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Speaker 1: Hello, and welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho.

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Speaker 2: I'm Danielle Henderson and woo, welcome back. We are back, baby,

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Speaker 2: welcome back. We just had a little hiatus, that's right.

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Speaker 2: Happy new Year, Happy New Year, even though it's February.

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Speaker 2: Happy New Year.

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Speaker 1: How's it going? So far, so far, so good.

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Speaker 2: I've got a kitchen, ka, or half of a kitchen,

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Speaker 2: which is nice. You know, my oven is still going

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Speaker 2: to be not here until March or April.

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Speaker 3: But you know, I've got cabinets and I'm happy.

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Speaker 2: And I've got you know, cabinets in a couple of

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Speaker 2: bathrooms and that's all I've ever wanted.

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Speaker 1: In Oh, that is so exciting.

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Speaker 3: It's snowing, it's cold, it's like niceier.

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Speaker 1: So oh good, good good. Yeah. I am gotta tell you.

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Speaker 1: It was nice to have a little bit of a break,

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Speaker 1: wasn't it. We missed everybody. I mean, obviously we missed

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Speaker 1: all of you, and thank you for you know, being around.

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Speaker 1: Maybe you actually didn't know we took a break. Maybe

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Speaker 1: they were like listening to this episode, maybe this is

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Speaker 1: your first episode, so welcome. We took a month and

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Speaker 1: a half off.

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Speaker 3: Well, Also, you finished a book over the break, Yes.

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Speaker 1: I did. I finished the book sort of incredible, a

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Speaker 1: lot of editing right now, doing a lot of editing.

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Speaker 1: I think I'll be actually finished finished in the spring.

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Speaker 1: So by the time you get your kitchen sorted, I

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Speaker 1: will maybe have this book sorted.

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Speaker 2: We'll see, Okay, then we definitely have to party. It's

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Speaker 2: Tempano party when oh my god, both those things go inside.

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Speaker 1: One are the cool things that I did do in

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Speaker 1: the break, which we have talked about on this podcast before,

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Speaker 1: but actually precedes the formation of this podcast, because this

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Speaker 1: was something that I did with you and a bunch

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Speaker 1: of your friends, like way before we started this and

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Speaker 1: sort of around the time that I think I met

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Speaker 1: you for the first time was the Uber List.

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Speaker 3: Yeah.

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Speaker 2: So we decided, Millie and I decided two things. We

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Speaker 2: were going to challenge ourselves in two ways this year. One,

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Speaker 2: we've given ourselves a dead lift Sunny corleone challenge, and

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Speaker 2: we're both gonna get yoked.

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Speaker 1: Ah yo. The veins are gonna be pop out of

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Speaker 1: my shoulders and all are gonna be crying. I can't wait.

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Speaker 2: I want muscles in like you know how, Like there's

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Speaker 2: so many muscles that I don't know the name of

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Speaker 2: because they're only on like Arnold Schwartznegger, Like I want

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Speaker 2: those like under the armpit muscles and those like extra

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Speaker 2: neck muscles, like.

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Speaker 3: We're getting yoked, We're getting yoked.

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Speaker 2: But also we decided to do an uber liss together,

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Speaker 2: and usually I do it with like a bigger group,

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Speaker 2: but I think that this year it just made sense

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Speaker 2: to do it with a smaller group of friends.

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Speaker 3: So it's just a few of.

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Speaker 2: Us, and I'm site because the whole premise of the

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Speaker 2: uber list is that, first of all, it was created

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Speaker 2: by Nicole Lohre, who you might know as a knitter

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Speaker 2: if you're a knitter at all. She has a book

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Speaker 2: called Naughty Needles, and she has a home slash work

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Speaker 2: space called the Harvey School Project where she teaches classes,

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Speaker 2: and she's just a phenomenal artist and creator and has

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Speaker 2: made many patterns.

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Speaker 3: And all kinds of things.

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Speaker 2: So she created it when she was the college roommate

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Speaker 2: of my friend Kelly Sue Dconic, which is how I

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Speaker 2: found out about the uberlist. And I realized this year

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Speaker 2: that I've been doing an uberlist for almost twenty years.

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Speaker 2: Whoa crazy twenty years and Kelly Sue introduced it to

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Speaker 2: a bunch of us who were on the old del

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Speaker 2: Phi forums.

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Speaker 1: Is that like old Is that old Internet talk?

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Speaker 3: Yes, it is very old.

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Speaker 2: Internet, just a form where a bunch of us nerds

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Speaker 2: used to hang out, and so Kelly Sue introduced it

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Speaker 2: to us there, and I've absolutely loved doing it every year.

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Speaker 2: Sometimes I do it with people, sometimes I do it alone,

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Speaker 2: but I do one every year.

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Speaker 3: And the whole setup.

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Speaker 2: Is basically that you write down a list of one

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Speaker 2: hundred things plus the number of the year. So this year,

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Speaker 2: it's one hundred and twenty one things that you want

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Speaker 2: to accomplish in the next year. And it sounds overwhelming,

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Speaker 2: but it could be anything. It could be big things,

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Speaker 2: small things. The purpose is just get some movement in

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Speaker 2: your life and in your year. So I break mine

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Speaker 2: down into categories because that's how my brain works. And

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Speaker 2: I have like a home category and a whimsy category

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Speaker 2: and a work category. But yeah, I just break it

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Speaker 2: down and sometimes it's small things like you know, rewire

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Speaker 2: a lamp and other things. It's big things like finish

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Speaker 2: a screenplay or whatever.

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Speaker 1: So yeah, no, it's so great because, first of all

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Speaker 1: when I first did it, the first year that I

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Speaker 1: did it, Like I said, it was long time ago.

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Speaker 1: I feel like it was like ten years ago or something. Yeah,

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Speaker 1: And we were on this chain of like minded ladies.

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Speaker 1: There was a lot of people in the crew, and

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Speaker 1: we were all posting our lists to each other. We

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Speaker 1: would redact certain things that we didn't want to be public,

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Speaker 1: like sometimes you have a goal that you don't want

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Speaker 1: anybody else to know about, and we were allowed to,

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Speaker 1: you know, basically not list it publicly, but totally it

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Speaker 1: was in our list. And when I first came to

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Speaker 1: the list, I was like, oh my god, one hundred

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Speaker 1: and something things.

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Speaker 3: What am I going to do?

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Speaker 1: I don't know how to structure this. And I kept

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Speaker 1: thinking of these like big goal things like climb you know,

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Speaker 1: a mountain in Yellowstone National Park or do something.

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Speaker 4: You know.

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Speaker 1: It was like all these crazy big things. And then

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Speaker 1: when you kindly reminded everybody, I think it was you,

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Speaker 1: You were like, it doesn't have to be these giant things.

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Speaker 1: It can be like literally like get up on the

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Speaker 1: different side of the bed tomorrow, or like, you know,

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Speaker 1: use this glass in my kitchen that I never used,

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Speaker 1: like something that's like super manageable. Yeah, it almost kind

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Speaker 1: of like dumbly manageable. I was like, Okay, let me

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Speaker 1: just fill in the rest of this list with all

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Speaker 1: these dumb things. Right. However, accomplishing those dumb things quote

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Speaker 1: unquote actually helped me tackle the other stuff because it

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Speaker 1: was like, yes, that sense of accomplishment, even if it's

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Speaker 1: so dumb, and I just added it to fill out

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Speaker 1: this list of tasks that I wanted to accomplish. Even

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Speaker 1: crossing off those felt like, y shit, I got some

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Speaker 1: shit done today and this is awesome. So now I

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Speaker 1: can do all the other things I want to do.

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Speaker 2: Right, absolutely, And you're building the habit of getting things done,

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Speaker 2: and you're building the habit of like having faith in

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Speaker 2: yourself that you can get things done. There are some

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Speaker 2: years where I'll start my list off by just looking

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Speaker 2: around my house and everything that's bothering me, yes, and

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Speaker 2: I'm like, all right, like this bothers me, fix it,

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Speaker 2: like get a new planter, fix that make curtains, or

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Speaker 2: like I just look at things that bother me every

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Speaker 2: day and take action on those small things, and it

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Speaker 2: makes my whole world better because it makes my space better.

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Speaker 3: So I kind of start off with, you know, what.

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Speaker 2: Do I feel like I need to do, but also

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Speaker 2: what do I actually want to do, So it's a

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Speaker 2: kind of a nice mix of a list, and I

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Speaker 2: think that's why I've been doing it for so long,

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Speaker 2: because it's all things I can accomplish, and there's never

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Speaker 2: been a year where I've accomplished every.

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Speaker 3: Single thing on the list.

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Speaker 2: So for me, it's more about building the habit every

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Speaker 2: year and starting the new year off that way. YE

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Speaker 2: like to start off the new year knowing that, like

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Speaker 2: this year, I'm going to accomplish a few things. I

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Speaker 2: used to put a lot of travel on there, but

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Speaker 2: now I don't know if that's a roll of the

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Speaker 2: dice or not, but I think it's you know, I'm

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Speaker 2: going to be getting my grandmother more settled into the house,

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Speaker 2: and a lot of my list will be you know,

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Speaker 2: family stuff this year, and it never has been in

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Speaker 2: the past, but yeah, I'm excited because it's also I

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Speaker 2: don't know, it's also stuff like this year. I put

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Speaker 2: it on my list pretty much every year, but this

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Speaker 2: year I actually already bought the yarn for it, and

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Speaker 2: I want to knit a sweater for all the kids

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Speaker 2: in my life. Because I just kind of want them

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Speaker 2: to have something for me that I made with my hands. Yeah,

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Speaker 2: and they're all such very they're all getting bigger. That's

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Speaker 2: why I decided to do it this year because I'm like,

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Speaker 2: I will be making adult sweater soon if I.

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Speaker 1: Don't get.

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Speaker 3: Like, let's do it when they could still fit in.

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Speaker 2: A sweater that's like one skein of yarn. But that

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Speaker 2: kind of stuff I will do and it'll make my

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Speaker 2: day better, It'll make my world better, it'll make my

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Speaker 2: relationships better. And it's such a small thing. So yeah,

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Speaker 2: I'm excited. I'm excited.

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Speaker 1: That is exciting. And let me just tell you I

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Speaker 1: already crossed off a couple of things. That means I've

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Speaker 1: completed a couple of things on my uber list. First

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Speaker 1: of all, a lot of people the last time we

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Speaker 1: talked about the uber list, I think it was like

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Speaker 1: this time or before in January. I think it was

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Speaker 1: last year. A lot of people were commenting on the

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Speaker 1: episode going show us your lists, like post your list.

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Speaker 1: I'm like, no, uh huh. We were both like those

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Speaker 1: are private, and here's why they're private except for our

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Speaker 1: little crew. I guess this year because one of my

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Speaker 1: tasks was so I needed to find better storage for

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Speaker 1: this giant dog head mask that I bought last year

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Speaker 1: for Halloween, but then forgot that I bought it and

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Speaker 1: didn't Actually I had a plan to dress up like

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Speaker 1: my dog for Halloween and then I forgot. So I

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Speaker 1: have this mask, this giant mask, which if you want

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Speaker 1: to see a picture of it, I'll post a picture

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Speaker 1: of it. However, you better yes, it's actually showed up

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Speaker 1: in meetings for this podcast before. I'll just say that. However,

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Speaker 1: what ended up happening was I unpacked the mask. I

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Speaker 1: you know, brought it into our meeting and scared a

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Speaker 1: few other people with the mask, and then I just

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Speaker 1: shoved it in my closet in one of my guest bedrooms.

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Speaker 1: So what would happen was I would open the door

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Speaker 1: of the closet and forget a fucking mask was in there,

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Speaker 1: and it would literally scare the shit out of me,

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Speaker 1: like I'd opened the closet door and be like, oh wait,

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Speaker 1: fucking shit, and then I'd remember, oh, that's because I

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Speaker 1: just threw this mask on top of a bunch of boxes.

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Speaker 1: So it looks like this giant fucking dog monster is

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Speaker 1: like chilling in my closet.

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Speaker 2: Okay, you know what's killing me about this is that

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Speaker 2: you had friends staying at your house.

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Speaker 3: Over holiday break, and I'm wondering, did you tell.

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Speaker 1: Them about that dog?

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Speaker 3: Yeah?

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Speaker 1: Hell fucking no, I forgot. I forgot. And but it's

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Speaker 1: also that thing where I'm like, well, why are you

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Speaker 1: going through my closet anyway? Exactly if you do, you're

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Speaker 1: gonna get your pants soaking wet with piss because there's

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Speaker 1: gonna be a dog head in here that you don't

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Speaker 1: know is gonna.

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Speaker 3: Be in here.

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Speaker 1: But that's on you. That's on you. That is definitely

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Speaker 1: on the snooping'. But here's the thing on my uper list.

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Speaker 1: I was like, find another place to store this dog

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Speaker 1: head so I don't fucking free the fuck out. And

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Speaker 1: guess what happened because of the uber list. What I

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Speaker 1: did was I wrapped it in a tissue paper from

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Speaker 1: like gift giving Holiday gift Giving, I wrapped the heads.

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Speaker 1: I know. I was like, I got a lot of

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Speaker 1: this shit, I might as well put it to good use.

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Speaker 1: So I wrapped the dog head in the tissue, wrapping

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Speaker 1: the gift tissue, and then I put a post it

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Speaker 1: note that said this is a giant dog mask, so

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Speaker 1: that even when I went into the rubber maid bin

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Speaker 1: that it's sitting in now, I wouldn't scare myself like

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Speaker 1: unwrapping a fucking present and being like, oh my god,

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Speaker 1: there's a severed dog's head in here. So anyway, point

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Speaker 1: being beautiful. Thank you Danielle for making us do the

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Speaker 1: Uber list this year. Thank you so much for everything

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Speaker 1: that is involved with this list, for bringing it into

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Speaker 1: our lives, and now look it's out there for our listeners.

