WEBVTT - QLS Classic: Spike Lee (Part 1)

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<v Speaker 1>Of Course Love Supreme is a production of iHeartRadio. This

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<v Speaker 1>classic episode was produced by the team at Pandora. Ladies

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<v Speaker 1>and Gentlemen. Welcome to QLs Classic Episode forty seven with

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<v Speaker 1>the Great Spike Lee August two, thy seventeen. A side note,

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<v Speaker 1>our guest today deserves credit at least for inspiring the

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<v Speaker 1>Supreme Roque Hall theme song of our beloved show. Besides that,

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<v Speaker 1>Spike Lee is a provocateur, a visionary, a storyteller, great,

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<v Speaker 1>a hustler, accentric soul. This episode came slightly before his

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

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<v Speaker 1>We get it all out, all of his journeys, all

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<v Speaker 1>of our favorite movies. We get to ask him everything

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<v Speaker 1>right here on QLs Classic with the Great Spike Lee.

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<v Speaker 2>This is gonna be really awkward.

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<v Speaker 3>Oh my god, Soma su Supremo role call Suprema Son

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<v Speaker 3>Sons Loving Albody, Suprema Son Son Supremo role called Suprema

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<v Speaker 3>Son Son Upbramo.

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<v Speaker 1>So I'm just gonna sit here, yeah and have the

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

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<v Speaker 1>we're stealing his song.

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<v Speaker 3>Roll Call Supremo Supremo roll call, Subpremo son something Supremo

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<v Speaker 3>rod call.

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<v Speaker 1>My name is Fante, Yeah, dropping these flows, yeah, because.

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<v Speaker 4>A Supremo roll call, Supremo some Supremo road.

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<v Speaker 5>My name is Sugar, Yeah, the inside man.

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<v Speaker 2>Yeah, I've been with the roots.

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<v Speaker 1>Yeah since the Bamboozles band.

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<v Speaker 4>Rama Supremo roll call.

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<v Speaker 6>Son some Supremo roll call Lee once was yeah boss

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

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<v Speaker 3>Hero subprema so Supreme roll Suprema son Supremo role.

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<v Speaker 7>I want to let you know. Yeah, I'm not just

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<v Speaker 7>for show.

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<v Speaker 2>Yeah, will you let me go?

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<v Speaker 1>Oh god, Supreme roll explain that.

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<v Speaker 2>After the roll. My name is Spike, yeah with the nickname.

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<v Speaker 3>Yeah.

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<v Speaker 2>My mother said, yeah, I was out of his world.

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<v Speaker 3>Rolling Suprema something Supremo, roll call, Subprema something something Supremo role,

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<v Speaker 3>subframa son Supremo roll.

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<v Speaker 1>Yeah.

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<v Speaker 2>One person clapping.

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<v Speaker 7>I'm not just for sure.

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<v Speaker 2>Yet what school day.

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<v Speaker 1>Song written? Because her timing? Because she up, I didn't

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<v Speaker 1>It's hard, you know, Okay, now he hears the song

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<v Speaker 1>in everybody.

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<v Speaker 2>I didn't recognize the song either.

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<v Speaker 1>And did you recognize Wait, before I even introduce you

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<v Speaker 1>Spike Lee. Uh, he just did what is the history

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<v Speaker 1>behind uh your roll call?

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<v Speaker 8>Like?

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<v Speaker 2>I heard that at Morehouse? Oh so that's I didn't

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<v Speaker 2>make that up.

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<v Speaker 7>Isn't it like a warm up?

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<v Speaker 2>Like? So we just baby just going to school Morehouse,

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<v Speaker 2>they had a roll call and we just incorporated into

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<v Speaker 2>uh school days and do it again? Did it again

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<v Speaker 2>when he got game? So that was in school days.

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<v Speaker 2>It wasn't.

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<v Speaker 1>Because I first and get on the bus on school

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<v Speaker 1>days too.

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<v Speaker 2>I gotta watch it, watch it again again the gam Mites.

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<v Speaker 8>Really yeah, when they first get in, when they first

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<v Speaker 8>come on and they walk down the gam Mites.

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<v Speaker 1>Oh, I gotta watch it again. Okay, wow, well ladies

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<v Speaker 1>three times. Okay, ladies and gentlemen. This is another episode

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<v Speaker 1>of Quest of Supreme. Uh introducing the fam This is

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<v Speaker 1>uh damn. I really wish uh fon tigelow Uh who

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<v Speaker 1>who was the the the bus driver of get on

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<v Speaker 1>the bus. And to my right we have Sugar Steve,

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<v Speaker 1>who was one of the thugs in in Summer of sam.

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<v Speaker 2>That's what's up? Yeah? Yeah, what last your last name?

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<v Speaker 5>No, At the end of the vowel, I was around

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<v Speaker 5>back then, but it was I didn't do it. I

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<v Speaker 5>actually actually I have a similar last name to the

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<v Speaker 5>guy who did do it.

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<v Speaker 1>Okay, uh yeah, and uh Boss Bills to my left

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<v Speaker 1>eacle Sandwich. Oh, he was one of the cornermen on

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<v Speaker 1>Do the Right Thing. I was going to ask to

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<v Speaker 1>be Bob Regular from Girls six Bob Regular. No, okay anyway,

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<v Speaker 1>and we have Fresh from Crookland.

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<v Speaker 7>Ok.

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<v Speaker 1>Yeah, she was the girl making out with with was

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<v Speaker 1>also in Crookland. Y'all were making out with each other

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<v Speaker 1>and the and the until the beginning.

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<v Speaker 2>Job. I hate Ticky, No Tacky go to Joe Cuba.

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<v Speaker 1>Yes, finally, uh it's It's taken some time, but I

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<v Speaker 1>will say that, at least for me personally, and maybe

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<v Speaker 1>I speak for most of the inhabitants of this room,

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<v Speaker 1>that we we have the the director of our particular

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<v Speaker 1>generation with us right now.

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<v Speaker 2>Thank you very much, mister Spike.

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<v Speaker 1>Sheldon Lee, New Yorker Film r Tour, political activists and

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<v Speaker 1>and and great human being.

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<v Speaker 2>How are you. I'm good, I'm glad to be here.

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

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<v Speaker 2>Wait somebody.

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<v Speaker 1>To say that, yes, I'm sorry, I've not been given

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<v Speaker 1>Electric Lady.

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<v Speaker 2>There props.

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<v Speaker 1>We're live in studio a where many a classic has

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<v Speaker 1>been born, A lot of.

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<v Speaker 2>Great spirits in here. Well we are right now. You

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<v Speaker 2>can feel it. Walk in the door. You could feel

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<v Speaker 2>the spirits. Well, Spike.

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<v Speaker 1>I know when when Spike agreed to do this, he

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

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<v Speaker 1>He's like, all right, so now right. I was like, no,

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<v Speaker 1>Spike ninety. I tried to hint. I was like, well,

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<v Speaker 1>in the Jimmy Jam episode, it was seven hours. Spike

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<v Speaker 1>was like, nah, motherfucker.

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<v Speaker 2>So I'm good. We had to let me go. Oh

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<v Speaker 2>you don't mean that. You don't mean that. Let me

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<v Speaker 2>lean back.

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<v Speaker 1>All right, So I'm gonna because we're we have so

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<v Speaker 1>much questions about your.

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<v Speaker 2>Your film, decade to work, body of work. Yes for

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<v Speaker 2>thirty years. Yeah, you were born where in Atlanta, Georgia?

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<v Speaker 1>In Atlanta, Georgia, right, Really? I thought you were born

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<v Speaker 1>in New York.

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<v Speaker 2>No, I was born in Atlanta, Georgia. My parents moved

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<v Speaker 2>to Brooklyn. We moved to Crown Heights when I was

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<v Speaker 2>like two years old. Move from Crown Heights doing the

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

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<v Speaker 2>Italian American thing comes back, because back then the cobble

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<v Speaker 2>Hills is stone Italian American. And then my mother says

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<v Speaker 2>Tony Patton rent. So we bought a brownstone in Fort

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<v Speaker 2>Green for forty five thousand dollars in nineteen sixty eight.

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<v Speaker 1>Wait, how is that even possible?

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<v Speaker 2>Sixty eight? What was that like? Pre gentrification? In fact,

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<v Speaker 2>the realtors wouldn't even list for Green, they would say

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<v Speaker 2>downtown Vicinity. So it's really been a trip that you

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<v Speaker 2>grow up in Fort Green, predominately black and Puerto Rican schools,

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<v Speaker 2>no good garbage, never picked up, cops on around, and

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<v Speaker 2>those things aren't like that anymore with the change, and

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<v Speaker 2>they know they are not garage, just cleaned up. Public

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<v Speaker 2>schools are great on the cops or wrong.

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<v Speaker 7>I was trying to explain to my New York daddy

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<v Speaker 7>what Dumbo was today.

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<v Speaker 2>He was like, what I do? I don't know down

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<v Speaker 2>on the Manhattan Bridge, that's what it is.

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<v Speaker 1>For the films that you've shot in Brooklyn neighborhoods, how

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<v Speaker 1>different are they now?

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<v Speaker 2>Like the do the right thing block? Like, what is

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<v Speaker 2>that now? Is that? Like it's counttainable, it's gentified. So

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<v Speaker 2>no more black families, no more brown but I gentify,

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<v Speaker 2>I mean Do the Right Thing was shot in bedstide

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<v Speaker 2>door died bephis diverson. But the great thing about that

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<v Speaker 2>New York City, that block we shot on, we shot

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<v Speaker 2>do on thing of one block. The summer nineteen eighty eight,

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<v Speaker 2>that block has been renamed Do the Right Thing Way.

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<v Speaker 2>That's the first time a movie, a song has ever

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<v Speaker 2>been just named the name after that. So we take

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<v Speaker 2>our nest also where we have our Michael Jackson block

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<v Speaker 2>parties too, on the same block.

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<v Speaker 6>So is that the block where I visit the office

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<v Speaker 6>and it's the office is further down downtown.

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

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<v Speaker 1>And the place where you when I visited your first store,

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<v Speaker 1>like back in ninety one, is that still up.

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<v Speaker 2>That's called Chez Paulette, Okay.

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<v Speaker 1>But that's the new name of the block or the

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<v Speaker 1>new name of the.

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

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<v Speaker 2>What the restaurant is is where the original Spikes Joint was,

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<v Speaker 2>Oh okay, and I own that building to And so

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<v Speaker 2>when we did Jungle fever Us where halle Berry. We're

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<v Speaker 2>gonna put a plaque there where she stayed. Wow. Wait,

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<v Speaker 2>that's the scene where oh there's no scene, and that's

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<v Speaker 2>that's just where she stayed. Wash, she washed, she was

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<v Speaker 2>shooting the film.

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

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

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<v Speaker 2>Jungle Fever And did she really not shower for all

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<v Speaker 2>those days? And he goes the story, Wait, wait, wait, wait,

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

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<v Speaker 2>Robbie Reid cast that film, and so she brought a

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<v Speaker 2>halle Berry came in five times mm hmm. And the

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<v Speaker 2>role is viving the two dollars crack hot, and the

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<v Speaker 2>first four times she was just too fun. Finally, some

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

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<v Speaker 2>So she I think she's ben bayed for a week.

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

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<v Speaker 2>And that's how she got the part. Wow. I just

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<v Speaker 2>did not see her finely she was. That's the opposite.

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<v Speaker 2>I did not see it as being a two dollars

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<v Speaker 2>crack hot. Wow.

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<v Speaker 7>Awesome.

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<v Speaker 1>She showed us, didn't she did so why, I mean

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<v Speaker 1>at a time where where the seventies and the upward

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<v Speaker 1>mobility and you know a lot of our you know,

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<v Speaker 1>the ways that black people expressed themselves creatively, usually through

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<v Speaker 1>sports or singing.

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<v Speaker 2>Right, why did you choose visuals?

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<v Speaker 1>Why did you choose I mean, was it that you

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<v Speaker 1>had a child experience where you saw like Gordon Park

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<v Speaker 1>Works And no.

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<v Speaker 2>It wasn't that. When people ask that question a lot

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<v Speaker 2>and I just say, a film chose me. I grew

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<v Speaker 2>up in a very artistic background. My mother taught us

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<v Speaker 2>great high school in Brooklyn Heights called Saint Anne's. She

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

0:12:36.320 --> 0:12:39.000
<v Speaker 2>a Bill Lee, And I just grew up in a

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<v Speaker 2>very artistic household. My mother had the vision, not that

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<v Speaker 2>she was going to be artists, but she exposed us,

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<v Speaker 2>just not just me, but all my siblings to the arts.

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<v Speaker 2>So she was dragging me the Broadway plays museums while

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

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<v Speaker 2>kicking and screaming. Every single time we came home. We

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<v Speaker 2>would we would think it because that.

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<v Speaker 1>Was that was fun.

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<v Speaker 2>Well, you're going to zoom going to plays like My

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<v Speaker 2>mother's one introduced me to Martin Squaresese. She took me

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<v Speaker 2>to see mean streets. My father hated movies. I mean,

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<v Speaker 2>but I love sports. So my love of sports comes

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<v Speaker 2>from my father. There right, My love of movies comes

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<v Speaker 2>to my mother. I was my mother's movie date.

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<v Speaker 1>I was gonna ask, how how is one film buff

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<v Speaker 1>before the age of the remote control the rewind button?

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<v Speaker 2>Netflix? Uh yeah, and just cable because they had you

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<v Speaker 2>know a wait, I forgot the word from, but you

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<v Speaker 2>had the theaters has showed old films.

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<v Speaker 1>So even back in the seventies they would still show

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<v Speaker 1>Oh yeah, yeah, I mean there was, but was it

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<v Speaker 1>film new are like now in the weekends, I know

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<v Speaker 1>eleven or twelve movie theaters in New York that will

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<v Speaker 1>show I mean.

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

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<v Speaker 2>begetting the theaters. But they were certain theaters. That's all

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<v Speaker 2>they showed was old films. And that's the only where.

0:14:07.679 --> 0:14:12.920
<v Speaker 2>I mean, this is room before DHS. Okay, So I

0:14:12.960 --> 0:14:15.120
<v Speaker 2>mean unless you stayed up, you know, watch with the

0:14:15.160 --> 0:14:20.360
<v Speaker 2>commercials on Channel che eleven, you went to these retrospective theaters.

0:14:20.480 --> 0:14:23.880
<v Speaker 1>But was there film noir on the level, like, now,

0:14:24.880 --> 0:14:28.120
<v Speaker 1>you know, I'll buy all the Criterion collection right stuff

0:14:28.160 --> 0:14:30.480
<v Speaker 1>and watch the you know, like what was that for you?

0:14:30.760 --> 0:14:34.120
<v Speaker 1>Like what was the director's commentary for you? I mean

0:14:34.240 --> 0:14:36.080
<v Speaker 1>that really seduced you into.

0:14:36.120 --> 0:14:38.240
<v Speaker 2>But it wasn't like that. I mean I went to films,

0:14:38.360 --> 0:14:42.080
<v Speaker 2>but I was not a film buff. I didn't want

0:14:42.120 --> 0:14:44.600
<v Speaker 2>to be a filmmaker. I wanted to play second best

0:14:44.760 --> 0:14:48.160
<v Speaker 2>second base for New York Mets, but genetics conspired against

0:14:48.160 --> 0:14:54.240
<v Speaker 2>that second baseman I have for short stop, but I

0:14:54.440 --> 0:14:57.680
<v Speaker 2>only played softball. But but here, here's the story though,

0:14:59.280 --> 0:15:01.120
<v Speaker 2>and I said it many times and maybe audience hasn't

0:15:01.120 --> 0:15:04.000
<v Speaker 2>heard it. I went to Morehouse because I had to

0:15:04.040 --> 0:15:08.640
<v Speaker 2>go to Morehouse. My father and grandfather went to Morehouse,

0:15:09.680 --> 0:15:13.360
<v Speaker 2>and my mother and grandma went to Spellman across the street. Third,

0:15:13.720 --> 0:15:17.720
<v Speaker 2>I'm some educated Negroes. My father, my father was a

0:15:17.800 --> 0:15:21.640
<v Speaker 2>fresh and Morehouse. Doctor King was a senior Morehouse and

0:15:21.800 --> 0:15:24.280
<v Speaker 2>doctor King's son, Mark King, the thirty and I were classmates.

0:15:24.320 --> 0:15:26.600
<v Speaker 2>Were in the class seventy nine and Morehouse also with

0:15:26.720 --> 0:15:30.080
<v Speaker 2>Jay Johnson used to be head of home Security. Oh,

0:15:30.640 --> 0:15:33.360
<v Speaker 2>we were all the class saty nine and Morehouse. So

0:15:33.600 --> 0:15:37.800
<v Speaker 2>my first two years in Morehouse. I was a D

0:15:38.120 --> 0:15:43.080
<v Speaker 2>plus C minus student. It was because I wasn't smart.

0:15:43.120 --> 0:15:47.600
<v Speaker 2>I just was not motivated. And right before it's time

0:15:47.680 --> 0:15:50.560
<v Speaker 2>to go back to New York, back to Brooklyn. At

0:15:50.600 --> 0:15:53.720
<v Speaker 2>the end of my sophomare, my advisor told me that

0:15:53.760 --> 0:15:56.520
<v Speaker 2>I had to choose a major. I said why, and

0:15:56.680 --> 0:16:02.440
<v Speaker 2>she said, because you've exhausted all the electives. It's like,

0:16:02.800 --> 0:16:04.720
<v Speaker 2>this is now, this is this key, this is this

0:16:04.880 --> 0:16:09.080
<v Speaker 2>historical because it's twenty years now, It's like, this is

0:16:09.080 --> 0:16:12.040
<v Speaker 2>a very important summer twenty years ago, summer seventy seven.

0:16:12.080 --> 0:16:13.960
<v Speaker 2>So I came back to New York and New York

0:16:14.000 --> 0:16:17.640
<v Speaker 2>City was broke. You couldn't get a job usually, you know,

0:16:17.680 --> 0:16:20.160
<v Speaker 2>you get a job in the summer. Your newest New

0:16:20.200 --> 0:16:22.440
<v Speaker 2>York City was broke. And there's a famous daily news

0:16:22.920 --> 0:16:25.560
<v Speaker 2>front page it said Ford, this city drop dead, Ford

0:16:25.640 --> 0:16:30.320
<v Speaker 2>being president Ford. So I had nothing to do all summer,

0:16:31.000 --> 0:16:32.360
<v Speaker 2>and I didn't want to, you know, sit in and

0:16:32.480 --> 0:16:36.280
<v Speaker 2>stoop and play drata matic baseball, you know. And so

0:16:36.360 --> 0:16:38.280
<v Speaker 2>I have a very good friend. Her name is Vianna Johnson.

0:16:38.400 --> 0:16:41.960
<v Speaker 2>She was always smart. The top three, the top three

0:16:41.960 --> 0:16:45.840
<v Speaker 2>public high schools New York City are Stuyversont, Bronx Science,

0:16:45.880 --> 0:16:48.560
<v Speaker 2>Brooklyn Tech, and so you could take a test depend

0:16:48.600 --> 0:16:52.600
<v Speaker 2>on your grade. The tear is diversand's first Bronx Science,

0:16:53.320 --> 0:16:55.440
<v Speaker 2>then Brooklyn Tech. Brooklyn Tech is on the same block

0:16:56.520 --> 0:16:59.600
<v Speaker 2>where where of course street direct cross street from Spikes

0:16:59.680 --> 0:17:01.680
<v Speaker 2>joined on a block from my office now forty acres

0:17:01.720 --> 0:17:04.720
<v Speaker 2>on the mule. Anybody went over at this house. She's

0:17:04.800 --> 0:17:11.040
<v Speaker 2>always smart and went to Stuyvesant, went to Prince Undergrad

0:17:11.400 --> 0:17:13.400
<v Speaker 2>Harvard Med School. She always we always, she always knew

0:17:13.400 --> 0:17:16.639
<v Speaker 2>she's gonna be a doctor. So so one day, and

0:17:16.800 --> 0:17:19.440
<v Speaker 2>looking back on this, I understand it was not lucky.

0:17:19.440 --> 0:17:22.000
<v Speaker 2>It was the spirit. The spirit told me to go

0:17:22.160 --> 0:17:24.880
<v Speaker 2>see Vieta that day because I wasn't doing it. Damn

0:17:24.880 --> 0:17:28.960
<v Speaker 2>ship to do. So I go see vi Ata. She lived.

0:17:29.160 --> 0:17:32.000
<v Speaker 2>Her lived on ashing place where University Towers is, right

0:17:32.040 --> 0:17:34.440
<v Speaker 2>across the street from l I U where the field is.

0:17:35.680 --> 0:17:38.920
<v Speaker 2>And so we're sitting in the living room and it's

0:17:38.960 --> 0:17:42.000
<v Speaker 2>the box in the corner. I say, what is that box?

