Speaker 5: thought that would be a great, great idea and maybe

698
00:42:45,640 --> 00:42:48,280
Speaker 5: artists would like it where you could go, hey, here's

699
00:42:48,280 --> 00:42:50,880
Speaker 5: a video, and here's how we would insert you in it.

700
00:42:51,280 --> 00:42:54,399
Speaker 5: I always wondered that never had the opportunity to do it.

701
00:42:54,800 --> 00:43:01,160
Speaker 4: But it's got watched because I hate roots videos.

702
00:43:01,400 --> 00:43:10,160
Speaker 10: Just rewatched it. I was like, wait, anyway, let's talk

703
00:43:10,200 --> 00:43:12,080
Speaker 10: New Edition wrap up.

704
00:43:15,719 --> 00:43:17,960
Speaker 7: I just wanted to know about New Audition as a

705
00:43:17,960 --> 00:43:20,960
Speaker 7: director from your vision. First of all, what were the

706
00:43:21,440 --> 00:43:23,560
Speaker 7: You have to have these things in place for you

707
00:43:23,600 --> 00:43:26,640
Speaker 7: to direct this project. You have to have power over this,

708
00:43:26,760 --> 00:43:28,760
Speaker 7: Like did you have any of those those moments?

709
00:43:29,880 --> 00:43:31,000
Speaker 4: Can I answer them to your question?

710
00:43:31,320 --> 00:43:32,880
Speaker 6: Yeah? Before please?

711
00:43:33,360 --> 00:43:33,640
Speaker 4: All right?

712
00:43:33,680 --> 00:43:37,879
Speaker 3: You remember the guy who did the bel Air thing

713
00:43:38,040 --> 00:43:41,040
Speaker 3: like actually pitched, hey, why don't we do it you, Matt?

714
00:43:41,120 --> 00:43:44,800
Speaker 4: And he did like a real or a fake trailer?

715
00:43:45,680 --> 00:43:49,279
Speaker 3: Yes, there was once a fake trailer for the New

716
00:43:49,400 --> 00:43:52,840
Speaker 3: Edition biopic that was like roaming on you in the

717
00:43:52,880 --> 00:43:55,160
Speaker 3: early days of YouTube, like back in two thousand and six.

718
00:43:55,320 --> 00:43:56,520
Speaker 4: Did you have anything to do with that?

719
00:43:57,400 --> 00:43:58,960
Speaker 5: I did not, did you do?

720
00:43:59,000 --> 00:44:00,000
Speaker 4: You know what I'm talking about?

721
00:44:00,480 --> 00:44:04,920
Speaker 5: Absolutely? And I met the brother? All right, I met

722
00:44:04,920 --> 00:44:07,319
Speaker 5: the brother and let me tell you what else. He

723
00:44:07,480 --> 00:44:15,200
Speaker 5: showed up on set with Maurice Starr oh wow. So

724
00:44:15,360 --> 00:44:19,560
Speaker 5: look he uh look, God bless him. That's a Hollywood

725
00:44:19,640 --> 00:44:22,359
Speaker 5: lesson man like we are. I've been the same way

726
00:44:22,440 --> 00:44:24,720
Speaker 5: early in my career, like yo, I'm just gonna shoot

727
00:44:24,719 --> 00:44:27,760
Speaker 5: the sizzle and then they'll know that.

728
00:44:28,040 --> 00:44:28,520
Speaker 4: I'm a guy.

729
00:44:29,560 --> 00:44:32,520
Speaker 5: I did it seven eight years ago. I shot at

730
00:44:32,560 --> 00:44:37,840
Speaker 5: at L two trailer. I got everybody together, paid for

731
00:44:38,320 --> 00:44:44,120
Speaker 5: me and titall. Okay, we're trying to get We're trying to,

732
00:44:44,280 --> 00:44:48,080
Speaker 5: you know, create momentum. So you know studio would say, hey, man,

733
00:44:48,160 --> 00:44:50,000
Speaker 5: yeah we'll make it. You know, it just was it

734
00:44:50,040 --> 00:44:53,320
Speaker 5: was an effort to you know, show all those people

735
00:44:53,320 --> 00:44:57,080
Speaker 5: together again. So nothing has come of it as of yet.

736
00:44:57,360 --> 00:45:01,200
Speaker 5: We hope that we can make ATL two. But I

737
00:45:01,200 --> 00:45:04,360
Speaker 5: do remember that quest and I met that brother, and

738
00:45:04,800 --> 00:45:08,319
Speaker 5: he was a young director and he was really dedicated

739
00:45:08,360 --> 00:45:13,360
Speaker 5: to wanting to make that happen. And you know, I

740
00:45:13,400 --> 00:45:16,520
Speaker 5: didn't have anything to do with it, but I do

741
00:45:16,719 --> 00:45:20,000
Speaker 5: know that he he got so far as he showed

742
00:45:20,040 --> 00:45:20,359
Speaker 5: up with.