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Speaker 1: If you guys want to do an uber list, there's

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Speaker 1: still time.

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Speaker 2: Yes, and thank you Nicole Lore for creating it. Last

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Speaker 2: name is spelled Lohr. If you want guidance on how

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Speaker 2: to do it as a group or how to organize it,

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Speaker 2: you should contact her and not us. We are not

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Speaker 2: organizing a group to do This is something you are

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Speaker 2: free to do on your own, but we are not

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Speaker 2: in charge of that.

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Speaker 1: Yeah.

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Speaker 2: I'm psych It's such a good experience and I love

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Speaker 2: that it's really communal, like when we bring people into

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Speaker 2: the experience. What I love sharing the list like that's

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Speaker 2: a really important part of it for me. Like I said,

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Speaker 2: sometimes I do it alone some years, but this year especially,

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Speaker 2: just felt like sharing our lists and finding that commonality,

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Speaker 2: and what ends up happening is we support each other

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Speaker 2: through a lot of that stuff. So somebody will say, Oh,

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Speaker 2: I see this is on your list.

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Speaker 3: I have that book. I'm going to send it to you.

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Speaker 2: Yes, you know, something like that, because I always have

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Speaker 2: like read this book on there and it's just so

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Speaker 2: nice to be able to say, like, oh, I have

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Speaker 2: a friend in that town that you want to go to,

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Speaker 2: like I'll ask them for information or something like.

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Speaker 3: It's just nice. It's a nice support system.

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Speaker 1: So I agree, get.

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Speaker 2: Some support systems go in and then we're going to

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Speaker 2: be We're gonna be supporting each other a lot this

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Speaker 2: year because I will My goal with deadlifting Sunny Corleone

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Speaker 2: is that by the end of the year, I'm starting out.

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Speaker 3: With two pound weights. I want to end the year

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Speaker 3: with fifty pound weights.

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Speaker 1: Yes, I totally agree. Maybe we could do something at

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Speaker 1: the end of this year, once we've completed all of

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Speaker 1: our goals and we have begun to actually deadlift Sunny Corleone,

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Speaker 1: we could get James Kahn. If COVID has not taken

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Speaker 1: our king by the end of twenty twenty two, I

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Speaker 1: say we have James Kahn on the podcast that we

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Speaker 1: try to pick him up, we try to deadlift him.

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Speaker 2: Oh my god, we should do light as a feather,

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Speaker 2: stiff as a board with Jimmy Kahton.

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Speaker 1: He'd be down for that, right, he'd be down for

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Speaker 1: two strange women lifting his entire body off the ground.

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Speaker 2: Especially because he's like in Hit Break and Age, Like,

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Speaker 2: I feel like he'd be down for it.

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Speaker 3: Let me just go to this weird podcaster's.

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Speaker 1: House and if anything, I cinched tag him. As we're

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Speaker 1: talking about this, I will deadlift you.

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Speaker 3: I will block you.

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Speaker 1: I will come to your house and deadloak you in

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Speaker 1: a menacing way.

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Speaker 2: Don't snitch tag Jimmy conn in this because we want

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Speaker 2: it to be a pleasant surprise, yes, that we are

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Speaker 2: going to lift him up.

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Speaker 1: We wanted to be surprised by the strange ask surprise.

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Speaker 2: Because what I'm imagining is that we just show up

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Speaker 2: at a restaurant like the End of Misery style and

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Speaker 2: just lift him out of a chair.

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Speaker 1: And he's like, get that fuck off, get off me, Like, sir,

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Speaker 1: what the fuck?

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Speaker 3: Put down the shrimp scampy.

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Speaker 1: We gotta practice this.

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Speaker 2: We have to know if we've reached our goal, and

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Speaker 2: then you get the knees, I get the armpits, and

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Speaker 2: we just lift them up.

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Speaker 1: Yeah. I agree. I think that's a fucking formidable plan

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Speaker 1: and I love every second of it.

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Speaker 3: I am psyched. Well, we also were coming back to

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Speaker 3: the pod at the.

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Speaker 2: Beginning of Black History Month, and I think both you

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Speaker 2: and I last year were just so excited about our

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Speaker 2: podcast and kind of over that we really didn't like

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Speaker 2: we didn't really focus too much on a lot of

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Speaker 2: monthly occurrences. But I think we're gonna try to fold

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Speaker 2: more of that.

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Speaker 3: In this year.

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Speaker 2: So if last year you wrote to us and you're like, hey,

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Speaker 2: why didn't you do anything during Pride or why didn't

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Speaker 2: you do anything during Bread Day or whatever?

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Speaker 1: Every day's bread day. In my house, every day's bread day.

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Speaker 3: And that's truly the spirit of our podcast as well.

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Speaker 2: Every day is a reason for us to pick movies

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Speaker 2: that are important to us, that are diverse, that are inclusive.

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Speaker 2: But we will definitely make more of an effort this

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Speaker 2: year to pinpoint certain things at certain times because it

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Speaker 2: is important and it's you know, there's some months or

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Speaker 2: some holidays like National Sibling Day, like there's just a

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Speaker 2: lot of bullshit holidays out there now that we're not

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Speaker 2: probably gonna address. But I'm down to throw something towards

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Speaker 2: Women's History Month. Yeah, I'm down throthing towards things that matter.

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Speaker 1: Yeah. And last year we got like a really great

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Speaker 1: response from the Black History Month episodes that we did,

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Speaker 1: and we purposely try to make the weeks sort of,

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Speaker 1: you know a mix of different types of black artists, right.

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Speaker 1: We did, you know, some that were more on the

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Speaker 1: obscure end that we felt needed a spotlight, like people

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Speaker 1: that we enjoyed, people that are kind of unsung heroes

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Speaker 1: of black art. And then we did super famous, commercially

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Speaker 1: viable actors and creators like Dewaynes Brothers. So we had

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Speaker 1: I felt like a good mix, and I feel like

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Speaker 1: this month is going to be another great mix. I'm

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Speaker 1: so excited to be talking about it this month and

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Speaker 1: we're kicking it off in such a great way, and

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Speaker 1: I am so excited for this episode I can't even

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Speaker 1: tell me too.

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Speaker 2: And the origins of this episode came through when actually,

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Speaker 2: sadly this director died and I read about it on

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Speaker 2: a film blog that I follow, and you know, their

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Speaker 2: news was all over the place in the film community,

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Speaker 2: and I realized that I didn't know who that person was,

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Speaker 2: and it made me really sad to think about what

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Speaker 2: a breadth of work they had that I'd never heard about. Yeah,

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Speaker 2: so I took it upon myself to kind of find

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Speaker 2: out more about this creator, and thankfully Millie is always

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Speaker 2: game for trying out something new. So this is the

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Speaker 2: first episode that we're going to have where neither one

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Speaker 2: of us had seen either of the movies before.

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Speaker 1: Yep, and tell us who we're going to be focusing

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Speaker 1: on today.

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Speaker 2: So for our first episode to celebrate Black History Month,

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Speaker 2: we are focusing on the writer and director Menelik Chabbaz.

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Speaker 1: Yes, And like Danielle said, we have not seen either

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Speaker 1: of these movies, which was so great. Like, I can't

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Speaker 1: even tell you as somebody who you know has seen

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Speaker 1: a lot of movies and who has thought that they

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Speaker 1: knew a lot about movies. I am constantly delighted when

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Speaker 1: I find somebody that I have never heard of or

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Speaker 1: don't know much about and see their film for the

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Speaker 1: first time, and this entire world just opens up right,

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Speaker 1: And that's exactly what happened. So, first of all, daniel

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Speaker 1: thank you so much for bringing Menelick to me, because,

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Speaker 1: like I said, I have heard little to nothing about

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Speaker 1: him as a director, and his life is so fascinating

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Speaker 1: and his work is so incredible, and it just was

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Speaker 1: this moment of like, holy shit, like where the fuck

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Speaker 1: have I been? And I can't believe I didn't know

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Speaker 1: about this before, And thank god I found out now

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Speaker 1: because I have a world that has opened up to

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Speaker 1: me and now I get to discover a lot of

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Speaker 1: his work.

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Speaker 2: Right, I agree, I was, Actually I was psyched, like

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Speaker 2: you know, even though the initial only initial reaction was sadness,

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Speaker 2: when I was like, fuck, how did I not know

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Speaker 2: about this guy?

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Speaker 3: He sounds incredible.

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Speaker 2: Now I'm psyched because there were so many films and

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Speaker 2: to dig into, yes, and to get to explore and

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Speaker 2: discover this incredible director and writer. And part of the

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Speaker 2: disconnect too, I think, is that Menelick Schabbaz was a

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Speaker 2: British film director and he was actually considered it like

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Speaker 2: a pioneer of black British independent cinema. And sometimes, you know,

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Speaker 2: think of the people in the US who are niche

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Speaker 2: directors or you know, niche independent cinema people who are

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Speaker 2: not known worldwide and that's part of it. But I'm

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00:19:16,760 --> 00:19:18,199
Speaker 2: going to take more of the onus of that on

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Speaker 2: myself that I didn't. You know, this is just not

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Speaker 2: something I ever looked into, and I should have, especially

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Speaker 2: because I have a feeling that he even if it

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Speaker 2: was indirectly, I feel like he influenced a lot of

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Speaker 2: the artists that we love, and one in particular that

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00:19:32,000 --> 00:19:34,719
Speaker 2: I'm going to kind of address in this kind of

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Speaker 2: discovery process of who he is and explaining who he is.

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Speaker 2: So Mendelick Shabaz was born in Barbados. He and his

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00:19:41,359 --> 00:19:44,639
Speaker 2: family immigrated to the UK when he was five, and

404
00:19:45,040 --> 00:19:49,080
Speaker 2: he became interested in film after he found some video

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Speaker 2: equipment at his college.

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Speaker 3: So it's very similar to Steve.

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Speaker 2: McQueen, whose family is Again we did a whole episode

408
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Speaker 2: on Steve McQueen. Please go listen to it. It's called

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Speaker 2: Sexy Living in mid Air. But much like Steve McQueen,

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Speaker 2: he wasn't necessarily groomed into being a director. He discovered

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Speaker 2: his love of art and film that made him a director,

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Speaker 2: and he enrolled in college in nineteen seventy four, but

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Speaker 2: he couldn't afford to keep going. Like he couldn't afford

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Speaker 2: to go. But he kind of learned enough in that

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Speaker 2: first semester or that first blink of college to feel like, yeah,

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Speaker 2: I want to do this, Like I'll find a way

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Speaker 2: to do this. And I just think it's incredible. That's

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Speaker 2: that he just took all of this on himself and

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00:20:32,960 --> 00:20:36,000
Speaker 2: just created a tremendous amount of work from nineteen seventy

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Speaker 2: seven through to twenty nineteen and almost right up until

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Speaker 2: he passed away. And he passed away in June of

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Speaker 2: twenty twenty one, he died in Zimbabwe. And his life

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Speaker 2: and his journey, and it's just been an incredible he's

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00:20:49,480 --> 00:20:51,360
Speaker 2: just been on an incredible run. He had a lot

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Speaker 2: of great films that he wrote and directed. But he

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Speaker 2: also in nineteen eighty two co founded Kumba Productions with

427
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Speaker 2: Imra Bakari, Henry Martin, Lazelle Daly, and Milton Bryan, and

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00:21:03,920 --> 00:21:08,160
Speaker 2: it was a production company intent upon supporting and promoting

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Speaker 2: black artists and black filmmakers. And he also in nineteen

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Speaker 2: ninety eight founded Black Filmmaker Magazine and the BFM International

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Speaker 2: Film Festival. And I looked up a blog entry from

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Speaker 2: a blog called Permanent Plastic Helmet from twenty eleven, and

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Speaker 2: Shabaz said, and I quote BFM was the outcome of

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Speaker 2: my frustrations in the film industry. I wanted to channel

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Speaker 2: that anger into something positive, which initially started as a

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Speaker 2: magazine Black filmmaker and the intention to pass on information

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00:21:42,280 --> 00:21:45,760
Speaker 2: to the next generation about the film industry. One thing

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Speaker 2: that was happening at the time was a lack of

439
00:21:48,240 --> 00:21:52,560
Speaker 2: young people entering into the industry on a consistent level

440
00:21:53,040 --> 00:21:56,480
Speaker 2: end quote. And again that's very similar to Steve McQueen,

441
00:21:57,040 --> 00:21:59,760
Speaker 2: who said there was a lack, there was a dearth,

442
00:22:00,200 --> 00:22:04,560
Speaker 2: something that was missing, and so many black creatives in

443
00:22:04,680 --> 00:22:07,159
Speaker 2: his own life were not getting the platform that they

444
00:22:07,200 --> 00:22:09,480
Speaker 2: needed to make their art. And I also found an

445
00:22:09,480 --> 00:22:14,920
Speaker 2: interesting overlap between the two directors because in twenty eleven,

446
00:22:15,440 --> 00:22:19,680
Speaker 2: men Alecta Boz created what he called a fusion documentary

447
00:22:19,800 --> 00:22:22,879
Speaker 2: called the Story of Lover's Rock and Lover's Rock is

448
00:22:22,920 --> 00:22:26,000
Speaker 2: like a romantic reggae and it looks at kind of

449
00:22:26,040 --> 00:22:31,360
Speaker 2: the Lover's Rock movement through interviews and performance and archived footage.

