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Speaker 1: Don't know every day waiting clicks up the breakfast Club.

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Speaker 1: You're finish for y'all done morning.

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Speaker 2: Everybody is the dj n V Jess Hilarious, Chelamage, the

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Speaker 2: guy we are the breakfast Club. Lola Rosa is here

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Speaker 2: as well. We got some special guests in the building.

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Speaker 2: We have Danielle did Willer Welcome, good morning, and we have.

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Speaker 3: Artie Throwing Welcome brother, thank you.

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Speaker 2: How are you feeling this morning? How y'all both feeling

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Speaker 2: this morning?

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Speaker 4: Beautiful?

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Speaker 1: Really great?

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Speaker 4: We're happy to be together.

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Speaker 5: Yeah, you know, I know y'all here to talk about

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Speaker 5: forty acres, but I gotta tell you a phenomenal job.

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Speaker 1: Until phenomenal job, until you know.

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Speaker 5: I always wondered about that role because it tells one

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Speaker 5: of history's most painful stories.

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Speaker 1: How did you prepare emotionally for that role.

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Speaker 4: The way I prevaire for anything. It's rigorous research. I

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Speaker 4: just grew up in Atlanta, and so the civil rights

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Speaker 4: community uh in Atlanta has reared me. I did you know,

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Speaker 4: volunteers and with the Southern Christian Leadership Conference. As a

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Speaker 4: kid went to Cascade United Methodist Church, which doctor Reverend Lowry,

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Speaker 4: who partnered with doctor Martin Luther King at the time

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Speaker 4: during that you know, pivotal time. You know, those are

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Speaker 4: people who are critical in defining my life and understanding

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Speaker 4: of society and community and so all of that kind

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Speaker 4: of like that intuitive uh personal history as well as uh,

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Speaker 4: you know, academic knowledge and history about that the era

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Speaker 4: went into creating that, that that role, and and and

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Speaker 4: just staying rigorous with the relationships with Chenoya who directed it,

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Speaker 4: and and and the family and just it's been such

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Speaker 4: a palpable thing for me.

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Speaker 5: Once you tap into a role like that, like playing

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Speaker 5: the mother of em til, how do you get that

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Speaker 5: out of?

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Speaker 1: How do you just go down?

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Speaker 4: I don't know anything. Uh. That that is visceral like

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Speaker 4: that that stays with you. It's a wounded scar of

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Speaker 4: sorts and you walk with it. And I mean that's

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Speaker 4: the beauty of it, right, Like I get to talk

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Speaker 4: about this all the time. I get to talk the

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Speaker 4: history of the work and how it's supposed to have

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Speaker 4: this residual effect, this kind of echo, and it'll be

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Speaker 4: in conversation with any work that I do moving forward.

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Speaker 4: So I'm curating in that capacity.

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Speaker 2: I wanted to go back, if you don't mind, I

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Speaker 2: wanted to what made you want to be an actress? Like,

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Speaker 2: what was the thing? What did you see on television?

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Speaker 2: What play did you go see? What did your mom?

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Speaker 2: And still you say, this is what I want to do.

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Speaker 4: No, it's just been in my life. I've been acting

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Speaker 4: and performing since I was a child. My mom made

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Speaker 4: sure that myself and my siblings were always a part

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Speaker 4: of arts oriented things. Atlanta, Black Atlanta, black arts Atlanta

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Speaker 4: in the eighties is just pivotal, right. So I started

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Speaker 4: in dance and naturally segued into theater through critical cultural

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Speaker 4: markers in the city, Total Dance Theater, Gary Harrison Studios,

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Speaker 4: saw Jamandi productions all the time. I grew up as

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Speaker 4: a Kenny Leon's True Colors Theater Company young artists. So

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Speaker 4: this has just been which it should be right for children,

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Speaker 4: it should be for people in general. The arts is

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Speaker 4: just a part of our lives. It came a critical

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Speaker 4: moment after academic pursuits that oh, I'm missing something and

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Speaker 4: I had to return. And so one of the first

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Speaker 4: things that I did when I was making the professional

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Speaker 4: return was for Colored Girls and Jasmine God directed it,

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Speaker 4: and so it just bushed from there.

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Speaker 5: Oh, oh, this is a question for both of y'all right,

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Speaker 5: because you know, going back to the Till thing a

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Speaker 5: little bit, but also talking about forty eight is what

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Speaker 5: did Till teach you about the responsibility of storytelling.

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Speaker 4: I don't know if Till taught me that responsibility. I

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Speaker 4: think it's just always been present. Our history is integral,

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Speaker 4: Our history is just it's a brilliant thing that's a

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Speaker 4: part of everything that I do, everything that we do,

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Speaker 4: and which is the way that it works in forty right,

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Speaker 4: like she is teaching children not just about how to survive,

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Speaker 4: but how to uh synthesize history, with culture, with agriculture,

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Speaker 4: with you know, all of the qualities of life. Is

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Speaker 4: the spherical thing. Everything is connected.

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Speaker 3: Yeah, they're they're they're roots of survival. In the film,

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Speaker 3: it's not just rooted in you know, they can kick

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Speaker 3: some ass, they've got military might, but the important thing

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Speaker 3: is is that it's rooted in their their preservation of

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Speaker 3: their culture, you know what I mean, that's also surviving

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Speaker 3: for them. And it's very much That's why in the film,

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Speaker 3: it's like you see the family, they're all about their

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Speaker 3: their culture, their their history. Like the book reports that

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Speaker 3: she gets them to indeed, you have to know yourself

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Speaker 3: as you're surviving, as you're moving forward, because you're the

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Speaker 3: only ones that are going to do that. It's you know,

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Speaker 3: the the language that they have, you know what I mean, Galen,

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Speaker 3: the father's passing down his language, the agricultural practices, it's

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Speaker 3: all rooted in their history. And that's how this family

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Speaker 3: is truly surviving in the future.

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Speaker 4: And yeah, they're truly joyful right just sitting down telling

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Speaker 4: stories while she's doing their hair, or the games at

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Speaker 4: dinner time, like critical things that people talk about that

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Speaker 4: they don't necessarily get anymore, Like let's just sit down

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Speaker 4: and be a family and play and enjoy each other.

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Speaker 4: Like those things are are what people are fighting for.

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Speaker 6: Yeah, in a time right now where like so many

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Speaker 6: of our spaces and like the things that you guys

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Speaker 6: are talking about passing all our stories, our history are

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Speaker 6: being like quieted by certain people creating this film. For

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Speaker 6: you guys, how did you pick and choose what you

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Speaker 6: wanted to teach us through it? Because we learned so much,

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Speaker 6: but there was so much we need to know in

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Speaker 6: order to be able to preserve our history at.

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Speaker 3: This I mean for me, yeah, for me, it honestly,

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Speaker 3: it came very organically. It really. It really wasn't like choices.