743
00:45:21,600 --> 00:45:23,799
Speaker 6: And what did they want?

744
00:45:23,840 --> 00:45:26,360
Speaker 5: Well, Westar of course we invited him and said okay,

745
00:45:26,440 --> 00:45:29,480
Speaker 5: you know, to see to watch. But he was there

746
00:45:29,480 --> 00:45:31,399
Speaker 5: with him and I actually had a conversation with him.

747
00:45:31,680 --> 00:45:33,160
Speaker 6: His heart must have been broken.

748
00:45:33,360 --> 00:45:36,560
Speaker 5: Oh lord, it's tough. It's it's tough. But that is

749
00:45:36,600 --> 00:45:40,239
Speaker 5: a that is a Hollywood one oh one lesson. That's

750
00:45:40,320 --> 00:45:44,600
Speaker 5: hard to get. But I think he's still like, he's

751
00:45:44,600 --> 00:45:49,080
Speaker 5: still pursuing the art, he's still pursuing directing, and and uh,

752
00:45:49,520 --> 00:45:52,960
Speaker 5: I think he's I think, look, it was dope for

753
00:45:53,040 --> 00:45:55,680
Speaker 5: him to do that, right, he had to love and

754
00:45:55,760 --> 00:45:57,759
Speaker 5: he just kind of came up with it and he goes,

755
00:45:57,800 --> 00:45:59,399
Speaker 5: I'm going to do this. The fact that he made

756
00:45:59,400 --> 00:46:01,399
Speaker 5: that happen and I got to go back and look

757
00:46:01,400 --> 00:46:03,919
Speaker 5: at it, but I remember thinking, this is pretty good,

758
00:46:04,840 --> 00:46:06,920
Speaker 5: you know what I mean, before I was over involved

759
00:46:06,960 --> 00:46:09,360
Speaker 5: in any any New Edition project.

760
00:46:09,200 --> 00:46:13,160
Speaker 3: I kind of thought that was the impetus that allowed

761
00:46:13,160 --> 00:46:17,040
Speaker 3: this to happen, because that thing was so viral that

762
00:46:18,960 --> 00:46:21,440
Speaker 3: about a year or two later then it was like, Yo,

763
00:46:21,560 --> 00:46:23,680
Speaker 3: we're really going to make this happen. I thought he

764
00:46:23,880 --> 00:46:24,440
Speaker 3: was a part of that.

765
00:46:24,640 --> 00:46:28,200
Speaker 5: So no, you know what I knew about this project,

766
00:46:28,560 --> 00:46:32,920
Speaker 5: Jesse Collins produced it. So Jesse, Jesse told me about

767
00:46:33,320 --> 00:46:40,319
Speaker 5: this maybe seven years before we shot it, but he

768
00:46:40,440 --> 00:46:43,000
Speaker 5: had the project obviously, you know, he does BT awards

769
00:46:43,040 --> 00:46:46,360
Speaker 5: and everything, and so he got with them, so you

770
00:46:46,360 --> 00:46:49,680
Speaker 5: can imagine in order to develop it with all those

771
00:46:49,960 --> 00:46:53,280
Speaker 5: human beings, to do the life rights and to come together.

772
00:46:53,840 --> 00:46:56,799
Speaker 5: It took that long. So about seven eight years later,

773
00:46:57,200 --> 00:46:59,600
Speaker 5: I mean no, I remember the New Edition was my

774
00:46:59,680 --> 00:47:06,279
Speaker 5: first concert fifteen Spectrum Philadelphia. I went to see New

775
00:47:06,440 --> 00:47:09,240
Speaker 5: Edition Lisa Lisa Coult jam and they was a fresh

776
00:47:09,280 --> 00:47:13,440
Speaker 5: fst and you know, stole the car from my parents.

777
00:47:13,480 --> 00:47:15,080
Speaker 5: Did the whole thing so.

778
00:47:16,239 --> 00:47:21,600
Speaker 3: Well, you can't just casually say that what what?

779
00:47:23,120 --> 00:47:23,440
Speaker 9: Yeah?

780
00:47:23,640 --> 00:47:26,080
Speaker 5: That That was my first concert as a kid, like

781
00:47:26,680 --> 00:47:27,759
Speaker 5: I love the New Edition.

782
00:47:27,800 --> 00:47:29,239
Speaker 4: At that point, did you get away with it?

783
00:47:29,600 --> 00:47:30,080
Speaker 5: I did not?

784
00:47:30,719 --> 00:47:32,800
Speaker 4: We uh was the bunishment?

785
00:47:33,120 --> 00:47:36,200
Speaker 5: I didn't steal the car. I took the car when

786
00:47:36,200 --> 00:47:38,760
Speaker 5: they told me no, and I drove all my cousins

787
00:47:38,840 --> 00:47:42,160
Speaker 5: up there. Worst we gets man, We got the car

788
00:47:42,360 --> 00:47:45,880
Speaker 5: told one of my uncles had to drive from Maryland

789
00:47:45,880 --> 00:47:48,640
Speaker 5: to Philadelphia to get us some silence on the way back.