450
00:22:31,880 --> 00:22:35,840
Speaker 2: And Steve McQueen, for his Small Acts film series, as

451
00:22:35,920 --> 00:22:40,440
Speaker 2: we covered in our episode, did a movie about Lover's Rock.

452
00:22:40,560 --> 00:22:43,439
Speaker 2: Well that means to me is again, even if it's

453
00:22:43,440 --> 00:22:47,199
Speaker 2: an indirect influence, I think that that is possible for

454
00:22:47,320 --> 00:22:50,680
Speaker 2: that to happen. But I also think in a larger scale,

455
00:22:50,680 --> 00:22:53,240
Speaker 2: what it means to me is that I need to

456
00:22:53,320 --> 00:22:57,200
Speaker 2: learn a lot more about the history of black people

457
00:22:57,240 --> 00:23:00,679
Speaker 2: in the UK and black artists in the UK. I

458
00:23:00,680 --> 00:23:06,439
Speaker 2: think that there are specific and tumultuous and important and

459
00:23:06,480 --> 00:23:09,879
Speaker 2: defining moments that I just don't know about that have

460
00:23:10,080 --> 00:23:14,040
Speaker 2: influenced all of these artists. And so I'm kind of

461
00:23:14,040 --> 00:23:17,200
Speaker 2: excited again, not just because there's a lot to discover

462
00:23:17,280 --> 00:23:20,160
Speaker 2: with Menelick Shabaz, but you know, when you start going

463
00:23:20,200 --> 00:23:23,280
Speaker 2: down that rabbit hole and seeing who he was creating

464
00:23:23,320 --> 00:23:25,159
Speaker 2: with and who he was inspired by, and who did

465
00:23:25,240 --> 00:23:27,680
Speaker 2: the music for his films and who acted in his films,

466
00:23:28,200 --> 00:23:31,160
Speaker 2: it's a very exciting discovery for me. I think it's

467
00:23:31,200 --> 00:23:32,440
Speaker 2: just very very exciting.

468
00:23:32,800 --> 00:23:33,080
Speaker 3: Again.

469
00:23:33,119 --> 00:23:35,840
Speaker 2: He had a ton of films, one that we're going

470
00:23:35,920 --> 00:23:39,120
Speaker 2: to discuss today, Burning an Illusion from nineteen eighty one

471
00:23:39,760 --> 00:23:42,760
Speaker 2: was just so stunning to me from top to bottom.

472
00:23:43,280 --> 00:23:45,240
Speaker 2: And there's an article I don't know if you're going

473
00:23:45,280 --> 00:23:47,040
Speaker 2: to talk about this, but there's an article on mike

474
00:23:47,119 --> 00:23:50,840
Speaker 2: dot com from twenty eighteen about the forgotten Black history

475
00:23:51,400 --> 00:23:55,720
Speaker 2: of London's famous Nodding Hill neighborhood because Burning an Illusion

476
00:23:55,800 --> 00:23:58,880
Speaker 2: was shot in Nodding Hill and in Ledbrook Grove. And

477
00:23:59,160 --> 00:24:01,359
Speaker 2: I don't know if you're family or not, but in

478
00:24:01,440 --> 00:24:04,720
Speaker 2: Nodding Hill right now, most houses are going for four

479
00:24:04,760 --> 00:24:07,959
Speaker 2: million pounds in up and it used to be a

480
00:24:08,040 --> 00:24:11,280
Speaker 2: black neighborhood, right And we see very similar things happening

481
00:24:11,280 --> 00:24:14,600
Speaker 2: in the US, Brooklyn, I'm looking at you, where we've

482
00:24:14,640 --> 00:24:18,000
Speaker 2: taken a traditional black neighborhood and turned it into a

483
00:24:18,040 --> 00:24:20,359
Speaker 2: playground for rich people and their children.

484
00:24:20,560 --> 00:24:21,159
Speaker 3: I think it's.

485
00:24:21,040 --> 00:24:25,560
Speaker 2: Important that again, this work is also now a time

486
00:24:25,600 --> 00:24:29,560
Speaker 2: capsule of a time when that neighborhood was completely black

487
00:24:29,680 --> 00:24:32,159
Speaker 2: or was traditionally black. And I'm just I'm excited to

488
00:24:32,200 --> 00:24:34,280
Speaker 2: dig in and start talking about him. I think that

489
00:24:34,400 --> 00:24:37,680
Speaker 2: he was a phenomenal creator. He was ahead of his time,

490
00:24:38,000 --> 00:24:40,000
Speaker 2: but he was also very much of his time. He

491
00:24:40,119 --> 00:24:45,720
Speaker 2: was talking about things that mattered to black people then

492
00:24:45,840 --> 00:24:47,040
Speaker 2: and now and again.

493
00:24:47,160 --> 00:24:48,680
Speaker 3: To me, that just means.

494
00:24:48,400 --> 00:24:52,960
Speaker 2: That the struggle for inclusion and the struggle for respect continues.

495
00:24:53,480 --> 00:24:57,280
Speaker 2: It's sad that it continues in the same way. But

496
00:24:57,359 --> 00:25:01,879
Speaker 2: he's really adept at we evn in the events of

497
00:25:01,960 --> 00:25:06,400
Speaker 2: human history into the conflict and the joy and the

498
00:25:06,480 --> 00:25:08,200
Speaker 2: experience of black life.

499
00:25:08,600 --> 00:25:11,480
Speaker 1: Yes, and so much of what we talked about too

500
00:25:11,600 --> 00:25:13,639
Speaker 1: last year when we did Black History Month is the

501
00:25:13,680 --> 00:25:18,800
Speaker 1: concept of distribution and seeing movies like the two movies

502
00:25:18,840 --> 00:25:21,840
Speaker 1: that we're going to talk about today. And part of

503
00:25:21,880 --> 00:25:24,119
Speaker 1: what I think is really interesting about the UK and

504
00:25:24,200 --> 00:25:27,840
Speaker 1: about how there is this like black filmmaker scene in

505
00:25:27,880 --> 00:25:31,480
Speaker 1: the UK that I think a lot of American film

506
00:25:31,560 --> 00:25:35,879
Speaker 1: people don't know about, let alone casual film you know, fans,

507
00:25:36,000 --> 00:25:37,840
Speaker 1: And I think part of it is because of the

508
00:25:37,880 --> 00:25:40,639
Speaker 1: distribution problem, which is that there really has to be

509
00:25:40,720 --> 00:25:43,119
Speaker 1: like a big push here in the States to get

510
00:25:43,320 --> 00:25:48,000
Speaker 1: these international films available in this country and distributed in

511
00:25:48,000 --> 00:25:50,040
Speaker 1: this country. And I feel like it's just so interesting

512
00:25:50,119 --> 00:25:52,680
Speaker 1: when you know that, like there are probably so many

513
00:25:52,680 --> 00:25:56,120
Speaker 1: instances of this in all pockets of this world, where

514
00:25:56,160 --> 00:25:59,960
Speaker 1: there are filmmakers making movies at specific points of time

515
00:26:00,240 --> 00:26:03,879
Speaker 1: in other countries and we don't know about them because

516
00:26:04,200 --> 00:26:07,439
Speaker 1: they're not being shown in America. So I think that

517
00:26:07,520 --> 00:26:09,760
Speaker 1: your film that you're going to talk about was and

518
00:26:09,800 --> 00:26:13,159
Speaker 1: maybe still is on the Criterion Channel. Yes, mine, I

519
00:26:13,200 --> 00:26:17,160
Speaker 1: had to find through a BFI thing, but that's kind

520
00:26:17,200 --> 00:26:19,760
Speaker 1: of I guess. The point is that, like, in order

521
00:26:19,800 --> 00:26:23,560
Speaker 1: for us to know people like Mendelick Shabaz, we have

522
00:26:23,640 --> 00:26:26,000
Speaker 1: to be able to see their films, and I think

523
00:26:26,040 --> 00:26:28,800
Speaker 1: that we are always advocating for that on this podcast,

524
00:26:28,840 --> 00:26:32,119
Speaker 1: and we're hoping that maybe by discussing him today and

525
00:26:32,160 --> 00:26:34,240
Speaker 1: discussing pretty much everybody that we're going to talk about

526
00:26:34,280 --> 00:26:36,199
Speaker 1: this month is going to, you know, maybe force the

527
00:26:36,240 --> 00:26:37,920
Speaker 1: hand for that a little bit, you know what I mean?

528
00:26:38,400 --> 00:26:40,560
Speaker 3: Completely? Oh, I could not have said it better.

529
00:26:40,960 --> 00:26:43,680
Speaker 2: And I cried last year, so we can place bets

530
00:26:43,680 --> 00:26:47,040
Speaker 2: on what episode I'm going to cry on this year.

531
00:26:47,520 --> 00:26:52,320
Speaker 1: Listen, we hold space for any instance of that, so

532
00:26:52,800 --> 00:26:55,240
Speaker 1: if it strikes you, no one's going to turn away.

533
00:26:55,680 --> 00:26:57,840
Speaker 1: But do you want to get started? You want to

534
00:26:57,840 --> 00:27:01,920
Speaker 1: talk about these films? I'm just like, yeah, so excited

535
00:27:02,080 --> 00:27:03,200
Speaker 1: to talk about both, and.

536
00:27:03,160 --> 00:27:05,360
Speaker 3: You're going first, so we could just jump on in.

537
00:27:05,560 --> 00:27:10,680
Speaker 1: Yes. So my film for the theme of Menolic Shabaz

538
00:27:11,320 --> 00:27:14,280
Speaker 1: is a movie from nineteen eighty one. It was written

539
00:27:14,280 --> 00:27:17,520
Speaker 1: and directed by Medelick Shabaz and it's called Burning an Illusion.

540
00:27:19,760 --> 00:27:23,720
Speaker 5: I was down to two, not doing too bad. I

541
00:27:23,720 --> 00:27:27,760
Speaker 5: had my own flat, a steady job, but that wasn't tomorrow.

542
00:27:28,720 --> 00:27:32,560
Speaker 5: I wanted to settle down. Some of them never seemed

543
00:27:32,560 --> 00:27:34,320
Speaker 5: to meet anybody I could really feel fun.

544
00:27:36,000 --> 00:27:39,320
Speaker 1: So, like I said in the intro to the theme,

545
00:27:39,400 --> 00:27:43,040
Speaker 1: I went into this movie completely blind. I just read

546
00:27:43,040 --> 00:27:45,800
Speaker 1: the synopsis and thought it sounded cool, And then when

547
00:27:45,840 --> 00:27:48,639
Speaker 1: I watched it, like after it was over, I just

548
00:27:48,760 --> 00:27:52,040
Speaker 1: can't tell you how much I loved it. Like I

549
00:27:52,040 --> 00:27:56,840
Speaker 1: immediately went down the research rabbit hole. I was like

550
00:27:56,840 --> 00:27:59,320
Speaker 1: looking at film books in my living room and like

551
00:27:59,720 --> 00:28:02,680
Speaker 1: you know, so going on all these like deep Wikipedia

552
00:28:02,720 --> 00:28:05,800
Speaker 1: holes and YouTube holes, looking for interviews and all kinds

553
00:28:05,840 --> 00:28:09,359
Speaker 1: of stuff. It was honestly like a revelation for me.

554
00:28:09,760 --> 00:28:10,000
Speaker 2: Yeah.

555
00:28:10,119 --> 00:28:13,240
Speaker 1: Same, I'll do a quick one sentence synopsis so we

556
00:28:13,280 --> 00:28:16,320
Speaker 1: can really get into the movie. Burning an Illusion is

557
00:28:16,359 --> 00:28:20,320
Speaker 1: about a young West Indian woman living in London who

558
00:28:20,400 --> 00:28:25,000
Speaker 1: was navigating life in love and begins a slow transformation

559
00:28:25,280 --> 00:28:31,280
Speaker 1: into pro black political activism. Beautiful, yes, And here's the thing. So,

560
00:28:31,359 --> 00:28:35,320
Speaker 1: Burning an Illusion was actually Mendelich Schabas's first feature film,

561
00:28:35,800 --> 00:28:38,880
Speaker 1: and it was partially funded by the BFI, the British

562
00:28:38,880 --> 00:28:43,600
Speaker 1: Film Institute, and it was pretty much the first British

563
00:28:43,640 --> 00:28:47,280
Speaker 1: film to focus on the life of a black woman. Yeah,

564
00:28:47,320 --> 00:28:52,240
Speaker 1: which is nineteen eighty one shocking, pretty crazy. And additionally

565
00:28:52,480 --> 00:28:56,800
Speaker 1: it was only the second feature length film made in

566
00:28:56,840 --> 00:29:00,960
Speaker 1: Britain by a black filmmaker man Yeah again nineteen ninety one.