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Speaker 3: It was just like, you know, my mother. You know

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Speaker 3: that the echo of the relationship in the film between

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Speaker 3: Haley and Manny is like it's an echo of me

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Speaker 3: and my mother. And and you know, she came to

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Speaker 3: Canada as a as a as a Trinidadian immigrant, you

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Speaker 3: know what I mean. And she, you know, as much

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Speaker 3: as people love to think that Canada is like this,

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Speaker 3: you know, bastion of like you know, racial whatever, it wasn't.

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Speaker 3: It wasn't in the seventies, you know what I'm saying.

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Speaker 3: So she came here, it was very much like she

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Speaker 3: experienced a lot of discrimination, and she was like, you

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Speaker 3: have to be prepared for this world. And from the jump,

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Speaker 3: my mom was like, I don't trust these institutions to

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Speaker 3: teach you your history. So you're gonna do book reports.

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Speaker 3: Why are you going to school? Why are you doing whatever?

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Speaker 3: You're gonna do book reports, You're gonna learn some culture,

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Speaker 3: You're gonna read, you know what I'm saying. You're gonna

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Speaker 3: read parable, You're gonna you're gonna you know. So, so

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Speaker 3: all of those things were directly from my life that

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Speaker 3: I just I gave to Haley to pass down to

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Speaker 3: her children, you know what I mean. And and just

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Speaker 3: that that understanding of who you are will preserve you

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Speaker 3: as we move forward, because as they try to erase us,

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Speaker 3: we are the only ones that are gonna keep our

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Speaker 3: stories prevalent and and and and important to our to

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Speaker 3: our descendants. You know.

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Speaker 2: So now you tell a lot of stories. Canadian directors

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Speaker 2: tell a lot of stories. You started with music videos.

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Speaker 2: Why is the Canadian eye so good at telling those

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Speaker 2: music videos, which goes to television, which goes to film.

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Speaker 2: Why is that? Because we can name a list of

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Speaker 2: Canadian directors.

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Speaker 3: Yeah, you know, I don't know. That's that's a real

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Speaker 3: good question, because I think I think I took my

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Speaker 3: influences from some of the greats, some Hype Williams, you

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Speaker 3: know what I mean. And I know you're talking about

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Speaker 3: the legacy of director X, you know what I mean.

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Speaker 3: But I think Canada has a very interesting perspective. We're

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Speaker 3: very close to y'all, and our culture is heavily influenced

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Speaker 3: by America, but we're very sort of diverse. And this

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Speaker 3: is this this people from all over the world that

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Speaker 3: come to Canada, And in Canada, you bring your culture

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Speaker 3: and you you keep your culture, and then we celebrate

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Speaker 3: people's culture. So the influences come from all over the place,

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Speaker 3: and we look at the world in a way, and

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Speaker 3: so you know, we're picking and choosing different things, and

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Speaker 3: so the influences come from all those places. And I

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Speaker 3: think that's why that in a way we can we

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Speaker 3: can kind of pull from everybody.

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Speaker 2: You know, it was it difficult for people to take

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Speaker 2: you serious because you came from music videos? Was that difficult?

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Speaker 3: That's interesting. I never really looked at it like that.

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Speaker 3: I mean, honestly, it's like, you know, anything's a huzzle,

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Speaker 3: you know, and and you pour your heart into something,

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Speaker 3: and I expect challenges, you know, and I expect I

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Speaker 3: expect to be able to have to prove things of people.

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Speaker 3: That's just that's just part of when you go with

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Speaker 3: your heart into something, that's just something that you have

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Speaker 3: to do. So I never really looked at it like that.

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Speaker 3: I didn't feel that way. And and I think coming

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Speaker 3: from Canada, I was just like, you know, what, my

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Speaker 3: voice is as equally as important as everybody else's voices,

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Speaker 3: and the story that I want to tell as equally

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Speaker 3: as important as that. So I'm just gonna go out

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Speaker 3: there and do it.

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Speaker 4: I think it's also just doing your thing, yeah, right,

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Speaker 4: like you segue it into television and this is his

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Speaker 4: first feature, and so you just I think it's just

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Speaker 4: being stick to itive and yeah, making it freaking happen.

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Speaker 2: Yeah, yeah, being good at it and being.

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Speaker 5: Good at it right yeah, Oh to you, how do

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Speaker 5: you balance creating entertainment but also having deeper messages in it?

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Speaker 3: M I think again that it's just something that's organic

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Speaker 3: to me, you know, coming from the history that I

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Speaker 3: just talked about with my mother and stuff like that

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Speaker 3: stuff is in me where I realize the importance of

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Speaker 3: it because of what she instilled in us. So I

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Speaker 3: want to make sure that, you know, it's reflective of that,

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Speaker 3: knowing that our history and things should they shouldn't be

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Speaker 3: infused in what we do. To make sure that I

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Speaker 3: get a chance to tell a story, I'm gonna make

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Speaker 3: a count. I'm gonna make it, you know what I mean,

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Speaker 3: Like I'm not wasting it. But at the same time,

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Speaker 3: I grew up on Spielberg, and you know what I'm saying,

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Speaker 3: Spike Lee and and and James Cameron. You know, so

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Speaker 3: I'm a comic book nerd, you know what I mean.

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Speaker 3: So I grew up on X Men, you know, so,

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Speaker 3: and these things were entertaining. So I'm like, well, I

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Speaker 3: want to do both. I want to entertain and then

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Speaker 3: I want you to I want you to walk away.

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Speaker 3: I want you to take the movie home with you.

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Speaker 3: I want you to walk away thinking about it the

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Speaker 3: next couple of days, you know. I want you to

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Speaker 3: want to talk about it with people. You know, there's

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Speaker 3: a lot of films out here. You know, people are

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Speaker 3: craving that. I feel there's a wave happening right now,

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Speaker 3: you know what I mean. People are craving original stuff

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Speaker 3: that they're tired of seeing such and such four and five,

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Speaker 3: you know what I mean. Like you know, and you

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Speaker 3: see you see the Brother you know, Ryan Cooler coming

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Speaker 3: with the Sinners, you know, you see you know, even

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Speaker 3: even Zach Kreigor with the Weapons movie. You know, it's

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Speaker 3: just like people are interested in give me something different.

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Speaker 5: Very frustrating though, because that should have always been the

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Speaker 5: way in Hollywood, cause whenever you see the things that

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Speaker 5: really pop off and break through, it's really something new.

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Speaker 1: I've never had seen Game of Thrones before. Yeah, right,

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Speaker 1: you know what I mean, Like, I never like it.

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Speaker 5: It's the thing I've never of course centers, but I've

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Speaker 5: never seen those type of things. I never understood why

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Speaker 5: Hollywood didn't want to be original, Like it was a

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Speaker 5: time where originality seemed to be, like, I don't want

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Speaker 5: to take a risk on that what's considered safe.

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Speaker 3: It's turned into theme parks. Right, It's like this is

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Speaker 3: for everybody. Come on the ride. You've seen it before,

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Speaker 3: you know what it is, so come pay your money

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Speaker 3: for it. And I don't know.

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Speaker 4: It's I mean, there's something too ceial. I think the

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Speaker 4: serial framework is interesting to people. I just think that

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Speaker 4: there isn't that era is shifting. There is a great

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Speaker 4: level of fatigue, and the world is wanting something that

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Speaker 4: is more rupturous, something fresh, something that is more political

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Speaker 4: or deeply personal and just more queered and strange and weird.