0:17:42.840 --> 0:17:47.040
<v Speaker 2>She said, that's super a camera. You can have it. WHOA.

0:17:47.960 --> 0:17:50.360
<v Speaker 2>And then I say, what's another box? She says, stupid,

0:17:50.480 --> 0:17:52.840
<v Speaker 2>that's the box. That's the that's the cartridge for the

0:17:52.960 --> 0:17:56.840
<v Speaker 2>Super Break film for the camera, she says, you know,

0:17:56.920 --> 0:17:58.320
<v Speaker 2>I don't need this shit. I'm gonna be I'm you know,

0:17:59.080 --> 0:18:03.920
<v Speaker 2>I'm I'm gonna be a doctor. Right. This is his sister.

0:18:04.400 --> 0:18:08.719
<v Speaker 2>She's a doctor in Chicago. Now, so now I had

0:18:08.800 --> 0:18:13.480
<v Speaker 2>something to do. So the entire summer nineteen seventy seven,

0:18:14.359 --> 0:18:16.520
<v Speaker 2>so I didn't have a job. I ran around New

0:18:16.600 --> 0:18:20.439
<v Speaker 2>York City with the Super eight camera. It was also

0:18:20.520 --> 0:18:24.320
<v Speaker 2>one of the hottest summers on record. That's why there

0:18:24.400 --> 0:18:28.720
<v Speaker 2>was a blackout when Conazen fucked up. Black folks Puerto

0:18:28.760 --> 0:18:32.920
<v Speaker 2>Ricans lost their mind, looting like mother. Right, I was

0:18:33.000 --> 0:18:39.280
<v Speaker 2>filming it Fifth Street, filmed it on, filmed it on

0:18:39.440 --> 0:18:43.440
<v Speaker 2>on on Fulton Street in Brooklyn. Also, seventy seven was

0:18:43.480 --> 0:18:48.639
<v Speaker 2>the first summer disco, so all the DJs were hooking up.

0:18:48.680 --> 0:18:52.960
<v Speaker 2>The wheels are still and to the turn to the

0:18:53.200 --> 0:18:56.200
<v Speaker 2>in the turrible speakers, the street lamps, so I was

0:18:56.240 --> 0:18:58.359
<v Speaker 2>still on the block parties. The dance was a hustle.

0:18:58.920 --> 0:19:05.040
<v Speaker 1>Also, the film from uh, the Off the Wall documentary, Yeah, yeah,

0:19:05.040 --> 0:19:06.080
<v Speaker 1>that's where footage comes from.

0:19:06.400 --> 0:19:14.720
<v Speaker 2>So then we had this maniac called psychoed David Burkowitz.

0:19:17.320 --> 0:19:22.840
<v Speaker 2>Here's the thing that people forget about that summer, Black

0:19:22.920 --> 0:19:25.360
<v Speaker 2>and Puerto Rican people were now scared of David burke

0:19:25.400 --> 0:19:29.080
<v Speaker 2>Witz because this is this is before Gentification, and the

0:19:29.200 --> 0:19:33.960
<v Speaker 2>motherfucker David burke was to come into Harlem, to come

0:19:34.000 --> 0:19:37.240
<v Speaker 2>to South Bronx, to come to bedside do or die,

0:19:38.640 --> 0:19:42.120
<v Speaker 2>he would have been killed, right And it's not I'm

0:19:42.160 --> 0:19:45.840
<v Speaker 2>not making fun of us because people lost loved ones.

0:19:46.359 --> 0:19:50.520
<v Speaker 2>But the fact remains Black people, Puerto Ricans not. We

0:19:50.640 --> 0:19:54.920
<v Speaker 2>weren't worried about son of Sam So had this footage.

0:19:55.960 --> 0:19:58.800
<v Speaker 2>Came back to school in the fall and declared my

0:19:58.920 --> 0:20:02.600
<v Speaker 2>major asked medications, but Morriston had that major. I took

0:20:02.640 --> 0:20:11.000
<v Speaker 2>the class from Majors across the street to Clark College Massifications, Film, TV, Radio,

0:20:11.200 --> 0:20:14.000
<v Speaker 2>print Journalism. I forget what the other thing is. And

0:20:14.080 --> 0:20:16.440
<v Speaker 2>there's a teacher there. He's still teaching that that. His

0:20:16.520 --> 0:20:18.080
<v Speaker 2>name is Professor Herb Eichelberger.

0:20:18.240 --> 0:20:21.120
<v Speaker 8>Yes, doctor, I went to Clark You went to Clark Radio,

0:20:21.160 --> 0:20:22.800
<v Speaker 8>TV film, Doctor Eichelberger.

0:20:22.400 --> 0:20:28.240
<v Speaker 2>Was give it a u c AU center. So he

0:20:28.520 --> 0:20:31.840
<v Speaker 2>doctor her Biker who's still teaching there. He's the one

0:20:32.520 --> 0:20:35.479
<v Speaker 2>that encouraged me to be a filmmaker. He's went. When

0:20:35.480 --> 0:20:37.639
<v Speaker 2>I talk about this footge I had. I took the

0:20:37.680 --> 0:20:42.080
<v Speaker 2>footage back to the Atlanta That's what Morris says, but

0:20:42.080 --> 0:20:43.240
<v Speaker 2>I didn't know what I was gonna do with it.

0:20:44.200 --> 0:20:48.200
<v Speaker 2>He encouraged me to make a documentary and that documentary

0:20:48.200 --> 0:20:51.040
<v Speaker 2>turned out to be Last Hustle on Brooklyn. And there

0:20:51.080 --> 0:20:54.920
<v Speaker 2>are many times so her doctor Eichelberger called doctor e.

0:20:55.400 --> 0:20:58.600
<v Speaker 2>He had the key to the film lab and two

0:20:58.720 --> 0:21:04.640
<v Speaker 2>or three times a week he would stay three four

0:21:04.680 --> 0:21:07.240
<v Speaker 2>hours so I could work on a film. He wasn't

0:21:07.240 --> 0:21:11.280
<v Speaker 2>getting paid overtime either. And it's been my maybe you

0:21:11.280 --> 0:21:13.959
<v Speaker 2>guys will experience in my experience. I've talked a lot

0:21:14.000 --> 0:21:18.400
<v Speaker 2>of people, and everybody talks about that one teacher they

0:21:18.600 --> 0:21:23.920
<v Speaker 2>had that saw something in you do youn't even see Wow.

0:21:24.480 --> 0:21:27.040
<v Speaker 2>And Herb Eichelberg was when he said, he said, you

0:21:27.119 --> 0:21:32.560
<v Speaker 2>know what. I started to think about the all this stuff.

0:21:32.800 --> 0:21:35.040
<v Speaker 2>Then it came back to me full circle. My mother

0:21:35.200 --> 0:21:37.440
<v Speaker 2>started was taking me to movies. I remember my mother

0:21:37.560 --> 0:21:41.359
<v Speaker 2>taking me East the Sun and see motherfucker Bye by Bertie, Wow,

0:21:41.840 --> 0:21:45.200
<v Speaker 2>and the openings. No people noticed the opening credit sequence

0:21:45.400 --> 0:21:48.320
<v Speaker 2>do the Right Thing Comes from Bye by Bertie and

0:21:48.560 --> 0:21:50.480
<v Speaker 2>Margaret That's where shit came from.

0:21:50.680 --> 0:21:54.440
<v Speaker 8>Rosie Perez comes from Anne Margaret. I mean because she

0:21:54.560 --> 0:21:56.439
<v Speaker 8>dances her asshole though Ann Margaret, she.

0:21:56.600 --> 0:22:00.320
<v Speaker 2>Does, That's where it came from. Wow. So all these

0:22:00.400 --> 0:22:03.920
<v Speaker 2>things that happened started to spring up again. But my

0:22:04.080 --> 0:22:06.480
<v Speaker 2>mother got blessed her soul. If you saw a crooking,

0:22:06.520 --> 0:22:07.920
<v Speaker 2>you know, you know. My mother died while I was

0:22:07.960 --> 0:22:13.120
<v Speaker 2>the sophomorehouse. All these things she planted, you know, bore

0:22:13.200 --> 0:22:15.640
<v Speaker 2>fruit many many years later. But I did not grow

0:22:15.680 --> 0:22:17.840
<v Speaker 2>up want to be a filmmaker. That just didn't happen. Yo.

0:22:17.880 --> 0:22:19.600
<v Speaker 8>Speaking of circles, I just want to mention real quick

0:22:19.680 --> 0:22:21.639
<v Speaker 8>in a strange circle. By the time I went to Clark,

0:22:21.760 --> 0:22:24.439
<v Speaker 8>I believe Bill Nunn was a teacher at Clark Atlanta.

0:22:24.440 --> 0:22:26.400
<v Speaker 7>I just wanted to that when he rest prest in peace.

0:22:26.560 --> 0:22:30.600
<v Speaker 2>Yeah. So Bill Nunn and Sam Jackson morehouse men. But

0:22:30.720 --> 0:22:33.440
<v Speaker 2>they had graduated before me. But they were still in

0:22:33.520 --> 0:22:36.920
<v Speaker 2>Atlanta doing local theater, and that's where I met them.

0:22:37.480 --> 0:22:38.600
<v Speaker 2>They were a couple of years ahead of me.

0:22:38.720 --> 0:22:40.800
<v Speaker 1>So can I ask you what is I mean now?

0:22:42.480 --> 0:22:47.520
<v Speaker 1>In my mind? Like Atlanta culture became cool mid to

0:22:47.640 --> 0:22:51.119
<v Speaker 1>late eighties, especially with music, migration and people coming down there.

0:22:51.680 --> 0:22:56.439
<v Speaker 1>But what was Atlanta like? Like, were you rolling your

0:22:56.480 --> 0:22:59.400
<v Speaker 1>eyes up in there? Like was anything cooler than New York?

0:22:59.600 --> 0:23:01.560
<v Speaker 2>Like, Nah, it was the coolest.

0:23:01.600 --> 0:23:03.080
<v Speaker 1>And when you went down.

0:23:04.920 --> 0:23:08.439
<v Speaker 2>And I can speak with authority if you went if

0:23:08.440 --> 0:23:11.160
<v Speaker 2>you were from New York and you went down South,

0:23:12.080 --> 0:23:18.600
<v Speaker 2>all these motherfuckers were bamas has bamas, and we were

0:23:18.720 --> 0:23:25.040
<v Speaker 2>very arrogant. I understand now they hated us that people.

0:23:24.840 --> 0:23:27.399
<v Speaker 1>From New York that conversation, seeing that the KFC in

0:23:27.480 --> 0:23:30.679
<v Speaker 1>school days was like a real that was typical of.

0:23:31.520 --> 0:23:33.399
<v Speaker 2>Well, that really was a New York thing. That's more

0:23:33.560 --> 0:23:38.560
<v Speaker 2>like college students, the local yokals versus that's real too.

0:23:39.400 --> 0:23:42.920
<v Speaker 2>Here's the thing though, because the aut centers it's called

0:23:43.200 --> 0:23:46.119
<v Speaker 2>and they called the buttom milk the buttermilk bottom, so

0:23:46.640 --> 0:23:52.200
<v Speaker 2>like even us seasonal hood yales and the but you

0:23:52.520 --> 0:23:55.720
<v Speaker 2>Southern cal is in the hood yales in the hood.

0:23:55.760 --> 0:23:59.520
<v Speaker 2>So you had these oasis in Colombia before they brought

0:24:00.080 --> 0:24:06.480
<v Speaker 2>up all motherfucking Harlem not so hot either. These real

0:24:06.560 --> 0:24:08.880
<v Speaker 2>estate motherfuckers they're trying, you know, they're trying to change

0:24:08.880 --> 0:24:10.880
<v Speaker 2>the name of Malcolm X Boulevard to read Avenue.

0:24:11.280 --> 0:24:15.240
<v Speaker 8>What Google happened to DC already our Malcolm X turned

0:24:15.240 --> 0:24:15.920
<v Speaker 8>to Meridian Hill.

0:24:16.880 --> 0:24:17.680
<v Speaker 2>They changed the name.

0:24:17.880 --> 0:24:20.439
<v Speaker 7>It's Meridian Hill Malcolm X Park. Nope, Meridian Hill.

0:24:20.520 --> 0:24:25.760
<v Speaker 1>Actually, are are the the I lived on Avenue Philis?

0:24:25.800 --> 0:24:26.720
<v Speaker 2>Really? Yeah?

0:24:26.800 --> 0:24:30.359
<v Speaker 1>Are our Malcolm X part just changed to we are

0:24:30.440 --> 0:24:37.919
<v Speaker 1>now called uh Walnut Oak Lane. I'm not even Westville now,

0:24:38.040 --> 0:24:40.440
<v Speaker 1>it's it's they changed the name Walnut Lane.

0:24:41.119 --> 0:24:44.359
<v Speaker 2>That she ain't happening. I'm sorry, Harlem. They want to

0:24:44.440 --> 0:24:46.680
<v Speaker 2>change it back to read Avenue. Fuck that.

0:24:47.560 --> 0:24:49.960
<v Speaker 7>It's like anything possible in gentrification land.

0:24:50.160 --> 0:24:54.400
<v Speaker 2>That's crazy. I'm sorry, but that that's crazy. But that's

0:24:54.480 --> 0:24:57.800
<v Speaker 2>that's that's really the origin how I became a filmmaker. Wow,

0:24:57.880 --> 0:25:00.520
<v Speaker 2>So the camera just basically just fell right in your lap.

0:25:00.920 --> 0:25:04.440
<v Speaker 1>But that was you still have that camera? Where's that camera?

0:25:05.040 --> 0:25:11.119
<v Speaker 2>I don't know. But here's the thing, though, I say,

0:25:13.400 --> 0:25:20.800
<v Speaker 2>don't have to pay for it. There's a new museum

0:25:20.880 --> 0:25:24.680
<v Speaker 2>in Philly. But here's the thing, not did you say it?

0:25:25.040 --> 0:25:29.320
<v Speaker 2>I don't think I think that was ordained, because I

0:25:29.400 --> 0:25:33.920
<v Speaker 2>don't think it was a mistake that that day I

0:25:34.119 --> 0:25:38.359
<v Speaker 2>just decided to go see Vienna, and that day the

0:25:38.520 --> 0:25:42.359
<v Speaker 2>super A camera was just sitting there in the corner, and.

0:25:42.960 --> 0:25:47.280
<v Speaker 1>That career and handed you your career, you know what.

0:25:47.560 --> 0:25:51.240
<v Speaker 1>Side note on a parallel tip now that I'm thinking

0:25:51.280 --> 0:25:55.399
<v Speaker 1>about it, Spike Lee is also responsible for the roots

0:25:55.520 --> 0:26:02.240
<v Speaker 1>because our story is very similar. Where after my audition

0:26:02.680 --> 0:26:06.560
<v Speaker 1>at the New School and at Juilliard and Tariq.

0:26:06.840 --> 0:26:08.479
<v Speaker 2>Came up with me to New York for the weekend.

0:26:09.440 --> 0:26:14.040
<v Speaker 1>On my train ride home back on on on SCEPTERA

0:26:14.520 --> 0:26:17.959
<v Speaker 1>from Jersey to back to Philly, a girl walked up

0:26:18.119 --> 0:26:22.960
<v Speaker 1>and thought that I was Chocolate the bucket drummer and

0:26:23.080 --> 0:26:28.159
<v Speaker 1>that Levi's commercials. She thought I was chocolate, But it's.

0:26:28.040 --> 0:26:29.359
<v Speaker 2>Only because button.

0:26:32.200 --> 0:26:36.240
<v Speaker 1>But it's only because I did Boys to Men's Motown

0:26:36.240 --> 0:26:38.800
<v Speaker 1>Philly video and our hair was sort of similar, so

0:26:38.960 --> 0:26:40.960
<v Speaker 1>may I knew she meant, are you the drummer in

0:26:41.040 --> 0:26:43.240
<v Speaker 1>Motown Philly video? But she's like, oh, you're in that

0:26:43.280 --> 0:26:45.160
<v Speaker 1>Spike Lee commercial, right, And so we were like laughing,

0:26:45.280 --> 0:26:49.040
<v Speaker 1>like yo, man, like because that's that summer, Like fame

0:26:49.200 --> 0:26:52.000
<v Speaker 1>just started a little taste of it, like people started recognizing,

0:26:52.520 --> 0:26:54.000
<v Speaker 1>you know. So me and Terka were like, oh, this

0:26:54.320 --> 0:26:56.520
<v Speaker 1>is kind of cool. But it was the next day

0:26:56.840 --> 0:26:59.280
<v Speaker 1>when we were watching Soul Train and the commercial came

0:26:59.359 --> 0:27:02.560
<v Speaker 1>on and it just hit us like eureka, Like we

0:27:02.640 --> 0:27:07.000
<v Speaker 1>look at each other like, yo, wait while we do that, Like,

0:27:07.119 --> 0:27:10.639
<v Speaker 1>let's do that in Philly, And instantly we got the

0:27:10.760 --> 0:27:13.080
<v Speaker 1>buckets and like the roots as you know, it was

0:27:13.200 --> 0:27:18.560
<v Speaker 1>born that way. But commercial, when you're Levi's commercial came on,

0:27:18.680 --> 0:27:20.399
<v Speaker 1>it's like, Yo, we need to do that. And then

0:27:20.480 --> 0:27:23.760
<v Speaker 1>we four hours later we're on South Street busking and

0:27:23.880 --> 0:27:26.960
<v Speaker 1>then now I'm sitting here with Spike Lee elegally.

0:27:28.359 --> 0:27:29.600
<v Speaker 2>Let me get this in is that you know a

0:27:29.640 --> 0:27:31.199
<v Speaker 2>lot of people, you know, they tell you whether they

0:27:31.359 --> 0:27:34.480
<v Speaker 2>like it film or not. But the biggest complidence ever

0:27:34.600 --> 0:27:38.920
<v Speaker 2>get it's when people of all generations say they went

0:27:39.000 --> 0:27:42.359
<v Speaker 2>to a black school or they went to college because

0:27:42.359 --> 0:27:48.560
<v Speaker 2>of school. I mean when people say that there's nothing better.

0:27:49.040 --> 0:27:53.960
<v Speaker 2>When they said because of that film, motherfucker, we even

0:27:53.960 --> 0:27:57.199
<v Speaker 2>thinking about going to school. Didn't even know those there

0:27:57.200 --> 0:28:01.000
<v Speaker 2>were things that black colleges and I'll be honest, I

0:28:01.840 --> 0:28:03.800
<v Speaker 2>didn't know the culture was that rich.

0:28:03.920 --> 0:28:06.399
<v Speaker 7>Like seeing that then I was like, oh, like it

0:28:06.520 --> 0:28:07.640
<v Speaker 7>kind of set off a different world.

0:28:07.680 --> 0:28:13.600
<v Speaker 2>Who knew? Yeah, yeah, that was simultaneous.

0:28:15.080 --> 0:28:16.840
<v Speaker 1>Wait, was it a mistake that half the people that

0:28:16.960 --> 0:28:18.960
<v Speaker 1>were in the same casting director.

0:28:20.240 --> 0:28:22.040
<v Speaker 7>That's right because it was a different world first. That's

0:28:22.040 --> 0:28:23.439
<v Speaker 7>how we knew it was wrong and.

0:28:25.880 --> 0:28:26.560
<v Speaker 2>Came out first.

0:28:27.080 --> 0:28:27.919
<v Speaker 7>That's what I meant.

0:28:29.960 --> 0:28:33.560
<v Speaker 2>I think it's the thing though, you know, and I can't.

0:28:33.640 --> 0:28:36.920
<v Speaker 2>I can't fault Bill Cosby. I should have been on it.

0:28:36.960 --> 0:28:40.040
<v Speaker 2>I should have. I just had a different ideal about

0:28:40.160 --> 0:28:44.240
<v Speaker 2>you know, stupid me, Miles TV. I'm not gonna do TV.

0:28:44.440 --> 0:28:46.440
<v Speaker 2>And he saw the idea and he swooped in on it.

0:28:47.120 --> 0:28:55.640
<v Speaker 1>Wow, before we started your film career, how did you?

0:28:55.800 --> 0:28:58.960
<v Speaker 1>How did you gather the moss that will be? You're

0:28:59.040 --> 0:29:01.240
<v Speaker 1>in a circle like, how did you meet Ernest Dickerson?

0:29:01.600 --> 0:29:02.360
<v Speaker 2>Oh? How did you?

0:29:02.560 --> 0:29:06.200
<v Speaker 1>Who was your starting five? Besides? Did you have the

0:29:06.240 --> 0:29:09.360
<v Speaker 1>same light people, the same centerment? Who's the starting lineup?