567
00:29:01,040 --> 00:29:04,400
Speaker 1: Wow Yeah. And the first movie, the actual first movie

568
00:29:04,440 --> 00:29:07,560
Speaker 1: that was made by black filmmaker in Britain was a

569
00:29:07,560 --> 00:29:10,840
Speaker 1: movie called Pressure, and it was made by another West

570
00:29:10,880 --> 00:29:15,320
Speaker 1: Indian director, Horace Ovey, and Medeli Chabbas was actually on

571
00:29:15,480 --> 00:29:19,920
Speaker 1: set when Pressure was being made and he said that

572
00:29:20,000 --> 00:29:21,840
Speaker 1: it was a really big influence on him and it

573
00:29:21,920 --> 00:29:24,720
Speaker 1: influenced him to make Burning an Illusion. And at this

574
00:29:24,840 --> 00:29:27,440
Speaker 1: point both these films, both Pressure and Burning and Illusion

575
00:29:27,520 --> 00:29:31,360
Speaker 1: are considered kind of landmark British films, not just Black

576
00:29:31,440 --> 00:29:35,360
Speaker 1: British films, but British films in general. They are absolutely

577
00:29:35,400 --> 00:29:37,680
Speaker 1: some of the best. And you know, it's funny that

578
00:29:37,720 --> 00:29:40,560
Speaker 1: you brought up Steve McQueen, because I when I was

579
00:29:40,600 --> 00:29:43,600
Speaker 1: watching Burning Illusion, I could not stop thinking about Lovers,

580
00:29:43,680 --> 00:29:47,880
Speaker 1: Rock and Small Acts. Because Burning an Illusion is also

581
00:29:48,280 --> 00:29:52,840
Speaker 1: about West Indian young people living in London and this

582
00:29:52,920 --> 00:29:56,400
Speaker 1: film deals a lot with the racism and inequality that

583
00:29:56,440 --> 00:29:59,600
Speaker 1: they face as immigrants, right, and that's a lot about

584
00:29:59,600 --> 00:30:01,960
Speaker 1: what's small all acts is about. So I just got

585
00:30:01,960 --> 00:30:06,520
Speaker 1: to say, like, this film really just hit me where

586
00:30:06,600 --> 00:30:09,760
Speaker 1: I live. It's the movie the kind of movie that

587
00:30:09,840 --> 00:30:12,640
Speaker 1: I fucking love in the same way that I talked

588
00:30:12,640 --> 00:30:17,920
Speaker 1: about Kathleen Collins last year, but also directors like Eric

589
00:30:18,040 --> 00:30:22,680
Speaker 1: Rohmer and John Cassavetti's it's this slice of life movie.

590
00:30:23,000 --> 00:30:27,080
Speaker 1: It's about real people having real conversations, and it's just

591
00:30:27,120 --> 00:30:30,880
Speaker 1: has a very natural pacing and it kind of lives

592
00:30:30,880 --> 00:30:35,720
Speaker 1: at this intersection between love and politics, which I think

593
00:30:35,840 --> 00:30:39,120
Speaker 1: is pretty much an obvious choice that was made by

594
00:30:39,360 --> 00:30:43,040
Speaker 1: Menelik Shabaz because he was an activist himself, as Daniel

595
00:30:43,120 --> 00:30:47,040
Speaker 1: spoke to in the intro. And the film Burning an

596
00:30:47,040 --> 00:30:50,320
Speaker 1: Illusion is centered around pat and she is played by

597
00:30:50,400 --> 00:30:54,880
Speaker 1: Cassie MacFarlane. She's this modern single gal living in London

598
00:30:55,520 --> 00:30:58,040
Speaker 1: and one night she's out with one of her friends, Sonia,

599
00:30:58,280 --> 00:31:01,120
Speaker 1: and she meets a guy named Elle, who was played

600
00:31:01,120 --> 00:31:04,720
Speaker 1: by Victor Ramiro. They start talking, they start a relationship

601
00:31:04,880 --> 00:31:07,480
Speaker 1: and you know, at first it's great, despite the fact

602
00:31:07,480 --> 00:31:11,400
Speaker 1: that they have some differences. Dell works in a shop,

603
00:31:11,640 --> 00:31:14,600
Speaker 1: he makes tools, and you know, she seems to be

604
00:31:14,600 --> 00:31:16,960
Speaker 1: more on a professional path. She works in an office,

605
00:31:17,160 --> 00:31:19,520
Speaker 1: you know, she has her own apartment, and he lives

606
00:31:19,520 --> 00:31:24,000
Speaker 1: with his parents still. And at first everything's okay, and

607
00:31:24,040 --> 00:31:27,800
Speaker 1: then eventually Delle gets into a fight with his folks

608
00:31:27,920 --> 00:31:30,880
Speaker 1: and hands up moving in with her, and I think

609
00:31:30,880 --> 00:31:33,960
Speaker 1: she starts realizing, Wow, Okay, I guess I'm going to

610
00:31:34,000 --> 00:31:36,680
Speaker 1: have to be the responsible one in this relationship. And

611
00:31:37,040 --> 00:31:40,080
Speaker 1: you know, she obviously is very motivated to get married

612
00:31:40,160 --> 00:31:42,480
Speaker 1: and have kind of the you know, middle class life

613
00:31:42,560 --> 00:31:45,320
Speaker 1: that she wants, like the nice TV and the nice stuff.

614
00:31:46,000 --> 00:31:48,040
Speaker 1: And you know, he's sort of like on the fence

615
00:31:48,040 --> 00:31:49,600
Speaker 1: about it all. He doesn't know if he wants to

616
00:31:49,600 --> 00:31:53,959
Speaker 1: get married. And at one point, as they're living together,

617
00:31:54,080 --> 00:31:58,120
Speaker 1: he gets fired from his job because there is a

618
00:31:58,160 --> 00:32:01,200
Speaker 1: white foreman who Dell claims James is giving him a

619
00:32:01,240 --> 00:32:03,120
Speaker 1: hard time and has been giving him a hard time,

620
00:32:03,640 --> 00:32:07,160
Speaker 1: and he thinks it's because he's black, which is definitely

621
00:32:07,560 --> 00:32:10,640
Speaker 1: a formidable assessment at this time, as we.

622
00:32:10,640 --> 00:32:15,560
Speaker 4: Know, right, completely legit and pat On the other hand,

623
00:32:15,840 --> 00:32:18,600
Speaker 4: she's so informed by this kind of idea of like

624
00:32:19,560 --> 00:32:23,520
Speaker 4: her class and her status, right, She's just immediately like, this.

625
00:32:23,440 --> 00:32:25,840
Speaker 1: Guy can't keep a job and I just don't think

626
00:32:25,880 --> 00:32:28,400
Speaker 1: he'll be the one for me. And they have a

627
00:32:28,480 --> 00:32:31,360
Speaker 1: very rocky breakup, and you know, there's a lot of

628
00:32:31,560 --> 00:32:34,520
Speaker 1: physical fighting. She pulls a knife on him at one point,

629
00:32:34,880 --> 00:32:37,920
Speaker 1: but then they eventually get back together, and it's at

630
00:32:37,920 --> 00:32:40,800
Speaker 1: this club that they're at one night where there is

631
00:32:40,840 --> 00:32:44,200
Speaker 1: this terrible incident between her friends Sonia and this like

632
00:32:44,360 --> 00:32:47,680
Speaker 1: boyfriend that she has named Chamberlain, and Chamberlain is this

633
00:32:47,800 --> 00:32:50,000
Speaker 1: like ladies man. He's kind of the like.

634
00:32:50,160 --> 00:32:52,880
Speaker 3: Chamberlain is the worst. Chamberlain is the worst.

635
00:32:53,440 --> 00:32:55,480
Speaker 1: Yes, he's kind of like the leader of their like

636
00:32:55,560 --> 00:32:58,760
Speaker 1: little gang, and he's just kind of like an asshole.

637
00:32:59,160 --> 00:33:01,240
Speaker 1: He's got a lot of mature mo he's just kind

638
00:33:01,240 --> 00:33:03,960
Speaker 1: of a nightmare. And he gets to talk to any

639
00:33:03,960 --> 00:33:06,840
Speaker 1: girl that he wants, and Sonia is just literally has

640
00:33:06,840 --> 00:33:08,840
Speaker 1: been talking to an old friend for five seconds of

641
00:33:08,840 --> 00:33:12,160
Speaker 1: the opposite sex, and then Chamberlain sees it and freaks

642
00:33:12,160 --> 00:33:16,240
Speaker 1: out and they have this physical altercation outside of the club,

643
00:33:16,560 --> 00:33:19,720
Speaker 1: and what ends up happening is that, you know, a

644
00:33:19,800 --> 00:33:23,280
Speaker 1: group starts to form, including Dell, including all of their friends,

645
00:33:23,560 --> 00:33:27,240
Speaker 1: and then the police show up. And the police show up,

646
00:33:27,600 --> 00:33:32,920
Speaker 1: and they're sort of like indiscriminately arresting people, like they

647
00:33:32,920 --> 00:33:35,120
Speaker 1: don't even know what the fuck is going on, right, No.

648
00:33:35,160 --> 00:33:36,920
Speaker 3: They're just like, here's some black people that's arrest.

649
00:33:36,800 --> 00:33:39,840
Speaker 1: Him exactly, and you know it's rough. They're roughing people

650
00:33:39,920 --> 00:33:42,240
Speaker 1: up and they have no idea what the situation is.

651
00:33:42,280 --> 00:33:44,920
Speaker 1: They're just arresting everybody that's just out on the street

652
00:33:45,000 --> 00:33:48,960
Speaker 1: who's black. And one of these people is Dell. And

653
00:33:49,040 --> 00:33:52,800
Speaker 1: as he's getting ruffed up by these white cops, he

654
00:33:53,200 --> 00:33:55,160
Speaker 1: ends up fighting back and he stabs one of the

655
00:33:55,200 --> 00:34:00,120
Speaker 1: police officers who is basically beating him up. And it

656
00:34:00,200 --> 00:34:02,360
Speaker 1: turns out Dell is rested. He ends up in the

657
00:34:02,360 --> 00:34:06,360
Speaker 1: hospital because they've beaten him, right, and he goes to jail,

658
00:34:06,760 --> 00:34:09,640
Speaker 1: and Pat is just beside herself at this point. I

659
00:34:09,640 --> 00:34:12,640
Speaker 1: mean she goes to her friends Cynthia and Toni, who

660
00:34:12,760 --> 00:34:16,719
Speaker 1: are sort of these like political activists. Cynthia is pregnant,

661
00:34:16,880 --> 00:34:19,720
Speaker 1: and you know, they're just sort of like they're unlike Sonia.

662
00:34:19,880 --> 00:34:22,960
Speaker 1: Sonia and Chamberlain are kind of the going out friends

663
00:34:23,000 --> 00:34:25,919
Speaker 1: and Cynthia Antonio are. They're kind of more like intellectual

664
00:34:26,000 --> 00:34:29,279
Speaker 1: activist friends, right, Yeah, And they're trying to help Dell

665
00:34:29,360 --> 00:34:33,600
Speaker 1: out with this case because it's definitely complicated, but he

666
00:34:33,719 --> 00:34:37,760
Speaker 1: ends up getting a four year prison sentence, and Pat

667
00:34:38,040 --> 00:34:40,200
Speaker 1: at first is very unsure about how she wants to

668
00:34:40,200 --> 00:34:43,000
Speaker 1: proceed with the relationship because she's like, four years is

669
00:34:43,040 --> 00:34:45,120
Speaker 1: a long time. I don't really know what to do,

670
00:34:45,760 --> 00:34:49,520
Speaker 1: and it's very tough, and honestly, I got to say,

671
00:34:50,000 --> 00:34:54,680
Speaker 1: these scenes of Dell in jail and Pat sort of

672
00:34:54,760 --> 00:34:57,839
Speaker 1: like being on the outside. It really just sort of

673
00:34:57,920 --> 00:35:03,120
Speaker 1: like presents this look at the way prison affects a

674
00:35:03,200 --> 00:35:05,880
Speaker 1: couple in a way that I don't think I've seen before.

675
00:35:06,320 --> 00:35:08,640
Speaker 1: I don't think I've seen it like this before.

676
00:35:09,120 --> 00:35:11,720
Speaker 2: Well, it affects more than just the person in prison,

677
00:35:12,400 --> 00:35:15,520
Speaker 2: and I think that was something that was unseen at

678
00:35:15,520 --> 00:35:18,319
Speaker 2: that time, and really since, there haven't been a lot

679
00:35:18,320 --> 00:35:20,120
Speaker 2: of movies that have dug into that. There have been

680
00:35:20,200 --> 00:35:23,600
Speaker 2: a few, for sure, don't dm me, yes, but there

681
00:35:23,800 --> 00:35:26,279
Speaker 2: haven't been a lot of movies that are that give

682
00:35:26,280 --> 00:35:28,960
Speaker 2: you such an intimate look at what it looks like

683
00:35:29,160 --> 00:35:34,360
Speaker 2: for a partner. And it's fascinating to me that we

684
00:35:34,440 --> 00:35:39,759
Speaker 2: get to see how Dell's imprisonment radicalizes Pet. But it

685
00:35:39,760 --> 00:35:43,440
Speaker 2: doesn't happen overnight. Yes, but it happens very slowly but

686
00:35:43,600 --> 00:35:44,520
Speaker 2: very passionately.

687
00:35:45,000 --> 00:35:47,640
Speaker 1: Yeah, because you know, when Dell is in jail, he

688
00:35:47,880 --> 00:35:52,320
Speaker 1: is asking Pat to send him revolutionary books, like books

689
00:35:52,320 --> 00:35:56,160
Speaker 1: about Malcolm X. And over time, the two of them together,

690
00:35:56,400 --> 00:35:59,480
Speaker 1: Pat and Dell just start learning a lot about prison

691
00:35:59,520 --> 00:36:03,200
Speaker 1: reform and the struggles of black people in the prison

692
00:36:03,200 --> 00:36:08,560
Speaker 1: industrial complex. And it's just reigniting their romantic relationship, but

693
00:36:08,680 --> 00:36:12,040
Speaker 1: also kind of reigniting like these missions that they have

694
00:36:12,120 --> 00:36:16,319
Speaker 1: in life, right, like this political activism that's like within them,

695
00:36:16,400 --> 00:36:20,200
Speaker 1: that has just been ignited by the situation that they're in.