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Speaker 4: Those kinds of things have always been uh, in the

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Speaker 4: in the in the framework. You know, it's just about

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Speaker 4: those things rising to the surface.

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Speaker 1: For folks. You feel like you get presented like nothing

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Speaker 1: but dark roles.

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Speaker 4: No, not at all. Okay, So I have a slate

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Speaker 4: of madness coming back like The last three things I've

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Speaker 4: done have been straight up comedy, dark, grounded, slapsticky kind

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Speaker 4: of uh like, I get the gamut, and I am

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Speaker 4: curating for that. I mean, we're not There is no

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Speaker 4: one dimensionality ever, you know. And I'm interdisciplinary and all

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Speaker 4: of the work that I do.

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Speaker 5: You do that on purpose because you don't want to

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Speaker 5: be like typecast as the person that you can't.

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Speaker 4: Who type cast and who ain't nobody going type ys

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Speaker 4: me I get to I'm creating. I am working with

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Speaker 4: a team of people who know who I am at

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Speaker 4: my core. I'm building from my inner world and I

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Speaker 4: select accordingly.

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Speaker 6: You know you when you say that, you mean you're

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Speaker 6: also creating projects too that put you in different lights,

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Speaker 6: because I know you're yes.

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Speaker 4: Yes, yes, developing works. I I'm in a performance, I'm

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Speaker 4: in an experimental film, realm. I'm things take time to

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Speaker 4: come out, right, like a project could develop over the

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Speaker 4: course of two to five years or more and whatnot.

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Speaker 4: But I am intentionally uh, circling a lot of different

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Speaker 4: genres because I want us to be witnessed in all

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Speaker 4: kinds of lights. Everything that I do will not be

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Speaker 4: the lovable woman, right, Everything that I do will not

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Speaker 4: be the villain. However, everything in that spectrum, the full

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Speaker 4: range of that is my interest.

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Speaker 1: Now I've heard you referred to as a multidisciplinary artist.

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Speaker 4: Yeah, multidiplined, I mean just multiple inter between, moving between worlds.

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Speaker 4: We all do sometimes, you know, folks, because of capitalism

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Speaker 4: in a certain kind of way, laying you. But you

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Speaker 4: can veer off. I mean, it's just don't hit no

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Speaker 4: other cars in the midst of doing it, you know

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Speaker 4: what I mean.

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Speaker 2: Now you'll spoke about the movie a little bit. But

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Speaker 2: how did y'all connect them? What made you say this

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Speaker 2: is what I wanted?

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Speaker 4: Oh, that man hit me with a letter, and I

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Speaker 4: was just at a pivotal moment where I was connecting

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Speaker 4: to land, particularly my my my farmland, farmland, my family's

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Speaker 4: legacy in Athens, Georgia. And he sent that letter. If

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Speaker 4: the pandemic didn't happen and the strikes didn't happen, not

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Speaker 4: in the pandemic, but the strikes wouldn't have happened. I

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Speaker 4: don't know what would have occurred. But he sent a

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Speaker 4: beautiful letter, just not to my house. Now, he said

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Speaker 4: to my.

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Speaker 3: People, I was outside the house.

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Speaker 4: That would have been peculiar. But he sent the letter

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Speaker 4: and I read it, and I read the script and

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Speaker 4: and then the work the time flip for the industry,

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Speaker 4: and I just I was indeared to it. He got

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Speaker 4: what is it, the the the joints because no one

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Speaker 4: could do films at the time.

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Speaker 3: Oh yeah, we got a waiver, waiver, got a waivers

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Speaker 3: going on.

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Speaker 4: So we got a waiver for it, and it was

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Speaker 4: just indipitous that it happened. And we shot it up

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Speaker 4: in north north of Toronto, and like.

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Speaker 3: That was trippy because it was we were we were

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Speaker 3: we were two weeks away from camera and me and

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Speaker 3: me and her had that conversation on the phone. We

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Speaker 3: finally did it two weeks away from camera. So we

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Speaker 3: were moving forward with production regardless, regardless because we had

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Speaker 3: to be, because we were the farm up up north

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Speaker 3: is a specific time when corn could grow and that

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Speaker 3: was it. So we were barreling forward and just hoping

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Speaker 3: that you know, she would jump on and so.

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Speaker 2: Wait a minute, so she didn't jump on. There was

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Speaker 2: somebody else. So what happened to that person? Without saying

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Speaker 2: the name, So she's in the wing waiting to go,

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Speaker 2: and he be like, excuse me.

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Speaker 3: I'm gonna let you know, we didn't. We didn't have nobody. Really,

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Speaker 3: I'm I'll tell you right now, you do it, I don't.

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Speaker 3: You know, Look, that's an alternate universe. You know, this

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Speaker 3: is the universe that we're in right now. So I just,

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Speaker 3: I just I just I just had it. I just

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Speaker 3: had this feeling. Man, I just had this feeling. Like

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Speaker 3: you know, I've been following Daniel's career for a long time,

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Speaker 3: and I just I just felt she was just the

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Speaker 3: absolute perfect person to ground this film in, like that

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Speaker 3: sense of family and community and reality and like so

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Speaker 3: I just I was just and I was praying.

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Speaker 5: The movie starts off with stating at the that farmland

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Speaker 5: is the most valuable resource due to the circumstances.

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Speaker 1: How true is that in our present day condition.

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Speaker 3: I still think that's absolutely true. It is, it is,

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Speaker 3: It's been true. Land is everything, absolutely.

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Speaker 4: I mean food is critical right now, the economics of it,

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Speaker 4: like who is able to pay for what, who has

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Speaker 4: access to what, the freshest food or not, whether it's

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Speaker 4: genetically modified or not, who knows how to actually grow food?

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Speaker 4: And I mean our tea delved into this because during

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Speaker 4: the pandemic, what was happening.

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Speaker 3: Yeah, we couldn't we get the grocery stores around my place.

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Speaker 3: I couldn't even get fresh fruit, couldn't even get fresh vegetables.

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Speaker 3: You know, it's like it was scarce, and it really

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Speaker 3: at that time, my wife and I were thinking about

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Speaker 3: to have this child, my little boy, and like, do

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Speaker 3: I actually know how to grow food? If I cannot

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Speaker 3: get this, if this fragile thing that we call you

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Speaker 3: know what I mean falls apart? Do I know how

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Speaker 3: to actually grow things that provide? So it was yeah,

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Speaker 3: I know how to survive. And so it became very

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Speaker 3: real during that time, and that's very much infused into

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Speaker 3: the script. That's that's really you know, the heart of

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Speaker 3: it is like when when all this stuff that they

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Speaker 3: say is taking care of us, whether it is or

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Speaker 3: not is a debate as well, do we know how

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Speaker 3: to take care of us?

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Speaker 2: Did you learn?

