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Speaker 1: Of Course Love Supreme is a production of iHeartRadio. This

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Speaker 1: classic episode was produced by the team at Pandora. Ladies

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Speaker 1: and Gentlemen. Welcome to QLs Classic Episode forty seven with

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Speaker 1: the Great Spike Lee August two, thy seventeen. A side note,

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Speaker 1: our guest today deserves credit at least for inspiring the

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Speaker 1: Supreme Roque Hall theme song of our beloved show. Besides that,

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Speaker 1: Spike Lee is a provocateur, a visionary, a storyteller, great,

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Speaker 1: a hustler, accentric soul. This episode came slightly before his

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Speaker 1: Oscar victory for Black Clansmen in twenty nineteen. But don't worry.

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Speaker 1: We get it all out, all of his journeys, all

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Speaker 1: of our favorite movies. We get to ask him everything

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Speaker 1: right here on QLs Classic with the Great Spike Lee.

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Speaker 2: This is gonna be really awkward.

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Speaker 3: Oh my god, Soma su Supremo role call Suprema Son

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Speaker 3: Sons Loving Albody, Suprema Son Son Supremo role called Suprema

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Speaker 3: Son Son Upbramo.

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Speaker 1: So I'm just gonna sit here, yeah and have the

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Speaker 1: call yeah and pray the Spike don't suit me. Yeah,

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Speaker 1: we're stealing his song.

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Speaker 3: Roll Call Supremo Supremo roll call, Subpremo son something Supremo

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Speaker 3: rod call.

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Speaker 1: My name is Fante, Yeah, dropping these flows, yeah, because.

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Speaker 4: A Supremo roll call, Supremo some Supremo road.

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Speaker 5: My name is Sugar, Yeah, the inside man.

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Speaker 2: Yeah, I've been with the roots.

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Speaker 1: Yeah since the Bamboozles band.

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Speaker 4: Rama Supremo roll call.

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Speaker 6: Son some Supremo roll call Lee once was yeah boss

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Speaker 6: Bill's teen hero Yeah, but directing skills, Yeah, I had almost.

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Speaker 3: Hero subprema so Supreme roll Suprema son Supremo role.

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Speaker 7: I want to let you know. Yeah, I'm not just

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Speaker 7: for show.

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Speaker 2: Yeah, will you let me go?

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Speaker 1: Oh god, Supreme roll explain that.

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Speaker 2: After the roll. My name is Spike, yeah with the nickname.

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Speaker 3: Yeah.

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Speaker 2: My mother said, yeah, I was out of his world.

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Speaker 3: Rolling Suprema something Supremo, roll call, Subprema something something Supremo role,

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Speaker 3: subframa son Supremo roll.

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Speaker 1: Yeah.

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Speaker 2: One person clapping.

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Speaker 7: I'm not just for sure.

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Speaker 2: Yet what school day.

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Speaker 1: Song written? Because her timing? Because she up, I didn't

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Speaker 1: It's hard, you know, Okay, now he hears the song

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Speaker 1: in everybody.

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Speaker 2: I didn't recognize the song either.

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Speaker 1: And did you recognize Wait, before I even introduce you

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Speaker 1: Spike Lee. Uh, he just did what is the history

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Speaker 1: behind uh your roll call?

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Speaker 8: Like?

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Speaker 2: I heard that at Morehouse? Oh so that's I didn't

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Speaker 2: make that up.

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Speaker 7: Isn't it like a warm up?

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Speaker 2: Like? So we just baby just going to school Morehouse,

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Speaker 2: they had a roll call and we just incorporated into

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Speaker 2: uh school days and do it again? Did it again

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Speaker 2: when he got game? So that was in school days.

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Speaker 2: It wasn't.

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Speaker 1: Because I first and get on the bus on school

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Speaker 1: days too.

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Speaker 2: I gotta watch it, watch it again again the gam Mites.

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Speaker 8: Really yeah, when they first get in, when they first

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Speaker 8: come on and they walk down the gam Mites.

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Speaker 1: Oh, I gotta watch it again. Okay, wow, well ladies

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Speaker 1: three times. Okay, ladies and gentlemen. This is another episode

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Speaker 1: of Quest of Supreme. Uh introducing the fam This is

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Speaker 1: uh damn. I really wish uh fon tigelow Uh who

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Speaker 1: who was the the the bus driver of get on

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Speaker 1: the bus. And to my right we have Sugar Steve,

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Speaker 1: who was one of the thugs in in Summer of sam.

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Speaker 2: That's what's up? Yeah? Yeah, what last your last name?

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Speaker 5: No, At the end of the vowel, I was around

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Speaker 5: back then, but it was I didn't do it. I

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Speaker 5: actually actually I have a similar last name to the

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Speaker 5: guy who did do it.

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Speaker 1: Okay, uh yeah, and uh Boss Bills to my left

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Speaker 1: eacle Sandwich. Oh, he was one of the cornermen on

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Speaker 1: Do the Right Thing. I was going to ask to

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Speaker 1: be Bob Regular from Girls six Bob Regular. No, okay anyway,

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Speaker 1: and we have Fresh from Crookland.

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Speaker 7: Ok.

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Speaker 1: Yeah, she was the girl making out with with was

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Speaker 1: also in Crookland. Y'all were making out with each other

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Speaker 1: and the and the until the beginning.

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Speaker 2: Job. I hate Ticky, No Tacky go to Joe Cuba.

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Speaker 1: Yes, finally, uh it's It's taken some time, but I

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Speaker 1: will say that, at least for me personally, and maybe

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Speaker 1: I speak for most of the inhabitants of this room,

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Speaker 1: that we we have the the director of our particular

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Speaker 1: generation with us right now.

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Speaker 2: Thank you very much, mister Spike.

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Speaker 1: Sheldon Lee, New Yorker Film r Tour, political activists and

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Speaker 1: and and great human being.

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Speaker 2: How are you. I'm good, I'm glad to be here.

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Speaker 2: And we're in Electric Lady studios, so this is very historical.

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Speaker 2: Wait somebody.

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Speaker 1: To say that, yes, I'm sorry, I've not been given

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Speaker 1: Electric Lady.

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Speaker 2: There props.

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Speaker 1: We're live in studio a where many a classic has

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Speaker 1: been born, A lot of.

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Speaker 2: Great spirits in here. Well we are right now. You

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Speaker 2: can feel it. Walk in the door. You could feel

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Speaker 2: the spirits. Well, Spike.

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Speaker 1: I know when when Spike agreed to do this, he

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Speaker 1: was like, so it's like forty five minutes. I was like, no, ninety,

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Speaker 1: He's like, all right, so now right. I was like, no,

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Speaker 1: Spike ninety. I tried to hint. I was like, well,

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Speaker 1: in the Jimmy Jam episode, it was seven hours. Spike

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Speaker 1: was like, nah, motherfucker.

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Speaker 2: So I'm good. We had to let me go. Oh

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Speaker 2: you don't mean that. You don't mean that. Let me

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Speaker 2: lean back.

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Speaker 1: All right, So I'm gonna because we're we have so

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Speaker 1: much questions about your.

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Speaker 2: Your film, decade to work, body of work. Yes for

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Speaker 2: thirty years. Yeah, you were born where in Atlanta, Georgia?

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Speaker 1: In Atlanta, Georgia, right, Really? I thought you were born

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Speaker 1: in New York.

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Speaker 2: No, I was born in Atlanta, Georgia. My parents moved

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Speaker 2: to Brooklyn. We moved to Crown Heights when I was

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Speaker 2: like two years old. Move from Crown Heights doing the

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Speaker 2: first Black family Cobble Hill. Wow, that's where all my

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Speaker 2: Italian American thing comes back, because back then the cobble

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Speaker 2: Hills is stone Italian American. And then my mother says

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Speaker 2: Tony Patton rent. So we bought a brownstone in Fort

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Speaker 2: Green for forty five thousand dollars in nineteen sixty eight.

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Speaker 1: Wait, how is that even possible?

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Speaker 2: Sixty eight? What was that like? Pre gentrification? In fact,

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Speaker 2: the realtors wouldn't even list for Green, they would say

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Speaker 2: downtown Vicinity. So it's really been a trip that you

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Speaker 2: grow up in Fort Green, predominately black and Puerto Rican schools,

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Speaker 2: no good garbage, never picked up, cops on around, and

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Speaker 2: those things aren't like that anymore with the change, and

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Speaker 2: they know they are not garage, just cleaned up. Public

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Speaker 2: schools are great on the cops or wrong.

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Speaker 7: I was trying to explain to my New York daddy

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Speaker 7: what Dumbo was today.

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Speaker 2: He was like, what I do? I don't know down

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Speaker 2: on the Manhattan Bridge, that's what it is.

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Speaker 1: For the films that you've shot in Brooklyn neighborhoods, how

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Speaker 1: different are they now?

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Speaker 2: Like the do the right thing block? Like, what is

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Speaker 2: that now? Is that? Like it's counttainable, it's gentified. So

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Speaker 2: no more black families, no more brown but I gentify,

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Speaker 2: I mean Do the Right Thing was shot in bedstide

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Speaker 2: door died bephis diverson. But the great thing about that

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Speaker 2: New York City, that block we shot on, we shot

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Speaker 2: do on thing of one block. The summer nineteen eighty eight,

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Speaker 2: that block has been renamed Do the Right Thing Way.

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Speaker 2: That's the first time a movie, a song has ever

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Speaker 2: been just named the name after that. So we take

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Speaker 2: our nest also where we have our Michael Jackson block

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Speaker 2: parties too, on the same block.

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Speaker 6: So is that the block where I visit the office

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Speaker 6: and it's the office is further down downtown.

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Speaker 2: My office in Fourth Green, Okay, so okay, that's not yeah.

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Speaker 1: And the place where you when I visited your first store,

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Speaker 1: like back in ninety one, is that still up.

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Speaker 2: That's called Chez Paulette, Okay.

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Speaker 1: But that's the new name of the block or the

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Speaker 1: new name of the.

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Speaker 2: It's a restaurant. But my office is on South South Elliott. Okay.

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Speaker 2: What the restaurant is is where the original Spikes Joint was,

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Speaker 2: Oh okay, and I own that building to And so

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Speaker 2: when we did Jungle fever Us where halle Berry. We're

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Speaker 2: gonna put a plaque there where she stayed. Wow. Wait,

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Speaker 2: that's the scene where oh there's no scene, and that's

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Speaker 2: that's just where she stayed. Wash, she washed, she was

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Speaker 2: shooting the film.

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Speaker 1: Oh damn, okay, that's not where the Ta Mahall scene was.

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Speaker 2: The wake up. Let's let's halle Berry's first film, too

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Speaker 2: Jungle Fever And did she really not shower for all

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Speaker 2: those days? And he goes the story, Wait, wait, wait, wait,

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Speaker 2: let's get to that. We can do it now. She think, uh,

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Speaker 2: Robbie Reid cast that film, and so she brought a

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Speaker 2: halle Berry came in five times mm hmm. And the

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Speaker 2: role is viving the two dollars crack hot, and the

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Speaker 2: first four times she was just too fun. Finally, some

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Speaker 2: must have told her, you can't kind of looking like this,

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Speaker 2: So she I think she's ben bayed for a week.

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Speaker 2: And I didn't even recognize when she stepped in the room.

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Speaker 2: And that's how she got the part. Wow. I just

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Speaker 2: did not see her finely she was. That's the opposite.

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Speaker 2: I did not see it as being a two dollars

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Speaker 2: crack hot. Wow.

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Speaker 7: Awesome.

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Speaker 1: She showed us, didn't she did so why, I mean

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Speaker 1: at a time where where the seventies and the upward

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Speaker 1: mobility and you know a lot of our you know,

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Speaker 1: the ways that black people expressed themselves creatively, usually through

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Speaker 1: sports or singing.

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Speaker 2: Right, why did you choose visuals?

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Speaker 1: Why did you choose I mean, was it that you

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Speaker 1: had a child experience where you saw like Gordon Park

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Speaker 1: Works And no.

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Speaker 2: It wasn't that. When people ask that question a lot

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Speaker 2: and I just say, a film chose me. I grew

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Speaker 2: up in a very artistic background. My mother taught us

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Speaker 2: great high school in Brooklyn Heights called Saint Anne's. She

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Speaker 2: taught black literature. My father's a great jazz musician, composed

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Speaker 2: a Bill Lee, And I just grew up in a

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Speaker 2: very artistic household. My mother had the vision, not that

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Speaker 2: she was going to be artists, but she exposed us,

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Speaker 2: just not just me, but all my siblings to the arts.

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Speaker 2: So she was dragging me the Broadway plays museums while

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Speaker 2: you know, and I didn't want to go. We went

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Speaker 2: kicking and screaming. Every single time we came home. We

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Speaker 2: would we would think it because that.

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Speaker 1: Was that was fun.

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Speaker 2: Well, you're going to zoom going to plays like My

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Speaker 2: mother's one introduced me to Martin Squaresese. She took me

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Speaker 2: to see mean streets. My father hated movies. I mean,

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Speaker 2: but I love sports. So my love of sports comes

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Speaker 2: from my father. There right, My love of movies comes

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Speaker 2: to my mother. I was my mother's movie date.

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Speaker 1: I was gonna ask, how how is one film buff

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Speaker 1: before the age of the remote control the rewind button?

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Speaker 2: Netflix? Uh yeah, and just cable because they had you

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Speaker 2: know a wait, I forgot the word from, but you

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Speaker 2: had the theaters has showed old films.

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Speaker 1: So even back in the seventies they would still show

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Speaker 1: Oh yeah, yeah, I mean there was, but was it

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Speaker 1: film new are like now in the weekends, I know

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Speaker 1: eleven or twelve movie theaters in New York that will

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Speaker 1: show I mean.

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Speaker 2: It's not get hotter, so it's the Saint Mark. I'm

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Speaker 2: begetting the theaters. But they were certain theaters. That's all

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Speaker 2: they showed was old films. And that's the only where.

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Speaker 2: I mean, this is room before DHS. Okay, So I

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Speaker 2: mean unless you stayed up, you know, watch with the

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Speaker 2: commercials on Channel che eleven, you went to these retrospective theaters.

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Speaker 1: But was there film noir on the level, like, now,

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Speaker 1: you know, I'll buy all the Criterion collection right stuff

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Speaker 1: and watch the you know, like what was that for you?

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Speaker 1: Like what was the director's commentary for you? I mean

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Speaker 1: that really seduced you into.

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Speaker 2: But it wasn't like that. I mean I went to films,

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Speaker 2: but I was not a film buff. I didn't want

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Speaker 2: to be a filmmaker. I wanted to play second best

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Speaker 2: second base for New York Mets, but genetics conspired against

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Speaker 2: that second baseman I have for short stop, but I

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Speaker 2: only played softball. But but here, here's the story though,

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Speaker 2: and I said it many times and maybe audience hasn't

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Speaker 2: heard it. I went to Morehouse because I had to

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Speaker 2: go to Morehouse. My father and grandfather went to Morehouse,

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Speaker 2: and my mother and grandma went to Spellman across the street. Third,

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Speaker 2: I'm some educated Negroes. My father, my father was a

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Speaker 2: fresh and Morehouse. Doctor King was a senior Morehouse and

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Speaker 2: doctor King's son, Mark King, the thirty and I were classmates.

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Speaker 2: Were in the class seventy nine and Morehouse also with

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Speaker 2: Jay Johnson used to be head of home Security. Oh,

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Speaker 2: we were all the class saty nine and Morehouse. So

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Speaker 2: my first two years in Morehouse. I was a D

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Speaker 2: plus C minus student. It was because I wasn't smart.

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Speaker 2: I just was not motivated. And right before it's time

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Speaker 2: to go back to New York, back to Brooklyn. At

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Speaker 2: the end of my sophomare, my advisor told me that

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Speaker 2: I had to choose a major. I said why, and

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Speaker 2: she said, because you've exhausted all the electives. It's like,

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Speaker 2: this is now, this is this key, this is this

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Speaker 2: historical because it's twenty years now, It's like, this is

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Speaker 2: a very important summer twenty years ago, summer seventy seven.

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Speaker 2: So I came back to New York and New York

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Speaker 2: City was broke. You couldn't get a job usually, you know,

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Speaker 2: you get a job in the summer. Your newest New

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Speaker 2: York City was broke. And there's a famous daily news

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Speaker 2: front page it said Ford, this city drop dead, Ford

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Speaker 2: being president Ford. So I had nothing to do all summer,

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Speaker 2: and I didn't want to, you know, sit in and

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Speaker 2: stoop and play drata matic baseball, you know. And so

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Speaker 2: I have a very good friend. Her name is Vianna Johnson.

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Speaker 2: She was always smart. The top three, the top three

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Speaker 2: public high schools New York City are Stuyversont, Bronx Science,

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Speaker 2: Brooklyn Tech, and so you could take a test depend

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Speaker 2: on your grade. The tear is diversand's first Bronx Science,

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Speaker 2: then Brooklyn Tech. Brooklyn Tech is on the same block

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Speaker 2: where where of course street direct cross street from Spikes

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Speaker 2: joined on a block from my office now forty acres

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Speaker 2: on the mule. Anybody went over at this house. She's

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Speaker 2: always smart and went to Stuyvesant, went to Prince Undergrad

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Speaker 2: Harvard Med School. She always we always, she always knew

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Speaker 2: she's gonna be a doctor. So so one day, and

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Speaker 2: looking back on this, I understand it was not lucky.

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Speaker 2: It was the spirit. The spirit told me to go

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Speaker 2: see Vieta that day because I wasn't doing it. Damn

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Speaker 2: ship to do. So I go see vi Ata. She lived.

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Speaker 2: Her lived on ashing place where University Towers is, right

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Speaker 2: across the street from l I U where the field is.

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Speaker 2: And so we're sitting in the living room and it's

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Speaker 2: the box in the corner. I say, what is that box?

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Speaker 2: She said, that's super a camera. You can have it. WHOA.

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Speaker 2: And then I say, what's another box? She says, stupid,

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Speaker 2: that's the box. That's the that's the cartridge for the

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Speaker 2: Super Break film for the camera, she says, you know,

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Speaker 2: I don't need this shit. I'm gonna be I'm you know,

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Speaker 2: I'm I'm gonna be a doctor. Right. This is his sister.

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Speaker 2: She's a doctor in Chicago. Now, so now I had

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Speaker 2: something to do. So the entire summer nineteen seventy seven,

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Speaker 2: so I didn't have a job. I ran around New

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Speaker 2: York City with the Super eight camera. It was also

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Speaker 2: one of the hottest summers on record. That's why there

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Speaker 2: was a blackout when Conazen fucked up. Black folks Puerto

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Speaker 2: Ricans lost their mind, looting like mother. Right, I was

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Speaker 2: filming it Fifth Street, filmed it on, filmed it on

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Speaker 2: on on Fulton Street in Brooklyn. Also, seventy seven was

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Speaker 2: the first summer disco, so all the DJs were hooking up.

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Speaker 2: The wheels are still and to the turn to the

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Speaker 2: in the turrible speakers, the street lamps, so I was

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Speaker 2: still on the block parties. The dance was a hustle.

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Speaker 1: Also, the film from uh, the Off the Wall documentary, Yeah, yeah,

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Speaker 1: that's where footage comes from.

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Speaker 2: So then we had this maniac called psychoed David Burkowitz.

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Speaker 2: Here's the thing that people forget about that summer, Black

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Speaker 2: and Puerto Rican people were now scared of David burke

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Speaker 2: Witz because this is this is before Gentification, and the

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Speaker 2: motherfucker David burke was to come into Harlem, to come

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Speaker 2: to South Bronx, to come to bedside do or die,

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Speaker 2: he would have been killed, right And it's not I'm

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Speaker 2: not making fun of us because people lost loved ones.

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Speaker 2: But the fact remains Black people, Puerto Ricans not. We

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Speaker 2: weren't worried about son of Sam So had this footage.

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Speaker 2: Came back to school in the fall and declared my

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Speaker 2: major asked medications, but Morriston had that major. I took

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Speaker 2: the class from Majors across the street to Clark College Massifications, Film, TV, Radio,

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Speaker 2: print Journalism. I forget what the other thing is. And

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Speaker 2: there's a teacher there. He's still teaching that that. His

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Speaker 2: name is Professor Herb Eichelberger.

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Speaker 8: Yes, doctor, I went to Clark You went to Clark Radio,

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Speaker 8: TV film, Doctor Eichelberger.

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Speaker 2: Was give it a u c AU center. So he

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Speaker 2: doctor her Biker who's still teaching there. He's the one

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Speaker 2: that encouraged me to be a filmmaker. He's went. When

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Speaker 2: I talk about this footge I had. I took the

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Speaker 2: footage back to the Atlanta That's what Morris says, but

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Speaker 2: I didn't know what I was gonna do with it.

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Speaker 2: He encouraged me to make a documentary and that documentary

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Speaker 2: turned out to be Last Hustle on Brooklyn. And there

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Speaker 2: are many times so her doctor Eichelberger called doctor e.