0:29:09.840 --> 0:29:14.280
<v Speaker 2>Well after Morehouse, I still knew I did not have

0:29:14.480 --> 0:29:19.160
<v Speaker 2>enough skills as to be a director. Filmmaking the grammar

0:29:19.640 --> 0:29:22.400
<v Speaker 2>the same way you put together a paragraph whatever granted

0:29:22.400 --> 0:29:25.080
<v Speaker 2>this thing called film grammar. So I applied, I did

0:29:25.160 --> 0:29:28.280
<v Speaker 2>my research, applied to the top three film schools in

0:29:28.400 --> 0:29:32.600
<v Speaker 2>United States of America AFI American Film Institute USC S

0:29:32.760 --> 0:29:35.840
<v Speaker 2>link all the Trojans in n YU. To get an

0:29:35.920 --> 0:29:38.400
<v Speaker 2>AFI USC, you had to get an astronomical score in

0:29:38.480 --> 0:29:41.240
<v Speaker 2>the g r E. I took the jury and I

0:29:41.280 --> 0:29:46.760
<v Speaker 2>did not get that astronomical score. There were more forward thinking,

0:29:46.840 --> 0:29:50.040
<v Speaker 2>progressive people thinking people in n YU the grad films

0:29:50.080 --> 0:29:53.320
<v Speaker 2>could think that what you know, they understood the Standarize

0:29:53.360 --> 0:29:54.920
<v Speaker 2>test and could be biased. He has to do being

0:29:54.960 --> 0:29:57.120
<v Speaker 2>a filmmaker, so I didn't have to take a test,

0:29:58.320 --> 0:30:01.320
<v Speaker 2>applied or do submit have a an undergrad degree. And

0:30:01.360 --> 0:30:05.640
<v Speaker 2>some of your great portfolio I got in. Also, Ernest

0:30:05.680 --> 0:30:08.640
<v Speaker 2>Dickerson got it. We were in the same class. We

0:30:08.840 --> 0:30:12.560
<v Speaker 2>both from black schools, earning with Ernest with the Howard

0:30:12.720 --> 0:30:17.280
<v Speaker 2>Wow oh wow, grew up in New Jersey, so right

0:30:17.320 --> 0:30:22.240
<v Speaker 2>away we hit it to Ernest. Ernest shot all my

0:30:23.560 --> 0:30:25.440
<v Speaker 2>in Why You In, Why You Grab? Film is three

0:30:25.520 --> 0:30:31.000
<v Speaker 2>years so he shot my second year film, my thesis film,

0:30:31.080 --> 0:30:33.760
<v Speaker 2>Joe's Best Sided Barbership, which won the Student Gammy Award.

0:30:34.400 --> 0:30:39.840
<v Speaker 2>And and and because that film this is key, Ernest

0:30:40.760 --> 0:30:44.840
<v Speaker 2>shot Joe's Best Barbershop. And that's that's that film. God

0:30:44.880 --> 0:30:51.600
<v Speaker 2>named John Sales film brother Another Planet. Oh so oh

0:30:52.840 --> 0:30:55.720
<v Speaker 2>so what it was great is because we always could

0:30:55.760 --> 0:30:58.080
<v Speaker 2>work together. But it's great that Ernest had already shot

0:30:58.120 --> 0:31:01.000
<v Speaker 2>a feature before he did, She's gotta have it, so

0:31:01.120 --> 0:31:04.240
<v Speaker 2>he has more experience and knowledge. Yeah, so Ernest the DP.

0:31:05.400 --> 0:31:08.800
<v Speaker 2>My editor is Barry Brown. Barry got my first job

0:31:08.880 --> 0:31:13.040
<v Speaker 2>he had. He was owner of an independent distribution company

0:31:13.040 --> 0:31:16.520
<v Speaker 2>called First Run Features. After graduate n y U, where

0:31:16.560 --> 0:31:18.560
<v Speaker 2>I was just cleaning films and stuff like that. He

0:31:19.000 --> 0:31:24.400
<v Speaker 2>cut it my father, Billy's composer Wynn Thomas from Philly.

0:31:25.080 --> 0:31:30.680
<v Speaker 2>Production designer Ruth Carter, the great Ruth Carter went went

0:31:31.040 --> 0:31:36.719
<v Speaker 2>went to Hampton. Ruth Carter, Robbie Reid, and Ray Dowell

0:31:37.880 --> 0:31:43.200
<v Speaker 2>all were classmates, the same class really in Hampton. Wow, man,

0:31:44.000 --> 0:31:44.800
<v Speaker 2>I did not know that.

0:31:45.680 --> 0:31:47.360
<v Speaker 7>Huh your network.

0:31:49.080 --> 0:31:49.440
<v Speaker 2>Network?

0:31:50.560 --> 0:31:52.160
<v Speaker 1>So that that was for many years.

0:31:52.320 --> 0:31:56.560
<v Speaker 2>That was the like, that was it. So Ernest shot

0:31:58.120 --> 0:32:01.360
<v Speaker 2>features for me. She could have its school days do

0:32:01.760 --> 0:32:05.280
<v Speaker 2>thing were better? Jungle Fever. Malcolm X was the last

0:32:05.680 --> 0:32:09.400
<v Speaker 2>film sched real quick, and Ernest came in to be

0:32:09.480 --> 0:32:10.000
<v Speaker 2>a director.

0:32:10.520 --> 0:32:11.800
<v Speaker 1>I was gonna say he came into.

0:32:12.040 --> 0:32:15.080
<v Speaker 2>He came to a director, but his cinematography was so

0:32:15.280 --> 0:32:21.520
<v Speaker 2>tight that eventually he will become a director by being

0:32:21.560 --> 0:32:25.880
<v Speaker 2>a DP. And so after Malcolm X, his first director

0:32:25.880 --> 0:32:29.200
<v Speaker 2>of film was Juice. So I was right. Now, Ernest

0:32:29.360 --> 0:32:33.360
<v Speaker 2>is the top one of the top episode of TV directors. Yes, wow,

0:32:33.480 --> 0:32:35.000
<v Speaker 2>you see everywhere everywhere.

0:32:35.240 --> 0:32:38.680
<v Speaker 1>Who decides the fifty one forty nine of it? Like

0:32:39.360 --> 0:32:42.959
<v Speaker 1>I would assume that, you know, the president's the director

0:32:42.960 --> 0:32:45.640
<v Speaker 1>and the vice president's the cinematographer, and you you got

0:32:45.760 --> 0:32:49.200
<v Speaker 1>to be married to each other. So I mean, how

0:32:49.240 --> 0:32:51.320
<v Speaker 1>come you guys didn't have a thing like Okay, we'll

0:32:51.360 --> 0:32:54.200
<v Speaker 1>do this project and then I'll do the cinematography and

0:32:54.280 --> 0:32:55.600
<v Speaker 1>you do directing or that's.

0:32:55.480 --> 0:32:59.600
<v Speaker 2>I was not a cinematographer. What's the difference between Yeah,

0:32:59.640 --> 0:33:08.680
<v Speaker 2>what is the different photograph the movie, the deep topha

0:33:08.720 --> 0:33:11.840
<v Speaker 2>the same thing? Okay, yeah, right, that helps, but but

0:33:12.120 --> 0:33:14.920
<v Speaker 2>but there's different just totally two different. Some they are

0:33:15.080 --> 0:33:19.360
<v Speaker 2>DP directors, but usually is two different skill sets. And

0:33:19.600 --> 0:33:23.760
<v Speaker 2>Ernest's visual sense was so far advanced the mind that,

0:33:24.600 --> 0:33:26.160
<v Speaker 2>you know, when there was a question, you know, I'd say,

0:33:26.200 --> 0:33:27.000
<v Speaker 2>so if you're.

0:33:26.880 --> 0:33:29.240
<v Speaker 1>Talking about Spike Lee shot, the idea of the Spike

0:33:29.320 --> 0:33:30.000
<v Speaker 1>Lee shot, you.

0:33:30.280 --> 0:33:31.440
<v Speaker 2>Double dollary shot.

0:33:31.520 --> 0:33:33.520
<v Speaker 1>Well, not even that I'm talking about first before the

0:33:33.600 --> 0:33:36.320
<v Speaker 1>dollary shot. I'm thinking of a lot of your frames

0:33:36.400 --> 0:33:37.400
<v Speaker 1>were diagonal.

0:33:37.680 --> 0:33:40.600
<v Speaker 2>That was only in in do direct thing.

0:33:42.040 --> 0:33:45.440
<v Speaker 1>You had some abstract looking stuff. It was those for

0:33:45.560 --> 0:33:48.480
<v Speaker 1>she's got to have it. There was some abstract looking

0:33:49.160 --> 0:33:52.520
<v Speaker 1>I never thought of looking at someone. I've definitely remember

0:33:52.520 --> 0:33:56.080
<v Speaker 1>the first time you the cameras on the floor, more

0:33:56.200 --> 0:33:59.840
<v Speaker 1>looking up, like making people taller. Just things I've never

0:33:59.840 --> 0:34:04.360
<v Speaker 1>seen before. Well like who decides whose idea is that?

0:34:05.240 --> 0:34:08.560
<v Speaker 2>It depends on you? I mean we usually back in

0:34:08.640 --> 0:34:11.120
<v Speaker 2>early it was Ernest ideal because his his visual sense

0:34:11.200 --> 0:34:15.440
<v Speaker 2>so much evanced in mind Ernest after graduated, Ernest was

0:34:15.480 --> 0:34:19.120
<v Speaker 2>an architecture major at Howard and then he didn't come

0:34:19.160 --> 0:34:21.920
<v Speaker 2>in while you right away he was a medical photographer

0:34:22.320 --> 0:34:26.080
<v Speaker 2>at the hospital. So I mean his visual sense was

0:34:26.440 --> 0:34:29.880
<v Speaker 2>was That's why everybody wanted Ernest to shoot their films.

0:34:30.000 --> 0:34:31.400
<v Speaker 2>And while you grad film So.

0:34:31.520 --> 0:34:33.120
<v Speaker 7>Was he the double Dolly or is that you.

0:34:35.280 --> 0:34:37.880
<v Speaker 2>We both There was a scene of More Better Blues

0:34:37.920 --> 0:34:40.640
<v Speaker 2>where we had First of all, we did not invent

0:34:40.760 --> 0:34:41.160
<v Speaker 2>that shot.

0:34:42.120 --> 0:34:44.719
<v Speaker 1>We just where did you first see it? Or we

0:34:44.840 --> 0:34:46.600
<v Speaker 1>were like, okay, we gotta do that, and we did it.

0:34:46.920 --> 0:34:49.719
<v Speaker 1>But it wasn't too later we discovered we saw this,

0:34:50.000 --> 0:34:53.560
<v Speaker 1>people were doing it. I mean it was first when

0:34:53.560 --> 0:34:55.800
<v Speaker 1>you were avoiding the thugs and more Better.

0:34:55.880 --> 0:35:00.560
<v Speaker 2>Yeah, that was see what was wrong about that. When

0:35:00.600 --> 0:35:02.839
<v Speaker 2>you when you're on a double dollar, you really shouldn't move,

0:35:04.040 --> 0:35:06.000
<v Speaker 2>but I was trying to. I didn't We didn't know that.

0:35:06.960 --> 0:35:11.919
<v Speaker 2>We didn't know that trying to move like a walk.

0:35:12.160 --> 0:35:14.799
<v Speaker 8>But I got a real dumb question, is there us?

0:35:15.440 --> 0:35:17.399
<v Speaker 8>I'm sorry, I got is there a single dollar shot?

0:35:17.480 --> 0:35:19.400
<v Speaker 8>Because you're saying are you saying it is? You're on

0:35:19.560 --> 0:35:21.440
<v Speaker 8>one and then the camera's on one or.

0:35:21.719 --> 0:35:27.440
<v Speaker 2>No, it's just as it's one dollar, but the actress

0:35:27.480 --> 0:35:30.040
<v Speaker 2>sitting on the dollar, so therefore we call the double dollars.

0:35:30.239 --> 0:35:33.959
<v Speaker 1>So you're sitting on the store, kay, apple box app Okay.

0:35:34.040 --> 0:35:36.640
<v Speaker 2>But here's the thing though, Ernest and I would do it,

0:35:36.920 --> 0:35:40.120
<v Speaker 2>but finally we had we had a conversation. We said,

0:35:40.160 --> 0:35:44.719
<v Speaker 2>you know what, we're out of film school, so we

0:35:44.840 --> 0:35:50.280
<v Speaker 2>gotta we got to use this. So this shot means something.

0:35:51.840 --> 0:35:56.640
<v Speaker 2>So example where it means something is when the best

0:35:56.719 --> 0:36:00.600
<v Speaker 2>used probably is the next Yeah, he's going to the

0:36:00.640 --> 0:36:03.600
<v Speaker 2>Botto ballroom. And the reason why I did that. Doing

0:36:03.680 --> 0:36:05.960
<v Speaker 2>research for the film, I became very I became very

0:36:06.040 --> 0:36:09.640
<v Speaker 2>close with doctor Basha Bass, Malcolm's willow, the late great

0:36:09.680 --> 0:36:14.040
<v Speaker 2>doctor Basha Bass, and she told me she felt that

0:36:15.320 --> 0:36:18.480
<v Speaker 2>Malcolm knew he was gonna be assassinated. We went to

0:36:18.760 --> 0:36:20.600
<v Speaker 2>a ball and that he wanted to be a martyr.

0:36:21.840 --> 0:36:26.279
<v Speaker 2>She when she told me that, I said, well, how

0:36:26.440 --> 0:36:29.400
<v Speaker 2>can you convey that? And then we said we'll do

0:36:29.560 --> 0:36:33.799
<v Speaker 2>that the double dollar shot. Another example be twenty fifth

0:36:33.840 --> 0:36:39.880
<v Speaker 2>hour after the late great philipema Hoffmann kisses Anna was

0:36:39.960 --> 0:36:45.160
<v Speaker 2>her last night and right there kisses kiss is a

0:36:45.200 --> 0:36:49.879
<v Speaker 2>student and it his bathroom, and then it's like, oh,

0:36:50.040 --> 0:36:51.680
<v Speaker 2>ship would I do? And that's when he's coming out

0:36:51.719 --> 0:36:52.520
<v Speaker 2>to the song Brad.

0:36:53.160 --> 0:36:55.080
<v Speaker 6>It's like, mad, I was going to ask about that

0:36:55.120 --> 0:36:56.759
<v Speaker 6>scene because that song is just too perfect for that.

0:36:56.880 --> 0:36:59.080
<v Speaker 6>That whole was too perfect.

0:37:00.040 --> 0:37:03.880
<v Speaker 2>So what's a about an example, Denzel again an inside

0:37:03.960 --> 0:37:08.799
<v Speaker 2>Man where we see what we think is an all

0:37:08.880 --> 0:37:11.560
<v Speaker 2>thing of one of the hostages by Clive Owens character,

0:37:12.160 --> 0:37:15.120
<v Speaker 2>but turns out it's fake, but them do's know it.

0:37:15.200 --> 0:37:17.600
<v Speaker 2>So we wanted so right then and there, and he

0:37:17.719 --> 0:37:20.600
<v Speaker 2>feels that he's responsible for this hospital shot in the

0:37:20.680 --> 0:37:23.719
<v Speaker 2>head because he had roughed up Clive Owen's characters. So

0:37:23.800 --> 0:37:25.520
<v Speaker 2>that's when we have him doing that too.

0:37:25.600 --> 0:37:26.640
<v Speaker 7>Can you use it a few times?

0:37:28.400 --> 0:37:31.040
<v Speaker 2>Yeah, where he would have a conversation down the street

0:37:31.640 --> 0:37:34.040
<v Speaker 2>me and me and me and Wesley. Yeah, that's when

0:37:34.120 --> 0:37:43.600
<v Speaker 2>I admit that I I spilled the beans. Right.

0:37:44.520 --> 0:37:49.440
<v Speaker 1>Oh yeah, to to right. I told my wife so

0:37:52.440 --> 0:37:54.040
<v Speaker 1>for she's got to have it?

0:37:55.400 --> 0:37:55.640
<v Speaker 2>Did you?

0:37:56.080 --> 0:37:59.959
<v Speaker 1>I mean, what's how did you learn how to write

0:38:00.040 --> 0:38:00.759
<v Speaker 1>a screenplay?

0:38:02.520 --> 0:38:10.520
<v Speaker 2>Well? By reading the screenplays? I mean, we had it

0:38:10.680 --> 0:38:12.520
<v Speaker 2>and want to use it. It's a great film schooling,

0:38:12.719 --> 0:38:16.480
<v Speaker 2>so that I had teachers who would we would show

0:38:16.560 --> 0:38:18.160
<v Speaker 2>the film. They will show you the film, they will

0:38:18.200 --> 0:38:21.960
<v Speaker 2>give you the screenplay. So it's a great learning experience

0:38:22.080 --> 0:38:24.520
<v Speaker 2>to read something and see how that's director will term

0:38:25.160 --> 0:38:34.279
<v Speaker 2>y'all translate. So that's that's how I shot. She's happen

0:38:34.400 --> 0:38:40.360
<v Speaker 2>twelve days really July first to the fourteenth, in the

0:38:40.440 --> 0:38:45.600
<v Speaker 2>summer nineteen eighty five, two six day weeks. Yeah.

0:38:46.880 --> 0:38:49.640
<v Speaker 1>Wow, Like I'm trying to do the math of the

0:38:49.719 --> 0:38:52.640
<v Speaker 1>visual semi. Sorry for making this a very little interview,

0:38:52.680 --> 0:38:55.759
<v Speaker 1>but in my head, I'm like, and you shot on time.

0:38:57.000 --> 0:38:58.279
<v Speaker 2>We had to. We didn't have any more money.

0:38:58.719 --> 0:39:00.600
<v Speaker 1>I was gonna say, did you, Holly, which shuffle it?

0:39:00.719 --> 0:39:00.960
<v Speaker 2>Did you?

0:39:01.160 --> 0:39:02.880
<v Speaker 1>Just here's my credit How do you have.

0:39:02.920 --> 0:39:03.560
<v Speaker 2>A credit card?

0:39:04.800 --> 0:39:05.560
<v Speaker 1>You have credit?

0:39:05.920 --> 0:39:11.799
<v Speaker 2>I have? We uh, we put that film. We really did.

0:39:12.440 --> 0:39:16.040
<v Speaker 2>We approached it the four stages. First stage was a

0:39:16.120 --> 0:39:19.839
<v Speaker 2>shoot it. Second, this is film now we shot at

0:39:19.880 --> 0:39:22.480
<v Speaker 2>Super sixteen. The second stage would get the film out

0:39:22.520 --> 0:39:26.680
<v Speaker 2>the lab. The third stage was crucial. Was me to

0:39:26.719 --> 0:39:30.040
<v Speaker 2>have enough money to eat? Why was it? Because I

0:39:30.280 --> 0:39:34.160
<v Speaker 2>edited the film and that was very crucial because I

0:39:34.239 --> 0:39:37.680
<v Speaker 2>was hanging out with the chef. You know what the

0:39:37.760 --> 0:39:58.040
<v Speaker 2>chef is, the chef chef board. You so don't front, Yes, we.

0:39:58.120 --> 0:40:04.440
<v Speaker 1>Have that was I'm pre pre rahmen, So wait, so

0:40:05.800 --> 0:40:09.799
<v Speaker 1>I recall one of my dad's business partners, like when

0:40:09.800 --> 0:40:12.239
<v Speaker 1>you first started coming on the scene, because there was

0:40:12.320 --> 0:40:15.120
<v Speaker 1>buzz at the same time, almost Simon Chanslee about you

0:40:16.000 --> 0:40:18.439
<v Speaker 1>and whoopees Rise in New York with her One Woman

0:40:18.520 --> 0:40:22.840
<v Speaker 1>and showing you doing film, and I remember when I

0:40:22.960 --> 0:40:24.839
<v Speaker 1>first ever heard of who you were. They were trying

0:40:24.880 --> 0:40:28.719
<v Speaker 1>to describe the fact. Did you have to hustle T

0:40:28.920 --> 0:40:30.400
<v Speaker 1>shirts or socks or something that?

0:40:30.760 --> 0:40:31.839
<v Speaker 2>Oh, I know you're talking about.

0:40:31.960 --> 0:40:33.880
<v Speaker 1>What was the story behind that?

0:40:34.880 --> 0:40:38.000
<v Speaker 2>Well, in the trailer for the film, it begins with

0:40:38.120 --> 0:40:42.600
<v Speaker 2>me saying tube sox, tube socks, three dollars. You can

0:40:42.680 --> 0:40:44.840
<v Speaker 2>google google it. When I'm selling? When am I selling

0:40:44.920 --> 0:40:45.480
<v Speaker 2>tube sox?

0:40:45.600 --> 0:40:52.080
<v Speaker 1>I'm a director, so maybe they Okay, I'm thinking maybe they.

0:40:52.320 --> 0:40:54.560
<v Speaker 1>It was like, yeah he funded it selling t shirts

0:40:54.560 --> 0:41:00.640
<v Speaker 1>and tubsocks. Okay, I see so before we get to

0:41:00.680 --> 0:41:03.080
<v Speaker 1>school days and well, yeah.