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Speaker 3: Oh yeah, yoh yeah. And there's and there's a lot

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Speaker 3: of that in there. You know, there's the there's the

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Speaker 3: you know, the Three Sisters is sort of an indigenous

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Speaker 3: practice of growing corn and squash and beans together because

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Speaker 3: they serve each other throughout the year. And so you'll

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Speaker 3: see some of that stuff. It's not explicitly talked about,

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Speaker 3: but it's there's a garden where they're actually working that garden,

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Speaker 3: you know what I mean. So we we I did

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Speaker 3: so much research and brought that into the film, and

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Speaker 3: Michael Gray Eyes and Michael gray Eyes, the great Michael gray.

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Speaker 4: So much knowledge.

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Speaker 6: The film talks or is very loud about black women

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Speaker 6: or black mothers fighting for their families, protecting their families

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Speaker 6: to the end. And I think that's always a conversation

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Speaker 6: with black women about like how protecting and nurturing we

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Speaker 6: can be. But what do you want black women to

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Speaker 6: take away from this film about how to protect and

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Speaker 6: take care of themselves in order to take care of

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Speaker 6: the family.

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Speaker 4: That's so appropriate because in one of the scenes her

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Speaker 4: Galen talks about her deserving reprieve and that kind of

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Speaker 4: jewel and release and and we've I mean over the

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Speaker 4: slate of films that I have done, which is the

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Speaker 4: assumption that you know, I do things that are trauma

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Speaker 4: driven or different, you know, just black women in complete

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Speaker 4: ner toll turmoil there. I think that there's a diversity

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Speaker 4: of things emotionally that are happening, and we deserve to

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Speaker 4: explore the other emotions, just as much. I don't think

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Speaker 4: that it's a take your hands off and completely live

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Speaker 4: in utter soft era life. That's that's that's sure, one

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Speaker 4: would love that. But I don't think that struggle is

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Speaker 4: ever there's an ever, an end mark to it, you know,

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Speaker 4: just like healing isn't there's no end there's no there's

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Speaker 4: no there's no this is the death, this is it,

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Speaker 4: You've made it. It's continuous, and so I think there's

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Speaker 4: it is a continuous effort to to diversify the manner

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Speaker 4: in which you distribute labor, to encourage others to have

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Speaker 4: a greater independence and autonomy and the way that they

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Speaker 4: move through the world, and just and giving that over

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Speaker 4: and still doing our work for ourselves. So love that.

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Speaker 2: I was gonna ask you when numbers are concerned, right,

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Speaker 2: everybody looks at box office when it comes to movies.

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Speaker 2: That doesn't necessarily say how successful a movie is, but

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Speaker 2: for some people it does. How does that affect mind

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Speaker 2: frame when you're doing these type of movies.

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Speaker 3: I mean, I don't. I mean, I'm not in Hollywood,

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Speaker 3: so I'm an independent filmmaker, you know what I mean.

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Speaker 3: So that's not what defines it for me, you know,

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Speaker 3: And money comes and goes. So I think about legacy

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Speaker 3: and I think about telling a story that's gonna stay

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Speaker 3: with people. Like I said, I'm gonna make a film

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Speaker 3: that you take home, you walk with it in your

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Speaker 3: in your head, and to me, that means the most

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Speaker 3: important thing. And I if it's there and people talk

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Speaker 3: about it, you know, independent film lifeblood is word of mouth.

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Speaker 3: That's how independent film has always been. So people start

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Speaker 3: talking about it, they spreading it, and other people find it,

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Speaker 3: and you know, that's a beautiful thing when that happened.

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Speaker 3: So I don't mind that, you know, Like, look, you

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Speaker 3: know when on other projects it may be the benchmark

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Speaker 3: and that's cool. You're doing something with a studio, that's cool, sure,

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Speaker 3: But with this it's just about does this film resonate

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Speaker 3: and stay with the people, and does it spread and

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Speaker 3: make people think. That's the most important thing for me.

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Speaker 1: But you're an independent film beker, so you're still gonna

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Speaker 1: need funding.

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Speaker 5: Fair So how do you, you know, get these people

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Speaker 5: to continue to fund this great work that you're doing

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Speaker 5: if it's.

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Speaker 3: Not an ROI well, I'll say this, like I think,

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Speaker 3: for this being my first film, the important thing is

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Speaker 3: to is to let them know that I got a

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Speaker 3: voice and this is what I'm interested in saying. And

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Speaker 3: I think people understand in the movie business, they understand,

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Speaker 3: you know, this was independent, This wasn't back by a studio.

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Speaker 3: They didn't have a promo budget. You know, normal studio

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Speaker 3: pictures have a budget equal to their budget to promote

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Speaker 3: the things. Right, So people understand that and they go, cool,

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Speaker 3: he's got a voice. Hopefully God willing, they want to

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Speaker 3: work with me. And then you know that other money

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Speaker 3: part that'll come when the bank comes, you know what

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Speaker 3: I mean.

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Speaker 4: So that's and films are made at different budgetary levels. Yeah,

434
00:22:18,440 --> 00:22:22,520
Speaker 4: And I think people can be I just think can

435
00:22:22,600 --> 00:22:26,320
Speaker 4: connect to film in all kinds of ways and stretch

436
00:22:26,400 --> 00:22:29,639
Speaker 4: out the lifeblood of it. So till is having a

437
00:22:29,680 --> 00:22:33,040
Speaker 4: conversation every time I go to London, they're interested, They're

438
00:22:33,080 --> 00:22:35,840
Speaker 4: having a conversation about what was okay. So then that

439
00:22:35,880 --> 00:22:39,920
Speaker 4: connects to how they thematically connected to forty right, And

440
00:22:40,080 --> 00:22:43,080
Speaker 4: you can see stuff on certain streaming where the lifeblood

441
00:22:43,080 --> 00:22:46,080
Speaker 4: of it extends and it is exacerbated in a certain

442
00:22:46,160 --> 00:22:50,080
Speaker 4: kind of way because it registers for a particular moment.

443
00:22:50,160 --> 00:22:53,080
Speaker 4: Digital has just done something else for life, right, like

444
00:22:53,200 --> 00:22:56,440
Speaker 4: when it hits a streamer, it can it's a light

445
00:22:56,600 --> 00:22:58,879
Speaker 4: in a in a completely different fashion. And so that

446
00:22:59,080 --> 00:23:02,240
Speaker 4: enables to the residual nature of a thing to live

447
00:23:02,680 --> 00:23:04,560
Speaker 4: in a in a greater way. And so I think

448
00:23:04,560 --> 00:23:08,280
Speaker 4: that that's critical for indie filmmaking, and I think that

449
00:23:08,320 --> 00:23:10,520
Speaker 4: there will be new manners in which to for folks

450
00:23:10,520 --> 00:23:12,560
Speaker 4: to be connected to a thing and so that it

451
00:23:12,600 --> 00:23:15,639
Speaker 4: can live extensively in the same way that like we

452
00:23:15,680 --> 00:23:18,480
Speaker 4: think about you know, visual or fine art, right, like

453
00:23:18,560 --> 00:23:21,879
Speaker 4: we should be having a conversation about works across the board.