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Speaker 2: He had the key to the film lab and two

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Speaker 2: or three times a week he would stay three four

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Speaker 2: hours so I could work on a film. He wasn't

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Speaker 2: getting paid overtime either. And it's been my maybe you

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Speaker 2: guys will experience in my experience. I've talked a lot

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Speaker 2: of people, and everybody talks about that one teacher they

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Speaker 2: had that saw something in you do youn't even see Wow.

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Speaker 2: And Herb Eichelberg was when he said, he said, you

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Speaker 2: know what. I started to think about the all this stuff.

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Speaker 2: Then it came back to me full circle. My mother

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Speaker 2: started was taking me to movies. I remember my mother

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Speaker 2: taking me East the Sun and see motherfucker Bye by Bertie, Wow,

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Speaker 2: and the openings. No people noticed the opening credit sequence

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Speaker 2: do the Right Thing Comes from Bye by Bertie and

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Speaker 2: Margaret That's where shit came from.

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Speaker 8: Rosie Perez comes from Anne Margaret. I mean because she

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Speaker 8: dances her asshole though Ann Margaret, she.

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Speaker 2: Does, That's where it came from. Wow. So all these

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Speaker 2: things that happened started to spring up again. But my

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Speaker 2: mother got blessed her soul. If you saw a crooking,

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Speaker 2: you know, you know. My mother died while I was

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Speaker 2: the sophomorehouse. All these things she planted, you know, bore

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Speaker 2: fruit many many years later. But I did not grow

364
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Speaker 2: up want to be a filmmaker. That just didn't happen. Yo.

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Speaker 8: Speaking of circles, I just want to mention real quick

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Speaker 8: in a strange circle. By the time I went to Clark,

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Speaker 8: I believe Bill Nunn was a teacher at Clark Atlanta.

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Speaker 7: I just wanted to that when he rest prest in peace.

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Speaker 2: Yeah. So Bill Nunn and Sam Jackson morehouse men. But

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Speaker 2: they had graduated before me. But they were still in

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Speaker 2: Atlanta doing local theater, and that's where I met them.

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Speaker 2: They were a couple of years ahead of me.

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Speaker 1: So can I ask you what is I mean now?

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Speaker 1: In my mind? Like Atlanta culture became cool mid to

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Speaker 1: late eighties, especially with music, migration and people coming down there.

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Speaker 1: But what was Atlanta like? Like, were you rolling your

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Speaker 1: eyes up in there? Like was anything cooler than New York?

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Speaker 2: Like, Nah, it was the coolest.

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Speaker 1: And when you went down.

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Speaker 2: And I can speak with authority if you went if

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Speaker 2: you were from New York and you went down South,

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Speaker 2: all these motherfuckers were bamas has bamas, and we were

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Speaker 2: very arrogant. I understand now they hated us that people.

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Speaker 1: From New York that conversation, seeing that the KFC in

385
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Speaker 1: school days was like a real that was typical of.

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Speaker 2: Well, that really was a New York thing. That's more

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Speaker 2: like college students, the local yokals versus that's real too.

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Speaker 2: Here's the thing though, because the aut centers it's called

389
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Speaker 2: and they called the buttom milk the buttermilk bottom, so

390
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Speaker 2: like even us seasonal hood yales and the but you

391
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Speaker 2: Southern cal is in the hood yales in the hood.

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Speaker 2: So you had these oasis in Colombia before they brought

393
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Speaker 2: up all motherfucking Harlem not so hot either. These real

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Speaker 2: estate motherfuckers they're trying, you know, they're trying to change

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Speaker 2: the name of Malcolm X Boulevard to read Avenue.

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Speaker 8: What Google happened to DC already our Malcolm X turned

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Speaker 8: to Meridian Hill.

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Speaker 2: They changed the name.

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Speaker 7: It's Meridian Hill Malcolm X Park. Nope, Meridian Hill.

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Speaker 1: Actually, are are the the I lived on Avenue Philis?

401
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Speaker 2: Really? Yeah?

402
00:24:26,800 --> 00:24:30,359
Speaker 1: Are our Malcolm X part just changed to we are

403
00:24:30,440 --> 00:24:37,919
Speaker 1: now called uh Walnut Oak Lane. I'm not even Westville now,

404
00:24:38,040 --> 00:24:40,440
Speaker 1: it's it's they changed the name Walnut Lane.

405
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Speaker 2: That she ain't happening. I'm sorry, Harlem. They want to

406
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Speaker 2: change it back to read Avenue. Fuck that.

407
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Speaker 7: It's like anything possible in gentrification land.

408
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Speaker 2: That's crazy. I'm sorry, but that that's crazy. But that's

409
00:24:54,480 --> 00:24:57,800
Speaker 2: that's that's really the origin how I became a filmmaker. Wow,

410
00:24:57,880 --> 00:25:00,520
Speaker 2: So the camera just basically just fell right in your lap.

411
00:25:00,920 --> 00:25:04,440
Speaker 1: But that was you still have that camera? Where's that camera?

412
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Speaker 2: I don't know. But here's the thing, though, I say,

413
00:25:13,400 --> 00:25:20,800
Speaker 2: don't have to pay for it. There's a new museum

414
00:25:20,880 --> 00:25:24,680
Speaker 2: in Philly. But here's the thing, not did you say it?

415
00:25:25,040 --> 00:25:29,320
Speaker 2: I don't think I think that was ordained, because I

416
00:25:29,400 --> 00:25:33,920
Speaker 2: don't think it was a mistake that that day I

417
00:25:34,119 --> 00:25:38,359
Speaker 2: just decided to go see Vienna, and that day the

418
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Speaker 2: super A camera was just sitting there in the corner, and.

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Speaker 1: That career and handed you your career, you know what.

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Speaker 1: Side note on a parallel tip now that I'm thinking

421
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Speaker 1: about it, Spike Lee is also responsible for the roots

422
00:25:55,520 --> 00:26:02,240
Speaker 1: because our story is very similar. Where after my audition

423
00:26:02,680 --> 00:26:06,560
Speaker 1: at the New School and at Juilliard and Tariq.

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Speaker 2: Came up with me to New York for the weekend.

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Speaker 1: On my train ride home back on on on SCEPTERA

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Speaker 1: from Jersey to back to Philly, a girl walked up

427
00:26:18,119 --> 00:26:22,960
Speaker 1: and thought that I was Chocolate the bucket drummer and

428
00:26:23,080 --> 00:26:28,159
Speaker 1: that Levi's commercials. She thought I was chocolate, But it's.

429
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Speaker 2: Only because button.

430
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Speaker 1: But it's only because I did Boys to Men's Motown

431
00:26:36,240 --> 00:26:38,800
Speaker 1: Philly video and our hair was sort of similar, so

432
00:26:38,960 --> 00:26:40,960
Speaker 1: may I knew she meant, are you the drummer in

433
00:26:41,040 --> 00:26:43,240
Speaker 1: Motown Philly video? But she's like, oh, you're in that

434
00:26:43,280 --> 00:26:45,160
Speaker 1: Spike Lee commercial, right, And so we were like laughing,

435
00:26:45,280 --> 00:26:49,040
Speaker 1: like yo, man, like because that's that summer, Like fame

436
00:26:49,200 --> 00:26:52,000
Speaker 1: just started a little taste of it, like people started recognizing,

437
00:26:52,520 --> 00:26:54,000
Speaker 1: you know. So me and Terka were like, oh, this

438
00:26:54,320 --> 00:26:56,520
Speaker 1: is kind of cool. But it was the next day

439
00:26:56,840 --> 00:26:59,280
Speaker 1: when we were watching Soul Train and the commercial came

440
00:26:59,359 --> 00:27:02,560
Speaker 1: on and it just hit us like eureka, Like we

441
00:27:02,640 --> 00:27:07,000
Speaker 1: look at each other like, yo, wait while we do that, Like,

442
00:27:07,119 --> 00:27:10,639
Speaker 1: let's do that in Philly, And instantly we got the

443
00:27:10,760 --> 00:27:13,080
Speaker 1: buckets and like the roots as you know, it was

444
00:27:13,200 --> 00:27:18,560
Speaker 1: born that way. But commercial, when you're Levi's commercial came on,

445
00:27:18,680 --> 00:27:20,399
Speaker 1: it's like, Yo, we need to do that. And then

446
00:27:20,480 --> 00:27:23,760
Speaker 1: we four hours later we're on South Street busking and

447
00:27:23,880 --> 00:27:26,960
Speaker 1: then now I'm sitting here with Spike Lee elegally.

448
00:27:28,359 --> 00:27:29,600
Speaker 2: Let me get this in is that you know a

449
00:27:29,640 --> 00:27:31,199
Speaker 2: lot of people, you know, they tell you whether they

450
00:27:31,359 --> 00:27:34,480
Speaker 2: like it film or not. But the biggest complidence ever

451
00:27:34,600 --> 00:27:38,920
Speaker 2: get it's when people of all generations say they went

452
00:27:39,000 --> 00:27:42,359
Speaker 2: to a black school or they went to college because

453
00:27:42,359 --> 00:27:48,560
Speaker 2: of school. I mean when people say that there's nothing better.

454
00:27:49,040 --> 00:27:53,960
Speaker 2: When they said because of that film, motherfucker, we even

455
00:27:53,960 --> 00:27:57,199
Speaker 2: thinking about going to school. Didn't even know those there

456
00:27:57,200 --> 00:28:01,000
Speaker 2: were things that black colleges and I'll be honest, I

457
00:28:01,840 --> 00:28:03,800
Speaker 2: didn't know the culture was that rich.

458
00:28:03,920 --> 00:28:06,399
Speaker 7: Like seeing that then I was like, oh, like it

459
00:28:06,520 --> 00:28:07,640
Speaker 7: kind of set off a different world.

460
00:28:07,680 --> 00:28:13,600
Speaker 2: Who knew? Yeah, yeah, that was simultaneous.

461
00:28:15,080 --> 00:28:16,840
Speaker 1: Wait, was it a mistake that half the people that

462
00:28:16,960 --> 00:28:18,960
Speaker 1: were in the same casting director.

463
00:28:20,240 --> 00:28:22,040
Speaker 7: That's right because it was a different world first. That's

464
00:28:22,040 --> 00:28:23,439
Speaker 7: how we knew it was wrong and.

465
00:28:25,880 --> 00:28:26,560
Speaker 2: Came out first.

466
00:28:27,080 --> 00:28:27,919
Speaker 7: That's what I meant.

467
00:28:29,960 --> 00:28:33,560
Speaker 2: I think it's the thing though, you know, and I can't.

468
00:28:33,640 --> 00:28:36,920
Speaker 2: I can't fault Bill Cosby. I should have been on it.

469
00:28:36,960 --> 00:28:40,040
Speaker 2: I should have. I just had a different ideal about

470
00:28:40,160 --> 00:28:44,240
Speaker 2: you know, stupid me, Miles TV. I'm not gonna do TV.

471
00:28:44,440 --> 00:28:46,440
Speaker 2: And he saw the idea and he swooped in on it.

472
00:28:47,120 --> 00:28:55,640
Speaker 1: Wow, before we started your film career, how did you?

473
00:28:55,800 --> 00:28:58,960
Speaker 1: How did you gather the moss that will be? You're

474
00:28:59,040 --> 00:29:01,240
Speaker 1: in a circle like, how did you meet Ernest Dickerson?

475
00:29:01,600 --> 00:29:02,360
Speaker 2: Oh? How did you?

476
00:29:02,560 --> 00:29:06,200
Speaker 1: Who was your starting five? Besides? Did you have the

477
00:29:06,240 --> 00:29:09,360
Speaker 1: same light people, the same centerment? Who's the starting lineup?

478
00:29:09,840 --> 00:29:14,280
Speaker 2: Well after Morehouse, I still knew I did not have

479
00:29:14,480 --> 00:29:19,160
Speaker 2: enough skills as to be a director. Filmmaking the grammar

480
00:29:19,640 --> 00:29:22,400
Speaker 2: the same way you put together a paragraph whatever granted

481
00:29:22,400 --> 00:29:25,080
Speaker 2: this thing called film grammar. So I applied, I did

482
00:29:25,160 --> 00:29:28,280
Speaker 2: my research, applied to the top three film schools in

483
00:29:28,400 --> 00:29:32,600
Speaker 2: United States of America AFI American Film Institute USC S

484
00:29:32,760 --> 00:29:35,840
Speaker 2: link all the Trojans in n YU. To get an

485
00:29:35,920 --> 00:29:38,400
Speaker 2: AFI USC, you had to get an astronomical score in

486
00:29:38,480 --> 00:29:41,240
Speaker 2: the g r E. I took the jury and I

487
00:29:41,280 --> 00:29:46,760
Speaker 2: did not get that astronomical score. There were more forward thinking,

488
00:29:46,840 --> 00:29:50,040
Speaker 2: progressive people thinking people in n YU the grad films

489
00:29:50,080 --> 00:29:53,320
Speaker 2: could think that what you know, they understood the Standarize

490
00:29:53,360 --> 00:29:54,920
Speaker 2: test and could be biased. He has to do being

491
00:29:54,960 --> 00:29:57,120
Speaker 2: a filmmaker, so I didn't have to take a test,

492
00:29:58,320 --> 00:30:01,320
Speaker 2: applied or do submit have a an undergrad degree. And

493
00:30:01,360 --> 00:30:05,640
Speaker 2: some of your great portfolio I got in. Also, Ernest

494
00:30:05,680 --> 00:30:08,640
Speaker 2: Dickerson got it. We were in the same class. We

495
00:30:08,840 --> 00:30:12,560
Speaker 2: both from black schools, earning with Ernest with the Howard

496
00:30:12,720 --> 00:30:17,280
Speaker 2: Wow oh wow, grew up in New Jersey, so right

497
00:30:17,320 --> 00:30:22,240
Speaker 2: away we hit it to Ernest. Ernest shot all my

498
00:30:23,560 --> 00:30:25,440
Speaker 2: in Why You In, Why You Grab? Film is three

499
00:30:25,520 --> 00:30:31,000
Speaker 2: years so he shot my second year film, my thesis film,

500
00:30:31,080 --> 00:30:33,760
Speaker 2: Joe's Best Sided Barbership, which won the Student Gammy Award.

501
00:30:34,400 --> 00:30:39,840
Speaker 2: And and and because that film this is key, Ernest

502
00:30:40,760 --> 00:30:44,840
Speaker 2: shot Joe's Best Barbershop. And that's that's that film. God

503
00:30:44,880 --> 00:30:51,600
Speaker 2: named John Sales film brother Another Planet. Oh so oh

504
00:30:52,840 --> 00:30:55,720
Speaker 2: so what it was great is because we always could

505
00:30:55,760 --> 00:30:58,080
Speaker 2: work together. But it's great that Ernest had already shot

506
00:30:58,120 --> 00:31:01,000
Speaker 2: a feature before he did, She's gotta have it, so

507
00:31:01,120 --> 00:31:04,240
Speaker 2: he has more experience and knowledge. Yeah, so Ernest the DP.

508
00:31:05,400 --> 00:31:08,800
Speaker 2: My editor is Barry Brown. Barry got my first job

509
00:31:08,880 --> 00:31:13,040
Speaker 2: he had. He was owner of an independent distribution company

510
00:31:13,040 --> 00:31:16,520
Speaker 2: called First Run Features. After graduate n y U, where

511
00:31:16,560 --> 00:31:18,560
Speaker 2: I was just cleaning films and stuff like that. He

512
00:31:19,000 --> 00:31:24,400
Speaker 2: cut it my father, Billy's composer Wynn Thomas from Philly.

513
00:31:25,080 --> 00:31:30,680
Speaker 2: Production designer Ruth Carter, the great Ruth Carter went went

514
00:31:31,040 --> 00:31:36,719
Speaker 2: went to Hampton. Ruth Carter, Robbie Reid, and Ray Dowell

515
00:31:37,880 --> 00:31:43,200
Speaker 2: all were classmates, the same class really in Hampton. Wow, man,

516
00:31:44,000 --> 00:31:44,800
Speaker 2: I did not know that.

517
00:31:45,680 --> 00:31:47,360
Speaker 7: Huh your network.

518
00:31:49,080 --> 00:31:49,440
Speaker 2: Network?

519
00:31:50,560 --> 00:31:52,160
Speaker 1: So that that was for many years.

520
00:31:52,320 --> 00:31:56,560
Speaker 2: That was the like, that was it. So Ernest shot

521
00:31:58,120 --> 00:32:01,360
Speaker 2: features for me. She could have its school days do

522
00:32:01,760 --> 00:32:05,280
Speaker 2: thing were better? Jungle Fever. Malcolm X was the last

523
00:32:05,680 --> 00:32:09,400
Speaker 2: film sched real quick, and Ernest came in to be

524
00:32:09,480 --> 00:32:10,000
Speaker 2: a director.

525
00:32:10,520 --> 00:32:11,800
Speaker 1: I was gonna say he came into.

526
00:32:12,040 --> 00:32:15,080
Speaker 2: He came to a director, but his cinematography was so

527
00:32:15,280 --> 00:32:21,520
Speaker 2: tight that eventually he will become a director by being

528
00:32:21,560 --> 00:32:25,880
Speaker 2: a DP. And so after Malcolm X, his first director

529
00:32:25,880 --> 00:32:29,200
Speaker 2: of film was Juice. So I was right. Now, Ernest

530
00:32:29,360 --> 00:32:33,360
Speaker 2: is the top one of the top episode of TV directors. Yes, wow,

531
00:32:33,480 --> 00:32:35,000
Speaker 2: you see everywhere everywhere.

532
00:32:35,240 --> 00:32:38,680
Speaker 1: Who decides the fifty one forty nine of it? Like

533
00:32:39,360 --> 00:32:42,959
Speaker 1: I would assume that, you know, the president's the director

534
00:32:42,960 --> 00:32:45,640
Speaker 1: and the vice president's the cinematographer, and you you got

535
00:32:45,760 --> 00:32:49,200
Speaker 1: to be married to each other. So I mean, how

536
00:32:49,240 --> 00:32:51,320
Speaker 1: come you guys didn't have a thing like Okay, we'll

537
00:32:51,360 --> 00:32:54,200
Speaker 1: do this project and then I'll do the cinematography and

538
00:32:54,280 --> 00:32:55,600
Speaker 1: you do directing or that's.

539
00:32:55,480 --> 00:32:59,600
Speaker 2: I was not a cinematographer. What's the difference between Yeah,

540
00:32:59,640 --> 00:33:08,680
Speaker 2: what is the different photograph the movie, the deep topha

541
00:33:08,720 --> 00:33:11,840
Speaker 2: the same thing? Okay, yeah, right, that helps, but but

542
00:33:12,120 --> 00:33:14,920
Speaker 2: but there's different just totally two different. Some they are

543
00:33:15,080 --> 00:33:19,360
Speaker 2: DP directors, but usually is two different skill sets. And

544
00:33:19,600 --> 00:33:23,760
Speaker 2: Ernest's visual sense was so far advanced the mind that,

545
00:33:24,600 --> 00:33:26,160
Speaker 2: you know, when there was a question, you know, I'd say,

546
00:33:26,200 --> 00:33:27,000
Speaker 2: so if you're.

547
00:33:26,880 --> 00:33:29,240
Speaker 1: Talking about Spike Lee shot, the idea of the Spike

548
00:33:29,320 --> 00:33:30,000
Speaker 1: Lee shot, you.

549
00:33:30,280 --> 00:33:31,440
Speaker 2: Double dollary shot.

550
00:33:31,520 --> 00:33:33,520
Speaker 1: Well, not even that I'm talking about first before the

551
00:33:33,600 --> 00:33:36,320
Speaker 1: dollary shot. I'm thinking of a lot of your frames

552
00:33:36,400 --> 00:33:37,400
Speaker 1: were diagonal.

553
00:33:37,680 --> 00:33:40,600
Speaker 2: That was only in in do direct thing.

554
00:33:42,040 --> 00:33:45,440
Speaker 1: You had some abstract looking stuff. It was those for

555
00:33:45,560 --> 00:33:48,480
Speaker 1: she's got to have it. There was some abstract looking

556
00:33:49,160 --> 00:33:52,520
Speaker 1: I never thought of looking at someone. I've definitely remember

557
00:33:52,520 --> 00:33:56,080
Speaker 1: the first time you the cameras on the floor, more

558
00:33:56,200 --> 00:33:59,840
Speaker 1: looking up, like making people taller. Just things I've never

559
00:33:59,840 --> 00:34:04,360
Speaker 1: seen before. Well like who decides whose idea is that?