696
00:36:21,000 --> 00:36:26,680
Speaker 1: And there's this scene that I loved where Pat comes

697
00:36:26,680 --> 00:36:28,920
Speaker 1: home and kind of looks in the mirror and she

698
00:36:28,960 --> 00:36:32,240
Speaker 1: starts taking off all of her fancy jewelry, she removes

699
00:36:32,239 --> 00:36:35,680
Speaker 1: her lipstick, and in the next scene you see her

700
00:36:35,760 --> 00:36:38,600
Speaker 1: hair and braids and she's got this more natural look.

701
00:36:38,680 --> 00:36:42,240
Speaker 1: And it's this really cool sequence where you can actually

702
00:36:42,280 --> 00:36:46,839
Speaker 1: see Pat shedding this sort of like old life that

703
00:36:46,880 --> 00:36:50,400
Speaker 1: she had as this like kind of material girl in London,

704
00:36:50,680 --> 00:36:53,959
Speaker 1: like only concerned about money and the finer things, Right,

705
00:36:54,160 --> 00:36:58,160
Speaker 1: And I just felt like this entire movie was so

706
00:36:58,760 --> 00:37:00,960
Speaker 1: with such a breath of fresh air me because of

707
00:37:01,000 --> 00:37:04,719
Speaker 1: the way that I was seeing this couple react to

708
00:37:05,200 --> 00:37:08,120
Speaker 1: this prison sentence. And you know, there was like a

709
00:37:08,160 --> 00:37:09,959
Speaker 1: lot of scenes in this movie that I just thought

710
00:37:09,960 --> 00:37:13,640
Speaker 1: were so gorgeous, like the scene at Carnival, which it

711
00:37:13,640 --> 00:37:15,640
Speaker 1: felt very cassavetties, and that it was like kind of

712
00:37:15,680 --> 00:37:18,120
Speaker 1: shot on location with like real people and real events.

713
00:37:18,160 --> 00:37:20,840
Speaker 1: There was like a real reggae band playing, and you know,

714
00:37:20,880 --> 00:37:23,280
Speaker 1: the music, of course is so great in the film,

715
00:37:23,680 --> 00:37:25,799
Speaker 1: but it was just such a great, like in the

716
00:37:25,880 --> 00:37:29,319
Speaker 1: moment type of sequence. And then there's the last scene

717
00:37:29,360 --> 00:37:31,000
Speaker 1: of the movie, which of course I'm not going to

718
00:37:31,040 --> 00:37:34,319
Speaker 1: give away because it's just too This movie is too good.

719
00:37:34,400 --> 00:37:37,160
Speaker 1: You just have to watch it. And the last scene

720
00:37:37,200 --> 00:37:39,640
Speaker 1: of the movie really filled me with joy. It was

721
00:37:39,719 --> 00:37:44,400
Speaker 1: just so wonderful and beautiful and joyous, and I just

722
00:37:44,480 --> 00:37:46,040
Speaker 1: loved it so much. And it was just kind of

723
00:37:46,040 --> 00:37:50,839
Speaker 1: the perfect ending to this film, which I have never

724
00:37:50,880 --> 00:37:53,000
Speaker 1: heard of before in my life, and I just watched

725
00:37:53,000 --> 00:37:55,279
Speaker 1: for the first time because of this episode, and I

726
00:37:55,400 --> 00:37:58,600
Speaker 1: just have to say, I mean, I am so thankful for,

727
00:37:59,320 --> 00:38:02,880
Speaker 1: you know, just being with you and having the opportunity

728
00:38:02,920 --> 00:38:04,920
Speaker 1: to watch these types of movies. I Mean, you always

729
00:38:05,000 --> 00:38:07,560
Speaker 1: joke about how I've seen everything and you've seen nothing.

730
00:38:08,120 --> 00:38:10,480
Speaker 1: This is truly a moment where I think that you

731
00:38:10,880 --> 00:38:14,480
Speaker 1: brought this artist into my life and I just have

732
00:38:14,560 --> 00:38:17,880
Speaker 1: to thank you for that. I mean, it's it was

733
00:38:17,920 --> 00:38:20,760
Speaker 1: such a joy to watch this movie. I'm still still

734
00:38:21,040 --> 00:38:25,200
Speaker 1: deep into this research hole. Yeah, because of course now

735
00:38:25,239 --> 00:38:27,400
Speaker 1: there's like other people involved, you know. I want to

736
00:38:27,440 --> 00:38:30,880
Speaker 1: know more about all these other people that Menelick Shabaz

737
00:38:30,960 --> 00:38:33,920
Speaker 1: came across, and I want to watch all of his films.

738
00:38:34,000 --> 00:38:36,680
Speaker 1: I will do some dirty work if I have to

739
00:38:36,680 --> 00:38:37,960
Speaker 1: to get some of these movies.

740
00:38:39,120 --> 00:38:40,600
Speaker 3: She's going on the dark web, folks.

741
00:38:42,239 --> 00:38:44,880
Speaker 1: I'm gonna go meet a guy in a strip club

742
00:38:45,200 --> 00:38:48,640
Speaker 1: and pay fifty dollars for a VHS tape if I

743
00:38:48,680 --> 00:38:52,759
Speaker 1: have to worth it. It's so worth it. This movie

744
00:38:52,920 --> 00:38:55,760
Speaker 1: was so gorgeous and, like I said, just a movie

745
00:38:55,800 --> 00:38:59,719
Speaker 1: that I would absolutely love in the same way that

746
00:38:59,800 --> 00:39:02,839
Speaker 1: I loved the Eric Romer movies when I saw them

747
00:39:02,840 --> 00:39:05,680
Speaker 1: for the first time, when I saw Kathleen Collins for

748
00:39:05,719 --> 00:39:09,320
Speaker 1: the first time, Just like that, like very natural, organic,

749
00:39:09,400 --> 00:39:14,800
Speaker 1: slice of life film about politics, romance, relationships. It's so wonderful.

750
00:39:15,239 --> 00:39:15,600
Speaker 1: Loved it.

751
00:39:15,760 --> 00:39:19,480
Speaker 2: Oh, that makes me so happy to hear. I always

752
00:39:19,560 --> 00:39:22,160
Speaker 2: love I love that about our friendship and anyway that

753
00:39:22,200 --> 00:39:25,359
Speaker 2: we are constantly introducing new things to each other. And

754
00:39:25,360 --> 00:39:27,160
Speaker 2: this was again new for me as well, and we

755
00:39:27,239 --> 00:39:30,920
Speaker 2: had very similar reactions where I felt like the movie

756
00:39:30,960 --> 00:39:34,200
Speaker 2: was so uplifting, but it was also so raw and

757
00:39:34,280 --> 00:39:40,080
Speaker 2: so visceral, and it didn't allow itself to become mired

758
00:39:40,200 --> 00:39:44,839
Speaker 2: down in one particular narrative, even though it's focused on

759
00:39:44,840 --> 00:39:47,879
Speaker 2: one particular character, So you still get to see all

760
00:39:47,920 --> 00:39:50,759
Speaker 2: of these different slices of life from their friends, from

761
00:39:50,840 --> 00:39:54,320
Speaker 2: their families, from their work life, from the city life,

762
00:39:54,400 --> 00:39:55,600
Speaker 2: and it really is special.

763
00:39:55,640 --> 00:39:56,720
Speaker 3: It's a special movie.

764
00:39:56,760 --> 00:40:00,759
Speaker 2: It's very special, and it's there's something about like once

765
00:40:00,840 --> 00:40:04,600
Speaker 2: Dell goes to prison, there's something about like like Cynthia

766
00:40:04,600 --> 00:40:07,920
Speaker 2: has this friend named Lorna that Pat meets when Cynthia

767
00:40:07,920 --> 00:40:12,080
Speaker 2: gives birth, and Lorna is in a similar situation where

768
00:40:12,120 --> 00:40:15,279
Speaker 2: her partner is also in prison, and they form a

769
00:40:15,320 --> 00:40:18,719
Speaker 2: friendship around this, and that scene kind of kicks it off.

770
00:40:18,719 --> 00:40:21,720
Speaker 2: But there's something about this whole film that is also

771
00:40:22,480 --> 00:40:27,160
Speaker 2: truly about how black women carry the fight and how

772
00:40:27,239 --> 00:40:32,080
Speaker 2: black women carry the struggle for justice and you know

773
00:40:32,120 --> 00:40:35,000
Speaker 2: what lands on our backs as people who are trying

774
00:40:35,080 --> 00:40:38,720
Speaker 2: to uplift a whole group of people and a whole race,

775
00:40:39,239 --> 00:40:43,239
Speaker 2: and that it was very poignant to see it in

776
00:40:43,280 --> 00:40:45,799
Speaker 2: this film and again in these very subtle ways and

777
00:40:45,840 --> 00:40:48,080
Speaker 2: subtle tones. But the fact that this is a man

778
00:40:48,320 --> 00:40:51,160
Speaker 2: presenting a female character in a movie and a female

779
00:40:51,200 --> 00:40:55,040
Speaker 2: point of view is revolutionary in itself. The fact that

780
00:40:55,160 --> 00:40:58,000
Speaker 2: he was able to do that and hit all these

781
00:40:58,080 --> 00:41:03,560
Speaker 2: notes of actually acknowledging the truth about what black women

782
00:41:03,680 --> 00:41:05,640
Speaker 2: go through. Yeah, that was important to me because it

783
00:41:05,640 --> 00:41:08,160
Speaker 2: didn't feel like there was the male gaze there truly,

784
00:41:08,480 --> 00:41:11,160
Speaker 2: and that was weird, Like it felt like it was

785
00:41:11,239 --> 00:41:15,719
Speaker 2: definitely not from a male gaze perspective, and I was shocked.

786
00:41:15,800 --> 00:41:17,799
Speaker 2: I was shocked by that, Which isn't to say that

787
00:41:17,840 --> 00:41:20,080
Speaker 2: he doesn't focus on the men in the film in

788
00:41:20,120 --> 00:41:23,200
Speaker 2: an equally interesting way. I was just shocked that the

789
00:41:23,239 --> 00:41:27,160
Speaker 2: main character was portrayed in a way that felt very

790
00:41:27,200 --> 00:41:29,200
Speaker 2: real to me at present date.

791
00:41:29,960 --> 00:41:33,880
Speaker 1: Yeah. Absolutely, I mean, it's just it's such a special, great,

792
00:41:34,719 --> 00:41:38,600
Speaker 1: wonderful film. I mean, considering that's his first movie, it's

793
00:41:38,640 --> 00:41:41,400
Speaker 1: so remarkable and it just it was just such a

794
00:41:41,480 --> 00:41:44,719
Speaker 1: joy to watch and I'm I just encourage everybody to

795
00:41:44,719 --> 00:41:47,600
Speaker 1: seek it out. I mean, I think you can get

796
00:41:47,680 --> 00:41:49,799
Speaker 1: even though I did go through the BFI, I think

797
00:41:49,840 --> 00:41:52,920
Speaker 1: that there are ways to get BFI movies through, you know,

798
00:41:53,000 --> 00:41:55,600
Speaker 1: like the Amazons and the kind of that kind of stuff,

799
00:41:55,640 --> 00:41:58,440
Speaker 1: So please seek it out. It would be amazing if

800
00:41:58,480 --> 00:42:01,920
Speaker 1: somebody did some like incredible restoration work on this movie. Man,

801
00:42:02,160 --> 00:42:05,680
Speaker 1: they could have a fucking Blu Ray four K restoration

802
00:42:05,880 --> 00:42:08,319
Speaker 1: of this film. Like I said, I don't know if

803
00:42:08,360 --> 00:42:10,759
Speaker 1: I'm invoking it or it's already happened. I don't know,

804
00:42:10,880 --> 00:42:14,520
Speaker 1: but like I'm just gonna say, it would be amazing

805
00:42:14,600 --> 00:42:16,760
Speaker 1: to see in a restored version.

806
00:42:17,400 --> 00:42:20,520
Speaker 2: Yes, And the BFI is the British Film Institute for

807
00:42:20,560 --> 00:42:21,279
Speaker 2: those who don't know.

808
00:42:21,520 --> 00:42:24,120
Speaker 3: Right, Oh god, what a great film.

809
00:42:24,560 --> 00:42:27,759
Speaker 1: Well, I cannot wait to hear you talk about your

810
00:42:27,880 --> 00:42:29,520
Speaker 1: film quite honestly.

811
00:42:30,160 --> 00:42:35,919
Speaker 2: Oh boy. Well, I'll say this. I'll introduce the film,

812
00:42:37,520 --> 00:42:40,120
Speaker 2: which is it's not a shock. I like how I

813
00:42:40,160 --> 00:42:42,520
Speaker 2: teed that up. Like I'm gonna say something intense here

814
00:42:42,640 --> 00:42:46,480
Speaker 2: right now. No, I'll introduce the film and then I'll

815
00:42:46,600 --> 00:42:55,400
Speaker 2: explain why I don't have a one sentence anopsis the

816
00:42:55,440 --> 00:42:59,080
Speaker 2: film that I chose to examine the work of Mendelick

817
00:42:59,120 --> 00:43:02,480
Speaker 2: Shabaz was released in nineteen eighty eight. It was written

818
00:43:02,520 --> 00:43:05,440
Speaker 2: and directed by Medelick Shabbaz and it is called Time

819
00:43:05,520 --> 00:43:09,200
Speaker 2: and Judgment, A Diary of a four hundred year exile.

820
00:43:11,120 --> 00:43:16,400
Speaker 6: I heard the call of Time four hundred years exile

821
00:43:16,520 --> 00:43:21,200
Speaker 6: in Babylon. There I kept the diary of the things

822
00:43:21,280 --> 00:43:21,920
Speaker 6: I saw.