454
00:23:22,320 --> 00:23:24,520
Speaker 4: Don't let it's not going to fizzle out just because

455
00:23:24,880 --> 00:23:27,440
Speaker 4: it's not in the theater anymore. It's not fizzling out

456
00:23:27,600 --> 00:23:33,160
Speaker 4: just because you know, the digital the digital WM frame

457
00:23:33,240 --> 00:23:37,439
Speaker 4: has has closed. It's never closed. Everything's always open. So

458
00:23:37,600 --> 00:23:42,520
Speaker 4: keep connecting the dots, uh and and and and just

459
00:23:42,640 --> 00:23:43,600
Speaker 4: you know, build from there.

460
00:23:43,880 --> 00:23:46,919
Speaker 1: You think great work is sometimes pointed because I even think.

461
00:23:46,760 --> 00:23:49,199
Speaker 5: About like Till right, like they talk about, you know,

462
00:23:49,240 --> 00:23:52,440
Speaker 5: Till got snubbed by the Oscars, and they talked about,

463
00:23:52,480 --> 00:23:55,720
Speaker 5: you know, Till might have suffered from wokeness fatigue, and

464
00:23:55,800 --> 00:23:56,800
Speaker 5: you know, they were saying it was.

465
00:23:57,040 --> 00:23:57,880
Speaker 1: A box office point.

466
00:23:57,880 --> 00:23:59,840
Speaker 5: They were saying all of these different things in regard

467
00:23:59,960 --> 00:24:02,960
Speaker 5: to this just great body of work.

468
00:24:03,600 --> 00:24:05,239
Speaker 1: Do you think that that can play a role into

469
00:24:05,280 --> 00:24:05,520
Speaker 1: it too?

470
00:24:06,040 --> 00:24:06,520
Speaker 3: Uh?

471
00:24:06,880 --> 00:24:10,000
Speaker 4: Ain't nobody listen to none to that? What's the snub

472
00:24:10,960 --> 00:24:17,439
Speaker 4: We're having continuous conversation about the work, about the themes

473
00:24:17,480 --> 00:24:21,639
Speaker 4: about you know, you're dealing with it in the frame,

474
00:24:22,000 --> 00:24:25,520
Speaker 4: right on the computer, on in the theater wherever you're

475
00:24:25,560 --> 00:24:28,560
Speaker 4: watching it, and then people are connecting to it outside.

476
00:24:28,600 --> 00:24:30,960
Speaker 4: They just you know, August was just here, you know.

477
00:24:31,000 --> 00:24:33,760
Speaker 4: I just talked to mis Debora, who helps with the

478
00:24:33,840 --> 00:24:40,280
Speaker 4: who runs the the Mattel Foundation. They're having continuous, you know,

479
00:24:40,440 --> 00:24:44,040
Speaker 4: conversation about it. This is since nineteen fifty five, you know,

480
00:24:44,440 --> 00:24:47,240
Speaker 4: and so you know, extending what this means to think

481
00:24:47,280 --> 00:24:50,280
Speaker 4: about survival. I don't know when forty takes place, but

482
00:24:50,359 --> 00:24:54,840
Speaker 4: forty is in the dystopic future, which feels very like now.

483
00:24:56,000 --> 00:24:59,320
Speaker 4: And so just the ability to bring this end of

484
00:24:59,320 --> 00:25:02,120
Speaker 4: the spectrum to this end of the spectrum, that's what's happening.

485
00:25:02,400 --> 00:25:05,320
Speaker 4: You know, It's not there's no snubbing. Snubbing isn't possible

486
00:25:05,680 --> 00:25:09,040
Speaker 4: if we are creating something and we are creating the

487
00:25:09,080 --> 00:25:10,240
Speaker 4: conversation around it.

488
00:25:10,480 --> 00:25:12,160
Speaker 6: I know when the US snub happened. I don't want

489
00:25:12,160 --> 00:25:13,800
Speaker 6: to get her name wrong, but the director of till

490
00:25:15,000 --> 00:25:17,960
Speaker 6: Chanoya she had posted. She had posted on her Instagram

491
00:25:17,960 --> 00:25:20,080
Speaker 6: and it wasn't directly in response, but a the timeing

492
00:25:20,119 --> 00:25:21,800
Speaker 6: people took it as a response. But she talked about

493
00:25:21,800 --> 00:25:25,199
Speaker 6: how Hollywood, you know, treats black women horribly and they

494
00:25:25,440 --> 00:25:30,720
Speaker 6: push this white male stereotype. Do you feel like that's changing?

495
00:25:30,800 --> 00:25:32,840
Speaker 6: Has changed since the since the snub? I know you

496
00:25:32,840 --> 00:25:34,720
Speaker 6: don't care about the snub, but has that changed in

497
00:25:34,760 --> 00:25:36,119
Speaker 6: the work that you're doing or do you think it

498
00:25:36,160 --> 00:25:36,840
Speaker 6: will change?

499
00:25:36,920 --> 00:25:40,119
Speaker 4: I think that we have always been present creating the

500
00:25:40,119 --> 00:25:43,600
Speaker 4: significant works for ourselves. The funding may not look the same,

501
00:25:44,480 --> 00:25:46,800
Speaker 4: the ubiquity of it and the marketing of it may

502
00:25:46,800 --> 00:25:49,280
Speaker 4: not look the same, But there are plenty of black women,

503
00:25:49,840 --> 00:25:54,520
Speaker 4: uh in a variety of other people of color joining

504
00:25:54,560 --> 00:25:57,280
Speaker 4: the fold of making the stuff that we want to see.

505
00:25:58,000 --> 00:26:03,560
Speaker 4: There is no uh true idea of us like not

506
00:26:03,840 --> 00:26:07,040
Speaker 4: being able to push, you know, towards the center. We

507
00:26:07,160 --> 00:26:13,240
Speaker 4: are the center period, right And should there be more support, yes,

508
00:26:14,480 --> 00:26:18,840
Speaker 4: but you can't. You can't hold down what's already you know.

509
00:26:19,480 --> 00:26:21,879
Speaker 1: Moving up, moving That's dope.

510
00:26:22,280 --> 00:26:25,439
Speaker 5: How do y'all see storytelling as a tool for social transformation?

511
00:26:26,240 --> 00:26:26,520
Speaker 1: M M.

512
00:26:26,640 --> 00:26:28,240
Speaker 5: That feel like the arts are going to be very

513
00:26:28,320 --> 00:26:31,600
Speaker 5: important to us moving forward, especially with them just taking

514
00:26:31,640 --> 00:26:32,959
Speaker 5: history out of everything.

515
00:26:33,800 --> 00:26:35,640
Speaker 3: Always always been, always has.

516
00:26:35,480 --> 00:26:36,119
Speaker 1: Been, you know.