0:41:04.000 --> 0:41:07.719
<v Speaker 2>She's got to have it. How did you cast those people? Like?

0:41:08.000 --> 0:41:11.560
<v Speaker 2>What was that process? Like? We I put an ad

0:41:11.680 --> 0:41:15.160
<v Speaker 2>in backstage and people sending headshots and it was just

0:41:15.280 --> 0:41:18.920
<v Speaker 2>off the headshots that you you call them in And

0:41:19.200 --> 0:41:20.959
<v Speaker 2>the fine was Tracey Camilla.

0:41:20.680 --> 0:41:23.640
<v Speaker 7>Jones and that was her in New jack City or

0:41:23.640 --> 0:41:24.479
<v Speaker 7>is that an urban legend?

0:41:24.560 --> 0:41:32.000
<v Speaker 2>No, that was their projected projecting scarface on.

0:41:35.080 --> 0:41:38.759
<v Speaker 1>You w high price, and you brought her back in

0:41:38.880 --> 0:41:42.680
<v Speaker 1>when we jumping with you brought her back in read summer. Also,

0:41:42.880 --> 0:41:46.360
<v Speaker 1>she has a cameo in your Netflix version that she's.

0:41:46.200 --> 0:41:51.919
<v Speaker 2>Got No, yeah, it was on Instagram anyway. Yeah it's true.

0:41:52.440 --> 0:41:58.719
<v Speaker 1>Okay, great, wait lashes and what I call them flash

0:41:58.800 --> 0:42:03.759
<v Speaker 1>from five Parties. But Melvin I knew you were knew.

0:42:03.840 --> 0:42:09.040
<v Speaker 2>You want to say, Melvin John do you know this name?

0:42:09.840 --> 0:42:14.200
<v Speaker 2>I just I was about to say from Philly.

0:42:15.040 --> 0:42:17.800
<v Speaker 1>I've seen him once and I think he was doing

0:42:18.760 --> 0:42:26.839
<v Speaker 1>an adaptation of both characters like a one grand and yeah, yes,

0:42:29.600 --> 0:42:31.360
<v Speaker 1>what serious?

0:42:31.600 --> 0:42:35.200
<v Speaker 2>This was like fifteen years ago. He put both characters

0:42:35.200 --> 0:42:36.480
<v Speaker 2>together as a one man shows.

0:42:36.600 --> 0:42:44.360
<v Speaker 1>It's it's like a retrospective of my history in cinema flash.

0:42:44.520 --> 0:42:48.120
<v Speaker 1>It's slowly at the top in store in two weeks.

0:42:49.760 --> 0:42:52.480
<v Speaker 1>So yeah, that's when I realized, like, oh, you live

0:42:52.520 --> 0:42:55.520
<v Speaker 1>in Philly. Like it was like the summer of ninety

0:42:55.800 --> 0:42:58.800
<v Speaker 1>four or something like, right when the Roots Versus got started,

0:42:58.840 --> 0:43:01.040
<v Speaker 1>and he's like, yeah, I'm doing a one man show

0:43:01.080 --> 0:43:04.400
<v Speaker 1>about you know, my career and the experiences of you.

0:43:04.440 --> 0:43:07.880
<v Speaker 2>Know that that sort of thing. So was not a

0:43:07.960 --> 0:43:08.359
<v Speaker 2>long run.

0:43:08.520 --> 0:43:14.719
<v Speaker 1>End was closed, grand open and grand closing. All right,

0:43:15.239 --> 0:43:19.080
<v Speaker 1>school days, so many questions.

0:43:18.960 --> 0:43:21.239
<v Speaker 2>Can I get started on school days? First? Having the

0:43:21.280 --> 0:43:24.239
<v Speaker 2>first question of school days? Go ahead, pre date school

0:43:24.320 --> 0:43:25.560
<v Speaker 2>days by well o good.

0:43:26.320 --> 0:43:30.000
<v Speaker 1>So after she's got to have it, Mars, Oh, I

0:43:30.080 --> 0:43:32.160
<v Speaker 1>forgot the videos too, Yes, a couple.

0:43:32.320 --> 0:43:32.520
<v Speaker 2>Yeah.

0:43:33.800 --> 0:43:36.960
<v Speaker 6>When you were, I guess, finishing up, she's got to

0:43:37.000 --> 0:43:40.000
<v Speaker 6>have it. You were getting started on another movie called

0:43:40.040 --> 0:43:40.600
<v Speaker 6>The Messenger.

0:43:41.040 --> 0:43:44.840
<v Speaker 2>No, no, hold on, hold on that was legend. No,

0:43:45.600 --> 0:43:49.520
<v Speaker 2>I got it backwards backwards, Okay. After I finished in

0:43:49.760 --> 0:43:55.719
<v Speaker 2>Yu in the summer in May of eighty two, I

0:43:55.920 --> 0:43:59.920
<v Speaker 2>tried to do a feature film called Messenger we had.

0:44:00.160 --> 0:44:07.400
<v Speaker 2>It was starring Lawrence Fishburne, Jean Carsposito. I got involved

0:44:07.440 --> 0:44:10.840
<v Speaker 2>with the friend of the family who said he was

0:44:10.840 --> 0:44:16.520
<v Speaker 2>going to finance the film, and I got all my classmates,

0:44:17.320 --> 0:44:19.719
<v Speaker 2>We're gonna shoot this summer, this shoot this summer of

0:44:19.800 --> 0:44:25.200
<v Speaker 2>eighty four. And the money never came. So I had

0:44:25.239 --> 0:44:29.080
<v Speaker 2>to pull the plug. And my name was mud rightfully,

0:44:29.160 --> 0:44:32.279
<v Speaker 2>so so I had to lay low, and I just

0:44:32.600 --> 0:44:34.480
<v Speaker 2>said to myself, you know, I had three years of

0:44:36.600 --> 0:44:39.719
<v Speaker 2>of being a graduate film in YU, so I was

0:44:39.840 --> 0:44:41.520
<v Speaker 2>able to do a film with two or three people

0:44:41.600 --> 0:44:44.759
<v Speaker 2>speaking and that turning that she's gonna have. But it

0:44:44.840 --> 0:44:46.920
<v Speaker 2>was a complete disaster. Did you ever try to revisit

0:44:47.000 --> 0:44:51.040
<v Speaker 2>that project later on? Do you saw the screenplay? It's

0:44:51.160 --> 0:44:54.920
<v Speaker 2>not really for public consumption, And I just try to like,

0:44:55.120 --> 0:44:57.640
<v Speaker 2>it's an exercise.

0:44:57.719 --> 0:45:00.920
<v Speaker 1>It exercise, it got it, got it.

0:45:01.560 --> 0:45:03.719
<v Speaker 2>But but here's the thing, though, and here's a here's

0:45:03.760 --> 0:45:05.640
<v Speaker 2>a thing. I said this the other the other day

0:45:05.760 --> 0:45:08.680
<v Speaker 2>in London, I gave his speech there. There have been

0:45:08.800 --> 0:45:13.160
<v Speaker 2>so many times my life where I have one foot

0:45:13.239 --> 0:45:17.719
<v Speaker 2>on the ground and that one foot that spzic Air

0:45:17.880 --> 0:45:20.920
<v Speaker 2>Jordan is on the corner, is on the ground. But

0:45:21.000 --> 0:45:26.200
<v Speaker 2>the grounds on the cliff and that next the other

0:45:26.239 --> 0:45:31.040
<v Speaker 2>foot is about to take that step. And as I've

0:45:31.040 --> 0:45:33.759
<v Speaker 2>been I've been blessed because so many times, if I

0:45:33.840 --> 0:45:37.000
<v Speaker 2>was taken another step, it had been curtains. And if

0:45:37.000 --> 0:45:39.240
<v Speaker 2>I if I have gotten the money for mak that film,

0:45:40.600 --> 0:45:43.000
<v Speaker 2>I will not be here because I was not. I

0:45:43.080 --> 0:45:47.360
<v Speaker 2>had people jumping off cars, off roofs. I mean, just

0:45:48.040 --> 0:45:51.080
<v Speaker 2>crazy ship. There's no way I could have done it

0:45:51.239 --> 0:45:54.320
<v Speaker 2>not have been the end of me. Really, So it's blessing.

0:45:54.560 --> 0:45:56.479
<v Speaker 2>It's blessing a lot of times. Though we think about

0:45:56.520 --> 0:45:58.920
<v Speaker 2>this a lot of times. Some shit happens and ain't like,

0:45:59.000 --> 0:46:02.560
<v Speaker 2>oh shit, this is fucked up. But in retrospect you say,

0:46:02.600 --> 0:46:04.400
<v Speaker 2>you know what, I'm glad. I'm glad that.

0:46:09.600 --> 0:46:12.360
<v Speaker 1>This is how I think you can resurrect it. Similar

0:46:12.480 --> 0:46:16.800
<v Speaker 1>to uh, Mario doing uh badass.

0:46:17.880 --> 0:46:21.080
<v Speaker 2>Make a movie about this movie.

0:46:21.760 --> 0:46:24.680
<v Speaker 8>I think that's the movie, right, she gotta have It

0:46:24.800 --> 0:46:26.720
<v Speaker 8>was at the beginning of the Nike relationship.

0:46:26.760 --> 0:46:29.839
<v Speaker 2>Somebody wanted me to ask you that, yes and how

0:46:30.120 --> 0:46:34.280
<v Speaker 2>famous story. Two gentlemen who work for Widen and Kennedy,

0:46:34.480 --> 0:46:41.400
<v Speaker 2>still Nike's agency, Jim Davenport will Bill Widen, Uh. They

0:46:41.680 --> 0:46:45.400
<v Speaker 2>in Portland they saw the film, they got the ideal

0:46:45.520 --> 0:46:48.600
<v Speaker 2>the pair. Michael Jordan, my characters, Marsh called me up

0:46:48.640 --> 0:46:51.000
<v Speaker 2>and said, we want to do this. We're shooting thirty

0:46:51.080 --> 0:46:55.320
<v Speaker 2>five million black and white. You playing Mars, you could direct.

0:46:56.560 --> 0:47:02.560
<v Speaker 2>There's one thing, Michael Jordan doesn't know who the fuck

0:47:02.640 --> 0:47:06.319
<v Speaker 2>you are. I've never heard of a film. And he's

0:47:06.360 --> 0:47:08.560
<v Speaker 2>just on a big deal with with the Nike and

0:47:08.600 --> 0:47:14.040
<v Speaker 2>he said, so he has director's approval, and so Mike

0:47:14.080 --> 0:47:20.280
<v Speaker 2>could have gone with Bob Giraudy, those big time commercial directors,

0:47:20.360 --> 0:47:23.800
<v Speaker 2>Joe Picker. I mean, these guys are great. And it

0:47:23.960 --> 0:47:28.320
<v Speaker 2>wasn't until the All Star Game in Toronto, which is

0:47:28.360 --> 0:47:32.080
<v Speaker 2>two years ago. I finally got enough. Curse asked Mike.

0:47:33.960 --> 0:47:37.600
<v Speaker 2>I said, money, why did you choose me? Said?

0:47:37.600 --> 0:47:37.719
<v Speaker 1>You know?

0:47:37.800 --> 0:47:40.960
<v Speaker 2>He say, he said, because you're wearing the sneakers, right,

0:47:42.000 --> 0:47:47.239
<v Speaker 2>That's where it started. You had to meet him first,

0:47:47.280 --> 0:47:49.320
<v Speaker 2>and then, I mean, I mean, he made the decision,

0:47:49.320 --> 0:47:52.000
<v Speaker 2>he was going to do it before I met him.

0:47:52.800 --> 0:47:56.480
<v Speaker 2>But they yeah, but that's why he made that, That's

0:47:56.480 --> 0:47:58.160
<v Speaker 2>why he tided to go with me and not Joe Picker.

0:47:59.080 --> 0:47:59.880
<v Speaker 2>He was locking him.

0:48:00.040 --> 0:48:01.759
<v Speaker 7>You would be doing it if you wasn't meeting with them.

0:48:01.880 --> 0:48:05.759
<v Speaker 2>That's crazy. You know what, it probably was Mars the

0:48:05.800 --> 0:48:18.279
<v Speaker 2>take off its Jordans was making little to Nola. That's wait.

0:48:18.360 --> 0:48:20.200
<v Speaker 1>I was about to say, yeah, you were rocking the

0:48:20.320 --> 0:48:21.440
<v Speaker 1>Threes by then.

0:48:21.880 --> 0:48:26.920
<v Speaker 2>Yeah, damn no those Jordan ones. Yeah yeah, eighty six

0:48:27.600 --> 0:48:29.600
<v Speaker 2>the Threes do the right thing.

0:48:29.600 --> 0:48:31.440
<v Speaker 1>You're right, the Trees were bugging out. I was going

0:48:31.520 --> 0:48:36.520
<v Speaker 1>to say, how did you how did you arrange for

0:48:36.680 --> 0:48:39.960
<v Speaker 1>the Threes to make their debut in that film?

0:48:40.600 --> 0:48:44.600
<v Speaker 2>Like I bought them? Wait they were out by then

0:48:44.840 --> 0:48:46.920
<v Speaker 2>or just yeah they were off the sweet shot do

0:48:46.960 --> 0:48:51.640
<v Speaker 2>the right thing? Summer eighty eight. Oh okay, okay, that

0:48:51.760 --> 0:48:52.160
<v Speaker 2>makes sense.

0:48:52.480 --> 0:48:55.319
<v Speaker 7>Where you keep them slight? What all your shoes? All

0:48:55.360 --> 0:48:55.800
<v Speaker 7>the knights?

0:48:56.480 --> 0:49:05.760
<v Speaker 2>Jordan's in the vault with the Oscar signed Game War signed.

0:49:06.080 --> 0:49:10.440
<v Speaker 1>Wow, so you I know that you made By this

0:49:10.560 --> 0:49:13.080
<v Speaker 1>point after the movie, you also started making music videos.

0:49:14.920 --> 0:49:17.399
<v Speaker 1>You shot Why did you shoot a video to White

0:49:17.440 --> 0:49:19.800
<v Speaker 1>Lines when it wasn't a single?

0:49:22.000 --> 0:49:25.520
<v Speaker 2>Ernest and I were in film school, okay, and why

0:49:25.600 --> 0:49:28.279
<v Speaker 2>you videos coming out? So we wanted we did that.

0:49:28.400 --> 0:49:35.360
<v Speaker 2>White Lines video was on suspecause.

0:49:32.880 --> 0:49:34.800
<v Speaker 1>Sylvie Robinson commissioned you guys to do it.

0:49:35.080 --> 0:49:39.479
<v Speaker 2>We did unspec and God Rest her soul and Joel

0:49:40.160 --> 0:49:47.120
<v Speaker 2>Joel Robins, but they were crooks. We do this video

0:49:47.280 --> 0:49:51.680
<v Speaker 2>for white Lines staring Laurence Fishburne. Give it to them,

0:49:52.560 --> 0:49:54.799
<v Speaker 2>they say, we don't want it. And then ten years

0:49:54.880 --> 0:50:01.160
<v Speaker 2>later they put a compilation of videos and do you

0:50:01.280 --> 0:50:09.359
<v Speaker 2>even see the splice marks? It wasn't even finished. They

0:50:09.480 --> 0:50:12.600
<v Speaker 2>put it on their compilation for Sugar record videos.

0:50:12.880 --> 0:50:17.840
<v Speaker 1>Wow, once they realized who they had crooks? What was

0:50:17.880 --> 0:50:18.440
<v Speaker 1>it like shooting?

0:50:20.320 --> 0:50:24.239
<v Speaker 2>Oh here's the thing. What was the Myles status? Shoot

0:50:24.280 --> 0:50:28.640
<v Speaker 2>for it? I haven't seen that one. So here's the thing.

0:50:28.680 --> 0:50:33.040
<v Speaker 2>The Miles be run that joint. Miles knew my father,

0:50:34.600 --> 0:50:37.919
<v Speaker 2>so he'd have cursed me out. He gave me everybody else.

0:50:38.200 --> 0:50:41.960
<v Speaker 2>He called you the motherfucking a second. But we were

0:50:42.040 --> 0:50:45.040
<v Speaker 2>cool to Spike. I know your pops, you know your

0:50:45.120 --> 0:50:48.480
<v Speaker 2>father was cool, so I'll leave you alone. But it

0:50:48.600 --> 0:50:53.240
<v Speaker 2>was just great. You know, I've been very lucky. Miles

0:50:53.560 --> 0:50:59.080
<v Speaker 2>Prince Michael Phillis hymen from from school day school days.

0:50:59.239 --> 0:51:00.480
<v Speaker 7>Can we go back to Myles real quick?

0:51:00.560 --> 0:51:00.719
<v Speaker 2>Yes?

0:51:01.200 --> 0:51:06.680
<v Speaker 7>So when you saw Miles ahead? Okay, well okay, so

0:51:08.040 --> 0:51:09.480
<v Speaker 7>where you ever inspired to?

0:51:11.160 --> 0:51:11.759
<v Speaker 2>What's the question?

0:51:11.880 --> 0:51:14.319
<v Speaker 8>Can there ever be another Miles Davis movie after there

0:51:14.400 --> 0:51:16.120
<v Speaker 8>has been one and ship there.

0:51:18.320 --> 0:51:22.400
<v Speaker 2>Yeah. Here's the thing though, Look, I respect for Don Cheto,

0:51:24.000 --> 0:51:29.799
<v Speaker 2>and I just think that there's a thing called taking

0:51:29.880 --> 0:51:37.240
<v Speaker 2>liberties right but to event, I mean he he practiced

0:51:37.239 --> 0:51:40.960
<v Speaker 2>sid himself. He had the right write that story, get funded,

0:51:41.040 --> 0:51:43.640
<v Speaker 2>to get financed, and so the what's one man's name

0:51:44.200 --> 0:51:49.200
<v Speaker 2>the writer, what's the actor's name? That? And the whole

0:51:49.239 --> 0:51:53.040
<v Speaker 2>thing about his mask has been stolen that that never happened.

0:51:54.080 --> 0:51:56.000
<v Speaker 2>Mm hmm, it never happened.

0:51:57.560 --> 0:51:59.600
<v Speaker 1>I will say, though, he can.

0:51:59.640 --> 0:52:05.520
<v Speaker 2>I just say real quick, yes, That's why it pains

0:52:05.600 --> 0:52:09.720
<v Speaker 2>because I worked on Jackie Robinson three years. I worked

0:52:09.760 --> 0:52:14.920
<v Speaker 2>on James Brown for two years. I wanted to do Ali.

0:52:15.080 --> 0:52:19.040
<v Speaker 2>But you can't do nothing film about Jackie Robinson. You

0:52:19.200 --> 0:52:22.840
<v Speaker 2>can't do none the film about James Brown because the

0:52:22.960 --> 0:52:28.319
<v Speaker 2>rights are gone. That the States sold the rights. They

0:52:28.440 --> 0:52:30.120
<v Speaker 2>locked up, so you can't come behind them.

0:52:30.840 --> 0:52:34.640
<v Speaker 1>No double jeopardy like film double Jeopardy. I mean there's

0:52:34.760 --> 0:52:38.520
<v Speaker 1>multiple incredible hawks. There was the greatest and there's a lead.

0:52:39.040 --> 0:52:39.239
<v Speaker 2>See.

0:52:39.360 --> 0:52:41.480
<v Speaker 1>The thing is, though, I think you got very lucky.

0:52:41.680 --> 0:52:46.279
<v Speaker 1>You got extremely lucky with Malcolm X for startists. He

0:52:46.320 --> 0:52:49.640
<v Speaker 1>had a short life, so you know him him cutting

0:52:49.680 --> 0:52:52.640
<v Speaker 1>his life, his life being cut in his thirties gives

0:52:52.680 --> 0:52:55.600
<v Speaker 1>you just enough space to wiggle and really tell a

0:52:55.760 --> 0:52:58.560
<v Speaker 1>meaty story, a three hour story. But it's almost like

0:52:59.840 --> 0:53:02.839
<v Speaker 1>it in your vision of James Brown. Could you get

0:53:04.080 --> 0:53:08.319
<v Speaker 1>from Augusta, Georgia in nineteen twenty eight all the way?

0:53:08.640 --> 0:53:12.560
<v Speaker 1>Could you even get to nineteen seventy four without really

0:53:12.640 --> 0:53:16.839
<v Speaker 1>cutting corners? Because the thing is, okay, the Miles thing

0:53:17.120 --> 0:53:19.200
<v Speaker 1>with Don might have been a little spotty, but I

0:53:19.440 --> 0:53:23.320
<v Speaker 1>least like the fact that they just chose one story.

0:53:23.320 --> 0:53:28.200
<v Speaker 1>I'd rather see a well put together story in the

0:53:28.320 --> 0:53:28.919
<v Speaker 1>day of life.

0:53:28.960 --> 0:53:29.760
<v Speaker 2>Look, okay, you're.

0:53:29.600 --> 0:53:33.040
<v Speaker 1>Gonna tell a three month story about him recovering.