560
00:34:05,240 --> 00:34:08,560
Speaker 2: It depends on you? I mean we usually back in

561
00:34:08,640 --> 00:34:11,120
Speaker 2: early it was Ernest ideal because his his visual sense

562
00:34:11,200 --> 00:34:15,440
Speaker 2: so much evanced in mind Ernest after graduated, Ernest was

563
00:34:15,480 --> 00:34:19,120
Speaker 2: an architecture major at Howard and then he didn't come

564
00:34:19,160 --> 00:34:21,920
Speaker 2: in while you right away he was a medical photographer

565
00:34:22,320 --> 00:34:26,080
Speaker 2: at the hospital. So I mean his visual sense was

566
00:34:26,440 --> 00:34:29,880
Speaker 2: was That's why everybody wanted Ernest to shoot their films.

567
00:34:30,000 --> 00:34:31,400
Speaker 2: And while you grad film So.

568
00:34:31,520 --> 00:34:33,120
Speaker 7: Was he the double Dolly or is that you.

569
00:34:35,280 --> 00:34:37,880
Speaker 2: We both There was a scene of More Better Blues

570
00:34:37,920 --> 00:34:40,640
Speaker 2: where we had First of all, we did not invent

571
00:34:40,760 --> 00:34:41,160
Speaker 2: that shot.

572
00:34:42,120 --> 00:34:44,719
Speaker 1: We just where did you first see it? Or we

573
00:34:44,840 --> 00:34:46,600
Speaker 1: were like, okay, we gotta do that, and we did it.

574
00:34:46,920 --> 00:34:49,719
Speaker 1: But it wasn't too later we discovered we saw this,

575
00:34:50,000 --> 00:34:53,560
Speaker 1: people were doing it. I mean it was first when

576
00:34:53,560 --> 00:34:55,800
Speaker 1: you were avoiding the thugs and more Better.

577
00:34:55,880 --> 00:35:00,560
Speaker 2: Yeah, that was see what was wrong about that. When

578
00:35:00,600 --> 00:35:02,839
Speaker 2: you when you're on a double dollar, you really shouldn't move,

579
00:35:04,040 --> 00:35:06,000
Speaker 2: but I was trying to. I didn't We didn't know that.

580
00:35:06,960 --> 00:35:11,919
Speaker 2: We didn't know that trying to move like a walk.

581
00:35:12,160 --> 00:35:14,799
Speaker 8: But I got a real dumb question, is there us?

582
00:35:15,440 --> 00:35:17,399
Speaker 8: I'm sorry, I got is there a single dollar shot?

583
00:35:17,480 --> 00:35:19,400
Speaker 8: Because you're saying are you saying it is? You're on

584
00:35:19,560 --> 00:35:21,440
Speaker 8: one and then the camera's on one or.

585
00:35:21,719 --> 00:35:27,440
Speaker 2: No, it's just as it's one dollar, but the actress

586
00:35:27,480 --> 00:35:30,040
Speaker 2: sitting on the dollar, so therefore we call the double dollars.

587
00:35:30,239 --> 00:35:33,959
Speaker 1: So you're sitting on the store, kay, apple box app Okay.

588
00:35:34,040 --> 00:35:36,640
Speaker 2: But here's the thing though, Ernest and I would do it,

589
00:35:36,920 --> 00:35:40,120
Speaker 2: but finally we had we had a conversation. We said,

590
00:35:40,160 --> 00:35:44,719
Speaker 2: you know what, we're out of film school, so we

591
00:35:44,840 --> 00:35:50,280
Speaker 2: gotta we got to use this. So this shot means something.

592
00:35:51,840 --> 00:35:56,640
Speaker 2: So example where it means something is when the best

593
00:35:56,719 --> 00:36:00,600
Speaker 2: used probably is the next Yeah, he's going to the

594
00:36:00,640 --> 00:36:03,600
Speaker 2: Botto ballroom. And the reason why I did that. Doing

595
00:36:03,680 --> 00:36:05,960
Speaker 2: research for the film, I became very I became very

596
00:36:06,040 --> 00:36:09,640
Speaker 2: close with doctor Basha Bass, Malcolm's willow, the late great

597
00:36:09,680 --> 00:36:14,040
Speaker 2: doctor Basha Bass, and she told me she felt that

598
00:36:15,320 --> 00:36:18,480
Speaker 2: Malcolm knew he was gonna be assassinated. We went to

599
00:36:18,760 --> 00:36:20,600
Speaker 2: a ball and that he wanted to be a martyr.

600
00:36:21,840 --> 00:36:26,279
Speaker 2: She when she told me that, I said, well, how

601
00:36:26,440 --> 00:36:29,400
Speaker 2: can you convey that? And then we said we'll do

602
00:36:29,560 --> 00:36:33,799
Speaker 2: that the double dollar shot. Another example be twenty fifth

603
00:36:33,840 --> 00:36:39,880
Speaker 2: hour after the late great philipema Hoffmann kisses Anna was

604
00:36:39,960 --> 00:36:45,160
Speaker 2: her last night and right there kisses kiss is a

605
00:36:45,200 --> 00:36:49,879
Speaker 2: student and it his bathroom, and then it's like, oh,

606
00:36:50,040 --> 00:36:51,680
Speaker 2: ship would I do? And that's when he's coming out

607
00:36:51,719 --> 00:36:52,520
Speaker 2: to the song Brad.

608
00:36:53,160 --> 00:36:55,080
Speaker 6: It's like, mad, I was going to ask about that

609
00:36:55,120 --> 00:36:56,759
Speaker 6: scene because that song is just too perfect for that.

610
00:36:56,880 --> 00:36:59,080
Speaker 6: That whole was too perfect.

611
00:37:00,040 --> 00:37:03,880
Speaker 2: So what's a about an example, Denzel again an inside

612
00:37:03,960 --> 00:37:08,799
Speaker 2: Man where we see what we think is an all

613
00:37:08,880 --> 00:37:11,560
Speaker 2: thing of one of the hostages by Clive Owens character,

614
00:37:12,160 --> 00:37:15,120
Speaker 2: but turns out it's fake, but them do's know it.

615
00:37:15,200 --> 00:37:17,600
Speaker 2: So we wanted so right then and there, and he

616
00:37:17,719 --> 00:37:20,600
Speaker 2: feels that he's responsible for this hospital shot in the

617
00:37:20,680 --> 00:37:23,719
Speaker 2: head because he had roughed up Clive Owen's characters. So

618
00:37:23,800 --> 00:37:25,520
Speaker 2: that's when we have him doing that too.

619
00:37:25,600 --> 00:37:26,640
Speaker 7: Can you use it a few times?

620
00:37:28,400 --> 00:37:31,040
Speaker 2: Yeah, where he would have a conversation down the street

621
00:37:31,640 --> 00:37:34,040
Speaker 2: me and me and me and Wesley. Yeah, that's when

622
00:37:34,120 --> 00:37:43,600
Speaker 2: I admit that I I spilled the beans. Right.

623
00:37:44,520 --> 00:37:49,440
Speaker 1: Oh yeah, to to right. I told my wife so

624
00:37:52,440 --> 00:37:54,040
Speaker 1: for she's got to have it?

625
00:37:55,400 --> 00:37:55,640
Speaker 2: Did you?

626
00:37:56,080 --> 00:37:59,959
Speaker 1: I mean, what's how did you learn how to write

627
00:38:00,040 --> 00:38:00,759
Speaker 1: a screenplay?

628
00:38:02,520 --> 00:38:10,520
Speaker 2: Well? By reading the screenplays? I mean, we had it

629
00:38:10,680 --> 00:38:12,520
Speaker 2: and want to use it. It's a great film schooling,

630
00:38:12,719 --> 00:38:16,480
Speaker 2: so that I had teachers who would we would show

631
00:38:16,560 --> 00:38:18,160
Speaker 2: the film. They will show you the film, they will

632
00:38:18,200 --> 00:38:21,960
Speaker 2: give you the screenplay. So it's a great learning experience

633
00:38:22,080 --> 00:38:24,520
Speaker 2: to read something and see how that's director will term

634
00:38:25,160 --> 00:38:34,279
Speaker 2: y'all translate. So that's that's how I shot. She's happen

635
00:38:34,400 --> 00:38:40,360
Speaker 2: twelve days really July first to the fourteenth, in the

636
00:38:40,440 --> 00:38:45,600
Speaker 2: summer nineteen eighty five, two six day weeks. Yeah.

637
00:38:46,880 --> 00:38:49,640
Speaker 1: Wow, Like I'm trying to do the math of the

638
00:38:49,719 --> 00:38:52,640
Speaker 1: visual semi. Sorry for making this a very little interview,

639
00:38:52,680 --> 00:38:55,759
Speaker 1: but in my head, I'm like, and you shot on time.

640
00:38:57,000 --> 00:38:58,279
Speaker 2: We had to. We didn't have any more money.

641
00:38:58,719 --> 00:39:00,600
Speaker 1: I was gonna say, did you, Holly, which shuffle it?

642
00:39:00,719 --> 00:39:00,960
Speaker 2: Did you?

643
00:39:01,160 --> 00:39:02,880
Speaker 1: Just here's my credit How do you have.

644
00:39:02,920 --> 00:39:03,560
Speaker 2: A credit card?

645
00:39:04,800 --> 00:39:05,560
Speaker 1: You have credit?

646
00:39:05,920 --> 00:39:11,799
Speaker 2: I have? We uh, we put that film. We really did.

647
00:39:12,440 --> 00:39:16,040
Speaker 2: We approached it the four stages. First stage was a

648
00:39:16,120 --> 00:39:19,839
Speaker 2: shoot it. Second, this is film now we shot at

649
00:39:19,880 --> 00:39:22,480
Speaker 2: Super sixteen. The second stage would get the film out

650
00:39:22,520 --> 00:39:26,680
Speaker 2: the lab. The third stage was crucial. Was me to

651
00:39:26,719 --> 00:39:30,040
Speaker 2: have enough money to eat? Why was it? Because I

652
00:39:30,280 --> 00:39:34,160
Speaker 2: edited the film and that was very crucial because I

653
00:39:34,239 --> 00:39:37,680
Speaker 2: was hanging out with the chef. You know what the

654
00:39:37,760 --> 00:39:58,040
Speaker 2: chef is, the chef chef board. You so don't front, Yes, we.

655
00:39:58,120 --> 00:40:04,440
Speaker 1: Have that was I'm pre pre rahmen, So wait, so

656
00:40:05,800 --> 00:40:09,799
Speaker 1: I recall one of my dad's business partners, like when

657
00:40:09,800 --> 00:40:12,239
Speaker 1: you first started coming on the scene, because there was

658
00:40:12,320 --> 00:40:15,120
Speaker 1: buzz at the same time, almost Simon Chanslee about you

659
00:40:16,000 --> 00:40:18,439
Speaker 1: and whoopees Rise in New York with her One Woman

660
00:40:18,520 --> 00:40:22,840
Speaker 1: and showing you doing film, and I remember when I

661
00:40:22,960 --> 00:40:24,839
Speaker 1: first ever heard of who you were. They were trying

662
00:40:24,880 --> 00:40:28,719
Speaker 1: to describe the fact. Did you have to hustle T

663
00:40:28,920 --> 00:40:30,400
Speaker 1: shirts or socks or something that?

664
00:40:30,760 --> 00:40:31,839
Speaker 2: Oh, I know you're talking about.

665
00:40:31,960 --> 00:40:33,880
Speaker 1: What was the story behind that?

666
00:40:34,880 --> 00:40:38,000
Speaker 2: Well, in the trailer for the film, it begins with

667
00:40:38,120 --> 00:40:42,600
Speaker 2: me saying tube sox, tube socks, three dollars. You can

668
00:40:42,680 --> 00:40:44,840
Speaker 2: google google it. When I'm selling? When am I selling

669
00:40:44,920 --> 00:40:45,480
Speaker 2: tube sox?

670
00:40:45,600 --> 00:40:52,080
Speaker 1: I'm a director, so maybe they Okay, I'm thinking maybe they.

671
00:40:52,320 --> 00:40:54,560
Speaker 1: It was like, yeah he funded it selling t shirts

672
00:40:54,560 --> 00:41:00,640
Speaker 1: and tubsocks. Okay, I see so before we get to

673
00:41:00,680 --> 00:41:03,080
Speaker 1: school days and well, yeah.

674
00:41:04,000 --> 00:41:07,719
Speaker 2: She's got to have it. How did you cast those people? Like?

675
00:41:08,000 --> 00:41:11,560
Speaker 2: What was that process? Like? We I put an ad

676
00:41:11,680 --> 00:41:15,160
Speaker 2: in backstage and people sending headshots and it was just

677
00:41:15,280 --> 00:41:18,920
Speaker 2: off the headshots that you you call them in And

678
00:41:19,200 --> 00:41:20,959
Speaker 2: the fine was Tracey Camilla.

679
00:41:20,680 --> 00:41:23,640
Speaker 7: Jones and that was her in New jack City or

680
00:41:23,640 --> 00:41:24,479
Speaker 7: is that an urban legend?

681
00:41:24,560 --> 00:41:32,000
Speaker 2: No, that was their projected projecting scarface on.

682
00:41:35,080 --> 00:41:38,759
Speaker 1: You w high price, and you brought her back in

683
00:41:38,880 --> 00:41:42,680
Speaker 1: when we jumping with you brought her back in read summer. Also,

684
00:41:42,880 --> 00:41:46,360
Speaker 1: she has a cameo in your Netflix version that she's.

685
00:41:46,200 --> 00:41:51,919
Speaker 2: Got No, yeah, it was on Instagram anyway. Yeah it's true.

686
00:41:52,440 --> 00:41:58,719
Speaker 1: Okay, great, wait lashes and what I call them flash

687
00:41:58,800 --> 00:42:03,759
Speaker 1: from five Parties. But Melvin I knew you were knew.

688
00:42:03,840 --> 00:42:09,040
Speaker 2: You want to say, Melvin John do you know this name?

689
00:42:09,840 --> 00:42:14,200
Speaker 2: I just I was about to say from Philly.

690
00:42:15,040 --> 00:42:17,800
Speaker 1: I've seen him once and I think he was doing

691
00:42:18,760 --> 00:42:26,839
Speaker 1: an adaptation of both characters like a one grand and yeah, yes,

692
00:42:29,600 --> 00:42:31,360
Speaker 1: what serious?

693
00:42:31,600 --> 00:42:35,200
Speaker 2: This was like fifteen years ago. He put both characters

694
00:42:35,200 --> 00:42:36,480
Speaker 2: together as a one man shows.

695
00:42:36,600 --> 00:42:44,360
Speaker 1: It's it's like a retrospective of my history in cinema flash.

696
00:42:44,520 --> 00:42:48,120
Speaker 1: It's slowly at the top in store in two weeks.

697
00:42:49,760 --> 00:42:52,480
Speaker 1: So yeah, that's when I realized, like, oh, you live

698
00:42:52,520 --> 00:42:55,520
Speaker 1: in Philly. Like it was like the summer of ninety

699
00:42:55,800 --> 00:42:58,800
Speaker 1: four or something like, right when the Roots Versus got started,

700
00:42:58,840 --> 00:43:01,040
Speaker 1: and he's like, yeah, I'm doing a one man show

701
00:43:01,080 --> 00:43:04,400
Speaker 1: about you know, my career and the experiences of you.

702
00:43:04,440 --> 00:43:07,880
Speaker 2: Know that that sort of thing. So was not a

703
00:43:07,960 --> 00:43:08,359
Speaker 2: long run.

704
00:43:08,520 --> 00:43:14,719
Speaker 1: End was closed, grand open and grand closing. All right,

705
00:43:15,239 --> 00:43:19,080
Speaker 1: school days, so many questions.

706
00:43:18,960 --> 00:43:21,239
Speaker 2: Can I get started on school days? First? Having the

707
00:43:21,280 --> 00:43:24,239
Speaker 2: first question of school days? Go ahead, pre date school

708
00:43:24,320 --> 00:43:25,560
Speaker 2: days by well o good.

709
00:43:26,320 --> 00:43:30,000
Speaker 1: So after she's got to have it, Mars, Oh, I

710
00:43:30,080 --> 00:43:32,160
Speaker 1: forgot the videos too, Yes, a couple.

711
00:43:32,320 --> 00:43:32,520
Speaker 2: Yeah.

712
00:43:33,800 --> 00:43:36,960
Speaker 6: When you were, I guess, finishing up, she's got to

713
00:43:37,000 --> 00:43:40,000
Speaker 6: have it. You were getting started on another movie called

714
00:43:40,040 --> 00:43:40,600
Speaker 6: The Messenger.

715
00:43:41,040 --> 00:43:44,840
Speaker 2: No, no, hold on, hold on that was legend. No,

716
00:43:45,600 --> 00:43:49,520
Speaker 2: I got it backwards backwards, Okay. After I finished in

717
00:43:49,760 --> 00:43:55,719
Speaker 2: Yu in the summer in May of eighty two, I

718
00:43:55,920 --> 00:43:59,920
Speaker 2: tried to do a feature film called Messenger we had.

719
00:44:00,160 --> 00:44:07,400
Speaker 2: It was starring Lawrence Fishburne, Jean Carsposito. I got involved

720
00:44:07,440 --> 00:44:10,840
Speaker 2: with the friend of the family who said he was

721
00:44:10,840 --> 00:44:16,520
Speaker 2: going to finance the film, and I got all my classmates,

722
00:44:17,320 --> 00:44:19,719
Speaker 2: We're gonna shoot this summer, this shoot this summer of

723
00:44:19,800 --> 00:44:25,200
Speaker 2: eighty four. And the money never came. So I had

724
00:44:25,239 --> 00:44:29,080
Speaker 2: to pull the plug. And my name was mud rightfully,

725
00:44:29,160 --> 00:44:32,279
Speaker 2: so so I had to lay low, and I just

726
00:44:32,600 --> 00:44:34,480
Speaker 2: said to myself, you know, I had three years of

727
00:44:36,600 --> 00:44:39,719
Speaker 2: of being a graduate film in YU, so I was

728
00:44:39,840 --> 00:44:41,520
Speaker 2: able to do a film with two or three people

729
00:44:41,600 --> 00:44:44,759
Speaker 2: speaking and that turning that she's gonna have. But it

730
00:44:44,840 --> 00:44:46,920
Speaker 2: was a complete disaster. Did you ever try to revisit

731
00:44:47,000 --> 00:44:51,040
Speaker 2: that project later on? Do you saw the screenplay? It's

732
00:44:51,160 --> 00:44:54,920
Speaker 2: not really for public consumption, And I just try to like,

733
00:44:55,120 --> 00:44:57,640
Speaker 2: it's an exercise.

734
00:44:57,719 --> 00:45:00,920
Speaker 1: It exercise, it got it, got it.

735
00:45:01,560 --> 00:45:03,719
Speaker 2: But but here's the thing, though, and here's a here's

736
00:45:03,760 --> 00:45:05,640
Speaker 2: a thing. I said this the other the other day

737
00:45:05,760 --> 00:45:08,680
Speaker 2: in London, I gave his speech there. There have been

738
00:45:08,800 --> 00:45:13,160
Speaker 2: so many times my life where I have one foot

739
00:45:13,239 --> 00:45:17,719
Speaker 2: on the ground and that one foot that spzic Air

740
00:45:17,880 --> 00:45:20,920
Speaker 2: Jordan is on the corner, is on the ground. But

741
00:45:21,000 --> 00:45:26,200
Speaker 2: the grounds on the cliff and that next the other

742
00:45:26,239 --> 00:45:31,040
Speaker 2: foot is about to take that step. And as I've

743
00:45:31,040 --> 00:45:33,759
Speaker 2: been I've been blessed because so many times, if I

744
00:45:33,840 --> 00:45:37,000
Speaker 2: was taken another step, it had been curtains. And if

745
00:45:37,000 --> 00:45:39,240
Speaker 2: I if I have gotten the money for mak that film,

746
00:45:40,600 --> 00:45:43,000
Speaker 2: I will not be here because I was not. I

747
00:45:43,080 --> 00:45:47,360
Speaker 2: had people jumping off cars, off roofs. I mean, just

748
00:45:48,040 --> 00:45:51,080
Speaker 2: crazy ship. There's no way I could have done it

749
00:45:51,239 --> 00:45:54,320
Speaker 2: not have been the end of me. Really, So it's blessing.

750
00:45:54,560 --> 00:45:56,479
Speaker 2: It's blessing a lot of times. Though we think about

751
00:45:56,520 --> 00:45:58,920
Speaker 2: this a lot of times. Some shit happens and ain't like,

752
00:45:59,000 --> 00:46:02,560
Speaker 2: oh shit, this is fucked up. But in retrospect you say,

753
00:46:02,600 --> 00:46:04,400
Speaker 2: you know what, I'm glad. I'm glad that.

754
00:46:09,600 --> 00:46:12,360
Speaker 1: This is how I think you can resurrect it. Similar

755
00:46:12,480 --> 00:46:16,800
Speaker 1: to uh, Mario doing uh badass.

756
00:46:17,880 --> 00:46:21,080
Speaker 2: Make a movie about this movie.