790
00:47:48,800 --> 00:47:51,000
Speaker 5: It was worse than Vanessa on The Cosby Show.

791
00:47:51,480 --> 00:47:54,560
Speaker 6: I'm thinking about that episode. Literally, think about that episode.

792
00:47:56,200 --> 00:47:59,400
Speaker 4: It was explained Bill and Steve Good. I watched the

793
00:47:59,440 --> 00:48:00,000
Speaker 4: Cosby Show.

794
00:48:04,000 --> 00:48:07,279
Speaker 6: It was ship. What was your question about, Oh, oh

795
00:48:07,800 --> 00:48:08,879
Speaker 6: did you get away with it?

796
00:48:09,680 --> 00:48:14,440
Speaker 5: Oh? No? Did not did not. But when I finally

797
00:48:14,480 --> 00:48:18,080
Speaker 5: did it, I made sure my uncle and my dad

798
00:48:18,239 --> 00:48:20,799
Speaker 5: got to see it, and they were like, Okay, it

799
00:48:20,840 --> 00:48:22,600
Speaker 5: was worth it, you know what I mean?

800
00:48:23,080 --> 00:48:27,280
Speaker 3: How long was your initial treatment because I'm almost certain

801
00:48:27,320 --> 00:48:28,240
Speaker 3: it was the three parter.

802
00:48:28,200 --> 00:48:30,520
Speaker 5: Right, three nights.

803
00:48:30,560 --> 00:48:35,719
Speaker 3: I'm almost certain that you had enough content for almost

804
00:48:35,760 --> 00:48:38,480
Speaker 3: an entire week, like your original vision.

805
00:48:38,520 --> 00:48:39,680
Speaker 4: How long would it have been?

806
00:48:40,440 --> 00:48:47,000
Speaker 5: Well, the script it was. The original script was one

807
00:48:47,160 --> 00:48:50,520
Speaker 5: big script, right, it was like one hundred and sixty pages.

808
00:48:51,080 --> 00:48:53,640
Speaker 5: And then Stephen Hill and Bet said, look, we want

809
00:48:53,640 --> 00:48:55,520
Speaker 5: this to be like an event. We want this to

810
00:48:55,560 --> 00:49:01,279
Speaker 5: be three nights. So the writer Abdul, who's amazing, we

811
00:49:01,360 --> 00:49:04,919
Speaker 5: started that process. So Jesse told me about it seven

812
00:49:04,960 --> 00:49:07,439
Speaker 5: years Prior all those seven years, I was like, man,

813
00:49:07,480 --> 00:49:09,560
Speaker 5: I wish he would I wish I could do that

814
00:49:09,600 --> 00:49:12,440
Speaker 5: new edition movie. And then he asked me, would you

815
00:49:12,480 --> 00:49:15,680
Speaker 5: be interested in doing this? I was like yes. So

816
00:49:18,040 --> 00:49:22,200
Speaker 5: it's interesting because I was just I this was two

817
00:49:22,280 --> 00:49:27,080
Speaker 5: thousand and fifteen, sixteen. I just decided to move back

818
00:49:27,080 --> 00:49:29,440
Speaker 5: to the East Coast. So at a house, I hear

819
00:49:29,480 --> 00:49:32,920
Speaker 5: the whole thing. We shut the house down, you know,

820
00:49:33,000 --> 00:49:36,000
Speaker 5: gave up the lease, and I was headed to the

821
00:49:36,040 --> 00:49:39,520
Speaker 5: airport when he called me to say, would you want

822
00:49:39,520 --> 00:49:42,000
Speaker 5: to do this movie? It's a green light with BT

823
00:49:42,520 --> 00:49:45,560
Speaker 5: We start next week. So I had to change everything

824
00:49:45,600 --> 00:49:50,440
Speaker 5: that I was doing, stay out of there, and but

825
00:49:51,280 --> 00:49:54,840
Speaker 5: so then it happened, and then we worked for maybe

826
00:49:54,920 --> 00:49:59,719
Speaker 5: six months before we started shooting. So I think the

827
00:50:00,040 --> 00:50:01,839
Speaker 5: one of the questions was how did we pull all

828
00:50:01,840 --> 00:50:06,719
Speaker 5: those actors and what not together? And that was a

829
00:50:06,880 --> 00:50:13,239
Speaker 5: real casting thing with Robbie Reid. We'd have Robbie Reid,

830
00:50:13,280 --> 00:50:18,279
Speaker 5: Spike Lee's casting agent for years and years the show. Yeah,

831
00:50:18,280 --> 00:50:22,040
Speaker 5: she's amazing. She's amazing, And it's just so for each

832
00:50:22,160 --> 00:50:27,200
Speaker 5: person like wood Woody McLean, who's now you know, doing

833
00:50:27,200 --> 00:50:30,239
Speaker 5: the thing, he's killing him. He used to be he

834
00:50:30,320 --> 00:50:31,960
Speaker 5: used to be a dancer for Chris Brown.