823
00:43:22,920 --> 00:43:26,439
Speaker 2: Okay, So part of the reason why it was very

824
00:43:26,440 --> 00:43:28,520
Speaker 2: difficult for me to come up with a one sentence

825
00:43:28,560 --> 00:43:33,719
Speaker 2: synopsis is, as the title indicates, the film is a

826
00:43:33,760 --> 00:43:37,800
Speaker 2: documentary film, but it's presented in a very new way,

827
00:43:38,440 --> 00:43:43,719
Speaker 2: and it really does cover four hundred years of African

828
00:43:44,080 --> 00:43:48,520
Speaker 2: existence and black existence. And it's hard to come up

829
00:43:48,560 --> 00:43:51,560
Speaker 2: with a synopsis for something that far reaching and encompassing.

830
00:43:51,719 --> 00:43:54,359
Speaker 2: But what I will say is I will read. So

831
00:43:54,680 --> 00:43:56,640
Speaker 2: when I watched this film, it was available on the

832
00:43:56,640 --> 00:43:59,239
Speaker 2: Criterion Channel. It may still be, I'm not sure, but

833
00:43:59,280 --> 00:44:03,320
Speaker 2: I'm going to read a little bit of the description

834
00:44:03,440 --> 00:44:05,719
Speaker 2: that they gave to kind of help you at least

835
00:44:05,800 --> 00:44:08,840
Speaker 2: center you in what this movie is, because it deserves

836
00:44:08,880 --> 00:44:11,800
Speaker 2: to be watched. But it is like nothing I've ever seen.

837
00:44:12,600 --> 00:44:16,720
Speaker 2: So from the Criterion Channel they say this genre bending

838
00:44:16,800 --> 00:44:21,799
Speaker 2: sci fi documentary from pioneering filmmaker Menelick Shabbaz spans four

839
00:44:21,920 --> 00:44:25,680
Speaker 2: hundred years to tell the story of the African liberation movement,

840
00:44:26,400 --> 00:44:29,760
Speaker 2: chronicling the tribulations and triumphs of people of African descent

841
00:44:30,000 --> 00:44:33,080
Speaker 2: in and out of Africa, with a special focus on

842
00:44:33,120 --> 00:44:36,760
Speaker 2: the struggles of the last century. Time and Judgment.

843
00:44:36,400 --> 00:44:38,440
Speaker 3: Features exclusive footage.

844
00:44:38,000 --> 00:44:42,640
Speaker 2: Of movements in the Caribbean, Africa, America and Europe, and

845
00:44:42,840 --> 00:44:47,360
Speaker 2: offers critical political analysis of a bunch of leaders. Okay,

846
00:44:47,480 --> 00:44:50,279
Speaker 2: so that's me paraphrasing that at the end, because I

847
00:44:50,280 --> 00:44:52,839
Speaker 2: don't want to ruin who's in the film, because we're

848
00:44:52,840 --> 00:44:55,120
Speaker 2: going to talk about it. But they go on to

849
00:44:55,200 --> 00:44:58,400
Speaker 2: also say a blending of theater, poetry, music, and painting,

850
00:44:58,880 --> 00:45:02,480
Speaker 2: the film establishes a connection between biblical prophecy and the

851
00:45:02,520 --> 00:45:05,319
Speaker 2: times we are living in, leading to a final confrontation

852
00:45:05,560 --> 00:45:08,400
Speaker 2: between the forces of greed and love. And I know

853
00:45:08,480 --> 00:45:10,400
Speaker 2: that's a lot, so maybe rewind that if you have to,

854
00:45:11,040 --> 00:45:13,239
Speaker 2: but I'll sum it up. I'll sum it up. It's

855
00:45:13,280 --> 00:45:16,840
Speaker 2: basically a it's true what the Criteria channel says. It

856
00:45:16,880 --> 00:45:20,239
Speaker 2: is a genre bending sci fi documentary and the first

857
00:45:20,320 --> 00:45:23,239
Speaker 2: five minutes and last five minutes of this film will

858
00:45:23,280 --> 00:45:26,560
Speaker 2: make you think you are tripping on acid, like if

859
00:45:26,600 --> 00:45:29,120
Speaker 2: you were coming into this film with no knowledge of it,

860
00:45:29,200 --> 00:45:32,240
Speaker 2: like I was. It is absolutely the kind of movie

861
00:45:32,239 --> 00:45:34,520
Speaker 2: that people would put on at a party in the

862
00:45:34,719 --> 00:45:37,040
Speaker 2: eighties or nineties while they were high and be like,

863
00:45:37,120 --> 00:45:37,879
Speaker 2: isn't this so cool?

864
00:45:37,920 --> 00:45:38,319
Speaker 3: Man Like?

865
00:45:38,360 --> 00:45:41,759
Speaker 2: Look at the colors, because it starts with these kind

866
00:45:41,760 --> 00:45:45,960
Speaker 2: of gods, you know, like chanting and you're blowing shells,

867
00:45:46,040 --> 00:45:49,239
Speaker 2: and there's lots of imagery and pyramids, and there's a

868
00:45:49,320 --> 00:45:52,360
Speaker 2: scale with one side of the scale has a big

869
00:45:52,440 --> 00:45:54,920
Speaker 2: heart on it and the other side has money, and

870
00:45:54,960 --> 00:45:57,239
Speaker 2: there's just a lot of imagery here. And these kind

871
00:45:57,320 --> 00:46:00,360
Speaker 2: of gods are talking about Earth and how going to

872
00:46:00,400 --> 00:46:03,360
Speaker 2: send out these final warnings, and some of them have

873
00:46:03,560 --> 00:46:07,120
Speaker 2: masks and some of them are draped in different garments,

874
00:46:07,160 --> 00:46:10,960
Speaker 2: and it is really wild looking, like it is truly

875
00:46:11,040 --> 00:46:13,839
Speaker 2: wild looking. So at the start of the film, after

876
00:46:13,880 --> 00:46:17,040
Speaker 2: all the imagery kind of sets the tone, the movie

877
00:46:17,160 --> 00:46:20,279
Speaker 2: shifts and the narrator says that he's going to give

878
00:46:20,320 --> 00:46:22,880
Speaker 2: a diary of the last eight years in order to

879
00:46:23,120 --> 00:46:26,839
Speaker 2: explain the last four hundred years of exile that people

880
00:46:26,920 --> 00:46:31,480
Speaker 2: of African descent have experienced. And it starts out in

881
00:46:31,600 --> 00:46:35,719
Speaker 2: Zimbabwe in nineteen eighty when Robert Mugabi is elected and

882
00:46:36,000 --> 00:46:39,319
Speaker 2: talks about the importance of that political movement, the importance

883
00:46:39,480 --> 00:46:44,840
Speaker 2: of freedom, and as the film will do multiple times,

884
00:46:44,880 --> 00:46:49,200
Speaker 2: it really does talk about how most African cultures and

885
00:46:49,280 --> 00:46:53,799
Speaker 2: most African nations had to fight incredibly hard to free

886
00:46:53,840 --> 00:46:59,160
Speaker 2: themselves from the grip of colonialism. And so he starts

887
00:46:59,200 --> 00:47:05,040
Speaker 2: with Zimbabwe and mentions that Bob Marley was there at

888
00:47:05,080 --> 00:47:10,439
Speaker 2: this inauguration and talks about how important Rasafarianism is, which

889
00:47:10,480 --> 00:47:12,600
Speaker 2: will you will see a lot of in this film,

890
00:47:12,920 --> 00:47:15,360
Speaker 2: but he also talks about in this film the coronation

891
00:47:15,440 --> 00:47:19,160
Speaker 2: of Highly Selassie and the rise of the Rasafarian movement.

892
00:47:19,440 --> 00:47:21,080
Speaker 3: So if all you know about.

893
00:47:20,920 --> 00:47:24,719
Speaker 2: Rastafarianism is Dreadlocks and Bob Marley, please feel free to

894
00:47:24,760 --> 00:47:28,160
Speaker 2: read literally anything else or watch literally anything else, because

895
00:47:28,200 --> 00:47:32,520
Speaker 2: it is a really pointed and beautiful movement that is

896
00:47:32,600 --> 00:47:36,280
Speaker 2: about people who are connecting to themselves through the connection

897
00:47:36,400 --> 00:47:40,000
Speaker 2: to the earth. And essentially he's talking about Highly Selassie's

898
00:47:40,040 --> 00:47:43,960
Speaker 2: coronation as the end of the white colonial domination, but

899
00:47:44,080 --> 00:47:47,840
Speaker 2: prior to that, he also goes through and talks about

900
00:47:48,040 --> 00:47:53,920
Speaker 2: slavery and the African diaspora and basically explaining how slaves

901
00:47:53,920 --> 00:47:56,040
Speaker 2: made their way to America. And I say that as

902
00:47:56,040 --> 00:47:58,319
Speaker 2: if they like took a road trip, as slaves were

903
00:47:58,360 --> 00:48:01,360
Speaker 2: stolen from Africa and brought to America. And there's this

904
00:48:01,400 --> 00:48:03,719
Speaker 2: one line in that part of the film where he says,

905
00:48:03,719 --> 00:48:08,120
Speaker 2: you took my language, but not my drum, and it's

906
00:48:08,200 --> 00:48:11,319
Speaker 2: so important and poignant, and he does this again, like

907
00:48:11,360 --> 00:48:12,239
Speaker 2: as a filmmaker.

908
00:48:12,239 --> 00:48:14,640
Speaker 3: The thing that I'm finding so fascinating.

909
00:48:14,080 --> 00:48:17,439
Speaker 2: About him is that he's able to blend these very

910
00:48:17,520 --> 00:48:21,440
Speaker 2: deeply poetic moments as a way to explain something that

911
00:48:21,480 --> 00:48:23,359
Speaker 2: we think we know about. So he brings a lot

912
00:48:23,400 --> 00:48:26,040
Speaker 2: of emotion to a situation where you think you know

913
00:48:26,160 --> 00:48:28,799
Speaker 2: about it or you think you can encapsulate it, and

914
00:48:28,840 --> 00:48:31,680
Speaker 2: he just does it in a very deft and succinct way.

915
00:48:31,920 --> 00:48:34,879
Speaker 2: And I just love that explanation. And he also talks

916
00:48:34,920 --> 00:48:38,840
Speaker 2: about Grenada and how the CIA interfered with that election,

917
00:48:39,280 --> 00:48:43,400
Speaker 2: which leads him to talking about how America has interfered

918
00:48:43,400 --> 00:48:45,680
Speaker 2: with a lot of elections and has interfered with a

919
00:48:45,719 --> 00:48:49,360
Speaker 2: lot of political movements in Africa and in African cultures

920
00:48:50,160 --> 00:48:50,879
Speaker 2: as a way to.

921
00:48:51,440 --> 00:48:52,840
Speaker 3: Keep them down.

922
00:48:53,360 --> 00:48:55,600
Speaker 2: And he doesn't pull any punches about it, and again,

923
00:48:55,719 --> 00:48:58,839
Speaker 2: like to give such an in depth view of this

924
00:48:59,200 --> 00:49:03,160
Speaker 2: through actual news footage and through actual speeches and through

925
00:49:03,239 --> 00:49:07,920
Speaker 2: actual video changes the game. Like you cannot ignore or

926
00:49:07,960 --> 00:49:10,920
Speaker 2: turn away from what he's saying because he's telling this

927
00:49:11,000 --> 00:49:14,080
Speaker 2: in a very narrative structure year by year, but he's

928
00:49:14,560 --> 00:49:18,480
Speaker 2: weaving together the ends of the stories, so we kind

929
00:49:18,520 --> 00:49:20,240
Speaker 2: of I think I mentioned that when I was talking

930
00:49:20,239 --> 00:49:23,239
Speaker 2: about the OJ thirty for thirty documentary when we did

931
00:49:23,280 --> 00:49:26,520
Speaker 2: the set it off Belman Louis episode. But the thing

932
00:49:26,560 --> 00:49:29,000
Speaker 2: that really rang true to me about that documentary, which

933
00:49:29,040 --> 00:49:32,600
Speaker 2: again I feel like was even loosely, if not directly

934
00:49:32,719 --> 00:49:36,200
Speaker 2: inspired by Menelik Shabaz and by time and Judgment, because

935
00:49:36,239 --> 00:49:40,280
Speaker 2: they use the story of OJ to tell the story

936
00:49:40,320 --> 00:49:42,759
Speaker 2: of the LAPD and what was happening with racism at

937
00:49:42,760 --> 00:49:45,920
Speaker 2: that time in the city. And again, it's just this

938
00:49:45,960 --> 00:49:48,279
Speaker 2: film was released in nineteen eighty eight, and it was

939
00:49:48,440 --> 00:49:51,600
Speaker 2: way ahead of its fucking time. Nobody was telling a

940
00:49:51,640 --> 00:49:53,560
Speaker 2: story like that that I can remember.

941
00:49:53,840 --> 00:49:54,520
Speaker 3: Yeah, at all.