757
00:46:21,760 --> 00:46:24,680
Speaker 8: I think that's the movie, right, she gotta have It

758
00:46:24,800 --> 00:46:26,720
Speaker 8: was at the beginning of the Nike relationship.

759
00:46:26,760 --> 00:46:29,839
Speaker 2: Somebody wanted me to ask you that, yes and how

760
00:46:30,120 --> 00:46:34,280
Speaker 2: famous story. Two gentlemen who work for Widen and Kennedy,

761
00:46:34,480 --> 00:46:41,400
Speaker 2: still Nike's agency, Jim Davenport will Bill Widen, Uh. They

762
00:46:41,680 --> 00:46:45,400
Speaker 2: in Portland they saw the film, they got the ideal

763
00:46:45,520 --> 00:46:48,600
Speaker 2: the pair. Michael Jordan, my characters, Marsh called me up

764
00:46:48,640 --> 00:46:51,000
Speaker 2: and said, we want to do this. We're shooting thirty

765
00:46:51,080 --> 00:46:55,320
Speaker 2: five million black and white. You playing Mars, you could direct.

766
00:46:56,560 --> 00:47:02,560
Speaker 2: There's one thing, Michael Jordan doesn't know who the fuck

767
00:47:02,640 --> 00:47:06,319
Speaker 2: you are. I've never heard of a film. And he's

768
00:47:06,360 --> 00:47:08,560
Speaker 2: just on a big deal with with the Nike and

769
00:47:08,600 --> 00:47:14,040
Speaker 2: he said, so he has director's approval, and so Mike

770
00:47:14,080 --> 00:47:20,280
Speaker 2: could have gone with Bob Giraudy, those big time commercial directors,

771
00:47:20,360 --> 00:47:23,800
Speaker 2: Joe Picker. I mean, these guys are great. And it

772
00:47:23,960 --> 00:47:28,320
Speaker 2: wasn't until the All Star Game in Toronto, which is

773
00:47:28,360 --> 00:47:32,080
Speaker 2: two years ago. I finally got enough. Curse asked Mike.

774
00:47:33,960 --> 00:47:37,600
Speaker 2: I said, money, why did you choose me? Said?

775
00:47:37,600 --> 00:47:37,719
Speaker 1: You know?

776
00:47:37,800 --> 00:47:40,960
Speaker 2: He say, he said, because you're wearing the sneakers, right,

777
00:47:42,000 --> 00:47:47,239
Speaker 2: That's where it started. You had to meet him first,

778
00:47:47,280 --> 00:47:49,320
Speaker 2: and then, I mean, I mean, he made the decision,

779
00:47:49,320 --> 00:47:52,000
Speaker 2: he was going to do it before I met him.

780
00:47:52,800 --> 00:47:56,480
Speaker 2: But they yeah, but that's why he made that, That's

781
00:47:56,480 --> 00:47:58,160
Speaker 2: why he tided to go with me and not Joe Picker.

782
00:47:59,080 --> 00:47:59,880
Speaker 2: He was locking him.

783
00:48:00,040 --> 00:48:01,759
Speaker 7: You would be doing it if you wasn't meeting with them.

784
00:48:01,880 --> 00:48:05,759
Speaker 2: That's crazy. You know what, it probably was Mars the

785
00:48:05,800 --> 00:48:18,279
Speaker 2: take off its Jordans was making little to Nola. That's wait.

786
00:48:18,360 --> 00:48:20,200
Speaker 1: I was about to say, yeah, you were rocking the

787
00:48:20,320 --> 00:48:21,440
Speaker 1: Threes by then.

788
00:48:21,880 --> 00:48:26,920
Speaker 2: Yeah, damn no those Jordan ones. Yeah yeah, eighty six

789
00:48:27,600 --> 00:48:29,600
Speaker 2: the Threes do the right thing.

790
00:48:29,600 --> 00:48:31,440
Speaker 1: You're right, the Trees were bugging out. I was going

791
00:48:31,520 --> 00:48:36,520
Speaker 1: to say, how did you how did you arrange for

792
00:48:36,680 --> 00:48:39,960
Speaker 1: the Threes to make their debut in that film?

793
00:48:40,600 --> 00:48:44,600
Speaker 2: Like I bought them? Wait they were out by then

794
00:48:44,840 --> 00:48:46,920
Speaker 2: or just yeah they were off the sweet shot do

795
00:48:46,960 --> 00:48:51,640
Speaker 2: the right thing? Summer eighty eight. Oh okay, okay, that

796
00:48:51,760 --> 00:48:52,160
Speaker 2: makes sense.

797
00:48:52,480 --> 00:48:55,319
Speaker 7: Where you keep them slight? What all your shoes? All

798
00:48:55,360 --> 00:48:55,800
Speaker 7: the knights?

799
00:48:56,480 --> 00:49:05,760
Speaker 2: Jordan's in the vault with the Oscar signed Game War signed.

800
00:49:06,080 --> 00:49:10,440
Speaker 1: Wow, so you I know that you made By this

801
00:49:10,560 --> 00:49:13,080
Speaker 1: point after the movie, you also started making music videos.

802
00:49:14,920 --> 00:49:17,399
Speaker 1: You shot Why did you shoot a video to White

803
00:49:17,440 --> 00:49:19,800
Speaker 1: Lines when it wasn't a single?

804
00:49:22,000 --> 00:49:25,520
Speaker 2: Ernest and I were in film school, okay, and why

805
00:49:25,600 --> 00:49:28,279
Speaker 2: you videos coming out? So we wanted we did that.

806
00:49:28,400 --> 00:49:35,360
Speaker 2: White Lines video was on suspecause.

807
00:49:32,880 --> 00:49:34,800
Speaker 1: Sylvie Robinson commissioned you guys to do it.

808
00:49:35,080 --> 00:49:39,479
Speaker 2: We did unspec and God Rest her soul and Joel

809
00:49:40,160 --> 00:49:47,120
Speaker 2: Joel Robins, but they were crooks. We do this video

810
00:49:47,280 --> 00:49:51,680
Speaker 2: for white Lines staring Laurence Fishburne. Give it to them,

811
00:49:52,560 --> 00:49:54,799
Speaker 2: they say, we don't want it. And then ten years

812
00:49:54,880 --> 00:50:01,160
Speaker 2: later they put a compilation of videos and do you

813
00:50:01,280 --> 00:50:09,359
Speaker 2: even see the splice marks? It wasn't even finished. They

814
00:50:09,480 --> 00:50:12,600
Speaker 2: put it on their compilation for Sugar record videos.

815
00:50:12,880 --> 00:50:17,840
Speaker 1: Wow, once they realized who they had crooks? What was

816
00:50:17,880 --> 00:50:18,440
Speaker 1: it like shooting?

817
00:50:20,320 --> 00:50:24,239
Speaker 2: Oh here's the thing. What was the Myles status? Shoot

818
00:50:24,280 --> 00:50:28,640
Speaker 2: for it? I haven't seen that one. So here's the thing.

819
00:50:28,680 --> 00:50:33,040
Speaker 2: The Miles be run that joint. Miles knew my father,

820
00:50:34,600 --> 00:50:37,919
Speaker 2: so he'd have cursed me out. He gave me everybody else.

821
00:50:38,200 --> 00:50:41,960
Speaker 2: He called you the motherfucking a second. But we were

822
00:50:42,040 --> 00:50:45,040
Speaker 2: cool to Spike. I know your pops, you know your

823
00:50:45,120 --> 00:50:48,480
Speaker 2: father was cool, so I'll leave you alone. But it

824
00:50:48,600 --> 00:50:53,240
Speaker 2: was just great. You know, I've been very lucky. Miles

825
00:50:53,560 --> 00:50:59,080
Speaker 2: Prince Michael Phillis hymen from from school day school days.

826
00:50:59,239 --> 00:51:00,480
Speaker 7: Can we go back to Myles real quick?

827
00:51:00,560 --> 00:51:00,719
Speaker 2: Yes?

828
00:51:01,200 --> 00:51:06,680
Speaker 7: So when you saw Miles ahead? Okay, well okay, so

829
00:51:08,040 --> 00:51:09,480
Speaker 7: where you ever inspired to?

830
00:51:11,160 --> 00:51:11,759
Speaker 2: What's the question?

831
00:51:11,880 --> 00:51:14,319
Speaker 8: Can there ever be another Miles Davis movie after there

832
00:51:14,400 --> 00:51:16,120
Speaker 8: has been one and ship there.

833
00:51:18,320 --> 00:51:22,400
Speaker 2: Yeah. Here's the thing though, Look, I respect for Don Cheto,

834
00:51:24,000 --> 00:51:29,799
Speaker 2: and I just think that there's a thing called taking

835
00:51:29,880 --> 00:51:37,240
Speaker 2: liberties right but to event, I mean he he practiced

836
00:51:37,239 --> 00:51:40,960
Speaker 2: sid himself. He had the right write that story, get funded,

837
00:51:41,040 --> 00:51:43,640
Speaker 2: to get financed, and so the what's one man's name

838
00:51:44,200 --> 00:51:49,200
Speaker 2: the writer, what's the actor's name? That? And the whole

839
00:51:49,239 --> 00:51:53,040
Speaker 2: thing about his mask has been stolen that that never happened.

840
00:51:54,080 --> 00:51:56,000
Speaker 2: Mm hmm, it never happened.

841
00:51:57,560 --> 00:51:59,600
Speaker 1: I will say, though, he can.

842
00:51:59,640 --> 00:52:05,520
Speaker 2: I just say real quick, yes, That's why it pains

843
00:52:05,600 --> 00:52:09,720
Speaker 2: because I worked on Jackie Robinson three years. I worked

844
00:52:09,760 --> 00:52:14,920
Speaker 2: on James Brown for two years. I wanted to do Ali.

845
00:52:15,080 --> 00:52:19,040
Speaker 2: But you can't do nothing film about Jackie Robinson. You

846
00:52:19,200 --> 00:52:22,840
Speaker 2: can't do none the film about James Brown because the

847
00:52:22,960 --> 00:52:28,319
Speaker 2: rights are gone. That the States sold the rights. They

848
00:52:28,440 --> 00:52:30,120
Speaker 2: locked up, so you can't come behind them.

849
00:52:30,840 --> 00:52:34,640
Speaker 1: No double jeopardy like film double Jeopardy. I mean there's

850
00:52:34,760 --> 00:52:38,520
Speaker 1: multiple incredible hawks. There was the greatest and there's a lead.

851
00:52:39,040 --> 00:52:39,239
Speaker 2: See.

852
00:52:39,360 --> 00:52:41,480
Speaker 1: The thing is, though, I think you got very lucky.

853
00:52:41,680 --> 00:52:46,279
Speaker 1: You got extremely lucky with Malcolm X for startists. He

854
00:52:46,320 --> 00:52:49,640
Speaker 1: had a short life, so you know him him cutting

855
00:52:49,680 --> 00:52:52,640
Speaker 1: his life, his life being cut in his thirties gives

856
00:52:52,680 --> 00:52:55,600
Speaker 1: you just enough space to wiggle and really tell a

857
00:52:55,760 --> 00:52:58,560
Speaker 1: meaty story, a three hour story. But it's almost like

858
00:52:59,840 --> 00:53:02,839
Speaker 1: it in your vision of James Brown. Could you get

859
00:53:04,080 --> 00:53:08,319
Speaker 1: from Augusta, Georgia in nineteen twenty eight all the way?

860
00:53:08,640 --> 00:53:12,560
Speaker 1: Could you even get to nineteen seventy four without really

861
00:53:12,640 --> 00:53:16,839
Speaker 1: cutting corners? Because the thing is, okay, the Miles thing

862
00:53:17,120 --> 00:53:19,200
Speaker 1: with Don might have been a little spotty, but I

863
00:53:19,440 --> 00:53:23,320
Speaker 1: least like the fact that they just chose one story.

864
00:53:23,320 --> 00:53:28,200
Speaker 1: I'd rather see a well put together story in the

865
00:53:28,320 --> 00:53:28,919
Speaker 1: day of life.

866
00:53:28,960 --> 00:53:29,760
Speaker 2: Look, okay, you're.

867
00:53:29,600 --> 00:53:33,040
Speaker 1: Gonna tell a three month story about him recovering.

868
00:53:33,360 --> 00:53:35,840
Speaker 2: But but what you're talking about, though, quest, is that

869
00:53:36,040 --> 00:53:44,080
Speaker 2: that's the rector's vision, because, for example, the reason why

870
00:53:44,120 --> 00:53:48,040
Speaker 2: I didn't get Jackie Robinson made because I wanted to

871
00:53:48,120 --> 00:53:51,560
Speaker 2: tell this whole story and they just wanted the powers

872
00:53:51,560 --> 00:53:54,160
Speaker 2: to be the gate cues, just want to just want

873
00:53:54,200 --> 00:53:56,560
Speaker 2: to do it. On nineteen forty seven, they broke the

874
00:53:58,320 --> 00:54:01,120
Speaker 2: you know, the color line, And I just think that

875
00:54:02,640 --> 00:54:06,359
Speaker 2: to say that this one life, I mean, this one year,

876
00:54:07,640 --> 00:54:10,680
Speaker 2: how did he get there? You know? And do we

877
00:54:10,800 --> 00:54:13,400
Speaker 2: know we're going to show you that he testified against

878
00:54:13,560 --> 00:54:18,240
Speaker 2: Paul Robson. You know that that he was Republican. Damn

879
00:54:18,360 --> 00:54:20,799
Speaker 2: we missed. I mean you you leave all that stuff out.

880
00:54:22,760 --> 00:54:25,440
Speaker 2: But again it says it comes down to the director's vision.

881
00:54:26,040 --> 00:54:27,920
Speaker 7: You know, so who you gotta hurry up and swoop

882
00:54:27,960 --> 00:54:29,239
Speaker 7: down on before somebody else?

883
00:54:29,640 --> 00:54:32,239
Speaker 2: Right now?

884
00:54:33,040 --> 00:54:38,280
Speaker 8: Wells, I was writing for Wesley.

885
00:54:38,000 --> 00:54:41,360
Speaker 2: To kill it. Damn, I really wanted. I wanted Donzela.

886
00:54:41,920 --> 00:54:46,200
Speaker 2: It was an age where he could have played Jackie. Yeah.

887
00:54:46,680 --> 00:54:49,480
Speaker 2: Wow it also I like to say something again this

888
00:54:49,680 --> 00:54:56,840
Speaker 2: all respect, How can brother man go from Jackie Robinson

889
00:54:57,600 --> 00:55:01,960
Speaker 2: James Brown? I have ever seen a picture through from Marshall?

890
00:55:03,040 --> 00:55:10,520
Speaker 2: Was that was? That was hertful? Now now Jacklin Boseman

891
00:55:10,680 --> 00:55:14,960
Speaker 2: is playing third good Marshall? What Google? It's like.

892
00:55:16,480 --> 00:55:16,880
Speaker 1: Google.

893
00:55:17,000 --> 00:55:17,759
Speaker 7: I think it came out.

894
00:55:18,480 --> 00:55:19,000
Speaker 2: It's coming out.

895
00:55:20,520 --> 00:55:24,320
Speaker 7: We learned from Nina, right, don't you even.

896
00:55:26,239 --> 00:55:34,720
Speaker 2: So? My brother man think of this Jackie Robinson, James Brown,

897
00:55:35,280 --> 00:55:42,919
Speaker 2: not Thirgod Marshall. Mm hmmm, playing man Della nuts like five?

898
00:55:44,000 --> 00:55:46,600
Speaker 1: If anything, I would see what's your name from?

899
00:55:47,120 --> 00:55:54,280
Speaker 2: Uh? Empire? Philly? Uhm, no, no, what empire?

900
00:55:54,920 --> 00:55:55,479
Speaker 4: If you would?

901
00:55:55,920 --> 00:55:59,840
Speaker 1: Yeah, yeah, you know he's third good Marshall.

902
00:56:00,120 --> 00:56:03,719
Speaker 7: Guess he was a natural with the didn't.

903
00:56:03,480 --> 00:56:03,640
Speaker 2: Have a.

904
00:56:06,080 --> 00:56:09,759
Speaker 1: Hudson Yo, it was yeah, that was main della. It

905
00:56:09,880 --> 00:56:14,640
Speaker 1: was what Yeah, Terrence Howard and Jennifer Hudson they had

906
00:56:15,040 --> 00:56:19,680
Speaker 1: they were winning in Nelson, Maine. Five man man Wait

907
00:56:20,239 --> 00:56:22,120
Speaker 1: what we're gonna take care of a part?

908
00:56:22,200 --> 00:56:24,960
Speaker 2: Tad main question?

909
00:56:25,080 --> 00:56:27,920
Speaker 7: How can that be five mandellas, one Jackie?

910
00:56:28,520 --> 00:56:29,120
Speaker 2: This a joke?

911
00:56:29,360 --> 00:56:35,320
Speaker 1: Nonfer Hudson. Jennifer does she have an accent?

912
00:56:35,840 --> 00:56:37,800
Speaker 2: Yes, yeah, if you want to call it that.

913
00:56:38,080 --> 00:56:41,560
Speaker 1: And then and Terrence, how was Maine della? Maine della?

914
00:56:44,719 --> 00:56:49,799
Speaker 7: I'm sorry, I'm sorry, that's a real question.

915
00:56:49,840 --> 00:56:52,360
Speaker 8: How you have five man delas and one Jackie Robinson

916
00:56:52,480 --> 00:56:53,360
Speaker 8: or one James Brown?

917
00:56:53,680 --> 00:56:55,879
Speaker 7: A state wise fight? How does that work?

918
00:56:56,880 --> 00:56:59,160
Speaker 2: The state has the power, Like, here's the thing, though,

919
00:56:59,200 --> 00:57:03,719
Speaker 2: you cannot do a film a biopickbo Jimmy Hendrix and

920
00:57:04,000 --> 00:57:06,000
Speaker 2: and drugs being it. You're not You're not gonna get

921
00:57:06,000 --> 00:57:11,680
Speaker 2: the music. Yeah, you're not gonna The state will not

922
00:57:11,960 --> 00:57:17,880
Speaker 2: give you the rights to to Jimmy hendricks music if

923
00:57:17,960 --> 00:57:20,240
Speaker 2: you have drugs in the film, not gonna get it.

924
00:57:20,320 --> 00:57:22,080
Speaker 2: So they just don't want a movie done.

925
00:57:23,400 --> 00:57:25,920
Speaker 7: It was one done though it was the one with.

926
00:57:29,520 --> 00:57:30,600
Speaker 2: Had no music in it.

927
00:57:31,160 --> 00:57:39,120
Speaker 1: Yes, that's so with uh, let's go to school, say

928
00:57:40,000 --> 00:57:43,080
Speaker 1: with Prince recent death, is that something that you thought

929
00:57:43,080 --> 00:57:44,680
Speaker 1: about or.

930
00:57:46,200 --> 00:57:51,240
Speaker 2: Out there? Could even you don't holland for me about

931
00:57:51,240 --> 00:57:54,280
Speaker 2: the answer documentary?

932
00:57:55,040 --> 00:57:55,960
Speaker 1: Yes, I cannot.

933
00:57:56,080 --> 00:57:59,120
Speaker 2: I cannot do a feature film about Michael Jackson. Can

934
00:57:59,240 --> 00:58:03,800
Speaker 2: I cannot do a film about Prince especially, it's just

935
00:58:03,920 --> 00:58:06,640
Speaker 2: too First of all, it's it's too soon. And then

936
00:58:07,360 --> 00:58:10,000
Speaker 2: who are you going to cast?

937
00:58:10,560 --> 00:58:11,200
Speaker 1: Who do you think?

938
00:58:11,800 --> 00:58:14,360
Speaker 2: I think Andre Hollan would kill it? He was, he

939
00:58:14,560 --> 00:58:17,240
Speaker 2: was in. He was in that showed the nick he

940
00:58:17,400 --> 00:58:23,200
Speaker 2: was also the first movie was Miracle Saint Anna. That's right,

941
00:58:23,280 --> 00:58:27,080
Speaker 2: he was. You know he's serious. Andrea, I think Andrea bid.

942
00:58:26,880 --> 00:58:28,640
Speaker 7: It is awesome. And he got some tools.

943
00:58:28,800 --> 00:58:36,720
Speaker 2: Oh hell yeah, we'll talk about complexion. Right. I'm sorry,

944
00:58:39,480 --> 00:58:41,560
Speaker 2: out the old school. I think that we just can't

945
00:58:41,600 --> 00:58:43,880
Speaker 2: discount our pigmentation.

946
00:58:44,240 --> 00:58:46,680
Speaker 7: Wait a minute, Michael Max now.