835
00:50:32,600 --> 00:50:34,680
Speaker 6: What wait wait wait wait wait wait.

836
00:50:35,160 --> 00:50:37,520
Speaker 5: He was dancing for Chris Brown before he had ever

837
00:50:37,719 --> 00:50:41,520
Speaker 5: acted in anything. So I had called for Tima Robinson

838
00:50:41,560 --> 00:50:45,120
Speaker 5: to go, hey, do you know anybody who I'm looking

839
00:50:45,160 --> 00:50:48,760
Speaker 5: for Bobby Brown, and she gave the reco for Woodie.

840
00:50:49,440 --> 00:50:54,239
Speaker 5: Then we saw Woody and wood was really like he

841
00:50:54,320 --> 00:50:57,120
Speaker 5: was a dancer, so he wasn't used to acting. He

842
00:50:57,239 --> 00:51:00,200
Speaker 5: was rather shy, but he could dance his asshle, you

843
00:51:00,200 --> 00:51:04,920
Speaker 5: could do all the Bobby Brown stuff. And we had

844
00:51:04,920 --> 00:51:07,920
Speaker 5: the conversation and I just was like, listen, I'm going

845
00:51:07,960 --> 00:51:09,920
Speaker 5: to bring you back for like the third audition, be

846
00:51:10,040 --> 00:51:10,960
Speaker 5: bold brother.

847
00:51:10,840 --> 00:51:13,279
Speaker 6: Like he's not an actor, believe it.

848
00:51:13,960 --> 00:51:17,560
Speaker 5: And then he's but but look what he's done. That's

849
00:51:17,600 --> 00:51:19,640
Speaker 5: what I always say, Like, you know, that's something that

850
00:51:19,640 --> 00:51:21,840
Speaker 5: me and Jesse Terrell always said, like a lot of

851
00:51:21,880 --> 00:51:24,040
Speaker 5: times we weren't able to work with the big actors

852
00:51:24,080 --> 00:51:27,560
Speaker 5: in our career, like they weren't checking for us as directors,

853
00:51:27,560 --> 00:51:30,319
Speaker 5: that they always looked at us as video directors. So

854
00:51:30,360 --> 00:51:34,480
Speaker 5: we said, let's make our own star, right. And I'm

855
00:51:34,560 --> 00:51:38,640
Speaker 5: glad that we, you know, had that that kind of

856
00:51:38,640 --> 00:51:41,360
Speaker 5: blockade because it spawned.

857
00:51:40,920 --> 00:51:43,120
Speaker 7: Of the thing because he was Bobby for a long

858
00:51:43,160 --> 00:51:44,880
Speaker 7: time to the point where when he got to Power,

859
00:51:44,960 --> 00:51:46,560
Speaker 7: I was like, I don't know, but now he's Kane.

860
00:51:48,160 --> 00:51:49,880
Speaker 5: He did a new addition and then he did the

861
00:51:49,880 --> 00:51:53,000
Speaker 5: Bobby Brown. Yeah he killed it.

862
00:51:54,040 --> 00:51:54,960
Speaker 6: You feel I feel the same.

863
00:51:55,239 --> 00:51:57,520
Speaker 7: I guess you must have felt very strongly about Algae

864
00:51:57,520 --> 00:51:59,960
Speaker 7: in that way, the actor that played Ralph Transvant, because

865
00:52:00,440 --> 00:52:03,680
Speaker 7: you've circumvented him back into a couple of projects. Right,

866
00:52:03,680 --> 00:52:05,440
Speaker 7: at least I know he was in Shooting Stars.

867
00:52:06,000 --> 00:52:10,160
Speaker 5: Yeah. No, listen, it's always a curveball, right. I was like,

868
00:52:10,520 --> 00:52:14,120
Speaker 5: I didn't see it. I didn't see Algie as Ralph

869
00:52:14,160 --> 00:52:18,040
Speaker 5: tress Man because there were people that looked exactly, looked

870
00:52:18,040 --> 00:52:20,160
Speaker 5: a lot more like Ralph Treasvan. I could see that,

871
00:52:20,680 --> 00:52:24,800
Speaker 5: and I didn't see it. But then Jesse really believed

872
00:52:24,800 --> 00:52:27,719
Speaker 5: in it, and I was like, okay. And then when

873
00:52:27,719 --> 00:52:29,440
Speaker 5: he came to the park in the audition where they

874
00:52:29,480 --> 00:52:33,319
Speaker 5: would sing else you can sing, and I was like,

875
00:52:33,920 --> 00:52:36,560
Speaker 5: I mean, listen, I was torn all the way up

876
00:52:36,640 --> 00:52:41,120
Speaker 5: until we were shooting, and then he just did it

877
00:52:41,200 --> 00:52:41,920
Speaker 5: like he killed it.