0:53:33.360 --> 0:53:35.840
<v Speaker 2>But but what you're talking about, though, quest, is that

0:53:36.040 --> 0:53:44.080
<v Speaker 2>that's the rector's vision, because, for example, the reason why

0:53:44.120 --> 0:53:48.040
<v Speaker 2>I didn't get Jackie Robinson made because I wanted to

0:53:48.120 --> 0:53:51.560
<v Speaker 2>tell this whole story and they just wanted the powers

0:53:51.560 --> 0:53:54.160
<v Speaker 2>to be the gate cues, just want to just want

0:53:54.200 --> 0:53:56.560
<v Speaker 2>to do it. On nineteen forty seven, they broke the

0:53:58.320 --> 0:54:01.120
<v Speaker 2>you know, the color line, And I just think that

0:54:02.640 --> 0:54:06.359
<v Speaker 2>to say that this one life, I mean, this one year,

0:54:07.640 --> 0:54:10.680
<v Speaker 2>how did he get there? You know? And do we

0:54:10.800 --> 0:54:13.400
<v Speaker 2>know we're going to show you that he testified against

0:54:13.560 --> 0:54:18.240
<v Speaker 2>Paul Robson. You know that that he was Republican. Damn

0:54:18.360 --> 0:54:20.799
<v Speaker 2>we missed. I mean you you leave all that stuff out.

0:54:22.760 --> 0:54:25.440
<v Speaker 2>But again it says it comes down to the director's vision.

0:54:26.040 --> 0:54:27.920
<v Speaker 7>You know, so who you gotta hurry up and swoop

0:54:27.960 --> 0:54:29.239
<v Speaker 7>down on before somebody else?

0:54:29.640 --> 0:54:32.239
<v Speaker 2>Right now?

0:54:33.040 --> 0:54:38.280
<v Speaker 8>Wells, I was writing for Wesley.

0:54:38.000 --> 0:54:41.360
<v Speaker 2>To kill it. Damn, I really wanted. I wanted Donzela.

0:54:41.920 --> 0:54:46.200
<v Speaker 2>It was an age where he could have played Jackie. Yeah.

0:54:46.680 --> 0:54:49.480
<v Speaker 2>Wow it also I like to say something again this

0:54:49.680 --> 0:54:56.840
<v Speaker 2>all respect, How can brother man go from Jackie Robinson

0:54:57.600 --> 0:55:01.960
<v Speaker 2>James Brown? I have ever seen a picture through from Marshall?

0:55:03.040 --> 0:55:10.520
<v Speaker 2>Was that was? That was hertful? Now now Jacklin Boseman

0:55:10.680 --> 0:55:14.960
<v Speaker 2>is playing third good Marshall? What Google? It's like.

0:55:16.480 --> 0:55:16.880
<v Speaker 1>Google.

0:55:17.000 --> 0:55:17.759
<v Speaker 7>I think it came out.

0:55:18.480 --> 0:55:19.000
<v Speaker 2>It's coming out.

0:55:20.520 --> 0:55:24.320
<v Speaker 7>We learned from Nina, right, don't you even.

0:55:26.239 --> 0:55:34.720
<v Speaker 2>So? My brother man think of this Jackie Robinson, James Brown,

0:55:35.280 --> 0:55:42.919
<v Speaker 2>not Thirgod Marshall. Mm hmmm, playing man Della nuts like five?

0:55:44.000 --> 0:55:46.600
<v Speaker 1>If anything, I would see what's your name from?

0:55:47.120 --> 0:55:54.280
<v Speaker 2>Uh? Empire? Philly? Uhm, no, no, what empire?

0:55:54.920 --> 0:55:55.479
<v Speaker 4>If you would?

0:55:55.920 --> 0:55:59.840
<v Speaker 1>Yeah, yeah, you know he's third good Marshall.

0:56:00.120 --> 0:56:03.719
<v Speaker 7>Guess he was a natural with the didn't.

0:56:03.480 --> 0:56:03.640
<v Speaker 2>Have a.

0:56:06.080 --> 0:56:09.759
<v Speaker 1>Hudson Yo, it was yeah, that was main della. It

0:56:09.880 --> 0:56:14.640
<v Speaker 1>was what Yeah, Terrence Howard and Jennifer Hudson they had

0:56:15.040 --> 0:56:19.680
<v Speaker 1>they were winning in Nelson, Maine. Five man man Wait

0:56:20.239 --> 0:56:22.120
<v Speaker 1>what we're gonna take care of a part?

0:56:22.200 --> 0:56:24.960
<v Speaker 2>Tad main question?

0:56:25.080 --> 0:56:27.920
<v Speaker 7>How can that be five mandellas, one Jackie?

0:56:28.520 --> 0:56:29.120
<v Speaker 2>This a joke?

0:56:29.360 --> 0:56:35.320
<v Speaker 1>Nonfer Hudson. Jennifer does she have an accent?

0:56:35.840 --> 0:56:37.800
<v Speaker 2>Yes, yeah, if you want to call it that.

0:56:38.080 --> 0:56:41.560
<v Speaker 1>And then and Terrence, how was Maine della? Maine della?

0:56:44.719 --> 0:56:49.799
<v Speaker 7>I'm sorry, I'm sorry, that's a real question.

0:56:49.840 --> 0:56:52.360
<v Speaker 8>How you have five man delas and one Jackie Robinson

0:56:52.480 --> 0:56:53.360
<v Speaker 8>or one James Brown?

0:56:53.680 --> 0:56:55.879
<v Speaker 7>A state wise fight? How does that work?

0:56:56.880 --> 0:56:59.160
<v Speaker 2>The state has the power, Like, here's the thing, though,

0:56:59.200 --> 0:57:03.719
<v Speaker 2>you cannot do a film a biopickbo Jimmy Hendrix and

0:57:04.000 --> 0:57:06.000
<v Speaker 2>and drugs being it. You're not You're not gonna get

0:57:06.000 --> 0:57:11.680
<v Speaker 2>the music. Yeah, you're not gonna The state will not

0:57:11.960 --> 0:57:17.880
<v Speaker 2>give you the rights to to Jimmy hendricks music if

0:57:17.960 --> 0:57:20.240
<v Speaker 2>you have drugs in the film, not gonna get it.

0:57:20.320 --> 0:57:22.080
<v Speaker 2>So they just don't want a movie done.

0:57:23.400 --> 0:57:25.920
<v Speaker 7>It was one done though it was the one with.

0:57:29.520 --> 0:57:30.600
<v Speaker 2>Had no music in it.

0:57:31.160 --> 0:57:39.120
<v Speaker 1>Yes, that's so with uh, let's go to school, say

0:57:40.000 --> 0:57:43.080
<v Speaker 1>with Prince recent death, is that something that you thought

0:57:43.080 --> 0:57:44.680
<v Speaker 1>about or.

0:57:46.200 --> 0:57:51.240
<v Speaker 2>Out there? Could even you don't holland for me about

0:57:51.240 --> 0:57:54.280
<v Speaker 2>the answer documentary?

0:57:55.040 --> 0:57:55.960
<v Speaker 1>Yes, I cannot.

0:57:56.080 --> 0:57:59.120
<v Speaker 2>I cannot do a feature film about Michael Jackson. Can

0:57:59.240 --> 0:58:03.800
<v Speaker 2>I cannot do a film about Prince especially, it's just

0:58:03.920 --> 0:58:06.640
<v Speaker 2>too First of all, it's it's too soon. And then

0:58:07.360 --> 0:58:10.000
<v Speaker 2>who are you going to cast?

0:58:10.560 --> 0:58:11.200
<v Speaker 1>Who do you think?

0:58:11.800 --> 0:58:14.360
<v Speaker 2>I think Andre Hollan would kill it? He was, he

0:58:14.560 --> 0:58:17.240
<v Speaker 2>was in. He was in that showed the nick he

0:58:17.400 --> 0:58:23.200
<v Speaker 2>was also the first movie was Miracle Saint Anna. That's right,

0:58:23.280 --> 0:58:27.080
<v Speaker 2>he was. You know he's serious. Andrea, I think Andrea bid.

0:58:26.880 --> 0:58:28.640
<v Speaker 7>It is awesome. And he got some tools.

0:58:28.800 --> 0:58:36.720
<v Speaker 2>Oh hell yeah, we'll talk about complexion. Right. I'm sorry,

0:58:39.480 --> 0:58:41.560
<v Speaker 2>out the old school. I think that we just can't

0:58:41.600 --> 0:58:43.880
<v Speaker 2>discount our pigmentation.

0:58:44.240 --> 0:58:46.680
<v Speaker 7>Wait a minute, Michael Max now.

0:58:48.360 --> 0:58:53.400
<v Speaker 1>Close, they were close? All right, I'm putting this out

0:58:53.400 --> 0:58:58.280
<v Speaker 1>there spite. Yes, I'm putting this out there. I believe

0:58:58.320 --> 0:58:59.800
<v Speaker 1>in my heart and hearts. And I told this to

0:59:00.240 --> 0:59:03.120
<v Speaker 1>first time I told this to her, she laughed. Second time,

0:59:03.160 --> 0:59:06.520
<v Speaker 1>I told her. She's like, Okay, Now I think she

0:59:06.640 --> 0:59:10.880
<v Speaker 1>hears me. I believe there's an Oscar waiting for you

0:59:11.920 --> 0:59:17.880
<v Speaker 1>and for Leslie Jones. If you guys, do Anina Simone proper.

0:59:18.240 --> 0:59:20.720
<v Speaker 1>I believe she is Nina Simone.

0:59:20.720 --> 0:59:23.360
<v Speaker 2>You know what I see it. I told her I

0:59:23.440 --> 0:59:25.040
<v Speaker 2>think she I think she could pull off that.

0:59:25.440 --> 0:59:30.000
<v Speaker 7>Nina Simone talk about putting on a spot. That's okay,

0:59:30.200 --> 0:59:31.240
<v Speaker 7>but I think she could do it.

0:59:31.360 --> 0:59:31.600
<v Speaker 2>That's it.

0:59:31.760 --> 0:59:33.160
<v Speaker 1>You don't have to you don't have to say nothing.

0:59:33.160 --> 0:59:35.720
<v Speaker 1>I'm putting it out there, Spike. I believe that Leslie

0:59:35.800 --> 0:59:39.080
<v Speaker 1>Jones in the position she is in Hollywood right now.

0:59:41.040 --> 0:59:44.080
<v Speaker 1>If the right screen, prey and the right film you

0:59:44.520 --> 0:59:47.480
<v Speaker 1>behind it. I believe you two can write each other

0:59:47.600 --> 0:59:50.840
<v Speaker 1>the Oscar Tower. I think you two can ride each

0:59:50.840 --> 0:59:54.520
<v Speaker 1>other the Oscar Glory and get the proper Nina Simone's story.

0:59:54.680 --> 0:59:55.920
<v Speaker 7>Will the estate allow it?

0:59:56.400 --> 0:59:56.480
<v Speaker 2>Now?

0:59:56.520 --> 0:59:57.640
<v Speaker 7>I'm stuckling as a state.

0:59:57.480 --> 1:00:01.439
<v Speaker 1>Ship, daughters, But her art doesn't run a state.

1:00:01.840 --> 1:00:05.320
<v Speaker 7>Just made Spike to a movie. He even thinking, but the.

1:00:05.400 --> 1:00:07.960
<v Speaker 2>State they'll come on out. They didn't like what's her name? Well?

1:00:08.000 --> 1:00:08.440
<v Speaker 7>Who did?

1:00:08.680 --> 1:00:08.880
<v Speaker 2>Yeah?

1:00:09.800 --> 1:00:16.200
<v Speaker 1>Her dard is not connected like the Caretaker had. You know, Okay,

1:00:16.320 --> 1:00:18.520
<v Speaker 1>that was his story. He told his story that happened

1:00:18.520 --> 1:00:19.200
<v Speaker 1>to Nina the.

1:00:19.200 --> 1:00:22.440
<v Speaker 7>Moment espetually after the documentary, it's like, come on, bitch.

1:00:22.680 --> 1:00:23.080
<v Speaker 2>I'm sorry.

1:00:23.200 --> 1:00:26.440
<v Speaker 6>Yeah, back back to Prince really quick. Has the estate

1:00:26.520 --> 1:00:28.000
<v Speaker 6>been in contact with you? I guess they're looking for

1:00:28.120 --> 1:00:32.320
<v Speaker 6>somebody to do the documentary. They have the Footageinete the

1:00:32.360 --> 1:00:35.000
<v Speaker 6>eighty three First Avenue concert where they filmed or where

1:00:35.000 --> 1:00:38.160
<v Speaker 6>they recorded in Purple Rain. Already told them Okay, well

1:00:38.240 --> 1:00:40.920
<v Speaker 6>the audience hasn't heard this story, so no, no, I'm

1:00:40.960 --> 1:00:42.840
<v Speaker 6>just talking to you as a friend, like I begged

1:00:42.840 --> 1:00:43.880
<v Speaker 6>them to go to Spike.

1:00:43.960 --> 1:00:46.400
<v Speaker 2>Yeah, so the not heard from the state.

1:00:46.520 --> 1:00:48.840
<v Speaker 6>Yeah, they're looking for somebody to do a documentary around

1:00:48.880 --> 1:00:50.680
<v Speaker 6>this footage that they have of this concert where they

1:00:51.120 --> 1:00:53.200
<v Speaker 6>have of Purple Rain was recorded. So I think that

1:00:53.200 --> 1:00:55.720
<v Speaker 6>would be perfect for you after the Michael Jackson docs.

1:00:55.840 --> 1:00:58.360
<v Speaker 6>So yes, I would love to see it through your eyes.

1:00:58.400 --> 1:00:59.760
<v Speaker 6>So just putting that out there too.

1:00:59.760 --> 1:01:01.760
<v Speaker 2>And I want to thank you for being very helpful

1:01:02.160 --> 1:01:05.800
<v Speaker 2>with the with Off the Wall and Bad twenty five talk.

1:01:05.920 --> 1:01:08.000
<v Speaker 1>Man, you're one of my favorite storyteller us.

1:01:08.040 --> 1:01:10.520
<v Speaker 2>That's that, but you got you got stories too, man.

1:01:12.280 --> 1:01:15.120
<v Speaker 5>Stuff Spike I have some old footage form my bar

1:01:15.680 --> 1:01:20.160
<v Speaker 5>I did edit possible. You got some kind of something

1:01:20.320 --> 1:01:22.160
<v Speaker 5>my family, give it the spill Bird.

1:01:26.080 --> 1:01:29.120
<v Speaker 2>We got another music video to talk about what neither Baker.

1:01:29.360 --> 1:01:31.640
<v Speaker 1>Which one we get into it?

1:01:33.200 --> 1:01:35.600
<v Speaker 2>No one in the world.

1:01:37.000 --> 1:01:38.360
<v Speaker 1>Because you're selling sons.

1:01:38.480 --> 1:01:41.120
<v Speaker 2>Also in at the end of that video as well. Yeah,

1:01:41.360 --> 1:01:45.640
<v Speaker 2>we shot that the world famous Apollo, which soon being

1:01:45.800 --> 1:01:46.800
<v Speaker 2>called the Beginner.

1:01:47.000 --> 1:01:48.480
<v Speaker 1>I really, now wait what.

1:01:52.880 --> 1:01:53.600
<v Speaker 2>In the episode?

1:01:53.760 --> 1:02:02.280
<v Speaker 1>Yeah, so bike, Yes off school days?

1:02:02.560 --> 1:02:06.919
<v Speaker 2>Yes days was my four years at Morehouse jam packed

1:02:06.960 --> 1:02:08.720
<v Speaker 2>into a homecoming weekend. Yes it was.

1:02:09.600 --> 1:02:14.000
<v Speaker 1>Now okay, I've probably watched all of your directed commentaries

1:02:14.000 --> 1:02:15.080
<v Speaker 1>at least ten times each.

1:02:15.640 --> 1:02:16.200
<v Speaker 2>Why and.

1:02:19.360 --> 1:02:25.760
<v Speaker 1>Because no Spanish list, especially well even even the Criterion

1:02:25.840 --> 1:02:28.280
<v Speaker 1>do the right thing, like there's so to me that's

1:02:28.320 --> 1:02:29.080
<v Speaker 1>better than college.

1:02:29.360 --> 1:02:32.000
<v Speaker 2>And you know how you can learn. I I listened

1:02:32.000 --> 1:02:35.240
<v Speaker 2>to director's comments. I mean you learn just yes for

1:02:35.400 --> 1:02:38.160
<v Speaker 2>me real quick. One of the most important things I

1:02:38.320 --> 1:02:44.120
<v Speaker 2>ever learned. Curis Sauer, the great Japanese filming Cursaw, was

1:02:44.240 --> 1:02:48.240
<v Speaker 2>in New York promoting ron and as journalists, I think

1:02:48.280 --> 1:02:50.200
<v Speaker 2>it was a New York Times journalists asked him, mister,

1:02:50.440 --> 1:02:53.320
<v Speaker 2>mister kurs Sauer, you're consider one of the greatest filmmakers ever,

1:02:53.440 --> 1:02:57.520
<v Speaker 2>A master cinema at your age, like eighty five eighty six,

1:02:57.800 --> 1:02:59.800
<v Speaker 2>don't quote me. He said, what else can you learn

1:03:00.080 --> 1:03:03.640
<v Speaker 2>cinema and curs I was said, there's still a universe

1:03:04.600 --> 1:03:06.560
<v Speaker 2>of center for me to learn. When I read that

1:03:06.680 --> 1:03:13.000
<v Speaker 2>ship that said the minute you should not stop learning

1:03:13.080 --> 1:03:17.720
<v Speaker 2>to get dead. That's why I learned. And also Rachimone

1:03:18.640 --> 1:03:21.440
<v Speaker 2>is really the foundation where She's gonna have It came

1:03:21.480 --> 1:03:27.320
<v Speaker 2>from his film. This film in that film Waschimone. There's

1:03:27.400 --> 1:03:30.880
<v Speaker 2>a rape and or murder and several people witness it,

1:03:31.920 --> 1:03:33.880
<v Speaker 2>tell their story and lift up to the audience to

1:03:33.920 --> 1:03:36.920
<v Speaker 2>decide who's telling the trupers. Well, she's gonna have You

1:03:37.080 --> 1:03:40.400
<v Speaker 2>have these three men who are who sleep will know,

1:03:40.560 --> 1:03:42.520
<v Speaker 2>and they're telling the audience, you know, what they think

1:03:42.560 --> 1:03:43.920
<v Speaker 2>about her. So that's where that came from.

1:03:44.080 --> 1:03:47.080
<v Speaker 1>Are your n y U classes similar to this, where

1:03:47.160 --> 1:03:49.960
<v Speaker 1>you break down your filmography and you tell that the

1:03:50.760 --> 1:03:53.440
<v Speaker 1>the mostly mostly other films.

1:03:53.480 --> 1:03:55.680
<v Speaker 2>So I don't want to be just teaking about myself though.

1:03:56.080 --> 1:04:01.840
<v Speaker 1>Okay, okay, now, okay, I gotta get schooldays, casting school days.

1:04:03.560 --> 1:04:06.960
<v Speaker 1>I just gotta jump to the scene. Now when you

1:04:07.240 --> 1:04:11.400
<v Speaker 1>were given the director's commentary on the infamous Uh I

1:04:11.480 --> 1:04:16.000
<v Speaker 1>want to be versus the Gigaboo. Well, the fight the

1:04:16.080 --> 1:04:20.240
<v Speaker 1>Greek Show show. I mean I was watching it frame

1:04:20.360 --> 1:04:26.120
<v Speaker 1>by frame, And why did you get the cameras running?

1:04:26.400 --> 1:04:27.360
<v Speaker 2>Because she was good?

1:04:28.560 --> 1:04:32.920
<v Speaker 1>Tell everybody what happened, okay, So basically the legend of

1:04:32.960 --> 1:04:35.640
<v Speaker 1>the story. Let's tell okay, So why did you decide

1:04:35.680 --> 1:04:38.400
<v Speaker 1>to separate them? But it really finances? Or did you

1:04:38.480 --> 1:04:43.600
<v Speaker 1>have a mastermind that okay, this mastermind, I'm sorry to

1:04:44.080 --> 1:04:44.760
<v Speaker 1>School Days.

1:04:45.440 --> 1:04:49.680
<v Speaker 2>School Days was the first film. A lot of people, right,

1:04:49.920 --> 1:04:53.880
<v Speaker 2>and we can be shooting on location, and I really

1:04:54.000 --> 1:04:57.120
<v Speaker 2>want to keep the friction between the two groups. Don't

1:04:57.120 --> 1:05:00.600
<v Speaker 2>wanna Bees and Jigaboos because they're young, they're first film.