947
00:58:48,360 --> 00:58:53,400
Speaker 1: Close, they were close? All right, I'm putting this out

948
00:58:53,400 --> 00:58:58,280
Speaker 1: there spite. Yes, I'm putting this out there. I believe

949
00:58:58,320 --> 00:58:59,800
Speaker 1: in my heart and hearts. And I told this to

950
00:59:00,240 --> 00:59:03,120
Speaker 1: first time I told this to her, she laughed. Second time,

951
00:59:03,160 --> 00:59:06,520
Speaker 1: I told her. She's like, Okay, Now I think she

952
00:59:06,640 --> 00:59:10,880
Speaker 1: hears me. I believe there's an Oscar waiting for you

953
00:59:11,920 --> 00:59:17,880
Speaker 1: and for Leslie Jones. If you guys, do Anina Simone proper.

954
00:59:18,240 --> 00:59:20,720
Speaker 1: I believe she is Nina Simone.

955
00:59:20,720 --> 00:59:23,360
Speaker 2: You know what I see it. I told her I

956
00:59:23,440 --> 00:59:25,040
Speaker 2: think she I think she could pull off that.

957
00:59:25,440 --> 00:59:30,000
Speaker 7: Nina Simone talk about putting on a spot. That's okay,

958
00:59:30,200 --> 00:59:31,240
Speaker 7: but I think she could do it.

959
00:59:31,360 --> 00:59:31,600
Speaker 2: That's it.

960
00:59:31,760 --> 00:59:33,160
Speaker 1: You don't have to you don't have to say nothing.

961
00:59:33,160 --> 00:59:35,720
Speaker 1: I'm putting it out there, Spike. I believe that Leslie

962
00:59:35,800 --> 00:59:39,080
Speaker 1: Jones in the position she is in Hollywood right now.

963
00:59:41,040 --> 00:59:44,080
Speaker 1: If the right screen, prey and the right film you

964
00:59:44,520 --> 00:59:47,480
Speaker 1: behind it. I believe you two can write each other

965
00:59:47,600 --> 00:59:50,840
Speaker 1: the Oscar Tower. I think you two can ride each

966
00:59:50,840 --> 00:59:54,520
Speaker 1: other the Oscar Glory and get the proper Nina Simone's story.

967
00:59:54,680 --> 00:59:55,920
Speaker 7: Will the estate allow it?

968
00:59:56,400 --> 00:59:56,480
Speaker 2: Now?

969
00:59:56,520 --> 00:59:57,640
Speaker 7: I'm stuckling as a state.

970
00:59:57,480 --> 01:00:01,439
Speaker 1: Ship, daughters, But her art doesn't run a state.

971
01:00:01,840 --> 01:00:05,320
Speaker 7: Just made Spike to a movie. He even thinking, but the.

972
01:00:05,400 --> 01:00:07,960
Speaker 2: State they'll come on out. They didn't like what's her name? Well?

973
01:00:08,000 --> 01:00:08,440
Speaker 7: Who did?

974
01:00:08,680 --> 01:00:08,880
Speaker 2: Yeah?

975
01:00:09,800 --> 01:00:16,200
Speaker 1: Her dard is not connected like the Caretaker had. You know, Okay,

976
01:00:16,320 --> 01:00:18,520
Speaker 1: that was his story. He told his story that happened

977
01:00:18,520 --> 01:00:19,200
Speaker 1: to Nina the.

978
01:00:19,200 --> 01:00:22,440
Speaker 7: Moment espetually after the documentary, it's like, come on, bitch.

979
01:00:22,680 --> 01:00:23,080
Speaker 2: I'm sorry.

980
01:00:23,200 --> 01:00:26,440
Speaker 6: Yeah, back back to Prince really quick. Has the estate

981
01:00:26,520 --> 01:00:28,000
Speaker 6: been in contact with you? I guess they're looking for

982
01:00:28,120 --> 01:00:32,320
Speaker 6: somebody to do the documentary. They have the Footageinete the

983
01:00:32,360 --> 01:00:35,000
Speaker 6: eighty three First Avenue concert where they filmed or where

984
01:00:35,000 --> 01:00:38,160
Speaker 6: they recorded in Purple Rain. Already told them Okay, well

985
01:00:38,240 --> 01:00:40,920
Speaker 6: the audience hasn't heard this story, so no, no, I'm

986
01:00:40,960 --> 01:00:42,840
Speaker 6: just talking to you as a friend, like I begged

987
01:00:42,840 --> 01:00:43,880
Speaker 6: them to go to Spike.

988
01:00:43,960 --> 01:00:46,400
Speaker 2: Yeah, so the not heard from the state.

989
01:00:46,520 --> 01:00:48,840
Speaker 6: Yeah, they're looking for somebody to do a documentary around

990
01:00:48,880 --> 01:00:50,680
Speaker 6: this footage that they have of this concert where they

991
01:00:51,120 --> 01:00:53,200
Speaker 6: have of Purple Rain was recorded. So I think that

992
01:00:53,200 --> 01:00:55,720
Speaker 6: would be perfect for you after the Michael Jackson docs.

993
01:00:55,840 --> 01:00:58,360
Speaker 6: So yes, I would love to see it through your eyes.

994
01:00:58,400 --> 01:00:59,760
Speaker 6: So just putting that out there too.

995
01:00:59,760 --> 01:01:01,760
Speaker 2: And I want to thank you for being very helpful

996
01:01:02,160 --> 01:01:05,800
Speaker 2: with the with Off the Wall and Bad twenty five talk.

997
01:01:05,920 --> 01:01:08,000
Speaker 1: Man, you're one of my favorite storyteller us.

998
01:01:08,040 --> 01:01:10,520
Speaker 2: That's that, but you got you got stories too, man.

999
01:01:12,280 --> 01:01:15,120
Speaker 5: Stuff Spike I have some old footage form my bar

1000
01:01:15,680 --> 01:01:20,160
Speaker 5: I did edit possible. You got some kind of something

1001
01:01:20,320 --> 01:01:22,160
Speaker 5: my family, give it the spill Bird.

1002
01:01:26,080 --> 01:01:29,120
Speaker 2: We got another music video to talk about what neither Baker.

1003
01:01:29,360 --> 01:01:31,640
Speaker 1: Which one we get into it?

1004
01:01:33,200 --> 01:01:35,600
Speaker 2: No one in the world.

1005
01:01:37,000 --> 01:01:38,360
Speaker 1: Because you're selling sons.

1006
01:01:38,480 --> 01:01:41,120
Speaker 2: Also in at the end of that video as well. Yeah,

1007
01:01:41,360 --> 01:01:45,640
Speaker 2: we shot that the world famous Apollo, which soon being

1008
01:01:45,800 --> 01:01:46,800
Speaker 2: called the Beginner.

1009
01:01:47,000 --> 01:01:48,480
Speaker 1: I really, now wait what.

1010
01:01:52,880 --> 01:01:53,600
Speaker 2: In the episode?

1011
01:01:53,760 --> 01:02:02,280
Speaker 1: Yeah, so bike, Yes off school days?

1012
01:02:02,560 --> 01:02:06,919
Speaker 2: Yes days was my four years at Morehouse jam packed

1013
01:02:06,960 --> 01:02:08,720
Speaker 2: into a homecoming weekend. Yes it was.

1014
01:02:09,600 --> 01:02:14,000
Speaker 1: Now okay, I've probably watched all of your directed commentaries

1015
01:02:14,000 --> 01:02:15,080
Speaker 1: at least ten times each.

1016
01:02:15,640 --> 01:02:16,200
Speaker 2: Why and.

1017
01:02:19,360 --> 01:02:25,760
Speaker 1: Because no Spanish list, especially well even even the Criterion

1018
01:02:25,840 --> 01:02:28,280
Speaker 1: do the right thing, like there's so to me that's

1019
01:02:28,320 --> 01:02:29,080
Speaker 1: better than college.

1020
01:02:29,360 --> 01:02:32,000
Speaker 2: And you know how you can learn. I I listened

1021
01:02:32,000 --> 01:02:35,240
Speaker 2: to director's comments. I mean you learn just yes for

1022
01:02:35,400 --> 01:02:38,160
Speaker 2: me real quick. One of the most important things I

1023
01:02:38,320 --> 01:02:44,120
Speaker 2: ever learned. Curis Sauer, the great Japanese filming Cursaw, was

1024
01:02:44,240 --> 01:02:48,240
Speaker 2: in New York promoting ron and as journalists, I think

1025
01:02:48,280 --> 01:02:50,200
Speaker 2: it was a New York Times journalists asked him, mister,

1026
01:02:50,440 --> 01:02:53,320
Speaker 2: mister kurs Sauer, you're consider one of the greatest filmmakers ever,

1027
01:02:53,440 --> 01:02:57,520
Speaker 2: A master cinema at your age, like eighty five eighty six,

1028
01:02:57,800 --> 01:02:59,800
Speaker 2: don't quote me. He said, what else can you learn

1029
01:03:00,080 --> 01:03:03,640
Speaker 2: cinema and curs I was said, there's still a universe

1030
01:03:04,600 --> 01:03:06,560
Speaker 2: of center for me to learn. When I read that

1031
01:03:06,680 --> 01:03:13,000
Speaker 2: ship that said the minute you should not stop learning

1032
01:03:13,080 --> 01:03:17,720
Speaker 2: to get dead. That's why I learned. And also Rachimone

1033
01:03:18,640 --> 01:03:21,440
Speaker 2: is really the foundation where She's gonna have It came

1034
01:03:21,480 --> 01:03:27,320
Speaker 2: from his film. This film in that film Waschimone. There's

1035
01:03:27,400 --> 01:03:30,880
Speaker 2: a rape and or murder and several people witness it,

1036
01:03:31,920 --> 01:03:33,880
Speaker 2: tell their story and lift up to the audience to

1037
01:03:33,920 --> 01:03:36,920
Speaker 2: decide who's telling the trupers. Well, she's gonna have You

1038
01:03:37,080 --> 01:03:40,400
Speaker 2: have these three men who are who sleep will know,

1039
01:03:40,560 --> 01:03:42,520
Speaker 2: and they're telling the audience, you know, what they think

1040
01:03:42,560 --> 01:03:43,920
Speaker 2: about her. So that's where that came from.

1041
01:03:44,080 --> 01:03:47,080
Speaker 1: Are your n y U classes similar to this, where

1042
01:03:47,160 --> 01:03:49,960
Speaker 1: you break down your filmography and you tell that the

1043
01:03:50,760 --> 01:03:53,440
Speaker 1: the mostly mostly other films.

1044
01:03:53,480 --> 01:03:55,680
Speaker 2: So I don't want to be just teaking about myself though.

1045
01:03:56,080 --> 01:04:01,840
Speaker 1: Okay, okay, now, okay, I gotta get schooldays, casting school days.

1046
01:04:03,560 --> 01:04:06,960
Speaker 1: I just gotta jump to the scene. Now when you

1047
01:04:07,240 --> 01:04:11,400
Speaker 1: were given the director's commentary on the infamous Uh I

1048
01:04:11,480 --> 01:04:16,000
Speaker 1: want to be versus the Gigaboo. Well, the fight the

1049
01:04:16,080 --> 01:04:20,240
Speaker 1: Greek Show show. I mean I was watching it frame

1050
01:04:20,360 --> 01:04:26,120
Speaker 1: by frame, And why did you get the cameras running?

1051
01:04:26,400 --> 01:04:27,360
Speaker 2: Because she was good?

1052
01:04:28,560 --> 01:04:32,920
Speaker 1: Tell everybody what happened, okay, So basically the legend of

1053
01:04:32,960 --> 01:04:35,640
Speaker 1: the story. Let's tell okay, So why did you decide

1054
01:04:35,680 --> 01:04:38,400
Speaker 1: to separate them? But it really finances? Or did you

1055
01:04:38,480 --> 01:04:43,600
Speaker 1: have a mastermind that okay, this mastermind, I'm sorry to

1056
01:04:44,080 --> 01:04:44,760
Speaker 1: School Days.

1057
01:04:45,440 --> 01:04:49,680
Speaker 2: School Days was the first film. A lot of people, right,

1058
01:04:49,920 --> 01:04:53,880
Speaker 2: and we can be shooting on location, and I really

1059
01:04:54,000 --> 01:04:57,120
Speaker 2: want to keep the friction between the two groups. Don't

1060
01:04:57,120 --> 01:05:00,600
Speaker 2: wanna Bees and Jigaboos because they're young, they're first film.

1061
01:05:01,480 --> 01:05:05,400
Speaker 2: I didn't want to become too chummy, so I made

1062
01:05:05,480 --> 01:05:13,000
Speaker 2: sure that the Wannabes got a better hotel and the

1063
01:05:13,080 --> 01:05:16,640
Speaker 2: Jiggiboos got the less hotel. So, right then and there,

1064
01:05:18,200 --> 01:05:23,600
Speaker 2: that's where friction friction. They know, they didn't know that

1065
01:05:25,280 --> 01:05:29,560
Speaker 2: they found out the thing. So so the culmination of

1066
01:05:29,640 --> 01:05:33,400
Speaker 2: that friction happened during the Greek Show, the Step Show,

1067
01:05:34,040 --> 01:05:37,800
Speaker 2: as the fellows are coming on stage. Brandmret the Great

1068
01:05:37,880 --> 01:05:44,080
Speaker 2: gray BRANDFM ourselves grabs T shirt Camel's head and pushes

1069
01:05:44,280 --> 01:05:45,280
Speaker 2: to her crotch.

1070
01:05:45,840 --> 01:05:47,600
Speaker 7: Wow, that's what that's what she did in the scene

1071
01:05:47,640 --> 01:05:47,920
Speaker 7: when she.

1072
01:05:48,920 --> 01:05:54,360
Speaker 2: So when the gamma saw that, then it was on.

1073
01:05:55,680 --> 01:05:59,160
Speaker 2: So it was not supposed to be a fight. I said, Ernest,

1074
01:05:59,240 --> 01:05:59,960
Speaker 2: do not turn on that.

1075
01:06:03,120 --> 01:06:08,600
Speaker 1: Point keep rolling at point? Do you know how long

1076
01:06:08,680 --> 01:06:13,120
Speaker 1: did that fight? That real lass fight last until until

1077
01:06:13,120 --> 01:06:18,960
Speaker 1: we ran out of sere? You didn't stop it? You

1078
01:06:19,720 --> 01:06:22,040
Speaker 1: you were scared that they were like, I'm going fucking home.

1079
01:06:22,640 --> 01:06:25,880
Speaker 1: Did you save it for last or we we.

1080
01:06:25,960 --> 01:06:27,640
Speaker 2: Did not call the we did not cut off the

1081
01:06:27,720 --> 01:06:30,040
Speaker 2: camera to the film ran out of the magazine. Wow,

1082
01:06:30,520 --> 01:06:31,320
Speaker 2: so there was more.

1083
01:06:31,520 --> 01:06:33,320
Speaker 1: Where in the shooting schedule was that scene like in

1084
01:06:33,360 --> 01:06:33,960
Speaker 1: the middle.

1085
01:06:33,720 --> 01:06:39,880
Speaker 2: Of the order? Was there was definite bad blood between

1086
01:06:39,960 --> 01:06:41,000
Speaker 2: the two groups? Sad?

1087
01:06:41,080 --> 01:06:43,400
Speaker 1: What point did you reveal like, ha ha, okay, this

1088
01:06:43,520 --> 01:06:49,240
Speaker 1: is what I really did. Guys, Wow, the steel before

1089
01:06:49,280 --> 01:06:52,280
Speaker 1: they I mean they got regular. But I didn't make

1090
01:06:52,320 --> 01:06:55,200
Speaker 1: a confession though. Did they buy it once they found

1091
01:06:55,240 --> 01:06:57,440
Speaker 1: out or they just felt like, oh, you're being a

1092
01:06:57,520 --> 01:07:01,920
Speaker 1: cheap motherfucker and you like jasmine guy, and no they just.

1093
01:07:02,680 --> 01:07:06,360
Speaker 2: It really, I mean your dark skin, I mean you

1094
01:07:06,560 --> 01:07:08,520
Speaker 2: grow I mean you grew up with ship before you

1095
01:07:08,880 --> 01:07:11,800
Speaker 2: got before you got cast in the film anyway, you know,

1096
01:07:11,960 --> 01:07:14,800
Speaker 2: so we just want to play in this whole coloration thing.

1097
01:07:15,040 --> 01:07:17,680
Speaker 7: Did you write the chance your eyes are blue? But

1098
01:07:17,800 --> 01:07:19,560
Speaker 7: you a why they did straight?

1099
01:07:19,600 --> 01:07:25,320
Speaker 2: Because I think that was teasing Jasmine that that did

1100
01:07:25,400 --> 01:07:30,120
Speaker 2: that and the gamble you right there, that was I

1101
01:07:30,240 --> 01:07:33,800
Speaker 2: was a fellas. Wow, that was rand from ourselves. I

1102
01:07:33,880 --> 01:07:35,280
Speaker 2: think Wow, say went to the.

1103
01:07:35,280 --> 01:07:37,640
Speaker 7: Side and was like, Yo, this is what we're gonna do. Cama.

1104
01:07:38,520 --> 01:07:41,200
Speaker 2: They worked all their steps, They did that stuff themselves.

1105
01:07:41,800 --> 01:07:42,720
Speaker 7: Can you some of them words?

1106
01:07:43,800 --> 01:07:46,400
Speaker 1: Did you come under budget or over budget?

1107
01:07:46,640 --> 01:07:48,000
Speaker 2: I mean we're under budget on that one.

1108
01:07:48,040 --> 01:07:49,120
Speaker 1: Were dealing with Colombia.

1109
01:07:49,480 --> 01:07:50,480
Speaker 2: It was Columbia Pictures.

1110
01:07:50,520 --> 01:07:54,840
Speaker 1: Yes, so dealing with a real uh what do you

1111
01:07:54,920 --> 01:07:56,480
Speaker 1: call the studio? A real studio?

1112
01:07:57,920 --> 01:07:58,480
Speaker 2: What was there?

1113
01:07:58,520 --> 01:08:01,040
Speaker 1: Because I definitely remember like all Ebony and Jet there

1114
01:08:01,120 --> 01:08:08,920
Speaker 1: was like, you know, the campus, we disavow ourselves, disassociated.

1115
01:08:08,920 --> 01:08:12,200
Speaker 2: I went to Morehouse and after two weeks I'm a

1116
01:08:12,240 --> 01:08:14,760
Speaker 2: third duration Morehouse man. At the two weeks we got

1117
01:08:14,840 --> 01:08:15,600
Speaker 2: kicked off campus.

1118
01:08:15,880 --> 01:08:16,960
Speaker 7: But Clark gave you love.

1119
01:08:17,320 --> 01:08:19,920
Speaker 2: Clark gave us love, and Morris Brown Spell would never

1120
01:08:20,000 --> 01:08:21,400
Speaker 2: let us come on camp, of course not.

1121
01:08:21,920 --> 01:08:23,640
Speaker 7: I'm surprised you're not as you're not.

1122
01:08:25,320 --> 01:08:29,400
Speaker 2: And Morris Brown, which is which closed We shot there too.

1123
01:08:29,880 --> 01:08:33,200
Speaker 2: But here's there's The president of Morehouse's name was Howard

1124
01:08:33,240 --> 01:08:38,439
Speaker 2: Gloucester and at the I met with him at the

1125
01:08:38,520 --> 01:08:41,320
Speaker 2: kicked off campus and he was mad at me and

1126
01:08:41,400 --> 01:08:44,759
Speaker 2: he said, why'd you cast that man as a president

1127
01:08:44,840 --> 01:08:49,960
Speaker 2: mission college? Joe Seneca And he said, because it looks

1128
01:08:50,000 --> 01:08:50,639
Speaker 2: like a sambo.

1129
01:08:51,160 --> 01:08:57,080
Speaker 7: Wow wow, And that's when he got the situation. They

1130
01:08:57,160 --> 01:08:57,639
Speaker 7: got him.

1131
01:08:59,040 --> 01:09:03,880
Speaker 2: So everything that we were depicted in the film while

1132
01:09:03,920 --> 01:09:07,960
Speaker 2: we were making it, that's crazy. He called Joe a sample.

1133
01:09:09,160 --> 01:09:09,960
Speaker 7: That was a great actor.

1134
01:09:10,600 --> 01:09:11,400
Speaker 2: You're laughing too hard.

1135
01:09:11,520 --> 01:09:21,240
Speaker 9: I don't know what African American history and culture trip

1136
01:09:22,040 --> 01:09:22,920
Speaker 9: you word that ends.

1137
01:09:24,400 --> 01:09:25,040
Speaker 2: But you can't.

1138
01:09:28,320 --> 01:09:29,360
Speaker 7: You can't always laugh at that word.

1139
01:09:29,400 --> 01:09:34,320
Speaker 1: Depending on who you will whatever, I want, keep it.

1140
01:09:36,600 --> 01:09:37,920
Speaker 2: How did they get help you?

1141
01:09:40,240 --> 01:09:46,000
Speaker 1: There's a really good story online about uh Marcus talking

1142
01:09:46,000 --> 01:09:48,160
Speaker 1: about the struggle that it was to make the butt.