878
00:52:42,200 --> 00:52:46,880
Speaker 4: So even free shooting, you weren't you still weren't sure.

879
00:52:47,360 --> 00:52:50,960
Speaker 5: I wasn't sure. I wasn't sure because we had let

880
00:52:50,960 --> 00:52:53,920
Speaker 5: this guy go that I'm talking about if there was

881
00:52:53,960 --> 00:52:59,040
Speaker 5: a Ralph Treasvan twin. But obviously Algae embodied the character.

882
00:52:59,680 --> 00:53:05,080
Speaker 5: He had. He had a sensitivity, no pun uh, he had,

883
00:53:04,760 --> 00:53:08,840
Speaker 5: he could dance, he could sing, and even the tone

884
00:53:08,880 --> 00:53:12,000
Speaker 5: of his voice was just perfect.

885
00:53:12,320 --> 00:53:13,839
Speaker 6: I need something specific from you, Chris.

886
00:53:13,880 --> 00:53:16,120
Speaker 7: I'm so sorry, and as you're telling these stories about

887
00:53:16,120 --> 00:53:18,319
Speaker 7: this casting, I need you to please tell the story

888
00:53:18,360 --> 00:53:21,160
Speaker 7: why you casted Dustin Felder for Jimmy jam May he

889
00:53:21,239 --> 00:53:26,520
Speaker 7: rest in paradise for fucking ever, like please, please, please please.

890
00:53:27,600 --> 00:53:31,400
Speaker 5: Listen Dustin Felder is it was just he's He was

891
00:53:32,640 --> 00:53:41,799
Speaker 5: our acting coach for the Right, and his energy was

892
00:53:42,680 --> 00:53:45,640
Speaker 5: it was just grounded and real, like the exact kind

893
00:53:45,640 --> 00:53:47,800
Speaker 5: of person that I the way I wanted to communicate

894
00:53:47,840 --> 00:53:50,760
Speaker 5: to the boys, and I would we would have sessions

895
00:53:50,760 --> 00:53:53,120
Speaker 5: where I would just be in the corner quiet, and

896
00:53:53,160 --> 00:53:54,920
Speaker 5: the way he spoke to them and the way he

897
00:53:55,000 --> 00:53:59,759
Speaker 5: talked to them about performance and being real if you

898
00:54:00,080 --> 00:54:02,279
Speaker 5: watch them more, because these were all guys who were

899
00:54:02,320 --> 00:54:06,360
Speaker 5: kind of afraid, right because not only is this material

900
00:54:06,960 --> 00:54:13,360
Speaker 5: material tough, the real guys are visiting rehearsal like they did,

901
00:54:13,640 --> 00:54:17,000
Speaker 5: like you know what I'm saying, And then what Dustin

902
00:54:17,040 --> 00:54:20,960
Speaker 5: would do would be amazing. And we were looking for

903
00:54:21,960 --> 00:54:24,560
Speaker 5: like Jimmy James, Terry Lewis, and I would look at

904
00:54:24,600 --> 00:54:28,120
Speaker 5: him every day ago, man, you could be Jimmy Jail.

905
00:54:28,560 --> 00:54:30,640
Speaker 5: You know what I'm saying, You could do it and

906
00:54:30,719 --> 00:54:33,439
Speaker 5: we'd laugh about it. And then one day he wore

907
00:54:33,560 --> 00:54:35,000
Speaker 5: for Dora and I go.

908
00:54:35,080 --> 00:54:42,040
Speaker 11: It's and all the boys were like campaigning for him too,

909
00:54:42,400 --> 00:54:44,400
Speaker 11: like all the all the all the guys who were

910
00:54:44,920 --> 00:54:47,319
Speaker 11: you know, played New addition, they were campaigning for him too,

911
00:54:47,360 --> 00:54:48,640
Speaker 11: and it was a natural fit.

912
00:54:48,920 --> 00:54:51,440
Speaker 7: He's really coached some amazing black actors out of l A.

913
00:54:51,600 --> 00:54:54,080
Speaker 7: Like there's a very a generation of black actors that

914
00:54:54,160 --> 00:54:55,640
Speaker 7: have a lot to give to him.

915
00:54:55,680 --> 00:55:01,040
Speaker 5: So I didn't even know that. That's what's up, good brother.

916
00:55:01,520 --> 00:55:04,520
Speaker 3: I heard a rumor that you were Were you one

917
00:55:04,560 --> 00:55:09,320
Speaker 3: of the initial actors that I guess for a long time,

918
00:55:09,600 --> 00:55:13,160
Speaker 3: both Will Smith and Kevin Hart. We're going to do

919
00:55:13,440 --> 00:55:16,560
Speaker 3: Uptown Saturday Night. You do not hear your name tossed

920
00:55:16,600 --> 00:55:17,640
Speaker 3: in there as a director.