1:05:01.480 --> 1:05:05.400
<v Speaker 2>I didn't want to become too chummy, so I made

1:05:05.480 --> 1:05:13.000
<v Speaker 2>sure that the Wannabes got a better hotel and the

1:05:13.080 --> 1:05:16.640
<v Speaker 2>Jiggiboos got the less hotel. So, right then and there,

1:05:18.200 --> 1:05:23.600
<v Speaker 2>that's where friction friction. They know, they didn't know that

1:05:25.280 --> 1:05:29.560
<v Speaker 2>they found out the thing. So so the culmination of

1:05:29.640 --> 1:05:33.400
<v Speaker 2>that friction happened during the Greek Show, the Step Show,

1:05:34.040 --> 1:05:37.800
<v Speaker 2>as the fellows are coming on stage. Brandmret the Great

1:05:37.880 --> 1:05:44.080
<v Speaker 2>gray BRANDFM ourselves grabs T shirt Camel's head and pushes

1:05:44.280 --> 1:05:45.280
<v Speaker 2>to her crotch.

1:05:45.840 --> 1:05:47.600
<v Speaker 7>Wow, that's what that's what she did in the scene

1:05:47.640 --> 1:05:47.920
<v Speaker 7>when she.

1:05:48.920 --> 1:05:54.360
<v Speaker 2>So when the gamma saw that, then it was on.

1:05:55.680 --> 1:05:59.160
<v Speaker 2>So it was not supposed to be a fight. I said, Ernest,

1:05:59.240 --> 1:05:59.960
<v Speaker 2>do not turn on that.

1:06:03.120 --> 1:06:08.600
<v Speaker 1>Point keep rolling at point? Do you know how long

1:06:08.680 --> 1:06:13.120
<v Speaker 1>did that fight? That real lass fight last until until

1:06:13.120 --> 1:06:18.960
<v Speaker 1>we ran out of sere? You didn't stop it? You

1:06:19.720 --> 1:06:22.040
<v Speaker 1>you were scared that they were like, I'm going fucking home.

1:06:22.640 --> 1:06:25.880
<v Speaker 1>Did you save it for last or we we.

1:06:25.960 --> 1:06:27.640
<v Speaker 2>Did not call the we did not cut off the

1:06:27.720 --> 1:06:30.040
<v Speaker 2>camera to the film ran out of the magazine. Wow,

1:06:30.520 --> 1:06:31.320
<v Speaker 2>so there was more.

1:06:31.520 --> 1:06:33.320
<v Speaker 1>Where in the shooting schedule was that scene like in

1:06:33.360 --> 1:06:33.960
<v Speaker 1>the middle.

1:06:33.720 --> 1:06:39.880
<v Speaker 2>Of the order? Was there was definite bad blood between

1:06:39.960 --> 1:06:41.000
<v Speaker 2>the two groups? Sad?

1:06:41.080 --> 1:06:43.400
<v Speaker 1>What point did you reveal like, ha ha, okay, this

1:06:43.520 --> 1:06:49.240
<v Speaker 1>is what I really did. Guys, Wow, the steel before

1:06:49.280 --> 1:06:52.280
<v Speaker 1>they I mean they got regular. But I didn't make

1:06:52.320 --> 1:06:55.200
<v Speaker 1>a confession though. Did they buy it once they found

1:06:55.240 --> 1:06:57.440
<v Speaker 1>out or they just felt like, oh, you're being a

1:06:57.520 --> 1:07:01.920
<v Speaker 1>cheap motherfucker and you like jasmine guy, and no they just.

1:07:02.680 --> 1:07:06.360
<v Speaker 2>It really, I mean your dark skin, I mean you

1:07:06.560 --> 1:07:08.520
<v Speaker 2>grow I mean you grew up with ship before you

1:07:08.880 --> 1:07:11.800
<v Speaker 2>got before you got cast in the film anyway, you know,

1:07:11.960 --> 1:07:14.800
<v Speaker 2>so we just want to play in this whole coloration thing.

1:07:15.040 --> 1:07:17.680
<v Speaker 7>Did you write the chance your eyes are blue? But

1:07:17.800 --> 1:07:19.560
<v Speaker 7>you a why they did straight?

1:07:19.600 --> 1:07:25.320
<v Speaker 2>Because I think that was teasing Jasmine that that did

1:07:25.400 --> 1:07:30.120
<v Speaker 2>that and the gamble you right there, that was I

1:07:30.240 --> 1:07:33.800
<v Speaker 2>was a fellas. Wow, that was rand from ourselves. I

1:07:33.880 --> 1:07:35.280
<v Speaker 2>think Wow, say went to the.

1:07:35.280 --> 1:07:37.640
<v Speaker 7>Side and was like, Yo, this is what we're gonna do. Cama.

1:07:38.520 --> 1:07:41.200
<v Speaker 2>They worked all their steps, They did that stuff themselves.

1:07:41.800 --> 1:07:42.720
<v Speaker 7>Can you some of them words?

1:07:43.800 --> 1:07:46.400
<v Speaker 1>Did you come under budget or over budget?

1:07:46.640 --> 1:07:48.000
<v Speaker 2>I mean we're under budget on that one.

1:07:48.040 --> 1:07:49.120
<v Speaker 1>Were dealing with Colombia.

1:07:49.480 --> 1:07:50.480
<v Speaker 2>It was Columbia Pictures.

1:07:50.520 --> 1:07:54.840
<v Speaker 1>Yes, so dealing with a real uh what do you

1:07:54.920 --> 1:07:56.480
<v Speaker 1>call the studio? A real studio?

1:07:57.920 --> 1:07:58.480
<v Speaker 2>What was there?

1:07:58.520 --> 1:08:01.040
<v Speaker 1>Because I definitely remember like all Ebony and Jet there

1:08:01.120 --> 1:08:08.920
<v Speaker 1>was like, you know, the campus, we disavow ourselves, disassociated.

1:08:08.920 --> 1:08:12.200
<v Speaker 2>I went to Morehouse and after two weeks I'm a

1:08:12.240 --> 1:08:14.760
<v Speaker 2>third duration Morehouse man. At the two weeks we got

1:08:14.840 --> 1:08:15.600
<v Speaker 2>kicked off campus.

1:08:15.880 --> 1:08:16.960
<v Speaker 7>But Clark gave you love.

1:08:17.320 --> 1:08:19.920
<v Speaker 2>Clark gave us love, and Morris Brown Spell would never

1:08:20.000 --> 1:08:21.400
<v Speaker 2>let us come on camp, of course not.

1:08:21.920 --> 1:08:23.640
<v Speaker 7>I'm surprised you're not as you're not.

1:08:25.320 --> 1:08:29.400
<v Speaker 2>And Morris Brown, which is which closed We shot there too.

1:08:29.880 --> 1:08:33.200
<v Speaker 2>But here's there's The president of Morehouse's name was Howard

1:08:33.240 --> 1:08:38.439
<v Speaker 2>Gloucester and at the I met with him at the

1:08:38.520 --> 1:08:41.320
<v Speaker 2>kicked off campus and he was mad at me and

1:08:41.400 --> 1:08:44.759
<v Speaker 2>he said, why'd you cast that man as a president

1:08:44.840 --> 1:08:49.960
<v Speaker 2>mission college? Joe Seneca And he said, because it looks

1:08:50.000 --> 1:08:50.639
<v Speaker 2>like a sambo.

1:08:51.160 --> 1:08:57.080
<v Speaker 7>Wow wow, And that's when he got the situation. They

1:08:57.160 --> 1:08:57.639
<v Speaker 7>got him.

1:08:59.040 --> 1:09:03.880
<v Speaker 2>So everything that we were depicted in the film while

1:09:03.920 --> 1:09:07.960
<v Speaker 2>we were making it, that's crazy. He called Joe a sample.

1:09:09.160 --> 1:09:09.960
<v Speaker 7>That was a great actor.

1:09:10.600 --> 1:09:11.400
<v Speaker 2>You're laughing too hard.

1:09:11.520 --> 1:09:21.240
<v Speaker 9>I don't know what African American history and culture trip

1:09:22.040 --> 1:09:22.920
<v Speaker 9>you word that ends.

1:09:24.400 --> 1:09:25.040
<v Speaker 2>But you can't.

1:09:28.320 --> 1:09:29.360
<v Speaker 7>You can't always laugh at that word.

1:09:29.400 --> 1:09:34.320
<v Speaker 1>Depending on who you will whatever, I want, keep it.

1:09:36.600 --> 1:09:37.920
<v Speaker 2>How did they get help you?

1:09:40.240 --> 1:09:46.000
<v Speaker 1>There's a really good story online about uh Marcus talking

1:09:46.000 --> 1:09:48.160
<v Speaker 1>about the struggle that it was to make the butt.

1:09:48.880 --> 1:09:54.240
<v Speaker 1>Oh yeah, of which I guess well, because the thing

1:09:54.479 --> 1:09:58.680
<v Speaker 1>was it was like the oral history of of of

1:09:59.000 --> 1:10:02.080
<v Speaker 1>of the butt, a good article, and I guess the

1:10:02.160 --> 1:10:05.400
<v Speaker 1>EU guys were sort of like, well, you know, we're

1:10:05.439 --> 1:10:07.840
<v Speaker 1>grateful for the single, but you know that wasn't real DC,

1:10:08.000 --> 1:10:10.200
<v Speaker 1>Go Go, and we wanted to show you know what,

1:10:10.760 --> 1:10:13.560
<v Speaker 1>and Mark was just like, well, you guys just do

1:10:13.680 --> 1:10:16.120
<v Speaker 1>twenty minute jams with really no structure and you're based

1:10:16.160 --> 1:10:17.320
<v Speaker 1>on other people's material.

1:10:17.800 --> 1:10:26.400
<v Speaker 2>Now, yes, she's z She's formerly known as Chocolate City

1:10:26.479 --> 1:10:37.840
<v Speaker 2>now Vanilla Swirls. Absolutely it' Rixton in London around the world.

1:10:39.280 --> 1:10:41.720
<v Speaker 1>It has to be said that you know, at least

1:10:41.800 --> 1:10:45.680
<v Speaker 1>from a good four or five year films, like very iconic.

1:10:47.680 --> 1:10:56.400
<v Speaker 2>Story. But yeah, so true story. The premiere of She's

1:10:56.640 --> 1:11:00.920
<v Speaker 2>Having DC and at the part of the nine thirty Club,

1:11:01.240 --> 1:11:05.400
<v Speaker 2>ah man and DC excuse me go? And EU was

1:11:05.479 --> 1:11:10.120
<v Speaker 2>the band. Wow, why never even heard Go Go in

1:11:10.240 --> 1:11:15.720
<v Speaker 2>my life? Really? And when I went down, I said, oh, ship, yeah,

1:11:15.880 --> 1:11:17.519
<v Speaker 2>And I was still I was writing and She's gonna

1:11:17.800 --> 1:11:20.880
<v Speaker 2>I was writing school days at the time. I said, Yo,

1:11:20.960 --> 1:11:25.840
<v Speaker 2>we gotta put E, we gotta put EU in the movie.

1:11:26.120 --> 1:11:30.720
<v Speaker 2>And so I knew Marcus through Raymond Jones, the late

1:11:30.760 --> 1:11:35.000
<v Speaker 2>great Raymond Jones, and so crazy thing. I'm a big

1:11:35.160 --> 1:11:38.439
<v Speaker 2>I mean the color scene and She's gonna have a

1:11:38.640 --> 1:11:41.680
<v Speaker 2>Homeoge Wizard of oz, So I said, we got to

1:11:41.680 --> 1:11:47.040
<v Speaker 2>put this part and then I go see Signs of Times.

1:11:56.000 --> 1:11:59.800
<v Speaker 2>So you based on not at a time came out

1:11:59.800 --> 1:12:00.639
<v Speaker 2>this same time.

1:12:02.200 --> 1:12:07.840
<v Speaker 1>Days, You're right because I opted to see Sign of

1:12:07.920 --> 1:12:10.400
<v Speaker 1>the Times before my friend went to go to school.

1:12:10.479 --> 1:12:10.679
<v Speaker 2>Days.

1:12:10.800 --> 1:12:12.040
<v Speaker 1>I went to the Sign of the Times and we

1:12:12.160 --> 1:12:15.479
<v Speaker 1>told each other about the film. Damn, that's crazy.

1:12:15.520 --> 1:12:19.320
<v Speaker 2>How did you think he must have liked it as too? Yeah?

1:12:19.439 --> 1:12:20.400
<v Speaker 1>He, I mean he's been doing that.

1:12:20.560 --> 1:12:21.439
<v Speaker 2>He did that twice though.

1:12:22.160 --> 1:12:23.040
<v Speaker 1>Yeah, he's been doing that.

1:12:23.160 --> 1:12:28.120
<v Speaker 2>Chance, what else I can't remember? No, I mean it's

1:12:28.160 --> 1:12:29.120
<v Speaker 2>going to be a beautiful night.

1:12:29.800 --> 1:12:30.120
<v Speaker 7>It is that.

1:12:30.800 --> 1:12:34.479
<v Speaker 1>And uh, I mean he all throughout eighty six he

1:12:34.640 --> 1:12:37.320
<v Speaker 1>was That was his call response thing like in concert

1:12:37.560 --> 1:12:39.640
<v Speaker 1>a lot. So he just captured it's going to be

1:12:39.680 --> 1:12:40.280
<v Speaker 1>a beautiful night.

1:12:40.360 --> 1:12:40.880
<v Speaker 2>Yeah, yo.

1:12:40.960 --> 1:12:44.760
<v Speaker 7>Two butt questions. But number one, how long was that

1:12:44.840 --> 1:12:45.400
<v Speaker 7>video shoot?

1:12:45.520 --> 1:12:46.320
<v Speaker 2>Was it like one day?

1:12:46.680 --> 1:12:46.960
<v Speaker 7>Okay?

1:12:47.040 --> 1:12:48.240
<v Speaker 2>We shot at Brooklyn Tech.

1:12:48.840 --> 1:12:50.680
<v Speaker 8>Ah, And did you know at the time, because me

1:12:50.680 --> 1:12:52.439
<v Speaker 8>and my girlfriend were literally just watching this video a

1:12:52.479 --> 1:12:54.160
<v Speaker 8>couple of weeks ago, we were like, yeah, we didn't

1:12:54.160 --> 1:12:55.920
<v Speaker 8>even realize that they were holding up the red, black

1:12:55.920 --> 1:12:58.680
<v Speaker 8>and green flag and shit off the most A lot

1:12:58.720 --> 1:12:59.680
<v Speaker 8>of young people don't even know.

1:12:59.800 --> 1:13:01.599
<v Speaker 2>I invented that dance the Butt.

1:13:03.560 --> 1:13:04.760
<v Speaker 1>Tell what the title should be?

1:13:05.280 --> 1:13:07.800
<v Speaker 2>Yes, I had. I said, I want the song to

1:13:07.880 --> 1:13:11.639
<v Speaker 2>call the Butt, and we gotta dance my mother's grave.

1:13:11.720 --> 1:13:13.640
<v Speaker 2>I told Marcus the name of the song gotta be

1:13:13.720 --> 1:13:16.280
<v Speaker 2>the Butt, and we got to dance and he did

1:13:16.360 --> 1:13:16.679
<v Speaker 2>the rest.

1:13:17.400 --> 1:13:22.439
<v Speaker 1>Wow, Sugar Bear, like that.

1:13:22.520 --> 1:13:23.160
<v Speaker 7>My whole song.

1:13:23.960 --> 1:13:25.320
<v Speaker 2>I would have taken production.

1:13:25.200 --> 1:13:31.000
<v Speaker 1>Right credit say, you know everyone else did and they

1:13:31.040 --> 1:13:32.200
<v Speaker 1>didn't even write overduce.

1:13:33.080 --> 1:13:37.160
<v Speaker 2>So you play that part today, still get down, It

1:13:37.280 --> 1:13:40.760
<v Speaker 2>still works. It still works. Eight. I have a school

1:13:40.800 --> 1:13:41.240
<v Speaker 2>Day's question.

1:13:41.439 --> 1:13:43.439
<v Speaker 6>Yes, so I understand that there was a little tension

1:13:43.560 --> 1:13:45.400
<v Speaker 6>between you and Tsha Campbell's mother.

1:13:45.920 --> 1:13:48.400
<v Speaker 2>Oh yeah, did that ever get resolved.

1:13:50.000 --> 1:13:50.240
<v Speaker 1>Since?

1:13:50.520 --> 1:13:53.559
<v Speaker 2>Or no? During the filming of School Days? Okay? Oh

1:13:53.640 --> 1:13:56.960
<v Speaker 2>yeah yeah. It was the song won't Belong Tonight? We

1:13:57.360 --> 1:14:01.040
<v Speaker 2>should be the it was cold, but she said had

1:14:01.040 --> 1:14:03.400
<v Speaker 2>to be teaching Kimbell. She said she'd be the Raise,

1:14:04.200 --> 1:14:06.800
<v Speaker 2>and she said it should be teaching Campbell and the Raise.

1:14:07.439 --> 1:14:08.920
<v Speaker 7>So oh that was her brief. I thought she's met

1:14:08.920 --> 1:14:11.200
<v Speaker 7>her daughter. Had to lick somebody's part, so she.

1:14:15.120 --> 1:14:19.320
<v Speaker 2>Just, hey, I swear to God, teacher Kimble walk through

1:14:19.320 --> 1:14:21.800
<v Speaker 2>them now. She would curse every time. She was like,

1:14:21.880 --> 1:14:26.320
<v Speaker 2>hate you spiking even today. I mean you came out

1:14:26.360 --> 1:14:28.479
<v Speaker 2>eighty eight. Okay did she left out?

1:14:29.680 --> 1:14:30.439
<v Speaker 7>How you know that?

1:14:31.960 --> 1:14:35.679
<v Speaker 1>I will say that, like, good, go ahead. I mean, second,

1:14:36.920 --> 1:14:40.519
<v Speaker 1>I don't throw the purple away your love scenes in

1:14:40.600 --> 1:14:41.080
<v Speaker 1>your film.

1:14:44.400 --> 1:14:48.680
<v Speaker 2>There's the reason why. Teaching Campbell. She wouldn't do a

1:14:48.800 --> 1:14:50.120
<v Speaker 2>sex scene, so that was.

1:14:50.080 --> 1:14:51.240
<v Speaker 7>The sexy she was gonna get.

1:14:51.280 --> 1:14:52.360
<v Speaker 2>So I had to come on, I have to think

1:14:52.400 --> 1:14:55.080
<v Speaker 2>of something freaky. So I said, well, you gotta increase

1:14:55.160 --> 1:15:05.599
<v Speaker 2>in his head. Guy, she would not do a love

1:15:05.720 --> 1:15:11.519
<v Speaker 2>scene more than that woman, So I said, all right,

1:15:12.360 --> 1:15:15.519
<v Speaker 2>and you gotta lick the part big brother on my

1:15:15.760 --> 1:15:20.559
<v Speaker 2>teeth that that even made it worse.

1:15:22.000 --> 1:15:26.360
<v Speaker 1>I will tell you though, that's like, that's yeah, upside

1:15:26.400 --> 1:15:40.240
<v Speaker 1>down Spider Man for black people. The cat.

1:15:40.439 --> 1:15:43.800
<v Speaker 7>Again that Rachel's sex scene was also nice with mother

1:15:43.880 --> 1:15:44.360
<v Speaker 7>on my tea.

1:15:44.439 --> 1:15:45.600
<v Speaker 1>It was beautiful.

1:15:46.840 --> 1:15:50.080
<v Speaker 7>In my head, the one rad Rachel.

1:15:50.160 --> 1:15:54.080
<v Speaker 2>Oh yeah, yeah, Steve, you wanted my man Keith John

1:15:54.240 --> 1:15:56.600
<v Speaker 2>keep the song only can be me?

1:15:57.400 --> 1:15:58.559
<v Speaker 7>Oh that song right there?

1:16:00.680 --> 1:16:03.880
<v Speaker 2>You know, Stevie's saying my wedding, my wife and I

1:16:04.080 --> 1:16:11.080
<v Speaker 2>really as she walked about that show, we're still married.

1:16:11.120 --> 1:16:15.439
<v Speaker 2>To beside Church.

1:16:17.720 --> 1:16:23.120
<v Speaker 1>All right, we had another moment, we had another vote.

1:16:23.360 --> 1:16:25.680
<v Speaker 1>Now you keep John back on on do the right thing?

1:16:26.080 --> 1:16:29.360
<v Speaker 1>Why don't we try joint? I love that record. All Right,

1:16:29.520 --> 1:16:32.800
<v Speaker 1>let's let's move. Maybe we'll get to six movies by

1:16:32.800 --> 1:16:34.679
<v Speaker 1>the should also.

1:16:34.560 --> 1:16:36.599
<v Speaker 8>Note with that the first time Ozzie Davis was introduced

1:16:36.640 --> 1:16:40.439
<v Speaker 8>into Coach Oldham. Okay, I just because then I want

1:16:40.680 --> 1:16:42.720
<v Speaker 8>I'm getting because the crew start accumulating.