942
00:49:54,800 --> 00:49:57,200
Speaker 1: I have a lot to say about this documentary obviously,

943
00:49:57,239 --> 00:49:59,920
Speaker 1: because I feel like, ye, what it comes from this, Like,

944
00:50:00,160 --> 00:50:01,880
Speaker 1: I think part of what you mean is that it

945
00:50:02,000 --> 00:50:05,600
Speaker 1: comes from this this very small tradition of documentary films

946
00:50:05,600 --> 00:50:10,280
Speaker 1: that are basically rejecting this sort of like formalist documentary

947
00:50:10,280 --> 00:50:16,000
Speaker 1: filmmaking method, right, this narrative structure of like this happens

948
00:50:16,040 --> 00:50:18,800
Speaker 1: and an interview happens. Then it really kind of reminds

949
00:50:18,840 --> 00:50:21,680
Speaker 1: me more of kind of like avant garde documentary filmmaking,

950
00:50:21,760 --> 00:50:24,640
Speaker 1: kind of like Chris Marker or something. You know, it's

951
00:50:25,640 --> 00:50:29,120
Speaker 1: taking a lot of different things, news footage, but also

952
00:50:29,239 --> 00:50:32,920
Speaker 1: kind of like set pieces, like at the very beginning especially,

953
00:50:33,120 --> 00:50:35,840
Speaker 1: and kind of putting together this like collage of images

954
00:50:36,400 --> 00:50:39,960
Speaker 1: that's also trying to tell a story into much like

955
00:50:40,000 --> 00:50:43,520
Speaker 1: the Oja documentary, try to weave sort of the political

956
00:50:43,600 --> 00:50:48,960
Speaker 1: aspects through the visual medium of collage essentially. And it's

957
00:50:49,080 --> 00:50:52,520
Speaker 1: just it's so so cool. It's just such a cool

958
00:50:52,560 --> 00:50:55,719
Speaker 1: way of making a documentary that I was blown away

959
00:50:55,719 --> 00:50:56,000
Speaker 1: by it.

960
00:50:56,120 --> 00:50:58,560
Speaker 2: No, I completely agree. I think you're absolutely correct that

961
00:50:58,600 --> 00:51:01,840
Speaker 2: it was really stunning. Like us, the only word I

962
00:51:01,840 --> 00:51:06,640
Speaker 2: can think of is stunning to see that mix of art.

963
00:51:06,760 --> 00:51:10,959
Speaker 2: And there are these different moments in the film where

964
00:51:10,960 --> 00:51:13,840
Speaker 2: you'll see and this is kind of the theatrical component

965
00:51:13,880 --> 00:51:16,400
Speaker 2: where you see these two actors in front of the

966
00:51:16,440 --> 00:51:20,000
Speaker 2: same backdrop, and they're talking and sometimes they're singing to

967
00:51:20,120 --> 00:51:23,719
Speaker 2: each other, and sometimes they're you know, moving with each

968
00:51:23,760 --> 00:51:27,000
Speaker 2: other bodily, but they're acting like it's like a play

969
00:51:27,000 --> 00:51:30,120
Speaker 2: has been dropped into the documentary almost as a way

970
00:51:30,160 --> 00:51:32,319
Speaker 2: to explain or sum up what we've just seen what

971
00:51:32,360 --> 00:51:33,280
Speaker 2: we're about to see.

972
00:51:33,760 --> 00:51:35,880
Speaker 3: And it's so beautiful because.

973
00:51:35,640 --> 00:51:37,960
Speaker 2: Even though it's dropped in, it doesn't feel out of

974
00:51:38,040 --> 00:51:43,279
Speaker 2: sync at all with what's happening and the paintings and

975
00:51:43,320 --> 00:51:47,520
Speaker 2: the poetry. And it's like Baz used every tool in

976
00:51:47,560 --> 00:51:51,799
Speaker 2: the box to tell this incredibly complex story. And that's

977
00:51:51,800 --> 00:51:55,319
Speaker 2: what was needed to tell this incredibly complex story, is

978
00:51:55,360 --> 00:52:00,160
Speaker 2: to use every tool of creativity at your disposal. He

979
00:52:00,200 --> 00:52:02,440
Speaker 2: did it again in a way that didn't feel heavy handed.

980
00:52:02,480 --> 00:52:05,360
Speaker 2: It did feel informative. I walked away from this film

981
00:52:05,880 --> 00:52:08,680
Speaker 2: with a list of things to read and watch like

982
00:52:08,760 --> 00:52:10,200
Speaker 2: I have never had before.

983
00:52:10,880 --> 00:52:12,239
Speaker 3: And he talks.

984
00:52:11,920 --> 00:52:16,319
Speaker 2: About the Caribbean, and he talks about Marcus Garvey, and

985
00:52:16,800 --> 00:52:20,560
Speaker 2: he talks about Kwame Turrey, he talks about Walter Rodney

986
00:52:20,800 --> 00:52:23,920
Speaker 2: of Guyana and you know, prior to this and this

987
00:52:24,040 --> 00:52:27,960
Speaker 2: again is my own shortcoming, what I knew of Guyana

988
00:52:28,120 --> 00:52:32,080
Speaker 2: was Jim Jones exactly too, And you know, I didn't

989
00:52:32,120 --> 00:52:36,160
Speaker 2: know anything about Walter Rodney and that's my fault.

990
00:52:36,320 --> 00:52:39,719
Speaker 3: That's my fault. So it really just inspired me. You know.

991
00:52:39,760 --> 00:52:42,120
Speaker 2: He also talks about Jesse Jackson in this film and

992
00:52:42,160 --> 00:52:46,200
Speaker 2: shows this footage. It inspired me to learn more about

993
00:52:46,239 --> 00:52:49,560
Speaker 2: African cultural history in a way that was never explained

994
00:52:49,560 --> 00:52:52,240
Speaker 2: to me in school or in books. But it also

995
00:52:52,320 --> 00:52:56,560
Speaker 2: gave me, I think, a really good foundational start for

996
00:52:56,840 --> 00:52:59,799
Speaker 2: understanding why we're still going through some of these same

997
00:53:00,000 --> 00:53:03,560
Speaker 2: struggles in the US, and what struggles have come before,

998
00:53:03,680 --> 00:53:06,799
Speaker 2: and what have leaders said before, what have citizens said before,

999
00:53:06,840 --> 00:53:09,920
Speaker 2: what if people said before to help them through these moments,

1000
00:53:09,960 --> 00:53:12,000
Speaker 2: because I think I need that now. I really need

1001
00:53:12,040 --> 00:53:15,319
Speaker 2: that right now. I'm at a point where I don't

1002
00:53:15,320 --> 00:53:19,959
Speaker 2: really discuss my politics online anymore. People know what they are,

1003
00:53:20,160 --> 00:53:22,600
Speaker 2: and you know, I don't hide from what politics are.

1004
00:53:23,120 --> 00:53:27,040
Speaker 2: I just don't find joy or relief in discussing that

1005
00:53:27,080 --> 00:53:27,880
Speaker 2: with people anymore.

1006
00:53:28,480 --> 00:53:30,160
Speaker 3: So I don't. I don't.

1007
00:53:30,239 --> 00:53:31,600
Speaker 2: It's like I was saying to you the other day,

1008
00:53:31,600 --> 00:53:34,080
Speaker 2: where I feel like, you know, I live in a

1009
00:53:34,120 --> 00:53:38,160
Speaker 2: place where if I miss a turn or I'm lost,

1010
00:53:38,880 --> 00:53:42,200
Speaker 2: I can't just turn around in someone's driveway because I'm

1011
00:53:42,239 --> 00:53:44,600
Speaker 2: black and I wear a head rap most days, and

1012
00:53:44,640 --> 00:53:47,360
Speaker 2: I could get shot just turning around. These are the

1013
00:53:47,360 --> 00:53:49,560
Speaker 2: thoughts that go through my head. I could get shot,

1014
00:53:49,600 --> 00:53:52,120
Speaker 2: and I know it's extreme. I could get shot just

1015
00:53:52,120 --> 00:53:54,879
Speaker 2: trying to turn around after I missed my turn, and

1016
00:53:55,480 --> 00:53:57,480
Speaker 2: there's no one I can talk to about that, and

1017
00:53:57,520 --> 00:54:00,080
Speaker 2: there's no way for me to express the kind of

1018
00:54:00,080 --> 00:54:01,960
Speaker 2: of ongoing grief that I feel with that.

1019
00:54:02,200 --> 00:54:04,520
Speaker 3: So this film rocked me in so many.

1020
00:54:04,320 --> 00:54:08,719
Speaker 2: Different ways because it made me feel like there is

1021
00:54:08,800 --> 00:54:11,239
Speaker 2: a conversation that I can be part of, even if

1022
00:54:11,239 --> 00:54:15,680
Speaker 2: it's not a vocalized conversation with people in my life anymore,

1023
00:54:15,960 --> 00:54:18,440
Speaker 2: that I can be part of a conversation of exploring

1024
00:54:19,000 --> 00:54:23,560
Speaker 2: and explaining the pain of how people treat black people

1025
00:54:23,560 --> 00:54:27,280
Speaker 2: in the US and African people. But it's also given

1026
00:54:27,320 --> 00:54:31,160
Speaker 2: me a real jolt about the joy that comes from

1027
00:54:31,480 --> 00:54:35,680
Speaker 2: the struggle, and the joy in seeing people fight, and

1028
00:54:35,719 --> 00:54:39,640
Speaker 2: the joy in seeing people join a political movement even

1029
00:54:39,680 --> 00:54:43,319
Speaker 2: if they weren't groomed to be politicians. So I just

1030
00:54:43,360 --> 00:54:46,680
Speaker 2: found this film to be incredibly inspiring. Again, the first

1031
00:54:46,680 --> 00:54:49,640
Speaker 2: five minutes might be a little different from what you've

1032
00:54:49,680 --> 00:54:50,400
Speaker 2: seen before.

1033
00:54:51,840 --> 00:54:54,400
Speaker 1: They felt like a When I first turned it on,

1034
00:54:54,440 --> 00:54:56,160
Speaker 1: I was like, wow, this is kind of like a

1035
00:54:56,160 --> 00:55:00,719
Speaker 1: Alejandro Yonarowski film. It's very you know, lot of costumes

1036
00:55:00,719 --> 00:55:03,040
Speaker 1: and a lot of sort of like big images. But

1037
00:55:03,160 --> 00:55:06,719
Speaker 1: then man, it just really takes off from there, right.

1038
00:55:06,680 --> 00:55:07,800
Speaker 3: It takes off.

1039
00:55:07,920 --> 00:55:11,200
Speaker 2: And you owe it to yourselves to to also discover

1040
00:55:11,280 --> 00:55:14,279
Speaker 2: this kind of history, and you know, to also dig

1041
00:55:14,360 --> 00:55:17,600
Speaker 2: into this as a way to understand maybe what people

1042
00:55:17,680 --> 00:55:19,920
Speaker 2: like me feel, if that's something that's interesting to you.

1043
00:55:20,280 --> 00:55:24,160
Speaker 2: Because I'm tired. Man, I'm fucking exhausted. I am exhausted

1044
00:55:24,239 --> 00:55:27,920
Speaker 2: with trying to teach people how to be okay with

1045
00:55:28,480 --> 00:55:32,560
Speaker 2: blackness and either my blackness or blackness in general.

1046
00:55:32,800 --> 00:55:35,799
Speaker 3: It's a full time job, and I'm tired, you know.

1047
00:55:35,920 --> 00:55:38,680
Speaker 2: I again, like, I had these guys at my place

1048
00:55:38,680 --> 00:55:41,440
Speaker 2: the other day doing some work for me in the

1049
00:55:41,480 --> 00:55:44,760
Speaker 2: pest control department, and I went out and got him coffee,

1050
00:55:44,920 --> 00:55:47,920
Speaker 2: and when I came back, the one guy looked at

1051
00:55:47,960 --> 00:55:49,440
Speaker 2: me and he said, what are you.

1052
00:55:49,480 --> 00:55:52,440
Speaker 3: We've been trying to figure it out. And that's like

1053
00:55:52,719 --> 00:55:56,120
Speaker 3: in my own home in twenty twenty two, what are you?

1054
00:55:56,320 --> 00:55:58,400
Speaker 3: We've been trying to figure it out? Like that's just

1055
00:55:58,400 --> 00:56:00,319
Speaker 3: a normal question. He feels like he can ask me.

1056
00:56:00,600 --> 00:56:04,040
Speaker 2: Wow, yeah, so yeah, So it's just I don't know again,

1057
00:56:04,040 --> 00:56:08,360
Speaker 2: Like I don't have space anymore to talk to people

1058
00:56:08,400 --> 00:56:11,359
Speaker 2: about this in a way that connects me to them.

1059
00:56:11,760 --> 00:56:13,759
Speaker 3: I could be angry if I wanted to be angry, I.

1060
00:56:13,680 --> 00:56:16,239
Speaker 2: Could pop off. There's plenty of places that pop off.

1061
00:56:16,480 --> 00:56:19,000
Speaker 2: There's not a lot of places for connections. So I

1062
00:56:19,040 --> 00:56:21,840
Speaker 2: appreciate art that makes me feel like I have that connection.

1063
00:56:22,320 --> 00:56:25,360
Speaker 1: Yeah, I do too, And I'm I'm I'm just so

1064
00:56:25,920 --> 00:56:29,600
Speaker 1: glad that we decided to undertake this Black History Month.

1065
00:56:29,640 --> 00:56:31,759
Speaker 1: I mean, like we say, Black History Month is every day,

1066
00:56:32,880 --> 00:56:35,680
Speaker 1: but being able to really like put a hyper focus

1067
00:56:35,760 --> 00:56:38,719
Speaker 1: on somebody like Mendelick Shabaz, like seeing a movie like

1068
00:56:38,840 --> 00:56:42,720
Speaker 1: Time and Judgment, like I said, a documentary at the core,

1069
00:56:42,960 --> 00:56:45,160
Speaker 1: but also so much more than that, just like this

1070
00:56:45,760 --> 00:56:50,080
Speaker 1: incredible like piece of art, like this collage of images

1071
00:56:50,480 --> 00:56:55,920
Speaker 1: and afrofuturism and history, and it was such an amazing

1072
00:56:55,960 --> 00:56:59,440
Speaker 1: discovery for me to see this and to just find

1073
00:56:59,480 --> 00:57:02,719
Speaker 1: out more about Mendolicuabas. I mean honestly part of like

1074
00:57:02,840 --> 00:57:06,200
Speaker 1: what I hope will happen this month, and I hope

1075
00:57:06,360 --> 00:57:09,000
Speaker 1: has happened with this episode is that don't make people curious,

1076
00:57:09,120 --> 00:57:10,799
Speaker 1: because that's all we want is we want you to

1077
00:57:10,840 --> 00:57:14,839
Speaker 1: have the curiosity to watch movies and to go into

1078
00:57:14,880 --> 00:57:20,240
Speaker 1: these depths of discovery that aren't just like obvious things.