921
00:55:18,160 --> 00:55:20,680
Speaker 5: I'm glad you're telling me because I heard about that

922
00:55:20,880 --> 00:55:24,440
Speaker 5: project too. I think Will Packer was involved in it.

923
00:55:24,719 --> 00:55:28,160
Speaker 5: And that's one of my favorite movies of all time. Wow,

924
00:55:28,239 --> 00:55:31,440
Speaker 5: favorite movies of all time. And a couple of years

925
00:55:31,520 --> 00:55:33,480
Speaker 5: a few years ago, it was going around Hollywood that

926
00:55:33,520 --> 00:55:37,280
Speaker 5: that was happening. I haven't seen the script yet, but.

927
00:55:36,640 --> 00:55:39,359
Speaker 4: Yeah, yeah, I could have worn I heard your name

928
00:55:39,400 --> 00:55:39,960
Speaker 4: mentioned in it.

929
00:55:40,200 --> 00:55:42,120
Speaker 5: Thank you good, because you might be in some rooms

930
00:55:42,120 --> 00:55:42,560
Speaker 5: I'm not in.

931
00:55:43,000 --> 00:55:45,080
Speaker 4: That's a good that I love. Lord.

932
00:55:46,600 --> 00:55:49,200
Speaker 9: Speaking of script, Chris with the writer strike that's going

933
00:55:49,239 --> 00:55:52,759
Speaker 9: on now, how with you as a director?

934
00:55:54,040 --> 00:55:55,319
Speaker 4: How does that affect you?

935
00:55:55,440 --> 00:55:55,640
Speaker 5: One?

936
00:55:55,680 --> 00:55:56,040
Speaker 4: And two?

937
00:55:56,239 --> 00:55:58,799
Speaker 9: How do you think it affects the future of filmmaking

938
00:55:59,080 --> 00:56:01,520
Speaker 9: as a whole. Where do you think the game is

939
00:56:01,640 --> 00:56:03,279
Speaker 9: right now? And where do you think is eded?

940
00:56:04,440 --> 00:56:08,600
Speaker 5: I think we're having a napster moment and I think

941
00:56:08,640 --> 00:56:15,680
Speaker 5: it's it's completely People can't imagine what that the that

942
00:56:15,680 --> 00:56:20,400
Speaker 5: the industry would change, right, But you know writer strike,

943
00:56:20,440 --> 00:56:25,479
Speaker 5: for instance, right, I still get atl was eighteen years ago.

944
00:56:26,120 --> 00:56:30,040
Speaker 5: I still receive residuals from it from that, right, because

945
00:56:30,080 --> 00:56:33,400
Speaker 5: the business model was Okay, we saw it in the movies,

946
00:56:33,440 --> 00:56:35,480
Speaker 5: Now we see it on TV. Now, we see it

947
00:56:35,880 --> 00:56:39,279
Speaker 5: in the airplane, Now we see it in Africa. That's

948
00:56:39,320 --> 00:56:43,960
Speaker 5: the way TV has always worked. Now it's streaming, So

949
00:56:44,040 --> 00:56:48,279
Speaker 5: streaming for us two for Director's Guild, where everybody is well,

950
00:56:49,800 --> 00:56:52,719
Speaker 5: no streamer wants it to ever go anywhere else. It's

951
00:56:52,719 --> 00:56:56,560
Speaker 5: a subscription model. We want this is only available here.

952
00:56:57,120 --> 00:57:03,520
Speaker 5: So I think what we're looking at is going wow,

953
00:57:03,920 --> 00:57:07,239
Speaker 5: like the business change, what is it? How do you

954
00:57:07,280 --> 00:57:10,120
Speaker 5: figure it out? It's the wild wild West to a degree.

955
00:57:10,760 --> 00:57:15,560
Speaker 5: And I think there are some streamers who've got it

956
00:57:15,600 --> 00:57:17,680
Speaker 5: figured out at least the best that it can be,

957
00:57:18,200 --> 00:57:20,840
Speaker 5: but it will never be what it was what it was,

958
00:57:20,880 --> 00:57:24,800
Speaker 5: And I think, just like with videos, we it took

959
00:57:24,840 --> 00:57:29,200
Speaker 5: a long time to go. Maybe I should stop making

960
00:57:29,240 --> 00:57:32,520
Speaker 5: horseshoes because they're driving cars around and there needs to

961
00:57:32,560 --> 00:57:36,880
Speaker 5: be tired. Right, It's a long way to look at

962
00:57:37,480 --> 00:57:45,160
Speaker 5: how you the way content is valued. So what is that?