1143
01:09:48,880 --> 01:09:54,240
Speaker 1: Oh yeah, of which I guess well, because the thing

1144
01:09:54,479 --> 01:09:58,680
Speaker 1: was it was like the oral history of of of

1145
01:09:59,000 --> 01:10:02,080
Speaker 1: of the butt, a good article, and I guess the

1146
01:10:02,160 --> 01:10:05,400
Speaker 1: EU guys were sort of like, well, you know, we're

1147
01:10:05,439 --> 01:10:07,840
Speaker 1: grateful for the single, but you know that wasn't real DC,

1148
01:10:08,000 --> 01:10:10,200
Speaker 1: Go Go, and we wanted to show you know what,

1149
01:10:10,760 --> 01:10:13,560
Speaker 1: and Mark was just like, well, you guys just do

1150
01:10:13,680 --> 01:10:16,120
Speaker 1: twenty minute jams with really no structure and you're based

1151
01:10:16,160 --> 01:10:17,320
Speaker 1: on other people's material.

1152
01:10:17,800 --> 01:10:26,400
Speaker 2: Now, yes, she's z She's formerly known as Chocolate City

1153
01:10:26,479 --> 01:10:37,840
Speaker 2: now Vanilla Swirls. Absolutely it' Rixton in London around the world.

1154
01:10:39,280 --> 01:10:41,720
Speaker 1: It has to be said that you know, at least

1155
01:10:41,800 --> 01:10:45,680
Speaker 1: from a good four or five year films, like very iconic.

1156
01:10:47,680 --> 01:10:56,400
Speaker 2: Story. But yeah, so true story. The premiere of She's

1157
01:10:56,640 --> 01:11:00,920
Speaker 2: Having DC and at the part of the nine thirty Club,

1158
01:11:01,240 --> 01:11:05,400
Speaker 2: ah man and DC excuse me go? And EU was

1159
01:11:05,479 --> 01:11:10,120
Speaker 2: the band. Wow, why never even heard Go Go in

1160
01:11:10,240 --> 01:11:15,720
Speaker 2: my life? Really? And when I went down, I said, oh, ship, yeah,

1161
01:11:15,880 --> 01:11:17,519
Speaker 2: And I was still I was writing and She's gonna

1162
01:11:17,800 --> 01:11:20,880
Speaker 2: I was writing school days at the time. I said, Yo,

1163
01:11:20,960 --> 01:11:25,840
Speaker 2: we gotta put E, we gotta put EU in the movie.

1164
01:11:26,120 --> 01:11:30,720
Speaker 2: And so I knew Marcus through Raymond Jones, the late

1165
01:11:30,760 --> 01:11:35,000
Speaker 2: great Raymond Jones, and so crazy thing. I'm a big

1166
01:11:35,160 --> 01:11:38,439
Speaker 2: I mean the color scene and She's gonna have a

1167
01:11:38,640 --> 01:11:41,680
Speaker 2: Homeoge Wizard of oz, So I said, we got to

1168
01:11:41,680 --> 01:11:47,040
Speaker 2: put this part and then I go see Signs of Times.

1169
01:11:56,000 --> 01:11:59,800
Speaker 2: So you based on not at a time came out

1170
01:11:59,800 --> 01:12:00,639
Speaker 2: this same time.

1171
01:12:02,200 --> 01:12:07,840
Speaker 1: Days, You're right because I opted to see Sign of

1172
01:12:07,920 --> 01:12:10,400
Speaker 1: the Times before my friend went to go to school.

1173
01:12:10,479 --> 01:12:10,679
Speaker 2: Days.

1174
01:12:10,800 --> 01:12:12,040
Speaker 1: I went to the Sign of the Times and we

1175
01:12:12,160 --> 01:12:15,479
Speaker 1: told each other about the film. Damn, that's crazy.

1176
01:12:15,520 --> 01:12:19,320
Speaker 2: How did you think he must have liked it as too? Yeah?

1177
01:12:19,439 --> 01:12:20,400
Speaker 1: He, I mean he's been doing that.

1178
01:12:20,560 --> 01:12:21,439
Speaker 2: He did that twice though.

1179
01:12:22,160 --> 01:12:23,040
Speaker 1: Yeah, he's been doing that.

1180
01:12:23,160 --> 01:12:28,120
Speaker 2: Chance, what else I can't remember? No, I mean it's

1181
01:12:28,160 --> 01:12:29,120
Speaker 2: going to be a beautiful night.

1182
01:12:29,800 --> 01:12:30,120
Speaker 7: It is that.

1183
01:12:30,800 --> 01:12:34,479
Speaker 1: And uh, I mean he all throughout eighty six he

1184
01:12:34,640 --> 01:12:37,320
Speaker 1: was That was his call response thing like in concert

1185
01:12:37,560 --> 01:12:39,640
Speaker 1: a lot. So he just captured it's going to be

1186
01:12:39,680 --> 01:12:40,280
Speaker 1: a beautiful night.

1187
01:12:40,360 --> 01:12:40,880
Speaker 2: Yeah, yo.

1188
01:12:40,960 --> 01:12:44,760
Speaker 7: Two butt questions. But number one, how long was that

1189
01:12:44,840 --> 01:12:45,400
Speaker 7: video shoot?

1190
01:12:45,520 --> 01:12:46,320
Speaker 2: Was it like one day?

1191
01:12:46,680 --> 01:12:46,960
Speaker 7: Okay?

1192
01:12:47,040 --> 01:12:48,240
Speaker 2: We shot at Brooklyn Tech.

1193
01:12:48,840 --> 01:12:50,680
Speaker 8: Ah, And did you know at the time, because me

1194
01:12:50,680 --> 01:12:52,439
Speaker 8: and my girlfriend were literally just watching this video a

1195
01:12:52,479 --> 01:12:54,160
Speaker 8: couple of weeks ago, we were like, yeah, we didn't

1196
01:12:54,160 --> 01:12:55,920
Speaker 8: even realize that they were holding up the red, black

1197
01:12:55,920 --> 01:12:58,680
Speaker 8: and green flag and shit off the most A lot

1198
01:12:58,720 --> 01:12:59,680
Speaker 8: of young people don't even know.

1199
01:12:59,800 --> 01:13:01,599
Speaker 2: I invented that dance the Butt.

1200
01:13:03,560 --> 01:13:04,760
Speaker 1: Tell what the title should be?

1201
01:13:05,280 --> 01:13:07,800
Speaker 2: Yes, I had. I said, I want the song to

1202
01:13:07,880 --> 01:13:11,639
Speaker 2: call the Butt, and we gotta dance my mother's grave.

1203
01:13:11,720 --> 01:13:13,640
Speaker 2: I told Marcus the name of the song gotta be

1204
01:13:13,720 --> 01:13:16,280
Speaker 2: the Butt, and we got to dance and he did

1205
01:13:16,360 --> 01:13:16,679
Speaker 2: the rest.

1206
01:13:17,400 --> 01:13:22,439
Speaker 1: Wow, Sugar Bear, like that.

1207
01:13:22,520 --> 01:13:23,160
Speaker 7: My whole song.

1208
01:13:23,960 --> 01:13:25,320
Speaker 2: I would have taken production.

1209
01:13:25,200 --> 01:13:31,000
Speaker 1: Right credit say, you know everyone else did and they

1210
01:13:31,040 --> 01:13:32,200
Speaker 1: didn't even write overduce.

1211
01:13:33,080 --> 01:13:37,160
Speaker 2: So you play that part today, still get down, It

1212
01:13:37,280 --> 01:13:40,760
Speaker 2: still works. It still works. Eight. I have a school

1213
01:13:40,800 --> 01:13:41,240
Speaker 2: Day's question.

1214
01:13:41,439 --> 01:13:43,439
Speaker 6: Yes, so I understand that there was a little tension

1215
01:13:43,560 --> 01:13:45,400
Speaker 6: between you and Tsha Campbell's mother.

1216
01:13:45,920 --> 01:13:48,400
Speaker 2: Oh yeah, did that ever get resolved.

1217
01:13:50,000 --> 01:13:50,240
Speaker 1: Since?

1218
01:13:50,520 --> 01:13:53,559
Speaker 2: Or no? During the filming of School Days? Okay? Oh

1219
01:13:53,640 --> 01:13:56,960
Speaker 2: yeah yeah. It was the song won't Belong Tonight? We

1220
01:13:57,360 --> 01:14:01,040
Speaker 2: should be the it was cold, but she said had

1221
01:14:01,040 --> 01:14:03,400
Speaker 2: to be teaching Kimbell. She said she'd be the Raise,

1222
01:14:04,200 --> 01:14:06,800
Speaker 2: and she said it should be teaching Campbell and the Raise.

1223
01:14:07,439 --> 01:14:08,920
Speaker 7: So oh that was her brief. I thought she's met

1224
01:14:08,920 --> 01:14:11,200
Speaker 7: her daughter. Had to lick somebody's part, so she.

1225
01:14:15,120 --> 01:14:19,320
Speaker 2: Just, hey, I swear to God, teacher Kimble walk through

1226
01:14:19,320 --> 01:14:21,800
Speaker 2: them now. She would curse every time. She was like,

1227
01:14:21,880 --> 01:14:26,320
Speaker 2: hate you spiking even today. I mean you came out

1228
01:14:26,360 --> 01:14:28,479
Speaker 2: eighty eight. Okay did she left out?

1229
01:14:29,680 --> 01:14:30,439
Speaker 7: How you know that?

1230
01:14:31,960 --> 01:14:35,679
Speaker 1: I will say that, like, good, go ahead. I mean, second,

1231
01:14:36,920 --> 01:14:40,519
Speaker 1: I don't throw the purple away your love scenes in

1232
01:14:40,600 --> 01:14:41,080
Speaker 1: your film.

1233
01:14:44,400 --> 01:14:48,680
Speaker 2: There's the reason why. Teaching Campbell. She wouldn't do a

1234
01:14:48,800 --> 01:14:50,120
Speaker 2: sex scene, so that was.

1235
01:14:50,080 --> 01:14:51,240
Speaker 7: The sexy she was gonna get.

1236
01:14:51,280 --> 01:14:52,360
Speaker 2: So I had to come on, I have to think

1237
01:14:52,400 --> 01:14:55,080
Speaker 2: of something freaky. So I said, well, you gotta increase

1238
01:14:55,160 --> 01:15:05,599
Speaker 2: in his head. Guy, she would not do a love

1239
01:15:05,720 --> 01:15:11,519
Speaker 2: scene more than that woman, So I said, all right,

1240
01:15:12,360 --> 01:15:15,519
Speaker 2: and you gotta lick the part big brother on my

1241
01:15:15,760 --> 01:15:20,559
Speaker 2: teeth that that even made it worse.

1242
01:15:22,000 --> 01:15:26,360
Speaker 1: I will tell you though, that's like, that's yeah, upside

1243
01:15:26,400 --> 01:15:40,240
Speaker 1: down Spider Man for black people. The cat.

1244
01:15:40,439 --> 01:15:43,800
Speaker 7: Again that Rachel's sex scene was also nice with mother

1245
01:15:43,880 --> 01:15:44,360
Speaker 7: on my tea.

1246
01:15:44,439 --> 01:15:45,600
Speaker 1: It was beautiful.

1247
01:15:46,840 --> 01:15:50,080
Speaker 7: In my head, the one rad Rachel.

1248
01:15:50,160 --> 01:15:54,080
Speaker 2: Oh yeah, yeah, Steve, you wanted my man Keith John

1249
01:15:54,240 --> 01:15:56,600
Speaker 2: keep the song only can be me?

1250
01:15:57,400 --> 01:15:58,559
Speaker 7: Oh that song right there?

1251
01:16:00,680 --> 01:16:03,880
Speaker 2: You know, Stevie's saying my wedding, my wife and I

1252
01:16:04,080 --> 01:16:11,080
Speaker 2: really as she walked about that show, we're still married.

1253
01:16:11,120 --> 01:16:15,439
Speaker 2: To beside Church.

1254
01:16:17,720 --> 01:16:23,120
Speaker 1: All right, we had another moment, we had another vote.

1255
01:16:23,360 --> 01:16:25,680
Speaker 1: Now you keep John back on on do the right thing?

1256
01:16:26,080 --> 01:16:29,360
Speaker 1: Why don't we try joint? I love that record. All Right,

1257
01:16:29,520 --> 01:16:32,800
Speaker 1: let's let's move. Maybe we'll get to six movies by

1258
01:16:32,800 --> 01:16:34,679
Speaker 1: the should also.

1259
01:16:34,560 --> 01:16:36,599
Speaker 8: Note with that the first time Ozzie Davis was introduced

1260
01:16:36,640 --> 01:16:40,439
Speaker 8: into Coach Oldham. Okay, I just because then I want

1261
01:16:40,680 --> 01:16:42,720
Speaker 8: I'm getting because the crew start accumulating.

1262
01:16:42,960 --> 01:16:46,679
Speaker 1: Yes, I'm sure we'll have a lot of regret regret questions.

1263
01:16:47,000 --> 01:16:50,360
Speaker 1: Come on, why didn't we ask, okay, do the right thing?

1264
01:16:54,320 --> 01:16:59,920
Speaker 1: That's a perfect First of all, thank you Spike, because okay, okay,

1265
01:17:00,000 --> 01:17:03,080
Speaker 1: I hate being that guy that can predict his own question.

1266
01:17:03,280 --> 01:17:05,880
Speaker 2: We had the crystal Ball in that film we talked

1267
01:17:05,880 --> 01:17:09,200
Speaker 2: about global warming. I mean I was gonna say I

1268
01:17:09,280 --> 01:17:15,760
Speaker 2: showed I showed that. I showed that movie to my son,

1269
01:17:15,880 --> 01:17:16,599
Speaker 2: my eleven year Rold.

1270
01:17:17,640 --> 01:17:19,800
Speaker 1: This was like literally like a month ago because it

1271
01:17:19,840 --> 01:17:22,479
Speaker 1: because when that came out, I was I think I'm

1272
01:17:22,560 --> 01:17:25,759
Speaker 1: the same age. I was like ten, so he's eleven.

1273
01:17:25,760 --> 01:17:27,559
Speaker 1: So I was like, I'm gonna show you this movie.

1274
01:17:28,120 --> 01:17:29,880
Speaker 1: That movie the thing and the thing I've always liked

1275
01:17:29,880 --> 01:17:32,679
Speaker 1: about all your stuff. I saw him as a kid,

1276
01:17:33,200 --> 01:17:35,479
Speaker 1: and it's like it's one thing, but seeing it as

1277
01:17:35,520 --> 01:17:38,400
Speaker 1: an adult has a completely different meaning. And I would

1278
01:17:38,400 --> 01:17:40,559
Speaker 1: say that Do the Right Thing is one movie where

1279
01:17:41,479 --> 01:17:44,880
Speaker 1: it is almost more relevant now than it was when

1280
01:17:44,920 --> 01:17:47,600
Speaker 1: it came out. And I mean even like and the

1281
01:17:47,680 --> 01:17:49,200
Speaker 1: thing that I thought was so brilliant about it even

1282
01:17:49,240 --> 01:17:51,840
Speaker 1: watching it, you know now is like it is a

1283
01:17:53,320 --> 01:17:55,479
Speaker 1: because I watched it and I made him write an

1284
01:17:55,560 --> 01:17:57,479
Speaker 1: essay and simple the only question was.

1285
01:17:58,960 --> 01:18:03,360
Speaker 2: Yeah. So the question was you know, do you think

1286
01:18:03,439 --> 01:18:04,400
Speaker 2: Mooki did the right thing?

1287
01:18:04,840 --> 01:18:08,439
Speaker 1: And there is no right or wrong answer to that question,

1288
01:18:08,479 --> 01:18:10,280
Speaker 1: like you could argue it a million different ways.

1289
01:18:10,520 --> 01:18:13,560
Speaker 2: And well to answer your question, though, thank you for

1290
01:18:13,680 --> 01:18:16,559
Speaker 2: showing your son at the early age, at that age

1291
01:18:16,680 --> 01:18:21,840
Speaker 2: the film. But no black person has ever asked me

1292
01:18:22,120 --> 01:18:25,120
Speaker 2: why didn't throw the garbage can through the window? Only

1293
01:18:25,160 --> 01:18:28,439
Speaker 2: white people ask you question. Not one single black person

1294
01:18:28,560 --> 01:18:32,200
Speaker 2: ever asked me why did MOOKI throw the garbage can

1295
01:18:32,280 --> 01:18:32,800
Speaker 2: through the window.

1296
01:18:35,720 --> 01:18:38,880
Speaker 1: As matter of fact, I still pay Bill, still pay.

1297
01:18:38,840 --> 01:18:39,519
Speaker 2: Steve that way.

1298
01:18:49,600 --> 01:18:51,639
Speaker 7: Was this movie the first time did you had people

1299
01:18:51,760 --> 01:18:54,800
Speaker 7: in mind for characters or did it still just know

1300
01:18:54,920 --> 01:18:55,200
Speaker 7: I had?

1301
01:18:55,800 --> 01:19:01,320
Speaker 2: I mean the film Messenger, which Buckle never happened was

1302
01:19:01,720 --> 01:19:05,599
Speaker 2: supposed to start John Carlo and Fishburn. So I mean

1303
01:19:05,680 --> 01:19:10,680
Speaker 2: I knew had to put in a film after the success.

1304
01:19:13,920 --> 01:19:16,640
Speaker 7: Because I think about Fishburn.

1305
01:19:16,200 --> 01:19:17,960
Speaker 2: Turned down the roll right around him. He didn't want

1306
01:19:17,960 --> 01:19:18,160
Speaker 2: to do it.

1307
01:19:18,640 --> 01:19:22,080
Speaker 1: Whoa wow, he said, no, I can't like I'm shooting

1308
01:19:22,160 --> 01:19:24,640
Speaker 1: the King of New York or I don't like it

1309
01:19:25,000 --> 01:19:25,559
Speaker 1: like the role.

1310
01:19:26,280 --> 01:19:29,040
Speaker 7: Bill noun Size made it like yeah, he definitely.

1311
01:19:29,120 --> 01:19:29,320
Speaker 2: Yeah.

1312
01:19:29,880 --> 01:19:33,360
Speaker 1: What was it true that Danny A Yellow didn't want

1313
01:19:33,400 --> 01:19:37,200
Speaker 1: to take pictus with Chuck d for Press? I never heard, okay,

1314
01:19:37,200 --> 01:19:37,840
Speaker 1: I never heard that.

1315
01:19:41,320 --> 01:19:43,960
Speaker 2: For DeNiro, I wanted Rob Darrel do what he didn't

1316
01:19:43,960 --> 01:19:49,559
Speaker 2: want to do it. Wow, But it turned out, yeah,

1317
01:19:49,800 --> 01:19:51,560
Speaker 2: it would have been. Here's the thing though, with The

1318
01:19:51,720 --> 01:19:55,160
Speaker 2: Narrow when the greatest acts ever, But what it would

1319
01:19:55,200 --> 01:19:56,680
Speaker 2: have tipped the scale would have been the Robber of

1320
01:19:56,680 --> 01:19:58,559
Speaker 2: the Narrow movie instead of an ensemble piece.

1321
01:19:59,760 --> 01:20:04,720
Speaker 1: So okay for starters as and I was saying that

1322
01:20:04,880 --> 01:20:08,240
Speaker 1: I hate the fact that I can predict all these

1323
01:20:08,280 --> 01:20:11,120
Speaker 1: episodes the Quest Love Supreme, because I can't go an

1324
01:20:11,120 --> 01:20:12,879
Speaker 1: episode without mentioning Soul Train.

1325
01:20:13,200 --> 01:20:13,439
Speaker 2: And my.

1326
01:20:15,240 --> 01:20:19,639
Speaker 1: My nowsable wisdom of it. But you know, for the longest,

1327
01:20:19,760 --> 01:20:24,919
Speaker 1: I never knew what Rosie Perez's name was, wow, because

1328
01:20:25,280 --> 01:20:27,800
Speaker 1: I mean, you know, they don't give the names of she.

1329
01:20:28,000 --> 01:20:30,200
Speaker 1: I mean she did a scramble board once. But you know,

1330
01:20:30,560 --> 01:20:34,040
Speaker 1: I didn't realize that until like muchs later, like four

1331
01:20:34,120 --> 01:20:36,960
Speaker 1: or five years ago, that oh, there's Rosie Perez. So

1332
01:20:37,439 --> 01:20:39,800
Speaker 1: just for the longest, it was like me and my

1333
01:20:39,920 --> 01:20:43,519
Speaker 1: best friend in school was like our girl because even

1334
01:20:43,640 --> 01:20:47,120
Speaker 1: on Soul Train, she was a star, and it wasn't

1335
01:20:47,200 --> 01:20:49,240
Speaker 1: like growing into puberty or whatever, like oh my god,

1336
01:20:49,280 --> 01:20:49,840
Speaker 1: who's this woman?