1079
00:57:20,240 --> 00:57:22,600
Speaker 1: I mean, this isn't an algorithm that is presented to

1080
00:57:22,840 --> 00:57:25,960
Speaker 1: on a streaming service. This is like, you know, finding

1081
00:57:26,560 --> 00:57:30,320
Speaker 1: the crevices of film culture and film history and black

1082
00:57:30,360 --> 00:57:34,440
Speaker 1: culture and black history and just finding joy with the discovery.

1083
00:57:34,440 --> 00:57:36,280
Speaker 1: We just hope that that happens this month. And I

1084
00:57:36,400 --> 00:57:39,800
Speaker 1: just it happened for me and I host this damn podcast,

1085
00:57:39,880 --> 00:57:43,360
Speaker 1: so there you go, exactly.

1086
00:57:42,920 --> 00:57:45,240
Speaker 3: It happened for both of us. It happened for both

1087
00:57:45,240 --> 00:57:45,560
Speaker 3: of us.

1088
00:57:45,680 --> 00:57:48,680
Speaker 2: Yeah, and it was again like so lucky, and I

1089
00:57:48,680 --> 00:57:52,120
Speaker 2: feel so grateful that you are just like just so

1090
00:57:52,400 --> 00:57:55,200
Speaker 2: along for that ride because when I when we originally

1091
00:57:55,200 --> 00:57:58,640
Speaker 2: talked about this this summer, it was genuinely just a

1092
00:57:58,680 --> 00:58:00,520
Speaker 2: conversation that was like, hey, if you ever heard of

1093
00:58:00,520 --> 00:58:02,160
Speaker 2: this guy, like he just passed away and I'd never

1094
00:58:02,200 --> 00:58:05,439
Speaker 2: heard of him before, And just being able to have

1095
00:58:06,240 --> 00:58:09,680
Speaker 2: that conversation with you and to feel safe enough to

1096
00:58:09,760 --> 00:58:11,600
Speaker 2: kind of say to you like I'm embarrassed that I

1097
00:58:11,680 --> 00:58:14,520
Speaker 2: didn't know about this, and I'd like to know more.

1098
00:58:14,920 --> 00:58:17,840
Speaker 2: Kicks off something really great that I think has enhanced

1099
00:58:17,840 --> 00:58:20,520
Speaker 2: my life and you know, hopefully will enhance the lives

1100
00:58:20,560 --> 00:58:22,960
Speaker 2: of our listeners. But I'm just grateful that I can

1101
00:58:23,000 --> 00:58:26,000
Speaker 2: have those moments with you as a friend because it

1102
00:58:26,000 --> 00:58:26,880
Speaker 2: makes my life better.

1103
00:58:27,280 --> 00:58:29,520
Speaker 1: Well, I'm glad, I'm glad. I'm glad that you that's

1104
00:58:29,520 --> 00:58:32,440
Speaker 1: how you see me, because I absolutely feel like this

1105
00:58:32,520 --> 00:58:36,200
Speaker 1: is a place for us both to do this type

1106
00:58:36,200 --> 00:58:38,600
Speaker 1: of thing, like to both discover things and to not

1107
00:58:38,760 --> 00:58:41,920
Speaker 1: have any ego about not knowing. Yeah, because that's the

1108
00:58:41,960 --> 00:58:44,080
Speaker 1: thing is that I'm coming from the other side of

1109
00:58:44,160 --> 00:58:46,200
Speaker 1: it where I feel like, Okay, maybe I should have

1110
00:58:46,280 --> 00:58:49,400
Speaker 1: known this guy. I've been working in film history effectively

1111
00:58:49,480 --> 00:58:51,200
Speaker 1: for the past twenty years of my life, and I'm

1112
00:58:51,240 --> 00:58:54,760
Speaker 1: just now discovering things for the first time. And I

1113
00:58:54,800 --> 00:58:58,280
Speaker 1: have no arrogance about that. Honestly. Yeah, I don't purport

1114
00:58:58,400 --> 00:59:02,040
Speaker 1: to know every thing about movies, and I don't think

1115
00:59:02,080 --> 00:59:06,280
Speaker 1: anybody can. Yeah, if they do, then they're lying because

1116
00:59:06,280 --> 00:59:10,640
Speaker 1: everybody has gaps and everybody has has feels those moments

1117
00:59:10,640 --> 00:59:12,360
Speaker 1: of shame where they're like shit, I should have known

1118
00:59:12,360 --> 00:59:15,880
Speaker 1: about this, but honestly, for me, I'm just so happy

1119
00:59:15,960 --> 00:59:19,000
Speaker 1: to learn. Like I don't care about not knowing. I

1120
00:59:19,080 --> 00:59:22,000
Speaker 1: just want to learn the things that I don't know

1121
00:59:22,120 --> 00:59:25,200
Speaker 1: so completely. This has been such a great episode for us,

1122
00:59:25,240 --> 00:59:29,480
Speaker 1: and we both are now older and wiser people, So

1123
00:59:29,960 --> 00:59:31,680
Speaker 1: for that, I'm happy.

1124
00:59:32,040 --> 00:59:34,160
Speaker 2: Very true, and this is the It's also the whole

1125
00:59:34,200 --> 00:59:36,600
Speaker 2: reason we're doing the podcast is to have moments like

1126
00:59:36,600 --> 00:59:39,760
Speaker 2: this for ourselves and for other people that we want

1127
00:59:39,840 --> 00:59:43,920
Speaker 2: people to not feel bad about not knowing things about film.

1128
00:59:44,280 --> 00:59:46,000
Speaker 3: Yes, like we're all in this together.

1129
00:59:46,040 --> 00:59:48,400
Speaker 2: We just want we want you to discover film in

1130
00:59:48,440 --> 00:59:50,320
Speaker 2: the same way that we do, and this is one

1131
00:59:50,320 --> 00:59:52,280
Speaker 2: of those moments where we can show you what that

1132
00:59:52,320 --> 00:59:56,280
Speaker 2: looks like. So thank you for being along for that ride.

1133
00:59:56,480 --> 00:59:58,560
Speaker 1: Yes, and I have to say, just to give you

1134
00:59:58,600 --> 01:00:01,720
Speaker 1: a little teaser about the rest February, We've got some

1135
01:00:01,840 --> 01:00:05,760
Speaker 1: really great episodes, like hopefully Danielle and I have made

1136
01:00:06,080 --> 01:00:09,320
Speaker 1: good choices that are going to speak to the different

1137
01:00:09,360 --> 01:00:14,320
Speaker 1: types of black filmmakers and black artists, from somebody like

1138
01:00:14,320 --> 01:00:17,720
Speaker 1: Meteli Shabaz to somebody super super famous that we'll do

1139
01:00:17,760 --> 01:00:21,000
Speaker 1: an episode about in a few weeks. But We're excited

1140
01:00:21,040 --> 01:00:24,520
Speaker 1: to bring it to you and I can't wait for

1141
01:00:24,560 --> 01:00:27,080
Speaker 1: the next couple episodes. It's gonna be so.

1142
01:00:27,240 --> 01:00:29,240
Speaker 3: Fun, it's gonna be incredible.

1143
01:00:30,520 --> 01:00:32,480
Speaker 2: Do you want to actually give them a little teaser

1144
01:00:32,480 --> 01:00:35,000
Speaker 2: and tell them what the next movies are gonna be

1145
01:00:35,000 --> 01:00:35,680
Speaker 2: for next week?

1146
01:00:36,520 --> 01:00:36,800
Speaker 3: Oh?

1147
01:00:36,880 --> 01:00:41,720
Speaker 1: Man, I'm so excited to tell you. The moves for

1148
01:00:41,880 --> 01:00:47,040
Speaker 1: next week are Love and Basketball from two thousand and

1149
01:00:47,200 --> 01:00:49,920
Speaker 1: Brown Sugar from two thousand two.

1150
01:00:50,640 --> 01:00:52,040
Speaker 3: Oh, guess the theme.

1151
01:00:52,680 --> 01:00:55,400
Speaker 2: Some of you are very very smart about guessing themes,

1152
01:00:55,440 --> 01:00:59,600
Speaker 2: but try to guess this theme and definitely watch these movies.

1153
01:01:00,160 --> 01:01:04,520
Speaker 1: Definitely please do. If you don't watch anything but this

1154
01:01:04,680 --> 01:01:08,640
Speaker 1: month's movies, I guess I'm okay with it. Normally I

1155
01:01:08,680 --> 01:01:11,320
Speaker 1: will wag my finger, but if you just watch these,

1156
01:01:11,360 --> 01:01:13,200
Speaker 1: I think we'll be okay for at least the time being.

1157
01:01:13,320 --> 01:01:13,480
Speaker 4: Right.

1158
01:01:13,640 --> 01:01:15,680
Speaker 3: Yeah, eight movies. We'll take it.

1159
01:01:15,680 --> 01:01:20,240
Speaker 1: It's all I got to. Well listen. If you enjoyed

1160
01:01:20,240 --> 01:01:22,600
Speaker 1: what you heard today and you want to give some

1161
01:01:22,680 --> 01:01:24,600
Speaker 1: thoughts about medl Shabas, or if you just want to

1162
01:01:24,640 --> 01:01:27,040
Speaker 1: email us, please do so at I saw what you

1163
01:01:27,040 --> 01:01:29,439
Speaker 1: did pod at gmail dot com.

1164
01:01:29,240 --> 01:01:31,160
Speaker 2: And you can also find us on our social media.

1165
01:01:31,280 --> 01:01:34,160
Speaker 2: So if you want to again write to us, like

1166
01:01:34,200 --> 01:01:36,880
Speaker 2: if you have a history of Menelick Shabaz, if you

1167
01:01:37,160 --> 01:01:40,240
Speaker 2: went to school with him, if you grew up on

1168
01:01:40,280 --> 01:01:44,000
Speaker 2: his films, reach out let us know more. We're craving more.

1169
01:01:44,040 --> 01:01:44,960
Speaker 3: But you can reach out.

1170
01:01:44,800 --> 01:01:46,960
Speaker 2: To us about anything on our socials. We are at

1171
01:01:47,000 --> 01:01:49,920
Speaker 2: I Saw pod on Instagram and Twitter.

1172
01:01:49,720 --> 01:01:53,280
Speaker 1: That's right, and we've got merch if you are so inclined.

1173
01:01:53,680 --> 01:01:56,520
Speaker 1: It's in the exactly Right shop at exactly rightmedia dot com.

1174
01:01:56,720 --> 01:01:58,760
Speaker 2: And you know, we've been doing this for a little

1175
01:01:58,800 --> 01:02:01,160
Speaker 2: while now, but there's always room for a little more.

1176
01:02:01,240 --> 01:02:03,560
Speaker 2: And to fill that reason for you or to fill

1177
01:02:03,560 --> 01:02:06,280
Speaker 2: that purpose for you, we decided to do some bonus episodes.

1178
01:02:06,320 --> 01:02:09,920
Speaker 2: So there's a grip of bonus episodes available only on

1179
01:02:10,000 --> 01:02:14,560
Speaker 2: Stitcher Premium exclusively and you can use the promo code

1180
01:02:14,640 --> 01:02:15,720
Speaker 2: SAW for a free month.

1181
01:02:16,040 --> 01:02:21,120
Speaker 1: That is right. Check it out. Danielle so grateful to

1182
01:02:21,160 --> 01:02:23,640
Speaker 1: be doing this podcast with you. It was a great episode.

1183
01:02:23,680 --> 01:02:25,840
Speaker 1: It's going to be a great month of movies. And

1184
01:02:26,200 --> 01:02:28,720
Speaker 1: I'm so excited me too.

1185
01:02:28,840 --> 01:02:30,760
Speaker 3: Oh, thank you, thank you, thank you. This would be great.

1186
01:02:31,000 --> 01:02:32,240
Speaker 1: Thank you everyone for listening.

1187
01:02:32,480 --> 01:02:40,000
Speaker 3: Book see you next week.

1188
01:02:40,080 --> 01:02:42,400
Speaker 2: This has been an exactly right production. Our producer is

1189
01:02:42,400 --> 01:02:45,919
Speaker 2: Alexis Samrosi. Our engineer is Ryo Baum. Our theme song

1190
01:02:46,000 --> 01:02:49,120
Speaker 2: is by Tom bry Fogel. Artwork by Garrett Ross. Our

1191
01:02:49,160 --> 01:02:52,840
Speaker 2: executive producers our Georgia Hertstar, Karen kil Gareth and Daniell Kramer.

1192
01:02:53,080 --> 01:02:55,440
Speaker 2: You can follow us on Instagram and Twitter at I

1193
01:02:55,520 --> 01:02:57,920
Speaker 2: Saw Pod. You can email us at I Saw What

1194
01:02:57,960 --> 01:03:00,840
Speaker 2: You Did Pod at Gmail, and please forget to listen,

1195
01:03:00,920 --> 01:03:04,320
Speaker 2: subscribe and leave us a review on Apple Podcasts, Stitcher,

1196
01:03:04,560 --> 01:03:05,880
Speaker 2: or wherever you listen