963
00:57:45,160 --> 00:57:47,480
Speaker 5: That's just what I'm telling you is just a realization

964
00:57:47,600 --> 00:57:51,520
Speaker 5: I had recently. Maybe you know, I've been so involved

965
00:57:51,600 --> 00:57:54,080
Speaker 5: in so in the marketing and everything with the shooting

966
00:57:54,160 --> 00:57:57,240
Speaker 5: stars and the edit right up until it came out

967
00:57:57,680 --> 00:58:00,160
Speaker 5: that I wasn't even really on the page. But when

968
00:58:00,200 --> 00:58:05,160
Speaker 5: I've been having some conversations, it's like I don't quite

969
00:58:05,280 --> 00:58:10,160
Speaker 5: understand the answer yet or what it means, you know.

970
00:58:10,760 --> 00:58:16,720
Speaker 5: So to answer quest question, the world is not my oyster,

971
00:58:17,160 --> 00:58:19,280
Speaker 5: you know what I mean? I don't think the world

972
00:58:19,320 --> 00:58:23,200
Speaker 5: is an oyster for anybody right now, because we don't know.

973
00:58:24,560 --> 00:58:30,400
Speaker 5: The opportunities are shrinking. Right. There's a statistic in the

974
00:58:30,680 --> 00:58:35,720
Speaker 5: in the DGA that of every member that makes a

975
00:58:35,720 --> 00:58:41,480
Speaker 5: feature film, eighty five percent only make one. Yeah this

976
00:58:41,520 --> 00:58:43,440
Speaker 5: is before any of this, right, So that tells you

977
00:58:43,480 --> 00:58:47,240
Speaker 5: how difficult it is to make a feature and how

978
00:58:47,560 --> 00:58:51,400
Speaker 5: slimny opportunities are. Eighty five percent of the union makes

979
00:58:51,600 --> 00:58:54,320
Speaker 5: one feature film and not another one.

980
00:58:54,360 --> 00:58:56,760
Speaker 9: It's almost the same on the sack side as well.

981
00:58:57,120 --> 00:59:00,360
Speaker 9: On our side you have your your tom Cruisers whatever.

982
00:59:00,400 --> 00:59:04,560
Speaker 9: But then the other is, you know, people struggling to

983
00:59:04,560 --> 00:59:05,680
Speaker 9: get commercials or whatever.

984
00:59:05,800 --> 00:59:08,000
Speaker 7: You know, that's why you got to keep your ear

985
00:59:08,040 --> 00:59:09,680
Speaker 7: to the street street because if you keep it in

986
00:59:09,680 --> 00:59:12,080
Speaker 7: the bubble, you're gonna think it's sweet. But nah, it's

987
00:59:12,080 --> 00:59:14,520
Speaker 7: it's people are out in la ship is changing and

988
00:59:14,560 --> 00:59:15,480
Speaker 7: it's you feel it.

989
00:59:16,480 --> 00:59:20,200
Speaker 5: Yeah, it's tough, you know, but it's interesting, right because

990
00:59:20,240 --> 00:59:23,880
Speaker 5: that's the thing. The thing about the business, even if

991
00:59:24,120 --> 00:59:26,120
Speaker 5: once you're in it for a long time, for me,

992
00:59:26,280 --> 00:59:31,280
Speaker 5: is that every day there's the opportunity for possibility, right,

993
00:59:31,840 --> 00:59:38,280
Speaker 5: and that can that can that can keep your motivation flowing,

994
00:59:38,600 --> 00:59:41,480
Speaker 5: It can keep your you wake up every morning, there's

995
00:59:41,520 --> 00:59:45,320
Speaker 5: a possibility of writing that script or moving forward. But

996
00:59:45,440 --> 00:59:48,280
Speaker 5: I think that what we have to look at are

997
00:59:48,280 --> 00:59:51,640
Speaker 5: great examples of the business aspect of it. You know,

998
00:59:51,720 --> 00:59:54,440
Speaker 5: when we look at Amir and how he does things,

999
00:59:54,480 --> 00:59:56,880
Speaker 5: how we look at Tyler Perry and he does things,

1000
00:59:57,520 --> 01:00:02,520
Speaker 5: Lee Daniels, these guys who have Kenya Barras, these guys

1001
01:00:02,560 --> 01:00:07,760
Speaker 5: who have taken their talent understood how it works in

1002
01:00:07,920 --> 01:00:12,600
Speaker 5: business and how to play the game. And me personally,

1003
01:00:12,640 --> 01:00:16,160
Speaker 5: I've always been leaning more towards the artist's side, right

1004
01:00:16,840 --> 01:00:20,040
Speaker 5: and having reps and agents and things, and just happy

1005
01:00:20,600 --> 01:00:24,080
Speaker 5: to be able to be created because at some point,

1006
01:00:24,360 --> 01:00:27,320
Speaker 5: as a creative, you go, man, I couldn't live any

1007
01:00:27,320 --> 01:00:29,600
Speaker 5: other way, Like I couldn't have another job, you know

1008
01:00:29,600 --> 01:00:33,920
Speaker 5: what I mean, and that satisfaction of when something that