1337
01:20:49,920 --> 01:20:50,040
Speaker 2: Dan?

1338
01:20:50,360 --> 01:20:52,960
Speaker 1: It's just that she stuck out.

1339
01:20:54,240 --> 01:20:56,160
Speaker 2: Literally, I got a story.

1340
01:20:56,080 --> 01:21:00,000
Speaker 1: More than so how did you discuss?

1341
01:21:00,040 --> 01:21:06,360
Speaker 2: Ever, there's two stories, Rosie story. My story is the

1342
01:21:06,400 --> 01:21:09,800
Speaker 2: real one Rosie. So again, it comes back to school days.

1343
01:21:11,000 --> 01:21:17,240
Speaker 2: School Days is a hit, mm hmm. The butt is

1344
01:21:17,360 --> 01:21:20,280
Speaker 2: number one song R and b M. So I'm having

1345
01:21:20,320 --> 01:21:25,840
Speaker 2: a birthday party in l A. I forgot funky It

1346
01:21:26,000 --> 01:21:30,760
Speaker 2: was named that club Funky Something. Anyway, I'm holding you

1347
01:21:30,840 --> 01:21:43,479
Speaker 2: guys anyway. So the club is called Funky Something and

1348
01:21:44,280 --> 01:21:49,560
Speaker 2: Eu we fly EU to LA for the party, and

1349
01:21:49,720 --> 01:21:54,880
Speaker 2: so we had a butt contest, but dance contests. And

1350
01:21:55,040 --> 01:22:00,599
Speaker 2: this woman is on the speaker dancing role. She says

1351
01:22:01,160 --> 01:22:05,080
Speaker 2: that she was screaming saying that this is sex and

1352
01:22:05,160 --> 01:22:08,479
Speaker 2: someone else, but that she was dancing. Mm hmm. She

1353
01:22:08,680 --> 01:22:12,240
Speaker 2: wasn't doing that stuff is just the truth. And so

1354
01:22:12,479 --> 01:22:17,080
Speaker 2: I tell security to get this lady off the speaker

1355
01:22:17,920 --> 01:22:22,560
Speaker 2: because she's gonna fall and break her neck. Okay, so

1356
01:22:22,800 --> 01:22:25,920
Speaker 2: bring her down, and she starts to curse me out.

1357
01:22:26,960 --> 01:22:29,800
Speaker 2: I've never heard this. I knew she was Puerto Rican,

1358
01:22:29,840 --> 01:22:32,360
Speaker 2: but the way I heard the way that I never

1359
01:22:32,360 --> 01:22:36,920
Speaker 2: everybody speak, like to poor my motherfucking life, right, So

1360
01:22:37,160 --> 01:22:40,639
Speaker 2: I said, where you're from. It's just Brooklyn, So I'm

1361
01:22:40,640 --> 01:22:43,040
Speaker 2: from Brooklyn. Said where you're from? I said what neighbor

1362
01:22:43,040 --> 01:22:46,800
Speaker 2: was just for I live for Green and I was

1363
01:22:46,880 --> 01:22:50,160
Speaker 2: writing do the Right Thing at the time, and that moment,

1364
01:22:50,200 --> 01:22:54,400
Speaker 2: I said, I'm gonna make Mookie's girl from Puerto Rican. Mhm.

1365
01:22:55,439 --> 01:22:59,519
Speaker 6: At that point, at that point, did you know you

1366
01:22:59,560 --> 01:23:02,680
Speaker 6: were gonna put Mookie? Oh yeah, okay, yeah, but.

1367
01:23:03,200 --> 01:23:06,160
Speaker 2: I knew, but I said she has to be. I mean,

1368
01:23:07,280 --> 01:23:10,439
Speaker 2: she had the audition, but I still knew that that

1369
01:23:11,400 --> 01:23:14,200
Speaker 2: she was going to be played Mookie's girlfriend Tina. That's

1370
01:23:14,200 --> 01:23:19,360
Speaker 2: the real story that a star was born. I knew

1371
01:23:19,400 --> 01:23:22,400
Speaker 2: that I knew that she was gonna be great in

1372
01:23:22,479 --> 01:23:26,000
Speaker 2: this role. I did not. I cannot predict that. I

1373
01:23:26,040 --> 01:23:30,040
Speaker 2: knew that she would be great as Mookie's girlfriend.

1374
01:23:30,280 --> 01:23:31,640
Speaker 1: But at that point, you didn't say, like, oh, this

1375
01:23:31,760 --> 01:23:37,040
Speaker 1: is an Oscar caliber actress and she's made for herself.

1376
01:23:37,080 --> 01:23:39,880
Speaker 2: And we never talked about oscars. That's not the I mean,

1377
01:23:40,400 --> 01:23:41,599
Speaker 2: we don't talk about that stuff.

1378
01:23:41,640 --> 01:23:43,720
Speaker 1: Well, not that, but when you see new talent that

1379
01:23:44,040 --> 01:23:45,880
Speaker 1: but I don't And a lot of times the first

1380
01:23:45,920 --> 01:23:46,679
Speaker 1: films are yours.

1381
01:23:47,200 --> 01:23:49,519
Speaker 2: But I don't say she's going an Oscar. I don't

1382
01:23:49,560 --> 01:23:49,760
Speaker 2: do that.

1383
01:23:50,520 --> 01:23:54,160
Speaker 1: So do you direct? Like, are you the director that will?

1384
01:23:56,120 --> 01:23:56,280
Speaker 2: You know?

1385
01:23:56,320 --> 01:23:59,040
Speaker 1: I know some what's his name? Who directed seven? And

1386
01:23:59,280 --> 01:24:02,960
Speaker 1: uh David fin So Fincher, especially on House of Car.

1387
01:24:03,120 --> 01:24:06,320
Speaker 1: Like his episode of House of Cars, he's been known

1388
01:24:06,400 --> 01:24:10,679
Speaker 1: to do fifteen sixteen seventeen takes, no, no, no, knowing

1389
01:24:10,720 --> 01:24:12,360
Speaker 1: that the last three are finally going to be what

1390
01:24:12,479 --> 01:24:13,200
Speaker 1: he wants.

1391
01:24:13,040 --> 01:24:16,720
Speaker 2: That seventy seventy eighty takes.

1392
01:24:18,160 --> 01:24:22,800
Speaker 1: For you No, no, oh, yeah, I've heard that. Yeah,

1393
01:24:22,880 --> 01:24:25,400
Speaker 1: he'll he'll spend fifteen seventeen hours.

1394
01:24:25,640 --> 01:24:27,240
Speaker 2: First of all, I don't have I never had the

1395
01:24:27,320 --> 01:24:29,600
Speaker 2: budget to do that. We gotta go.

1396
01:24:31,320 --> 01:24:33,400
Speaker 1: Okay, and he doesn't need I mean, so you're saying

1397
01:24:33,439 --> 01:24:36,080
Speaker 1: that riot scene was shot in one shot. You had

1398
01:24:36,160 --> 01:24:37,479
Speaker 1: one shot to just know.

1399
01:24:37,720 --> 01:24:41,240
Speaker 2: It was like two nights we had. You had the riot,

1400
01:24:41,320 --> 01:24:44,000
Speaker 2: then you had excuse me, you had the when the

1401
01:24:44,160 --> 01:24:46,160
Speaker 2: fire trucks come in, the war stuff like that.

1402
01:24:46,520 --> 01:24:51,040
Speaker 1: So for something that tense, especially when you are with

1403
01:24:51,200 --> 01:24:53,040
Speaker 1: multiple cameras and that sort of thing, I know, there's

1404
01:24:53,080 --> 01:24:56,360
Speaker 1: a moment where it's like, you know, fuck you okay

1405
01:24:56,400 --> 01:25:02,240
Speaker 1: cut and then like okay, so everything's and like characters

1406
01:25:02,280 --> 01:25:06,080
Speaker 1: break now. For Carlo, Esposito said that because of the.

1407
01:25:11,560 --> 01:25:11,960
Speaker 2: Teach me.

1408
01:25:14,240 --> 01:25:23,439
Speaker 1: Gean Carlo, Okay, take two, keep it San Carlos Gian

1409
01:25:23,520 --> 01:25:28,559
Speaker 1: Carlo Esposito. So he he mentioned that during the filming

1410
01:25:28,960 --> 01:25:33,840
Speaker 1: that him and Danny did some bonding because of their

1411
01:25:33,920 --> 01:25:36,800
Speaker 1: Italian connection, talk to each other Italian, his.

1412
01:25:36,920 --> 01:25:41,600
Speaker 2: His, his father's Italian right, and then there was America.

1413
01:25:41,680 --> 01:25:45,679
Speaker 1: There was a scene well during that scene, uh, where

1414
01:25:46,080 --> 01:25:50,600
Speaker 1: the radio gets beat and finally you know, yeah, I

1415
01:25:50,720 --> 01:25:55,640
Speaker 1: think initially Danny decided to curse amount in Italian and

1416
01:25:55,800 --> 01:26:02,880
Speaker 1: said something to Sean Carlo that really just infuriated him.

1417
01:26:02,960 --> 01:26:06,920
Speaker 1: And even when you yelled cut, he was just like that.

1418
01:26:07,200 --> 01:26:08,920
Speaker 2: That ain't that. I never heard that story. But I

1419
01:26:08,960 --> 01:26:14,120
Speaker 2: will tell you is that there were certain words that

1420
01:26:14,360 --> 01:26:18,800
Speaker 2: people didn't want to say, and so we had when

1421
01:26:18,880 --> 01:26:22,120
Speaker 2: when John the scene where Danny has the bat and

1422
01:26:22,320 --> 01:26:28,160
Speaker 2: the close of him, Jean Carlo and Bill Numb were

1423
01:26:28,200 --> 01:26:30,280
Speaker 2: standing on the side of the camera and they were,

1424
01:26:30,360 --> 01:26:34,960
Speaker 2: you know, going exchanging and when Jean Carlo called him

1425
01:26:35,479 --> 01:26:39,400
Speaker 2: a fat guinea bastard, that's when Danny exploded.

1426
01:26:40,520 --> 01:26:43,599
Speaker 1: Oh so was Danny that was upset. He was upset,

1427
01:26:43,680 --> 01:26:45,839
Speaker 1: but he just don't liked me called the fat guinea bastard.

1428
01:26:47,240 --> 01:26:49,760
Speaker 1: And the fact that it wasn't in the script. Oh,

1429
01:26:49,840 --> 01:26:50,840
Speaker 1: I mean, that's just.

1430
01:26:50,960 --> 01:26:53,960
Speaker 2: That you're off script by then you just just go,

1431
01:26:54,800 --> 01:26:57,439
Speaker 2: you know, just say the worst things you could say.

1432
01:26:57,520 --> 01:26:59,320
Speaker 1: So you have a lot of offscript moments. So in

1433
01:26:59,479 --> 01:27:02,480
Speaker 1: your screen places, it's just like, you know, we'll improvise.

1434
01:27:04,080 --> 01:27:05,920
Speaker 2: No, you don't write improvised, but you know that it

1435
01:27:05,960 --> 01:27:08,479
Speaker 2: comes to rehearsal, you start you see where we can

1436
01:27:08,520 --> 01:27:12,799
Speaker 2: improvise there. So here's the thing, though, not everybody can improvise,

1437
01:27:12,880 --> 01:27:15,800
Speaker 2: so you have to know who can do it who can't,

1438
01:27:16,920 --> 01:27:22,519
Speaker 2: and you work on improvisation improvisation during the rehearsal and

1439
01:27:22,680 --> 01:27:27,760
Speaker 2: heated moments, people gonna get off script because it's really

1440
01:27:27,800 --> 01:27:30,240
Speaker 2: emotional and you're not really worried about it. This exact

1441
01:27:30,640 --> 01:27:33,280
Speaker 2: exact words that are that are scripted.

1442
01:27:33,439 --> 01:27:35,599
Speaker 1: But if it okay, so at the table read through,

1443
01:27:36,560 --> 01:27:37,000
Speaker 1: are they.

1444
01:27:36,960 --> 01:27:40,400
Speaker 2: As heated as it will be? Because I don't want

1445
01:27:40,479 --> 01:27:44,680
Speaker 2: my does that worry you like this is to me?

1446
01:27:46,720 --> 01:27:49,600
Speaker 2: I don't want to act and read through. I just

1447
01:27:49,680 --> 01:27:53,320
Speaker 2: want to hear the words. I tell nobody act, just

1448
01:27:53,439 --> 01:27:57,880
Speaker 2: read the words. Because except for auditions, where when you

1449
01:27:57,960 --> 01:28:00,400
Speaker 2: when you audition people only getting you're not dition the

1450
01:28:00,439 --> 01:28:03,800
Speaker 2: whole film. You're just different scenes. So if the read

1451
01:28:03,840 --> 01:28:06,280
Speaker 2: through is the first time you get to hear the words,

1452
01:28:06,400 --> 01:28:10,679
Speaker 2: it is entirely there's a strange phenomenon. Reading the script

1453
01:28:11,960 --> 01:28:15,280
Speaker 2: is not the same as actors saying the word. And

1454
01:28:15,360 --> 01:28:17,960
Speaker 2: so many times you might think that you wrote something

1455
01:28:18,000 --> 01:28:20,519
Speaker 2: that's good, but an act of reads it's like, oh shit,

1456
01:28:20,560 --> 01:28:24,559
Speaker 2: I gotta change that. So during my read through, I'm rewriting.

1457
01:28:24,640 --> 01:28:26,559
Speaker 2: I might gotta keep up because like, well I'm crossing

1458
01:28:26,600 --> 01:28:28,400
Speaker 2: it out. We gotta change the gotta change that, gotta

1459
01:28:28,479 --> 01:28:30,280
Speaker 2: changes this How.

1460
01:28:30,200 --> 01:28:32,960
Speaker 7: Good of an Improverson was Robin Harris.

1461
01:28:36,400 --> 01:28:38,920
Speaker 2: Here's the thing. Robin was at this I forgot the

1462
01:28:39,000 --> 01:28:43,320
Speaker 2: name of the club, but Robbie Reid told me again

1463
01:28:43,360 --> 01:28:45,360
Speaker 2: the Castle. Nerec said, you gotta see this guy, Robin

1464
01:28:46,439 --> 01:28:51,760
Speaker 2: la So this club the club. To go to the

1465
01:28:52,280 --> 01:28:55,960
Speaker 2: the to go to the bathroom, you had to go

1466
01:28:56,080 --> 01:29:02,880
Speaker 2: up the stairs next to the stage. In the back

1467
01:29:02,920 --> 01:29:07,200
Speaker 2: of the club. In the back of the club, Robin

1468
01:29:07,280 --> 01:29:11,720
Speaker 2: Harris had a guy with a spotlight. He was he

1469
01:29:11,800 --> 01:29:15,920
Speaker 2: would like this snapper's fingers a point. And I was

1470
01:29:16,000 --> 01:29:22,720
Speaker 2: there one night. Robin Harris tore Mike Tyson. This Mike

1471
01:29:22,800 --> 01:29:28,240
Speaker 2: Tys was, I mean, you read a piece of your pants.

1472
01:29:29,640 --> 01:29:31,720
Speaker 2: Have to walk past Robin on the stage to go

1473
01:29:31,800 --> 01:29:34,720
Speaker 2: to the back. I mean, no better blues. I know

1474
01:29:34,760 --> 01:29:40,240
Speaker 2: we're jumping ahead. And even if you weren't working, if

1475
01:29:40,280 --> 01:29:43,519
Speaker 2: you acting working that day, but you saw Robin Harris

1476
01:29:43,800 --> 01:29:48,280
Speaker 2: was on the claw sheet, you you would come. You

1477
01:29:48,360 --> 01:29:51,879
Speaker 2: will be there, he would. I remember he told Denzel,

1478
01:29:52,439 --> 01:29:55,479
Speaker 2: he said, Denzel your he looks like a question mark.

1479
01:29:59,600 --> 01:30:02,800
Speaker 8: I mean, I'm making that whole scene when they at

1480
01:30:02,800 --> 01:30:04,880
Speaker 8: the after party and he just fucking with everybody like

1481
01:30:05,320 --> 01:30:05,880
Speaker 8: you know, the whole thing.

1482
01:30:06,240 --> 01:30:10,800
Speaker 2: I mean, I mean, he he, oh, man is a

1483
01:30:10,920 --> 01:30:15,639
Speaker 2: great great laws Let not catch a nigga O. Those

1484
01:30:15,640 --> 01:30:19,040
Speaker 2: are old ad libs. I mean people like that. You

1485
01:30:19,120 --> 01:30:21,200
Speaker 2: just gotta let him go. It's like that's like Jordan's

1486
01:30:21,200 --> 01:30:23,240
Speaker 2: get green Light, green Light.

1487
01:30:23,439 --> 01:30:27,160
Speaker 1: So by this point, when you're established, are you putting

1488
01:30:27,160 --> 01:30:30,439
Speaker 1: pressure on Robbie to find you the next unused gym

1489
01:30:30,520 --> 01:30:32,559
Speaker 1: in town? Like is she going to theaters?

1490
01:30:32,560 --> 01:30:37,920
Speaker 2: It wasn't pressure because we always stashed away a couple

1491
01:30:37,960 --> 01:30:38,400
Speaker 2: of rolls.

1492
01:30:38,840 --> 01:30:41,680
Speaker 1: But are they you know, does does Martin Lawrence know,

1493
01:30:42,760 --> 01:30:44,760
Speaker 1: Oh there's an audition for Do the Right Thing?

1494
01:30:44,920 --> 01:30:47,760
Speaker 2: Or is it Robbie found Robbie. Do the Right Thing

1495
01:30:47,840 --> 01:30:52,479
Speaker 2: was Rody Preis's first film, Rob Harris first film, Lawrence

1496
01:30:52,640 --> 01:30:56,840
Speaker 2: first film. Rob Robbie found me. I didn't know these people.

1497
01:30:57,320 --> 01:30:59,240
Speaker 2: I know, I mean I found Rosie, but the other

1498
01:30:59,280 --> 01:30:59,880
Speaker 2: people I didn't know.

1499
01:31:01,040 --> 01:31:01,120
Speaker 4: Ye.

1500
01:31:01,160 --> 01:31:03,360
Speaker 8: Also, as you're building your actors squad, it seems like

1501
01:31:03,400 --> 01:31:05,479
Speaker 8: it's harder and harder to get to get for other

1502
01:31:05,800 --> 01:31:07,640
Speaker 8: actors to get in right because like by now you

1503
01:31:07,680 --> 01:31:09,960
Speaker 8: said you already had Gean Carlo, you already had Bill Nunn,

1504
01:31:09,960 --> 01:31:10,840
Speaker 8: you already.

1505
01:31:10,560 --> 01:31:14,280
Speaker 2: Had John de Tururo.

1506
01:31:15,040 --> 01:31:17,000
Speaker 7: Can we talk about the tutoral relationship.

1507
01:31:17,640 --> 01:31:19,760
Speaker 1: Well, I was gonna go there, Like how hard is

1508
01:31:19,800 --> 01:31:26,599
Speaker 1: it for your white actors too, especially especially in Jungle Fever?

1509
01:31:27,320 --> 01:31:28,519
Speaker 1: How they were at the silva shop?

1510
01:31:29,520 --> 01:31:31,040
Speaker 2: Like how?

1511
01:31:33,200 --> 01:31:36,519
Speaker 1: And and I know about the controversy of better blues

1512
01:31:36,800 --> 01:31:38,639
Speaker 1: you portraying the club owner.

1513
01:31:39,240 --> 01:31:42,080
Speaker 2: More Josh Flappers played by Nick and John de Tururo.

1514
01:31:42,280 --> 01:31:44,599
Speaker 1: Yes, how to write that down?

1515
01:31:44,680 --> 01:31:46,120
Speaker 2: Don't to get it? So I want to talk about that?

1516
01:31:47,000 --> 01:31:49,640
Speaker 1: No, No, that's the thing. It's like, how do you

1517
01:31:52,200 --> 01:31:57,120
Speaker 1: convey to them what the character is without saying like, okay,

1518
01:31:57,200 --> 01:32:01,920
Speaker 1: well you're going to be the villain or you know,

1519
01:32:02,200 --> 01:32:04,479
Speaker 1: play it to the hilt, or like, I mean, how do.

1520
01:32:04,520 --> 01:32:08,280
Speaker 2: You Here's the thing though, the white actors that I've

1521
01:32:08,320 --> 01:32:12,920
Speaker 2: worked with a great human beings. These are people artists

1522
01:32:13,479 --> 01:32:19,519
Speaker 2: and understand that their history, and they're cool plant it

1523
01:32:19,600 --> 01:32:21,240
Speaker 2: because it's not like we're making it up.

1524
01:32:22,600 --> 01:32:26,599
Speaker 1: But was there ever any indifference to or not indifference

1525
01:32:26,720 --> 01:32:32,240
Speaker 1: or objections to Okay, well you know who who?