517
00:26:36,240 --> 00:26:40,120
Speaker 3: It's it's uh, it's a it's a foundation of of

518
00:26:41,680 --> 00:26:44,360
Speaker 3: like as we as we're talking about of our history

519
00:26:44,400 --> 00:26:46,520
Speaker 3: and inspiring the future, you know what I mean. It's

520
00:26:46,560 --> 00:26:50,679
Speaker 3: it's it's it's vital, you know. And and for people

521
00:26:50,720 --> 00:26:54,920
Speaker 3: to see things and reintroduce them to ideas that maybe

522
00:26:54,920 --> 00:26:57,040
Speaker 3: they don't that's that's the important thing. Is like as

523
00:26:57,080 --> 00:27:00,320
Speaker 3: as as a younger generation comes out, they don't don't

524
00:27:00,359 --> 00:27:04,639
Speaker 3: have to fight the trials and tribulations that like my

525
00:27:04,720 --> 00:27:06,560
Speaker 3: mother had to fight. I didn't have to fight some

526
00:27:06,600 --> 00:27:09,000
Speaker 3: of those things. But it's important to make sure that

527
00:27:09,040 --> 00:27:13,800
Speaker 3: people understand them, because they don't understand it, then they're

528
00:27:13,800 --> 00:27:17,040
Speaker 3: coming out with a certain sense of ignorance to the

529
00:27:17,040 --> 00:27:20,840
Speaker 3: world and may not think that certain things are are present,

530
00:27:21,520 --> 00:27:27,639
Speaker 3: you know, And and racism and discrimination and the isms

531
00:27:27,960 --> 00:27:30,560
Speaker 3: are there whether you whether you recognize them or not,

532
00:27:30,600 --> 00:27:33,200
Speaker 3: they're there. So it's it's I think it's vital for

533
00:27:33,840 --> 00:27:39,840
Speaker 3: art to keep speaking from our perspective, so that it's like, oh, no,

534
00:27:40,119 --> 00:27:42,359
Speaker 3: you got to know how to handle these things for

535
00:27:42,480 --> 00:27:44,399
Speaker 3: future generations. It's just it's vital.

536
00:27:44,960 --> 00:27:48,240
Speaker 4: No, it's just a beautiful poetic looping right. I remember

537
00:27:48,640 --> 00:27:51,879
Speaker 4: doing this. It wasn't technically a play. It was like

538
00:27:51,920 --> 00:27:54,919
Speaker 4: a dance exhibition with that was called Women Hold Up

539
00:27:54,960 --> 00:27:58,800
Speaker 4: Half the Sky right as a kid with Total Dance theater.

540
00:27:59,240 --> 00:28:01,800
Speaker 4: And I learned about four little girls in that piece.

541
00:28:03,000 --> 00:28:05,600
Speaker 4: And then there was also this poem from Nikki Giovanni

542
00:28:05,600 --> 00:28:10,280
Speaker 4: in the piece Capitola Williams delivered that hard and then

543
00:28:10,320 --> 00:28:14,160
Speaker 4: that makes me connect to Okay, then I'm doing till right.

544
00:28:14,280 --> 00:28:18,520
Speaker 4: Like these stories, these fragments jump you know, between us,

545
00:28:18,600 --> 00:28:21,119
Speaker 4: right and oh okay, Nikki Giovanni she loved Tupac right,

546
00:28:21,160 --> 00:28:23,080
Speaker 4: and so then Tupac raps about this and then this.

547
00:28:23,400 --> 00:28:26,439
Speaker 4: You are to find the fragment and then expand upon it.

548
00:28:27,200 --> 00:28:31,440
Speaker 4: I think that that it's not just just in the art, right,

549
00:28:31,480 --> 00:28:34,080
Speaker 4: the art, that whatever it is that you connected to,

550
00:28:34,160 --> 00:28:36,520
Speaker 4: whether it's in hip hop or whether it's in a film,

551
00:28:36,840 --> 00:28:40,640
Speaker 4: you take whatever is magnifying for you in your mind,

552
00:28:40,800 --> 00:28:45,560
Speaker 4: and then you are to dig deeper. You are to

553
00:28:45,960 --> 00:28:50,120
Speaker 4: read more about it. This is the beauty of art.

554
00:28:50,240 --> 00:28:53,160
Speaker 4: Art takes a single thing, and it is to it

555
00:28:53,200 --> 00:28:55,920
Speaker 4: is to make it. It's supposed to enable you to

556
00:28:56,040 --> 00:28:59,240
Speaker 4: loop things further into the fold. For it, everything is

557
00:28:59,280 --> 00:29:02,360
Speaker 4: deeply connected if we but seek it out, if we

558
00:29:02,440 --> 00:29:04,560
Speaker 4: but make the effort.

559
00:29:04,240 --> 00:29:06,960
Speaker 5: Absolutely, how do you decide when the story is worth

560
00:29:07,000 --> 00:29:11,960
Speaker 5: the emotional toll it takes on creators and the audience

561
00:29:11,960 --> 00:29:13,800
Speaker 5: because art can be healing, but it can also reopen

562
00:29:13,880 --> 00:29:14,280
Speaker 5: or wounds.

563
00:29:14,360 --> 00:29:27,680
Speaker 4: Dude, Yeah, you mean for me? Yeah, I'm gonna. I'm gonna.

564
00:29:28,200 --> 00:29:31,800
Speaker 4: I'm gonna give everything to a thing if I choose

565
00:29:31,840 --> 00:29:37,959
Speaker 4: to do it. And we talk a lot about recovery.

566
00:29:38,120 --> 00:29:40,000
Speaker 4: I mean, I think it's something for me. Now I'm

567
00:29:40,040 --> 00:29:43,160
Speaker 4: a sabbatical y'all. Man, Was I supposed to be here?

568
00:29:44,000 --> 00:29:49,200
Speaker 4: Like it's it's I'm making conscious choices even more along,

569
00:29:49,520 --> 00:29:51,680
Speaker 4: you know, just along the trajectory of the career, right

570
00:29:51,760 --> 00:29:53,640
Speaker 4: like trying to make sure that I am well and

571
00:29:53,680 --> 00:29:56,200
Speaker 4: I'm okay in the midst of the things that I

572
00:29:56,240 --> 00:29:58,720
Speaker 4: choose to do. That's why I did three comedy maze

573
00:29:58,800 --> 00:30:02,520
Speaker 4: things in the course of the as a year. But

574
00:30:02,560 --> 00:30:04,680
Speaker 4: the other things are really valuable because you have to

575
00:30:04,720 --> 00:30:09,200
Speaker 4: Refield the cup or you have nothing to give, or

576
00:30:10,440 --> 00:30:16,520
Speaker 4: it suffers, or you know whatnot. But I am consciously

577
00:30:17,440 --> 00:30:20,920
Speaker 4: moving things around to do stuff so that I can

578
00:30:20,920 --> 00:30:22,720
Speaker 4: be Okay. I also have a child. I also have

579
00:30:22,760 --> 00:30:24,600
Speaker 4: a family. I need to be with them. I need

580
00:30:24,640 --> 00:30:27,840
Speaker 4: to This is not just for for me. This is

581
00:30:28,080 --> 00:30:34,080
Speaker 4: for a greater community and knowing how the community responds

582
00:30:34,120 --> 00:30:37,080
Speaker 4: to that thing just and I mean, we're constantly referring

583
00:30:37,080 --> 00:30:39,560
Speaker 4: back to Till. But like Youano, you talked about not

584
00:30:39,720 --> 00:30:43,960
Speaker 4: wanting to traumatize or trigger in the experience of things.