1009
01:00:33,960 --> 01:00:39,040
Speaker 5: you create connects to your audience. Right. But I think

1010
01:00:39,160 --> 01:00:41,680
Speaker 5: that because of the way that the world and the

1011
01:00:41,720 --> 01:00:44,960
Speaker 5: technology is moving, it's more of a there needs to

1012
01:00:45,000 --> 01:00:49,000
Speaker 5: be more of a focus on understanding the business, not

1013
01:00:49,200 --> 01:00:52,120
Speaker 5: even just from a Hollywood perspective, but from a Wall

1014
01:00:52,160 --> 01:00:58,200
Speaker 5: Street perspective. You know, how content is being valued, how

1015
01:00:58,760 --> 01:01:07,040
Speaker 5: the business battle of subscriptions are different.

1016
01:01:07,520 --> 01:01:10,280
Speaker 9: Yeah, all the streaming companies are kind of collapsing into

1017
01:01:10,280 --> 01:01:13,520
Speaker 9: one another, like with Max becoming HBO becoming Max and

1018
01:01:14,360 --> 01:01:17,760
Speaker 9: Time Going collapsing into Paramount, And it just reminds me

1019
01:01:17,800 --> 01:01:19,720
Speaker 9: a lot of what happened with major labels, Like when

1020
01:01:19,720 --> 01:01:23,440
Speaker 9: you said naps the moment if it does the same

1021
01:01:23,440 --> 01:01:24,520
Speaker 9: thing to happen with label.

1022
01:01:26,360 --> 01:01:31,360
Speaker 4: Well, sir, thank you, this is long overdue. The next

1023
01:01:31,400 --> 01:01:34,120
Speaker 4: time we're in the Landa together, I'll treat you to

1024
01:01:34,720 --> 01:01:39,600
Speaker 4: follies or he's in l A. He's in l A,

1025
01:01:40,000 --> 01:01:41,360
Speaker 4: I said, the next time.

1026
01:01:41,240 --> 01:01:45,600
Speaker 5: We're in l A, hop on a plane.

1027
01:01:45,800 --> 01:01:49,760
Speaker 9: LA don't count you know, man, I just wanted to say, Chris,

1028
01:01:49,760 --> 01:01:51,640
Speaker 9: I really just appreciate your work man, and I love

1029
01:01:51,680 --> 01:01:54,000
Speaker 9: the way just to watch how you is you a

1030
01:01:54,000 --> 01:01:57,160
Speaker 9: lot of the directors I follow my guy set Man

1031
01:01:57,320 --> 01:02:02,040
Speaker 9: who I'm sure you know see uh yeah, the y

1032
01:02:02,240 --> 01:02:07,480
Speaker 9: C Anthony Heman way. Just y'all brothers. Man, I'm just

1033
01:02:07,600 --> 01:02:10,160
Speaker 9: really proud to see y'all like you know, transition and

1034
01:02:10,320 --> 01:02:11,200
Speaker 9: just keep working man.

1035
01:02:11,200 --> 01:02:12,120
Speaker 4: And I just love what y'all do.

1036
01:02:12,280 --> 01:02:15,959
Speaker 5: So thank you, brother, thank you.

1037
01:02:16,360 --> 01:02:17,520
Speaker 4: That's what's up on.

1038
01:02:17,640 --> 01:02:20,920
Speaker 3: Behalf of Sick Steve and Pete Bill and find Tickeolow

1039
01:02:21,600 --> 01:02:23,920
Speaker 3: and like you and the great Chris Robinson.

1040
01:02:24,960 --> 01:02:25,600
Speaker 4: I love your work.

1041
01:02:25,640 --> 01:02:27,280
Speaker 3: I love your songs that you do with your brother

1042
01:02:27,360 --> 01:02:29,160
Speaker 3: Rich and all the vics formula.

1043
01:02:29,760 --> 01:02:33,480
Speaker 6: All right, that was for Dustin. I just wanted to

1044
01:02:33,480 --> 01:02:34,360
Speaker 6: show it on the YouTube.

1045
01:02:35,480 --> 01:02:35,960
Speaker 4: That's right.

1046
01:02:36,000 --> 01:02:42,439
Speaker 3: We are on YouTube now damn congratulates. Yes, I still

1047
01:02:42,480 --> 01:02:44,280
Speaker 3: don't know how that works for us. We're still on

1048
01:02:44,280 --> 01:02:47,960
Speaker 3: our soft launch anyway. Uh this great Chris Robinson and

1049
01:02:48,000 --> 01:02:50,120
Speaker 3: then we'll see you on the next go around, y'all.

1050
01:02:49,880 --> 01:02:51,880
Speaker 5: Peace, my brother, Thank y'all.

1051
01:02:56,960 --> 01:03:09,160
Speaker 1: H mus Love Supreme is a production of iHeartRadio. For

1052
01:03:09,280 --> 01:03:13,840
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1053
01:03:13,960 --> 01:03:15,640
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