1526
01:32:32,600 --> 01:32:34,160
Speaker 2: Where'd you find that? What a waste? Guys?

1527
01:32:34,520 --> 01:32:38,680
Speaker 1: The two cops, the cops that killed Radio that were

1528
01:32:38,760 --> 01:32:39,840
Speaker 1: also in Fever?

1529
01:32:40,120 --> 01:32:42,840
Speaker 2: What one is Dannie little Son?

1530
01:32:43,160 --> 01:32:43,679
Speaker 7: Which one?

1531
01:32:44,800 --> 01:32:48,200
Speaker 2: The one is not Hispanic taller one. Oh what a waste.

1532
01:32:48,520 --> 01:32:49,720
Speaker 1: That guy's Fender one.

1533
01:32:49,880 --> 01:32:52,800
Speaker 2: What's his name? I knew it, Miguel Sandoval. Yeah.

1534
01:32:52,800 --> 01:32:55,760
Speaker 1: I was gonna say, if you knew that name, this

1535
01:32:55,840 --> 01:32:57,880
Speaker 1: whole show would just be the cost No.

1536
01:32:58,160 --> 01:33:02,559
Speaker 2: The taller one, like the red one hair. That's Daniel's son, Rick,

1537
01:33:02,680 --> 01:33:08,040
Speaker 2: He's the one that yeah, oh man. But here's the thing, though,

1538
01:33:08,160 --> 01:33:14,800
Speaker 2: is that people dig my work. They understand it, and

1539
01:33:14,960 --> 01:33:20,120
Speaker 2: then they're they're they're great parts. In fact, John de

1540
01:33:20,200 --> 01:33:22,439
Speaker 2: Turroll used to say, you know, Spike Man, I don't

1541
01:33:22,439 --> 01:33:24,600
Speaker 2: know when it's when before the film came out, A

1542
01:33:24,600 --> 01:33:26,160
Speaker 2: said Spike Man, I ride the.

1543
01:33:26,160 --> 01:33:32,680
Speaker 10: Subway, would Spike the brothers come up to me, give

1544
01:33:32,720 --> 01:33:34,960
Speaker 10: me that. They say, yo yo yo, yo yo, soy

1545
01:33:35,040 --> 01:33:37,200
Speaker 10: they love the turle Yo.

1546
01:33:37,280 --> 01:33:38,760
Speaker 7: You messed it up so good. I don't know what

1547
01:33:38,920 --> 01:33:40,519
Speaker 7: they are. I was like, wait, are you Jewish? Are

1548
01:33:40,560 --> 01:33:44,000
Speaker 7: you Italian? I eat it too. I'm like, I don't.

1549
01:33:44,400 --> 01:33:47,760
Speaker 2: But here's the thing though, When mo better claim came out,

1550
01:33:48,160 --> 01:33:52,920
Speaker 2: I was accused of being anti su the Jewish Defense League.

1551
01:33:53,120 --> 01:34:01,080
Speaker 2: Uh aighty l. So my lawyer at the time he

1552
01:34:01,240 --> 01:34:05,280
Speaker 2: told me, he said, Spike, this serious, this is this

1553
01:34:05,439 --> 01:34:07,519
Speaker 2: is the truth. He said, Spike, if you want to

1554
01:34:07,560 --> 01:34:10,880
Speaker 2: continue to work in Hollywood, you have to write an

1555
01:34:10,880 --> 01:34:15,080
Speaker 2: op ed piece for the New York Times saying why

1556
01:34:15,120 --> 01:34:18,880
Speaker 2: you're not Semitic. I know it's not fair, wow, but

1557
01:34:19,040 --> 01:34:22,960
Speaker 2: you want to continue to work in this industry? And

1558
01:34:23,040 --> 01:34:24,240
Speaker 2: I wrote it? You could google it. Oh.

1559
01:34:24,280 --> 01:34:25,559
Speaker 7: I wish we had that kind of protection.

1560
01:34:25,760 --> 01:34:29,880
Speaker 2: Google it. I had. He's you know, he was Jewish.

1561
01:34:30,040 --> 01:34:34,360
Speaker 2: He died, but he said, Spike, you know you're a

1562
01:34:34,360 --> 01:34:38,679
Speaker 2: great filmmaker. I care for you. But if you don't

1563
01:34:38,720 --> 01:34:41,519
Speaker 2: write this op ed piece saying you're not anti Semitic,

1564
01:34:42,040 --> 01:34:44,120
Speaker 2: then you're done. You're done. Wow.

1565
01:34:44,680 --> 01:34:48,720
Speaker 1: Wait, done. I'm forgetting the most important character and to

1566
01:34:48,840 --> 01:34:53,599
Speaker 1: the right thing. It's the song, fight the power, right, Yeah,

1567
01:34:54,280 --> 01:34:55,160
Speaker 1: I'm about to move on.

1568
01:34:56,960 --> 01:34:57,439
Speaker 2: How did you.

1569
01:34:59,439 --> 01:35:01,400
Speaker 1: You know, like when you're growing up in the era

1570
01:35:01,520 --> 01:35:03,240
Speaker 1: and you just hear great music all the time, like

1571
01:35:03,320 --> 01:35:04,960
Speaker 1: you think of like a cat like Prince will just

1572
01:35:06,000 --> 01:35:09,040
Speaker 1: you know, eat breathing shit, great songs and hits. But

1573
01:35:09,120 --> 01:35:11,080
Speaker 1: now that I realized that it takes a craft and

1574
01:35:11,320 --> 01:35:16,759
Speaker 1: and and and really a steady hand to do perfection

1575
01:35:19,240 --> 01:35:25,000
Speaker 1: getting I mean asking a group to give you an anthem,

1576
01:35:26,240 --> 01:35:28,680
Speaker 1: I mean that's some that's some hard ass shit to do.

1577
01:35:29,479 --> 01:35:33,840
Speaker 1: And what's weird is that I guess later years when

1578
01:35:33,840 --> 01:35:38,879
Speaker 1: I've heard outtakes from songs that didn't make Nation of millions,

1579
01:35:39,600 --> 01:35:41,559
Speaker 1: and you know there's like five or six or seven

1580
01:35:41,800 --> 01:35:44,800
Speaker 1: other Public Enemy related joints.

1581
01:35:44,600 --> 01:35:49,880
Speaker 2: That where where can I hear those? Where does he

1582
01:35:49,960 --> 01:35:53,000
Speaker 2: get his stuff? He's hearing ship like me?

1583
01:35:54,160 --> 01:35:57,920
Speaker 1: Look, man, by this point, everyone knows that I'm the student.

1584
01:35:58,240 --> 01:36:00,120
Speaker 1: Like if I came off as a seisty guy that

1585
01:36:00,360 --> 01:36:04,080
Speaker 1: just you know, I'm leak the shit online and bootleg

1586
01:36:04,160 --> 01:36:05,000
Speaker 1: that shiit no one.

1587
01:36:05,640 --> 01:36:08,040
Speaker 2: Look, that's just a testament to people know that I

1588
01:36:08,280 --> 01:36:10,799
Speaker 2: just generally want to know stuff.

1589
01:36:10,840 --> 01:36:14,000
Speaker 1: And yeah, suit, you're a student of the music, I'll

1590
01:36:14,000 --> 01:36:16,280
Speaker 1: share with you. Bill, I'm sorry I didn't know anyway.

1591
01:36:16,760 --> 01:36:19,920
Speaker 1: So the point is that when I heard the other songs,

1592
01:36:20,000 --> 01:36:23,200
Speaker 1: I was like wow, Like okay, So Public Enemy did

1593
01:36:23,280 --> 01:36:27,040
Speaker 1: have some misses, the greatest missus, right, they had some

1594
01:36:27,120 --> 01:36:29,519
Speaker 1: missus with their with their hits, the songs that really

1595
01:36:29,600 --> 01:36:31,599
Speaker 1: resonated and the songs that were like Hm, okay, I'm

1596
01:36:31,640 --> 01:36:32,800
Speaker 1: glad they kept this off the record.

1597
01:36:32,880 --> 01:36:34,880
Speaker 2: Yeah, but you could do it with any record, can't.

1598
01:36:35,400 --> 01:36:37,519
Speaker 1: Yeah, but I'm now I'm just saying that the the

1599
01:36:38,280 --> 01:36:44,559
Speaker 1: the I mean the likelihood of them having five major

1600
01:36:45,000 --> 01:36:48,080
Speaker 1: life changing songs in a row is some rare ship, right,

1601
01:36:48,880 --> 01:36:51,639
Speaker 1: And the fourth one of their you know, of their

1602
01:36:52,240 --> 01:36:56,639
Speaker 1: of their canon being fight the Power, well revel without

1603
01:36:56,640 --> 01:36:57,120
Speaker 1: a pause to.

1604
01:36:57,160 --> 01:36:58,080
Speaker 2: Me, bring the noise.

1605
01:36:58,479 --> 01:37:02,960
Speaker 1: Uh, don't believe or don't believe it was necessary. I

1606
01:37:03,000 --> 01:37:03,920
Speaker 1: feel like bass heads.

1607
01:37:04,400 --> 01:37:05,880
Speaker 2: I feel like bass Heads.

1608
01:37:05,840 --> 01:37:08,760
Speaker 1: Is just insane. At the time that it came out,

1609
01:37:08,800 --> 01:37:11,760
Speaker 1: it was just unlike anything we ever heard before. Uh.

1610
01:37:12,280 --> 01:37:14,800
Speaker 1: Then the fourth being Fight the Power and the last

1611
01:37:14,880 --> 01:37:18,240
Speaker 1: being uh uh welcome to the territor tardo. Okay, So

1612
01:37:18,960 --> 01:37:21,479
Speaker 1: when how many songs did they submit? Did they submit

1613
01:37:21,600 --> 01:37:24,040
Speaker 1: other songs that they just said, like, this is your song.

1614
01:37:24,160 --> 01:37:27,880
Speaker 2: Well, here's a story. Hit me. I knew. I knew

1615
01:37:27,960 --> 01:37:33,760
Speaker 2: that I need anthem because every script, every time Raid

1616
01:37:33,880 --> 01:37:38,240
Speaker 2: Raheem appears on screen, he's gonna have a song blasting

1617
01:37:38,880 --> 01:37:42,280
Speaker 2: mm hmm. So every time you see a song be blasting,

1618
01:37:42,360 --> 01:37:46,719
Speaker 2: so that shit gotta be hitting and knowing to tone.

1619
01:37:48,640 --> 01:37:53,640
Speaker 2: I knew it had to be public enemy. So the

1620
01:37:53,760 --> 01:37:59,400
Speaker 2: first Fight the Power was the second submission. Aha, there

1621
01:37:59,439 --> 01:38:02,479
Speaker 2: we go. Have we heard the first one? No, I

1622
01:38:02,520 --> 01:38:03,439
Speaker 2: don't I don't even know.

1623
01:38:03,600 --> 01:38:05,200
Speaker 1: You didn't want to play it safe in the summer

1624
01:38:05,200 --> 01:38:07,280
Speaker 1: of eighty eight, like and be like, okay, rebel without

1625
01:38:07,320 --> 01:38:09,439
Speaker 1: a pause, We'll just stick to this story.

1626
01:38:09,479 --> 01:38:13,960
Speaker 2: And I wanted a new song and the first one

1627
01:38:14,479 --> 01:38:19,799
Speaker 2: wasn't hitting, wasn't it. But it wasn't their fault because

1628
01:38:20,640 --> 01:38:23,320
Speaker 2: we didn't. We didn't. We weren't at a point where

1629
01:38:23,320 --> 01:38:30,559
Speaker 2: we could show them the film. Okay, so earlier they

1630
01:38:30,600 --> 01:38:32,840
Speaker 2: saw a film, Yeah, they didn't see anything. I just

1631
01:38:33,000 --> 01:38:37,040
Speaker 2: I just did have a script. I guess ended Bill Stepney. Okay,

1632
01:38:37,080 --> 01:38:39,400
Speaker 2: because Bill Stepaney living Ford Green. So I called him up,

1633
01:38:39,840 --> 01:38:42,439
Speaker 2: got my bike, rode four or five blocks. Here's the script. Boom.

1634
01:38:42,479 --> 01:38:45,320
Speaker 2: He he knows that he remembers more of the story

1635
01:38:45,320 --> 01:38:47,439
Speaker 2: than anybody, Bill Stepney, So you try to get him

1636
01:38:47,560 --> 01:38:52,560
Speaker 2: his his his saying it. But but the second But

1637
01:38:53,160 --> 01:38:55,080
Speaker 2: we got to a point where we could show him something.

1638
01:38:56,880 --> 01:38:58,280
Speaker 2: I don't know, we show him a clip or a

1639
01:38:58,320 --> 01:39:03,200
Speaker 2: whole film. But once they saw that, Hank Shockley them, guys, do.

1640
01:39:03,240 --> 01:39:06,760
Speaker 1: You remember what your place song was that you use placeholder?

1641
01:39:06,920 --> 01:39:10,559
Speaker 1: Your placeholder song, yeah, that you used before you got

1642
01:39:10,640 --> 01:39:11,120
Speaker 1: the I.

1643
01:39:11,160 --> 01:39:16,160
Speaker 2: Mean like what you call timp music. We have it, Okay,

1644
01:39:16,200 --> 01:39:21,280
Speaker 2: we have any temp music? Oh so, because I knew

1645
01:39:21,320 --> 01:39:31,560
Speaker 2: that there's a thing called temp love. That's so I

1646
01:39:31,600 --> 01:39:34,800
Speaker 2: don't want I don't want to contaminate my I mean,

1647
01:39:35,640 --> 01:39:37,360
Speaker 2: I knew his music is I didn't have to fake it.

1648
01:39:39,040 --> 01:39:44,280
Speaker 2: When I heard fight for the first time, what was that? Like, man,

1649
01:39:44,360 --> 01:39:52,320
Speaker 2: I said, thank you Jesus, because this was the whole

1650
01:39:53,200 --> 01:39:55,120
Speaker 2: it's summed up the whole motherfucking movie.

1651
01:39:56,640 --> 01:39:58,519
Speaker 1: And he asked for none of this. Didn't asked for Elvis,

1652
01:39:59,439 --> 01:40:02,040
Speaker 1: John Wayne, none of that ship like you just not

1653
01:40:02,280 --> 01:40:03,880
Speaker 1: nothing to do with that. Did you name the song

1654
01:40:03,960 --> 01:40:05,639
Speaker 1: and say I need a song called fight the power?

1655
01:40:07,320 --> 01:40:12,519
Speaker 1: They got that from brothers, But I just all I

1656
01:40:12,640 --> 01:40:16,639
Speaker 1: said was I need an anthem. That's a tall order spike.

1657
01:40:17,560 --> 01:40:25,200
Speaker 2: And that's why with the public X.

1658
01:40:27,640 --> 01:40:32,679
Speaker 1: Okay, the the pizzeria that burnt down, the fire, which

1659
01:40:32,800 --> 01:40:36,400
Speaker 1: I assume that you burnt it down for real, how

1660
01:40:36,439 --> 01:40:38,880
Speaker 1: did y'all control that since you weren't on a studio, Like,

1661
01:40:39,479 --> 01:40:41,479
Speaker 1: what's not that from.

1662
01:40:41,400 --> 01:40:44,439
Speaker 2: Spreading to the fire departments there?

1663
01:40:46,560 --> 01:40:49,240
Speaker 1: But the fire department that was Were they the actual

1664
01:40:49,280 --> 01:40:56,920
Speaker 1: fire department? That's weird, okay, But that.

1665
01:40:58,920 --> 01:41:05,760
Speaker 2: That song, I mean sometimes I don't even I can't even.

1666
01:41:06,240 --> 01:41:09,240
Speaker 2: Can you imagine Do the Right Thing with the fight,

1667
01:41:09,360 --> 01:41:13,040
Speaker 2: the power. It's not the same movie. It's not the

1668
01:41:13,080 --> 01:41:16,320
Speaker 2: same another character in the movie. It's a movie, I mean,

1669
01:41:16,880 --> 01:41:21,320
Speaker 2: but that it was a gift. It's a gift from God.

1670
01:41:21,439 --> 01:41:24,519
Speaker 2: That's that's all. I mean. You you should ask Chuck

1671
01:41:24,560 --> 01:41:27,719
Speaker 2: and those guys you know, but their their their version. Eventually,

1672
01:41:27,960 --> 01:41:28,880
Speaker 2: I'll get to that. Yeah.

1673
01:41:28,960 --> 01:41:36,360
Speaker 1: Yeah, Spike's film inspired Do the Right Thing inspired uh,

1674
01:41:37,680 --> 01:41:42,040
Speaker 1: the song that was originally the Roots before Scott Stortch

1675
01:41:42,080 --> 01:41:45,760
Speaker 1: gave it to his girlfriend Little Kim, the song that

1676
01:41:45,800 --> 01:41:47,080
Speaker 1: will eventually be Lighters Up.

1677
01:41:47,560 --> 01:41:47,800
Speaker 2: Wow.

1678
01:41:48,120 --> 01:41:50,840
Speaker 1: Well, when we got to the studio, Do the Right

1679
01:41:50,880 --> 01:41:55,040
Speaker 1: Thing was on television, and uh, Samuel Jackson was senior

1680
01:41:55,160 --> 01:41:58,760
Speaker 1: ladder Love Daddy, and he was doing roll Call. And

1681
01:41:58,800 --> 01:42:02,320
Speaker 1: when I heard that drum by the time, I said,

1682
01:42:02,400 --> 01:42:04,400
Speaker 1: I want to remake that sit and so I remade

1683
01:42:04,439 --> 01:42:15,679
Speaker 1: it and my father, see Scott Storch, I remade made

1684
01:42:17,880 --> 01:42:21,640
Speaker 1: and Scott did the piano and then here's here's the

1685
01:42:21,720 --> 01:42:25,040
Speaker 1: crazy ship toik stay by to write the first verse.

1686
01:42:25,120 --> 01:42:26,320
Speaker 1: This is going to be like the first thing off

1687
01:42:26,400 --> 01:42:26,960
Speaker 1: tipping point.

1688
01:42:28,000 --> 01:42:28,120
Speaker 2: Uh.

1689
01:42:28,439 --> 01:42:31,360
Speaker 1: And then Scott was like We're going to somebody's birthday party.

1690
01:42:31,439 --> 01:42:33,880
Speaker 1: I didn't realize it that night is when I had.

1691
01:42:33,840 --> 01:42:35,000
Speaker 2: Dinner with O. J. Simpson.

1692
01:42:38,240 --> 01:42:41,000
Speaker 1: Long story of that night, and that was the first

1693
01:42:41,040 --> 01:42:46,599
Speaker 1: time literally we made that beat. And then we went

1694
01:42:46,680 --> 01:42:53,320
Speaker 1: to some friends of ours, uh birthday party, and and

1695
01:42:53,720 --> 01:42:56,439
Speaker 1: OJ and Buster the Rhymes and me and Scott Stort

1696
01:42:56,560 --> 01:43:01,720
Speaker 1: sitting at the small small kids take Thanksgiving. It was

1697
01:43:01,880 --> 01:43:06,360
Speaker 1: very and we were like the four black people there,

1698
01:43:06,439 --> 01:43:09,920
Speaker 1: so we just sat at the small table. All I

1699
01:43:09,960 --> 01:43:12,760
Speaker 1: got with that night was that he he said that

1700
01:43:13,600 --> 01:43:17,360
Speaker 1: that you know the way that the rappers, uh, the

1701
01:43:17,439 --> 01:43:21,599
Speaker 1: way that Bob Dylan Uh. And was it Patty Smith,

1702
01:43:23,720 --> 01:43:28,360
Speaker 1: you know Champion Hurricane Carter. Yeah, that us with us

1703
01:43:28,479 --> 01:43:39,040
Speaker 1: rappers need to get the sentence Champion. Yes, very surreal night. Anyway,

1704
01:43:39,439 --> 01:43:45,960
Speaker 1: Thank you, Spike ladies and gentlemen. I hope you enjoyed

1705
01:43:45,960 --> 01:43:49,960
Speaker 1: that encore presentation of a Spike Lee's interview on QLs Classic.

1706
01:43:50,560 --> 01:43:50,680
Speaker 2: Uh.

1707
01:43:50,800 --> 01:43:53,519
Speaker 1: Stay tuned for next go round when we ask more

1708
01:43:53,640 --> 01:43:57,120
Speaker 1: questions about his history behind the count Spike Lee Part

1709
01:43:57,160 --> 01:44:03,640
Speaker 1: two come out next QLs Classic. What's Love Supreme is

1710
01:44:03,680 --> 01:44:07,679
Speaker 1: a production of iHeartRadio. This classic episode was produced by.

1711
01:44:07,680 --> 01:44:09,160
Speaker 2: The team at Pandora.

1712
01:44:13,960 --> 01:44:18,360
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1713
01:44:18,800 --> 01:44:20,479
Speaker 1: or wherever you listen to your favorite shows.