585
00:30:44,000 --> 00:30:46,680
Speaker 4: There are all kinds of ways to tell a story

586
00:30:47,000 --> 00:30:51,880
Speaker 4: and not not take people down into a into an experience.

587
00:30:51,880 --> 00:30:53,920
Speaker 4: In a certain kind of way, you can you can

588
00:30:53,960 --> 00:30:59,440
Speaker 4: tell a story and and and with nuance and modification

589
00:30:59,600 --> 00:31:01,720
Speaker 4: and a certain kind of way bring them into the

590
00:31:01,760 --> 00:31:04,600
Speaker 4: fold of the thing. It doesn't have to be utterly,

591
00:31:05,120 --> 00:31:07,640
Speaker 4: you know, drudgery and treacherous the way that it makes

592
00:31:07,960 --> 00:31:09,920
Speaker 4: yourself or the audience feel.

593
00:31:10,320 --> 00:31:13,360
Speaker 1: What do you Till change.

594
00:31:13,120 --> 00:31:15,120
Speaker 5: About you as a mother, because you are already are

595
00:31:15,120 --> 00:31:18,200
Speaker 5: black mother. But you know, tonight I went to go

596
00:31:18,200 --> 00:31:21,480
Speaker 5: see Till. I saw it at a premiere and Sabrina Fulton.

597
00:31:21,240 --> 00:31:21,720
Speaker 1: Was dead and night.

598
00:31:22,200 --> 00:31:25,040
Speaker 5: So that was like wow, you know, just watching that

599
00:31:25,080 --> 00:31:27,400
Speaker 5: what happened to you know, mother Tale? But then seeing

600
00:31:27,440 --> 00:31:30,000
Speaker 5: Sabrina day, I'm like, yo, you know, it's still happening

601
00:31:30,120 --> 00:31:30,480
Speaker 5: right now.

602
00:31:33,400 --> 00:31:37,800
Speaker 4: I feel like it changed. I had a different understanding

603
00:31:37,840 --> 00:31:42,000
Speaker 4: of the rigor of the era of woman, to live

604
00:31:42,040 --> 00:31:44,560
Speaker 4: in that kind of femininity, to live in that kind

605
00:31:44,560 --> 00:31:49,760
Speaker 4: of presentation of self, that shifted for me. My motherhood

606
00:31:49,800 --> 00:31:52,200
Speaker 4: is is straight up, it was continuous. We have to

607
00:31:52,240 --> 00:31:54,000
Speaker 4: protect our children in a certain kind of way, in

608
00:31:54,040 --> 00:31:56,200
Speaker 4: the same way that Haley is in here, like you

609
00:31:56,280 --> 00:31:58,600
Speaker 4: about to learn how to shoot this gun, and you

610
00:31:58,640 --> 00:32:00,960
Speaker 4: about to learn how to beat these you know, like

611
00:32:01,080 --> 00:32:04,360
Speaker 4: that's the kind of thing that is always present. But

612
00:32:04,520 --> 00:32:06,600
Speaker 4: how do you present that? How do you? I think

613
00:32:06,640 --> 00:32:10,680
Speaker 4: the value is showing the diversity of your womanhood so

614
00:32:10,720 --> 00:32:14,320
Speaker 4: that your children know that you are a human. That

615
00:32:14,520 --> 00:32:19,440
Speaker 4: was critical and from from till two forty and so

616
00:32:20,040 --> 00:32:24,160
Speaker 4: you're always gonna you know, mother Tiger over your kids.

617
00:32:24,720 --> 00:32:27,080
Speaker 5: But you know, I want to ask you, you want

618
00:32:27,080 --> 00:32:29,000
Speaker 5: to go back to the question about when you decide

619
00:32:29,120 --> 00:32:31,520
Speaker 5: when the story is worth the emotional tool it takes on.

620
00:32:31,920 --> 00:32:33,000
Speaker 1: I think it's on you as a creator.

621
00:32:33,000 --> 00:32:37,560
Speaker 3: And yeah, I think I think it's it's it's a

622
00:32:37,640 --> 00:32:40,160
Speaker 3: it's a gut thing, right Like it's it's it's something

623
00:32:40,160 --> 00:32:44,960
Speaker 3: that you you know, I mean, when you get into

624
00:32:45,040 --> 00:32:47,840
Speaker 3: a work and you know that just this is something

625
00:32:47,880 --> 00:32:51,000
Speaker 3: important for you, you're just willing to take on what

626
00:32:51,040 --> 00:32:54,120
Speaker 3: that process is gonna bring. And you know that any

627
00:32:54,200 --> 00:32:56,920
Speaker 3: process that we dive into, what our whole selves is

628
00:32:56,960 --> 00:33:00,280
Speaker 3: going to it's going to. Yes, it's gonna it's gonna

629
00:33:00,320 --> 00:33:02,560
Speaker 3: hurt us some days and some days it's gonna be challenging,

630
00:33:02,600 --> 00:33:04,440
Speaker 3: but it's also gonna make you grow at the end.

631
00:33:05,080 --> 00:33:06,520
Speaker 3: And I think at the end of the day, it's

632
00:33:06,560 --> 00:33:09,360
Speaker 3: like you you look forward to that growth truthfully, you

633
00:33:09,360 --> 00:33:10,880
Speaker 3: know what I mean. I look forward to coming out

634
00:33:10,880 --> 00:33:13,360
Speaker 3: the other side and learning from what the process brings

635
00:33:13,440 --> 00:33:17,400
Speaker 3: me and know that I'll be I hope that I'll

636
00:33:17,440 --> 00:33:21,280
Speaker 3: be a better person from the interaction and and and

637
00:33:21,400 --> 00:33:23,680
Speaker 3: the community that you do. When you build these things,

638
00:33:24,360 --> 00:33:27,840
Speaker 3: you come upon a community and you learn your lessons,

639
00:33:27,920 --> 00:33:29,480
Speaker 3: you know what I mean, Like, you learn your lessons

640
00:33:29,480 --> 00:33:32,080
Speaker 3: through that process and you say, Okay, cool, never gonna

641
00:33:32,080 --> 00:33:34,480
Speaker 3: do that this way again, you know what I mean.

642
00:33:34,520 --> 00:33:37,600
Speaker 3: But like, you know what I mean, So you just

643
00:33:37,680 --> 00:33:40,880
Speaker 3: you know those things, and so there's a beautiful thing

644
00:33:40,920 --> 00:33:42,920
Speaker 3: when you come out the other side because you you're

645
00:33:42,920 --> 00:33:46,440
Speaker 3: a stronger person for it, and that makes it worthwhile,

646
00:33:46,800 --> 00:33:50,320
Speaker 3: you know, that makes it go Okay, next one, I'm

647
00:33:50,320 --> 00:33:52,080
Speaker 3: gonna learn some more. I'm gonna grow a little bit better,

648
00:33:52,120 --> 00:33:54,440
Speaker 3: you know what I mean. So it makes a process.