1:16:42.960 --> 1:16:46.679
<v Speaker 1>Yes, I'm sure we'll have a lot of regret regret questions.

1:16:47.000 --> 1:16:50.360
<v Speaker 1>Come on, why didn't we ask, okay, do the right thing?

1:16:54.320 --> 1:16:59.920
<v Speaker 1>That's a perfect First of all, thank you Spike, because okay, okay,

1:17:00.000 --> 1:17:03.080
<v Speaker 1>I hate being that guy that can predict his own question.

1:17:03.280 --> 1:17:05.880
<v Speaker 2>We had the crystal Ball in that film we talked

1:17:05.880 --> 1:17:09.200
<v Speaker 2>about global warming. I mean I was gonna say I

1:17:09.280 --> 1:17:15.760
<v Speaker 2>showed I showed that. I showed that movie to my son,

1:17:15.880 --> 1:17:16.599
<v Speaker 2>my eleven year Rold.

1:17:17.640 --> 1:17:19.800
<v Speaker 1>This was like literally like a month ago because it

1:17:19.840 --> 1:17:22.479
<v Speaker 1>because when that came out, I was I think I'm

1:17:22.560 --> 1:17:25.759
<v Speaker 1>the same age. I was like ten, so he's eleven.

1:17:25.760 --> 1:17:27.559
<v Speaker 1>So I was like, I'm gonna show you this movie.

1:17:28.120 --> 1:17:29.880
<v Speaker 1>That movie the thing and the thing I've always liked

1:17:29.880 --> 1:17:32.679
<v Speaker 1>about all your stuff. I saw him as a kid,

1:17:33.200 --> 1:17:35.479
<v Speaker 1>and it's like it's one thing, but seeing it as

1:17:35.520 --> 1:17:38.400
<v Speaker 1>an adult has a completely different meaning. And I would

1:17:38.400 --> 1:17:40.559
<v Speaker 1>say that Do the Right Thing is one movie where

1:17:41.479 --> 1:17:44.880
<v Speaker 1>it is almost more relevant now than it was when

1:17:44.920 --> 1:17:47.600
<v Speaker 1>it came out. And I mean even like and the

1:17:47.680 --> 1:17:49.200
<v Speaker 1>thing that I thought was so brilliant about it even

1:17:49.240 --> 1:17:51.840
<v Speaker 1>watching it, you know now is like it is a

1:17:53.320 --> 1:17:55.479
<v Speaker 1>because I watched it and I made him write an

1:17:55.560 --> 1:17:57.479
<v Speaker 1>essay and simple the only question was.

1:17:58.960 --> 1:18:03.360
<v Speaker 2>Yeah. So the question was you know, do you think

1:18:03.439 --> 1:18:04.400
<v Speaker 2>Mooki did the right thing?

1:18:04.840 --> 1:18:08.439
<v Speaker 1>And there is no right or wrong answer to that question,

1:18:08.479 --> 1:18:10.280
<v Speaker 1>like you could argue it a million different ways.

1:18:10.520 --> 1:18:13.560
<v Speaker 2>And well to answer your question, though, thank you for

1:18:13.680 --> 1:18:16.559
<v Speaker 2>showing your son at the early age, at that age

1:18:16.680 --> 1:18:21.840
<v Speaker 2>the film. But no black person has ever asked me

1:18:22.120 --> 1:18:25.120
<v Speaker 2>why didn't throw the garbage can through the window? Only

1:18:25.160 --> 1:18:28.439
<v Speaker 2>white people ask you question. Not one single black person

1:18:28.560 --> 1:18:32.200
<v Speaker 2>ever asked me why did MOOKI throw the garbage can

1:18:32.280 --> 1:18:32.800
<v Speaker 2>through the window.

1:18:35.720 --> 1:18:38.880
<v Speaker 1>As matter of fact, I still pay Bill, still pay.

1:18:38.840 --> 1:18:39.519
<v Speaker 2>Steve that way.

1:18:49.600 --> 1:18:51.639
<v Speaker 7>Was this movie the first time did you had people

1:18:51.760 --> 1:18:54.800
<v Speaker 7>in mind for characters or did it still just know

1:18:54.920 --> 1:18:55.200
<v Speaker 7>I had?

1:18:55.800 --> 1:19:01.320
<v Speaker 2>I mean the film Messenger, which Buckle never happened was

1:19:01.720 --> 1:19:05.599
<v Speaker 2>supposed to start John Carlo and Fishburn. So I mean

1:19:05.680 --> 1:19:10.680
<v Speaker 2>I knew had to put in a film after the success.

1:19:13.920 --> 1:19:16.640
<v Speaker 7>Because I think about Fishburn.

1:19:16.200 --> 1:19:17.960
<v Speaker 2>Turned down the roll right around him. He didn't want

1:19:17.960 --> 1:19:18.160
<v Speaker 2>to do it.

1:19:18.640 --> 1:19:22.080
<v Speaker 1>Whoa wow, he said, no, I can't like I'm shooting

1:19:22.160 --> 1:19:24.640
<v Speaker 1>the King of New York or I don't like it

1:19:25.000 --> 1:19:25.559
<v Speaker 1>like the role.

1:19:26.280 --> 1:19:29.040
<v Speaker 7>Bill noun Size made it like yeah, he definitely.

1:19:29.120 --> 1:19:29.320
<v Speaker 2>Yeah.

1:19:29.880 --> 1:19:33.360
<v Speaker 1>What was it true that Danny A Yellow didn't want

1:19:33.400 --> 1:19:37.200
<v Speaker 1>to take pictus with Chuck d for Press? I never heard, okay,

1:19:37.200 --> 1:19:37.840
<v Speaker 1>I never heard that.

1:19:41.320 --> 1:19:43.960
<v Speaker 2>For DeNiro, I wanted Rob Darrel do what he didn't

1:19:43.960 --> 1:19:49.559
<v Speaker 2>want to do it. Wow, But it turned out, yeah,

1:19:49.800 --> 1:19:51.560
<v Speaker 2>it would have been. Here's the thing though, with The

1:19:51.720 --> 1:19:55.160
<v Speaker 2>Narrow when the greatest acts ever, But what it would

1:19:55.200 --> 1:19:56.680
<v Speaker 2>have tipped the scale would have been the Robber of

1:19:56.680 --> 1:19:58.559
<v Speaker 2>the Narrow movie instead of an ensemble piece.

1:19:59.760 --> 1:20:04.720
<v Speaker 1>So okay for starters as and I was saying that

1:20:04.880 --> 1:20:08.240
<v Speaker 1>I hate the fact that I can predict all these

1:20:08.280 --> 1:20:11.120
<v Speaker 1>episodes the Quest Love Supreme, because I can't go an

1:20:11.120 --> 1:20:12.879
<v Speaker 1>episode without mentioning Soul Train.

1:20:13.200 --> 1:20:13.439
<v Speaker 2>And my.

1:20:15.240 --> 1:20:19.639
<v Speaker 1>My nowsable wisdom of it. But you know, for the longest,

1:20:19.760 --> 1:20:24.919
<v Speaker 1>I never knew what Rosie Perez's name was, wow, because

1:20:25.280 --> 1:20:27.800
<v Speaker 1>I mean, you know, they don't give the names of she.

1:20:28.000 --> 1:20:30.200
<v Speaker 1>I mean she did a scramble board once. But you know,

1:20:30.560 --> 1:20:34.040
<v Speaker 1>I didn't realize that until like muchs later, like four

1:20:34.120 --> 1:20:36.960
<v Speaker 1>or five years ago, that oh, there's Rosie Perez. So

1:20:37.439 --> 1:20:39.800
<v Speaker 1>just for the longest, it was like me and my

1:20:39.920 --> 1:20:43.519
<v Speaker 1>best friend in school was like our girl because even

1:20:43.640 --> 1:20:47.120
<v Speaker 1>on Soul Train, she was a star, and it wasn't

1:20:47.200 --> 1:20:49.240
<v Speaker 1>like growing into puberty or whatever, like oh my god,

1:20:49.280 --> 1:20:49.840
<v Speaker 1>who's this woman?

1:20:49.920 --> 1:20:50.040
<v Speaker 2>Dan?

1:20:50.360 --> 1:20:52.960
<v Speaker 1>It's just that she stuck out.

1:20:54.240 --> 1:20:56.160
<v Speaker 2>Literally, I got a story.

1:20:56.080 --> 1:21:00.000
<v Speaker 1>More than so how did you discuss?

1:21:00.040 --> 1:21:06.360
<v Speaker 2>Ever, there's two stories, Rosie story. My story is the

1:21:06.400 --> 1:21:09.800
<v Speaker 2>real one Rosie. So again, it comes back to school days.

1:21:11.000 --> 1:21:17.240
<v Speaker 2>School Days is a hit, mm hmm. The butt is

1:21:17.360 --> 1:21:20.280
<v Speaker 2>number one song R and b M. So I'm having

1:21:20.320 --> 1:21:25.840
<v Speaker 2>a birthday party in l A. I forgot funky It

1:21:26.000 --> 1:21:30.760
<v Speaker 2>was named that club Funky Something. Anyway, I'm holding you

1:21:30.840 --> 1:21:43.479
<v Speaker 2>guys anyway. So the club is called Funky Something and

1:21:44.280 --> 1:21:49.560
<v Speaker 2>Eu we fly EU to LA for the party, and

1:21:49.720 --> 1:21:54.880
<v Speaker 2>so we had a butt contest, but dance contests. And

1:21:55.040 --> 1:22:00.599
<v Speaker 2>this woman is on the speaker dancing role. She says

1:22:01.160 --> 1:22:05.080
<v Speaker 2>that she was screaming saying that this is sex and

1:22:05.160 --> 1:22:08.479
<v Speaker 2>someone else, but that she was dancing. Mm hmm. She

1:22:08.680 --> 1:22:12.240
<v Speaker 2>wasn't doing that stuff is just the truth. And so

1:22:12.479 --> 1:22:17.080
<v Speaker 2>I tell security to get this lady off the speaker

1:22:17.920 --> 1:22:22.560
<v Speaker 2>because she's gonna fall and break her neck. Okay, so

1:22:22.800 --> 1:22:25.920
<v Speaker 2>bring her down, and she starts to curse me out.

1:22:26.960 --> 1:22:29.800
<v Speaker 2>I've never heard this. I knew she was Puerto Rican,

1:22:29.840 --> 1:22:32.360
<v Speaker 2>but the way I heard the way that I never

1:22:32.360 --> 1:22:36.920
<v Speaker 2>everybody speak, like to poor my motherfucking life, right, So

1:22:37.160 --> 1:22:40.639
<v Speaker 2>I said, where you're from. It's just Brooklyn, So I'm

1:22:40.640 --> 1:22:43.040
<v Speaker 2>from Brooklyn. Said where you're from? I said what neighbor

1:22:43.040 --> 1:22:46.800
<v Speaker 2>was just for I live for Green and I was

1:22:46.880 --> 1:22:50.160
<v Speaker 2>writing do the Right Thing at the time, and that moment,

1:22:50.200 --> 1:22:54.400
<v Speaker 2>I said, I'm gonna make Mookie's girl from Puerto Rican. Mhm.

1:22:55.439 --> 1:22:59.519
<v Speaker 6>At that point, at that point, did you know you

1:22:59.560 --> 1:23:02.680
<v Speaker 6>were gonna put Mookie? Oh yeah, okay, yeah, but.

1:23:03.200 --> 1:23:06.160
<v Speaker 2>I knew, but I said she has to be. I mean,

1:23:07.280 --> 1:23:10.439
<v Speaker 2>she had the audition, but I still knew that that

1:23:11.400 --> 1:23:14.200
<v Speaker 2>she was going to be played Mookie's girlfriend Tina. That's

1:23:14.200 --> 1:23:19.360
<v Speaker 2>the real story that a star was born. I knew

1:23:19.400 --> 1:23:22.400
<v Speaker 2>that I knew that she was gonna be great in

1:23:22.479 --> 1:23:26.000
<v Speaker 2>this role. I did not. I cannot predict that. I

1:23:26.040 --> 1:23:30.040
<v Speaker 2>knew that she would be great as Mookie's girlfriend.

1:23:30.280 --> 1:23:31.640
<v Speaker 1>But at that point, you didn't say, like, oh, this

1:23:31.760 --> 1:23:37.040
<v Speaker 1>is an Oscar caliber actress and she's made for herself.

1:23:37.080 --> 1:23:39.880
<v Speaker 2>And we never talked about oscars. That's not the I mean,

1:23:40.400 --> 1:23:41.599
<v Speaker 2>we don't talk about that stuff.

1:23:41.640 --> 1:23:43.720
<v Speaker 1>Well, not that, but when you see new talent that

1:23:44.040 --> 1:23:45.880
<v Speaker 1>but I don't And a lot of times the first

1:23:45.920 --> 1:23:46.679
<v Speaker 1>films are yours.

1:23:47.200 --> 1:23:49.519
<v Speaker 2>But I don't say she's going an Oscar. I don't

1:23:49.560 --> 1:23:49.760
<v Speaker 2>do that.

1:23:50.520 --> 1:23:54.160
<v Speaker 1>So do you direct? Like, are you the director that will?

1:23:56.120 --> 1:23:56.280
<v Speaker 2>You know?

1:23:56.320 --> 1:23:59.040
<v Speaker 1>I know some what's his name? Who directed seven? And

1:23:59.280 --> 1:24:02.960
<v Speaker 1>uh David fin So Fincher, especially on House of Car.

1:24:03.120 --> 1:24:06.320
<v Speaker 1>Like his episode of House of Cars, he's been known

1:24:06.400 --> 1:24:10.679
<v Speaker 1>to do fifteen sixteen seventeen takes, no, no, no, knowing

1:24:10.720 --> 1:24:12.360
<v Speaker 1>that the last three are finally going to be what

1:24:12.479 --> 1:24:13.200
<v Speaker 1>he wants.

1:24:13.040 --> 1:24:16.720
<v Speaker 2>That seventy seventy eighty takes.

1:24:18.160 --> 1:24:22.800
<v Speaker 1>For you No, no, oh, yeah, I've heard that. Yeah,

1:24:22.880 --> 1:24:25.400
<v Speaker 1>he'll he'll spend fifteen seventeen hours.

1:24:25.640 --> 1:24:27.240
<v Speaker 2>First of all, I don't have I never had the

1:24:27.320 --> 1:24:29.600
<v Speaker 2>budget to do that. We gotta go.

1:24:31.320 --> 1:24:33.400
<v Speaker 1>Okay, and he doesn't need I mean, so you're saying

1:24:33.439 --> 1:24:36.080
<v Speaker 1>that riot scene was shot in one shot. You had

1:24:36.160 --> 1:24:37.479
<v Speaker 1>one shot to just know.

1:24:37.720 --> 1:24:41.240
<v Speaker 2>It was like two nights we had. You had the riot,

1:24:41.320 --> 1:24:44.000
<v Speaker 2>then you had excuse me, you had the when the

1:24:44.160 --> 1:24:46.160
<v Speaker 2>fire trucks come in, the war stuff like that.

1:24:46.520 --> 1:24:51.040
<v Speaker 1>So for something that tense, especially when you are with

1:24:51.200 --> 1:24:53.040
<v Speaker 1>multiple cameras and that sort of thing, I know, there's

1:24:53.080 --> 1:24:56.360
<v Speaker 1>a moment where it's like, you know, fuck you okay

1:24:56.400 --> 1:25:02.240
<v Speaker 1>cut and then like okay, so everything's and like characters

1:25:02.280 --> 1:25:06.080
<v Speaker 1>break now. For Carlo, Esposito said that because of the.

1:25:11.560 --> 1:25:11.960
<v Speaker 2>Teach me.

1:25:14.240 --> 1:25:23.439
<v Speaker 1>Gean Carlo, Okay, take two, keep it San Carlos Gian

1:25:23.520 --> 1:25:28.559
<v Speaker 1>Carlo Esposito. So he he mentioned that during the filming

1:25:28.960 --> 1:25:33.840
<v Speaker 1>that him and Danny did some bonding because of their

1:25:33.920 --> 1:25:36.800
<v Speaker 1>Italian connection, talk to each other Italian, his.

1:25:36.920 --> 1:25:41.600
<v Speaker 2>His, his father's Italian right, and then there was America.

1:25:41.680 --> 1:25:45.679
<v Speaker 1>There was a scene well during that scene, uh, where

1:25:46.080 --> 1:25:50.600
<v Speaker 1>the radio gets beat and finally you know, yeah, I

1:25:50.720 --> 1:25:55.640
<v Speaker 1>think initially Danny decided to curse amount in Italian and

1:25:55.800 --> 1:26:02.880
<v Speaker 1>said something to Sean Carlo that really just infuriated him.

1:26:02.960 --> 1:26:06.920
<v Speaker 1>And even when you yelled cut, he was just like that.

1:26:07.200 --> 1:26:08.920
<v Speaker 2>That ain't that. I never heard that story. But I

1:26:08.960 --> 1:26:14.120
<v Speaker 2>will tell you is that there were certain words that

1:26:14.360 --> 1:26:18.800
<v Speaker 2>people didn't want to say, and so we had when

1:26:18.880 --> 1:26:22.120
<v Speaker 2>when John the scene where Danny has the bat and

1:26:22.320 --> 1:26:28.160
<v Speaker 2>the close of him, Jean Carlo and Bill Numb were

1:26:28.200 --> 1:26:30.280
<v Speaker 2>standing on the side of the camera and they were,

1:26:30.360 --> 1:26:34.960
<v Speaker 2>you know, going exchanging and when Jean Carlo called him

1:26:35.479 --> 1:26:39.400
<v Speaker 2>a fat guinea bastard, that's when Danny exploded.

1:26:40.520 --> 1:26:43.599
<v Speaker 1>Oh so was Danny that was upset. He was upset,

1:26:43.680 --> 1:26:45.839
<v Speaker 1>but he just don't liked me called the fat guinea bastard.

1:26:47.240 --> 1:26:49.760
<v Speaker 1>And the fact that it wasn't in the script. Oh,

1:26:49.840 --> 1:26:50.840
<v Speaker 1>I mean, that's just.

1:26:50.960 --> 1:26:53.960
<v Speaker 2>That you're off script by then you just just go,

1:26:54.800 --> 1:26:57.439
<v Speaker 2>you know, just say the worst things you could say.

1:26:57.520 --> 1:26:59.320
<v Speaker 1>So you have a lot of offscript moments. So in

1:26:59.479 --> 1:27:02.480
<v Speaker 1>your screen places, it's just like, you know, we'll improvise.

1:27:04.080 --> 1:27:05.920
<v Speaker 2>No, you don't write improvised, but you know that it

1:27:05.960 --> 1:27:08.479
<v Speaker 2>comes to rehearsal, you start you see where we can

1:27:08.520 --> 1:27:12.799
<v Speaker 2>improvise there. So here's the thing, though, not everybody can improvise,

1:27:12.880 --> 1:27:15.800
<v Speaker 2>so you have to know who can do it who can't,

1:27:16.920 --> 1:27:22.519
<v Speaker 2>and you work on improvisation improvisation during the rehearsal and

1:27:22.680 --> 1:27:27.760
<v Speaker 2>heated moments, people gonna get off script because it's really

1:27:27.800 --> 1:27:30.240
<v Speaker 2>emotional and you're not really worried about it. This exact

1:27:30.640 --> 1:27:33.280
<v Speaker 2>exact words that are that are scripted.

1:27:33.439 --> 1:27:35.599
<v Speaker 1>But if it okay, so at the table read through,

1:27:36.560 --> 1:27:37.000
<v Speaker 1>are they.

1:27:36.960 --> 1:27:40.400
<v Speaker 2>As heated as it will be? Because I don't want

1:27:40.479 --> 1:27:44.680
<v Speaker 2>my does that worry you like this is to me?

1:27:46.720 --> 1:27:49.600
<v Speaker 2>I don't want to act and read through. I just

1:27:49.680 --> 1:27:53.320
<v Speaker 2>want to hear the words. I tell nobody act, just

1:27:53.439 --> 1:27:57.880
<v Speaker 2>read the words. Because except for auditions, where when you

1:27:57.960 --> 1:28:00.400
<v Speaker 2>when you audition people only getting you're not dition the

1:28:00.439 --> 1:28:03.800
<v Speaker 2>whole film. You're just different scenes. So if the read

1:28:03.840 --> 1:28:06.280
<v Speaker 2>through is the first time you get to hear the words,

1:28:06.400 --> 1:28:10.679
<v Speaker 2>it is entirely there's a strange phenomenon. Reading the script

1:28:11.960 --> 1:28:15.280
<v Speaker 2>is not the same as actors saying the word. And

1:28:15.360 --> 1:28:17.960
<v Speaker 2>so many times you might think that you wrote something

1:28:18.000 --> 1:28:20.519
<v Speaker 2>that's good, but an act of reads it's like, oh shit,

1:28:20.560 --> 1:28:24.559
<v Speaker 2>I gotta change that. So during my read through, I'm rewriting.