649
00:33:54,480 --> 00:33:57,360
Speaker 4: This is a baby, you're making a baby. Ye ride

650
00:33:57,360 --> 00:34:00,920
Speaker 4: with that thing for a few years, right, like, whether

651
00:34:00,960 --> 00:34:03,040
Speaker 4: you're writing it, like I mean, we're talking about this

652
00:34:03,120 --> 00:34:05,360
Speaker 4: from Pandemic. It's twenty three five now. This man has

653
00:34:05,400 --> 00:34:08,200
Speaker 4: been writing with this thing for that long. And so

654
00:34:08,280 --> 00:34:11,160
Speaker 4: you want to make an extremely conscious decision about what

655
00:34:11,239 --> 00:34:13,120
Speaker 4: you are, what you are rearing.

656
00:34:14,760 --> 00:34:18,040
Speaker 5: What do you hope of future generations of artists, especially

657
00:34:18,040 --> 00:34:20,000
Speaker 5: black creatives, take from the work that y'all are creating

658
00:34:20,080 --> 00:34:20,359
Speaker 5: right now?

659
00:34:20,360 --> 00:34:22,280
Speaker 1: What do you want me to take from forty in particular?

660
00:34:25,920 --> 00:34:28,399
Speaker 3: I just feel like, you know, I think it's all there.

661
00:34:28,960 --> 00:34:31,279
Speaker 3: I think it's all there. I think it's like, you know,

662
00:34:32,040 --> 00:34:36,239
Speaker 3: I want people to to mine the past, make sure

663
00:34:36,280 --> 00:34:38,440
Speaker 3: that they have that expression, you know, because we're the

664
00:34:38,480 --> 00:34:40,520
Speaker 3: only ones that are going to tell our stories, you know,

665
00:34:40,800 --> 00:34:44,759
Speaker 3: Like the whole interaction between the indigenous and Black community

666
00:34:45,400 --> 00:34:49,440
Speaker 3: is like rarely talked about across history because history has

667
00:34:49,480 --> 00:34:52,840
Speaker 3: been presented in kind of one way from one perspective. So,

668
00:34:53,120 --> 00:34:55,839
Speaker 3: you know, we wanted to pay tribute to to some

669
00:34:55,920 --> 00:34:58,359
Speaker 3: of those things in this film. And I just think

670
00:34:58,360 --> 00:35:01,920
Speaker 3: it's important that we keep doing that, go back to

671
00:35:01,960 --> 00:35:07,000
Speaker 3: our past and remind people. But then also I'm about

672
00:35:07,160 --> 00:35:11,960
Speaker 3: creating stuff for the future, and and and and Cinema

673
00:35:12,000 --> 00:35:16,040
Speaker 3: for me, has always been a beautiful art form of

674
00:35:16,040 --> 00:35:21,280
Speaker 3: of of entertainment, you know what I mean of visceral thrills,

675
00:35:21,320 --> 00:35:23,799
Speaker 3: Like it's not I love better than being in the

676
00:35:23,800 --> 00:35:28,560
Speaker 3: theater and the whole audience moving with you. You feel it.

677
00:35:28,560 --> 00:35:30,719
Speaker 3: It's like a concert. Like you feel that you know

678
00:35:30,760 --> 00:35:33,759
Speaker 3: you people, You feel everybody tighten up when something's about

679
00:35:33,800 --> 00:35:36,040
Speaker 3: to happen. You feel that release when you know when

680
00:35:36,040 --> 00:35:38,839
Speaker 3: it does. And this there's something really beautiful about that.

681
00:35:39,000 --> 00:35:43,680
Speaker 3: And I encourage, you know, future generations and other directors

682
00:35:43,719 --> 00:35:47,040
Speaker 3: and storytellers to like embrace that feeling that you get

683
00:35:47,080 --> 00:35:47,960
Speaker 3: from whatever that.

684
00:35:47,960 --> 00:35:49,480
Speaker 1: Art form is for you.

685
00:35:49,480 --> 00:35:51,080
Speaker 3: You know, whatever that art form is for you.

686
00:35:51,520 --> 00:35:55,719
Speaker 4: I would throw three things out. Rigor is critical, I mean,

687
00:35:55,719 --> 00:35:57,600
Speaker 4: and we're getting this from from the film to just

688
00:35:57,640 --> 00:36:00,439
Speaker 4: in real life too. Like rigor and discipline ease the

689
00:36:00,520 --> 00:36:04,320
Speaker 4: utmost imperative and essential for any kind of art making.

690
00:36:04,560 --> 00:36:07,840
Speaker 4: Learn the craft so that you can therein move to intuition.

691
00:36:08,239 --> 00:36:13,759
Speaker 4: The intuitive spirit is yeah, it's it's pivotal. You have

692
00:36:13,840 --> 00:36:16,200
Speaker 4: to have that so that it can have your stamp,

693
00:36:16,320 --> 00:36:19,200
Speaker 4: your unique imprint. And then love.

694
00:36:20,080 --> 00:36:20,200
Speaker 3: Uh.

695
00:36:20,880 --> 00:36:24,440
Speaker 4: Michael gray Eyes taught me uh. One of the Indigenous

696
00:36:24,520 --> 00:36:29,320
Speaker 4: terms for love. It's kasaka ten and it's to grow

697
00:36:29,760 --> 00:36:33,920
Speaker 4: into oneself right, Like, love isn't just this romantic notion.

698
00:36:34,080 --> 00:36:37,759
Speaker 4: It's it's about seeing something flourish. I think that's an

699
00:36:37,800 --> 00:36:40,000
Speaker 4: inner thing and an outer world thing. And so to

700
00:36:40,080 --> 00:36:43,000
Speaker 4: have the utmost of rigor and discipline and thing in

701
00:36:43,040 --> 00:36:45,600
Speaker 4: the thing that you do, move that into the intuitive

702
00:36:45,600 --> 00:36:47,880
Speaker 4: spirit and your own in a world and do it

703
00:36:47,880 --> 00:36:49,080
Speaker 4: with the utmost.

704
00:36:50,480 --> 00:36:52,680
Speaker 2: Well, definitely go check out the film forty eight kres

705
00:36:52,680 --> 00:36:53,760
Speaker 2: and we appreciate.

706
00:36:53,320 --> 00:36:59,960
Speaker 3: You guys and everywhere you know.

707
00:37:00,360 --> 00:37:02,800
Speaker 2: All right, Well, Daniel Deadwiler, Artie Throwing, thank you so

708
00:37:02,880 --> 00:37:03,640
Speaker 2: much for joining us.

709
00:37:03,640 --> 00:37:06,799
Speaker 3: Thank you, Thanks Breakfast Club, good morning.

710
00:37:07,000 --> 00:37:11,799
Speaker 5: Hold on every day I wake, pass up the Breakfast Club.

711
00:37:12,040 --> 00:37:12,719
Speaker 4: Finish for y'all.

712
00:37:12,760 --> 00:37:13,000
Speaker 1: Done,