1:28:24.640 --> 1:28:26.559
<v Speaker 2>I might gotta keep up because like, well I'm crossing

1:28:26.600 --> 1:28:28.400
<v Speaker 2>it out. We gotta change the gotta change that, gotta

1:28:28.479 --> 1:28:30.280
<v Speaker 2>changes this How.

1:28:30.200 --> 1:28:32.960
<v Speaker 7>Good of an Improverson was Robin Harris.

1:28:36.400 --> 1:28:38.920
<v Speaker 2>Here's the thing. Robin was at this I forgot the

1:28:39.000 --> 1:28:43.320
<v Speaker 2>name of the club, but Robbie Reid told me again

1:28:43.360 --> 1:28:45.360
<v Speaker 2>the Castle. Nerec said, you gotta see this guy, Robin

1:28:46.439 --> 1:28:51.760
<v Speaker 2>la So this club the club. To go to the

1:28:52.280 --> 1:28:55.960
<v Speaker 2>the to go to the bathroom, you had to go

1:28:56.080 --> 1:29:02.880
<v Speaker 2>up the stairs next to the stage. In the back

1:29:02.920 --> 1:29:07.200
<v Speaker 2>of the club. In the back of the club, Robin

1:29:07.280 --> 1:29:11.720
<v Speaker 2>Harris had a guy with a spotlight. He was he

1:29:11.800 --> 1:29:15.920
<v Speaker 2>would like this snapper's fingers a point. And I was

1:29:16.000 --> 1:29:22.720
<v Speaker 2>there one night. Robin Harris tore Mike Tyson. This Mike

1:29:22.800 --> 1:29:28.240
<v Speaker 2>Tys was, I mean, you read a piece of your pants.

1:29:29.640 --> 1:29:31.720
<v Speaker 2>Have to walk past Robin on the stage to go

1:29:31.800 --> 1:29:34.720
<v Speaker 2>to the back. I mean, no better blues. I know

1:29:34.760 --> 1:29:40.240
<v Speaker 2>we're jumping ahead. And even if you weren't working, if

1:29:40.280 --> 1:29:43.519
<v Speaker 2>you acting working that day, but you saw Robin Harris

1:29:43.800 --> 1:29:48.280
<v Speaker 2>was on the claw sheet, you you would come. You

1:29:48.360 --> 1:29:51.879
<v Speaker 2>will be there, he would. I remember he told Denzel,

1:29:52.439 --> 1:29:55.479
<v Speaker 2>he said, Denzel your he looks like a question mark.

1:29:59.600 --> 1:30:02.800
<v Speaker 8>I mean, I'm making that whole scene when they at

1:30:02.800 --> 1:30:04.880
<v Speaker 8>the after party and he just fucking with everybody like

1:30:05.320 --> 1:30:05.880
<v Speaker 8>you know, the whole thing.

1:30:06.240 --> 1:30:10.800
<v Speaker 2>I mean, I mean, he he, oh, man is a

1:30:10.920 --> 1:30:15.639
<v Speaker 2>great great laws Let not catch a nigga O. Those

1:30:15.640 --> 1:30:19.040
<v Speaker 2>are old ad libs. I mean people like that. You

1:30:19.120 --> 1:30:21.200
<v Speaker 2>just gotta let him go. It's like that's like Jordan's

1:30:21.200 --> 1:30:23.240
<v Speaker 2>get green Light, green Light.

1:30:23.439 --> 1:30:27.160
<v Speaker 1>So by this point, when you're established, are you putting

1:30:27.160 --> 1:30:30.439
<v Speaker 1>pressure on Robbie to find you the next unused gym

1:30:30.520 --> 1:30:32.559
<v Speaker 1>in town? Like is she going to theaters?

1:30:32.560 --> 1:30:37.920
<v Speaker 2>It wasn't pressure because we always stashed away a couple

1:30:37.960 --> 1:30:38.400
<v Speaker 2>of rolls.

1:30:38.840 --> 1:30:41.680
<v Speaker 1>But are they you know, does does Martin Lawrence know,

1:30:42.760 --> 1:30:44.760
<v Speaker 1>Oh there's an audition for Do the Right Thing?

1:30:44.920 --> 1:30:47.760
<v Speaker 2>Or is it Robbie found Robbie. Do the Right Thing

1:30:47.840 --> 1:30:52.479
<v Speaker 2>was Rody Preis's first film, Rob Harris first film, Lawrence

1:30:52.640 --> 1:30:56.840
<v Speaker 2>first film. Rob Robbie found me. I didn't know these people.

1:30:57.320 --> 1:30:59.240
<v Speaker 2>I know, I mean I found Rosie, but the other

1:30:59.280 --> 1:30:59.880
<v Speaker 2>people I didn't know.

1:31:01.040 --> 1:31:01.120
<v Speaker 4>Ye.

1:31:01.160 --> 1:31:03.360
<v Speaker 8>Also, as you're building your actors squad, it seems like

1:31:03.400 --> 1:31:05.479
<v Speaker 8>it's harder and harder to get to get for other

1:31:05.800 --> 1:31:07.640
<v Speaker 8>actors to get in right because like by now you

1:31:07.680 --> 1:31:09.960
<v Speaker 8>said you already had Gean Carlo, you already had Bill Nunn,

1:31:09.960 --> 1:31:10.840
<v Speaker 8>you already.

1:31:10.560 --> 1:31:14.280
<v Speaker 2>Had John de Tururo.

1:31:15.040 --> 1:31:17.000
<v Speaker 7>Can we talk about the tutoral relationship.

1:31:17.640 --> 1:31:19.760
<v Speaker 1>Well, I was gonna go there, Like how hard is

1:31:19.800 --> 1:31:26.599
<v Speaker 1>it for your white actors too, especially especially in Jungle Fever?

1:31:27.320 --> 1:31:28.519
<v Speaker 1>How they were at the silva shop?

1:31:29.520 --> 1:31:31.040
<v Speaker 2>Like how?

1:31:33.200 --> 1:31:36.519
<v Speaker 1>And and I know about the controversy of better blues

1:31:36.800 --> 1:31:38.639
<v Speaker 1>you portraying the club owner.

1:31:39.240 --> 1:31:42.080
<v Speaker 2>More Josh Flappers played by Nick and John de Tururo.

1:31:42.280 --> 1:31:44.599
<v Speaker 1>Yes, how to write that down?

1:31:44.680 --> 1:31:46.120
<v Speaker 2>Don't to get it? So I want to talk about that?

1:31:47.000 --> 1:31:49.640
<v Speaker 1>No, No, that's the thing. It's like, how do you

1:31:52.200 --> 1:31:57.120
<v Speaker 1>convey to them what the character is without saying like, okay,

1:31:57.200 --> 1:32:01.920
<v Speaker 1>well you're going to be the villain or you know,

1:32:02.200 --> 1:32:04.479
<v Speaker 1>play it to the hilt, or like, I mean, how do.

1:32:04.520 --> 1:32:08.280
<v Speaker 2>You Here's the thing though, the white actors that I've

1:32:08.320 --> 1:32:12.920
<v Speaker 2>worked with a great human beings. These are people artists

1:32:13.479 --> 1:32:19.519
<v Speaker 2>and understand that their history, and they're cool plant it

1:32:19.600 --> 1:32:21.240
<v Speaker 2>because it's not like we're making it up.

1:32:22.600 --> 1:32:26.599
<v Speaker 1>But was there ever any indifference to or not indifference

1:32:26.720 --> 1:32:32.240
<v Speaker 1>or objections to Okay, well you know who who?

1:32:32.600 --> 1:32:34.160
<v Speaker 2>Where'd you find that? What a waste? Guys?

1:32:34.520 --> 1:32:38.680
<v Speaker 1>The two cops, the cops that killed Radio that were

1:32:38.760 --> 1:32:39.840
<v Speaker 1>also in Fever?

1:32:40.120 --> 1:32:42.840
<v Speaker 2>What one is Dannie little Son?

1:32:43.160 --> 1:32:43.679
<v Speaker 7>Which one?

1:32:44.800 --> 1:32:48.200
<v Speaker 2>The one is not Hispanic taller one. Oh what a waste.

1:32:48.520 --> 1:32:49.720
<v Speaker 1>That guy's Fender one.

1:32:49.880 --> 1:32:52.800
<v Speaker 2>What's his name? I knew it, Miguel Sandoval. Yeah.

1:32:52.800 --> 1:32:55.760
<v Speaker 1>I was gonna say, if you knew that name, this

1:32:55.840 --> 1:32:57.880
<v Speaker 1>whole show would just be the cost No.

1:32:58.160 --> 1:33:02.559
<v Speaker 2>The taller one, like the red one hair. That's Daniel's son, Rick,

1:33:02.680 --> 1:33:08.040
<v Speaker 2>He's the one that yeah, oh man. But here's the thing, though,

1:33:08.160 --> 1:33:14.800
<v Speaker 2>is that people dig my work. They understand it, and

1:33:14.960 --> 1:33:20.120
<v Speaker 2>then they're they're they're great parts. In fact, John de

1:33:20.200 --> 1:33:22.439
<v Speaker 2>Turroll used to say, you know, Spike Man, I don't

1:33:22.439 --> 1:33:24.600
<v Speaker 2>know when it's when before the film came out, A

1:33:24.600 --> 1:33:26.160
<v Speaker 2>said Spike Man, I ride the.

1:33:26.160 --> 1:33:32.680
<v Speaker 10>Subway, would Spike the brothers come up to me, give

1:33:32.720 --> 1:33:34.960
<v Speaker 10>me that. They say, yo yo yo, yo yo, soy

1:33:35.040 --> 1:33:37.200
<v Speaker 10>they love the turle Yo.

1:33:37.280 --> 1:33:38.760
<v Speaker 7>You messed it up so good. I don't know what

1:33:38.920 --> 1:33:40.519
<v Speaker 7>they are. I was like, wait, are you Jewish? Are

1:33:40.560 --> 1:33:44.000
<v Speaker 7>you Italian? I eat it too. I'm like, I don't.

1:33:44.400 --> 1:33:47.760
<v Speaker 2>But here's the thing though, When mo better claim came out,

1:33:48.160 --> 1:33:52.920
<v Speaker 2>I was accused of being anti su the Jewish Defense League.

1:33:53.120 --> 1:34:01.080
<v Speaker 2>Uh aighty l. So my lawyer at the time he

1:34:01.240 --> 1:34:05.280
<v Speaker 2>told me, he said, Spike, this serious, this is this

1:34:05.439 --> 1:34:07.519
<v Speaker 2>is the truth. He said, Spike, if you want to

1:34:07.560 --> 1:34:10.880
<v Speaker 2>continue to work in Hollywood, you have to write an

1:34:10.880 --> 1:34:15.080
<v Speaker 2>op ed piece for the New York Times saying why

1:34:15.120 --> 1:34:18.880
<v Speaker 2>you're not Semitic. I know it's not fair, wow, but

1:34:19.040 --> 1:34:22.960
<v Speaker 2>you want to continue to work in this industry? And

1:34:23.040 --> 1:34:24.240
<v Speaker 2>I wrote it? You could google it. Oh.

1:34:24.280 --> 1:34:25.559
<v Speaker 7>I wish we had that kind of protection.

1:34:25.760 --> 1:34:29.880
<v Speaker 2>Google it. I had. He's you know, he was Jewish.

1:34:30.040 --> 1:34:34.360
<v Speaker 2>He died, but he said, Spike, you know you're a

1:34:34.360 --> 1:34:38.679
<v Speaker 2>great filmmaker. I care for you. But if you don't

1:34:38.720 --> 1:34:41.519
<v Speaker 2>write this op ed piece saying you're not anti Semitic,

1:34:42.040 --> 1:34:44.120
<v Speaker 2>then you're done. You're done. Wow.

1:34:44.680 --> 1:34:48.720
<v Speaker 1>Wait, done. I'm forgetting the most important character and to

1:34:48.840 --> 1:34:53.599
<v Speaker 1>the right thing. It's the song, fight the power, right, Yeah,

1:34:54.280 --> 1:34:55.160
<v Speaker 1>I'm about to move on.

1:34:56.960 --> 1:34:57.439
<v Speaker 2>How did you.

1:34:59.439 --> 1:35:01.400
<v Speaker 1>You know, like when you're growing up in the era

1:35:01.520 --> 1:35:03.240
<v Speaker 1>and you just hear great music all the time, like

1:35:03.320 --> 1:35:04.960
<v Speaker 1>you think of like a cat like Prince will just

1:35:06.000 --> 1:35:09.040
<v Speaker 1>you know, eat breathing shit, great songs and hits. But

1:35:09.120 --> 1:35:11.080
<v Speaker 1>now that I realized that it takes a craft and

1:35:11.320 --> 1:35:16.759
<v Speaker 1>and and and really a steady hand to do perfection

1:35:19.240 --> 1:35:25.000
<v Speaker 1>getting I mean asking a group to give you an anthem,

1:35:26.240 --> 1:35:28.680
<v Speaker 1>I mean that's some that's some hard ass shit to do.

1:35:29.479 --> 1:35:33.840
<v Speaker 1>And what's weird is that I guess later years when

1:35:33.840 --> 1:35:38.879
<v Speaker 1>I've heard outtakes from songs that didn't make Nation of millions,

1:35:39.600 --> 1:35:41.559
<v Speaker 1>and you know there's like five or six or seven

1:35:41.800 --> 1:35:44.800
<v Speaker 1>other Public Enemy related joints.

1:35:44.600 --> 1:35:49.880
<v Speaker 2>That where where can I hear those? Where does he

1:35:49.960 --> 1:35:53.000
<v Speaker 2>get his stuff? He's hearing ship like me?

1:35:54.160 --> 1:35:57.920
<v Speaker 1>Look, man, by this point, everyone knows that I'm the student.

1:35:58.240 --> 1:36:00.120
<v Speaker 1>Like if I came off as a seisty guy that

1:36:00.360 --> 1:36:04.080
<v Speaker 1>just you know, I'm leak the shit online and bootleg

1:36:04.160 --> 1:36:05.000
<v Speaker 1>that shiit no one.

1:36:05.640 --> 1:36:08.040
<v Speaker 2>Look, that's just a testament to people know that I

1:36:08.280 --> 1:36:10.799
<v Speaker 2>just generally want to know stuff.

1:36:10.840 --> 1:36:14.000
<v Speaker 1>And yeah, suit, you're a student of the music, I'll

1:36:14.000 --> 1:36:16.280
<v Speaker 1>share with you. Bill, I'm sorry I didn't know anyway.

1:36:16.760 --> 1:36:19.920
<v Speaker 1>So the point is that when I heard the other songs,

1:36:20.000 --> 1:36:23.200
<v Speaker 1>I was like wow, Like okay, So Public Enemy did

1:36:23.280 --> 1:36:27.040
<v Speaker 1>have some misses, the greatest missus, right, they had some

1:36:27.120 --> 1:36:29.519
<v Speaker 1>missus with their with their hits, the songs that really

1:36:29.600 --> 1:36:31.599
<v Speaker 1>resonated and the songs that were like Hm, okay, I'm

1:36:31.640 --> 1:36:32.800
<v Speaker 1>glad they kept this off the record.

1:36:32.880 --> 1:36:34.880
<v Speaker 2>Yeah, but you could do it with any record, can't.

1:36:35.400 --> 1:36:37.519
<v Speaker 1>Yeah, but I'm now I'm just saying that the the

1:36:38.280 --> 1:36:44.559
<v Speaker 1>the I mean the likelihood of them having five major

1:36:45.000 --> 1:36:48.080
<v Speaker 1>life changing songs in a row is some rare ship, right,

1:36:48.880 --> 1:36:51.639
<v Speaker 1>And the fourth one of their you know, of their

1:36:52.240 --> 1:36:56.639
<v Speaker 1>of their canon being fight the Power, well revel without

1:36:56.640 --> 1:36:57.120
<v Speaker 1>a pause to.

1:36:57.160 --> 1:36:58.080
<v Speaker 2>Me, bring the noise.

1:36:58.479 --> 1:37:02.960
<v Speaker 1>Uh, don't believe or don't believe it was necessary. I

1:37:03.000 --> 1:37:03.920
<v Speaker 1>feel like bass heads.

1:37:04.400 --> 1:37:05.880
<v Speaker 2>I feel like bass Heads.

1:37:05.840 --> 1:37:08.760
<v Speaker 1>Is just insane. At the time that it came out,

1:37:08.800 --> 1:37:11.760
<v Speaker 1>it was just unlike anything we ever heard before. Uh.

1:37:12.280 --> 1:37:14.800
<v Speaker 1>Then the fourth being Fight the Power and the last

1:37:14.880 --> 1:37:18.240
<v Speaker 1>being uh uh welcome to the territor tardo. Okay, So

1:37:18.960 --> 1:37:21.479
<v Speaker 1>when how many songs did they submit? Did they submit

1:37:21.600 --> 1:37:24.040
<v Speaker 1>other songs that they just said, like, this is your song.

1:37:24.160 --> 1:37:27.880
<v Speaker 2>Well, here's a story. Hit me. I knew. I knew

1:37:27.960 --> 1:37:33.760
<v Speaker 2>that I need anthem because every script, every time Raid

1:37:33.880 --> 1:37:38.240
<v Speaker 2>Raheem appears on screen, he's gonna have a song blasting

1:37:38.880 --> 1:37:42.280
<v Speaker 2>mm hmm. So every time you see a song be blasting,

1:37:42.360 --> 1:37:46.719
<v Speaker 2>so that shit gotta be hitting and knowing to tone.

1:37:48.640 --> 1:37:53.640
<v Speaker 2>I knew it had to be public enemy. So the

1:37:53.760 --> 1:37:59.400
<v Speaker 2>first Fight the Power was the second submission. Aha, there

1:37:59.439 --> 1:38:02.479
<v Speaker 2>we go. Have we heard the first one? No, I

1:38:02.520 --> 1:38:03.439
<v Speaker 2>don't I don't even know.

1:38:03.600 --> 1:38:05.200
<v Speaker 1>You didn't want to play it safe in the summer

1:38:05.200 --> 1:38:07.280
<v Speaker 1>of eighty eight, like and be like, okay, rebel without

1:38:07.320 --> 1:38:09.439
<v Speaker 1>a pause, We'll just stick to this story.

1:38:09.479 --> 1:38:13.960
<v Speaker 2>And I wanted a new song and the first one

1:38:14.479 --> 1:38:19.799
<v Speaker 2>wasn't hitting, wasn't it. But it wasn't their fault because

1:38:20.640 --> 1:38:23.320
<v Speaker 2>we didn't. We didn't. We weren't at a point where

1:38:23.320 --> 1:38:30.559
<v Speaker 2>we could show them the film. Okay, so earlier they

1:38:30.600 --> 1:38:32.840
<v Speaker 2>saw a film, Yeah, they didn't see anything. I just

1:38:33.000 --> 1:38:37.040
<v Speaker 2>I just did have a script. I guess ended Bill Stepney. Okay,

1:38:37.080 --> 1:38:39.400
<v Speaker 2>because Bill Stepaney living Ford Green. So I called him up,

1:38:39.840 --> 1:38:42.439
<v Speaker 2>got my bike, rode four or five blocks. Here's the script. Boom.

1:38:42.479 --> 1:38:45.320
<v Speaker 2>He he knows that he remembers more of the story

1:38:45.320 --> 1:38:47.439
<v Speaker 2>than anybody, Bill Stepney, So you try to get him

1:38:47.560 --> 1:38:52.560
<v Speaker 2>his his his saying it. But but the second But

1:38:53.160 --> 1:38:55.080
<v Speaker 2>we got to a point where we could show him something.

1:38:56.880 --> 1:38:58.280
<v Speaker 2>I don't know, we show him a clip or a

1:38:58.320 --> 1:39:03.200
<v Speaker 2>whole film. But once they saw that, Hank Shockley them, guys, do.

1:39:03.240 --> 1:39:06.760
<v Speaker 1>You remember what your place song was that you use placeholder?

1:39:06.920 --> 1:39:10.559
<v Speaker 1>Your placeholder song, yeah, that you used before you got

1:39:10.640 --> 1:39:11.120
<v Speaker 1>the I.

1:39:11.160 --> 1:39:16.160
<v Speaker 2>Mean like what you call timp music. We have it, Okay,

1:39:16.200 --> 1:39:21.280
<v Speaker 2>we have any temp music? Oh so, because I knew

1:39:21.320 --> 1:39:31.560
<v Speaker 2>that there's a thing called temp love. That's so I

1:39:31.600 --> 1:39:34.800
<v Speaker 2>don't want I don't want to contaminate my I mean,

1:39:35.640 --> 1:39:37.360
<v Speaker 2>I knew his music is I didn't have to fake it.

1:39:39.040 --> 1:39:44.280
<v Speaker 2>When I heard fight for the first time, what was that? Like, man,

1:39:44.360 --> 1:39:52.320
<v Speaker 2>I said, thank you Jesus, because this was the whole

1:39:53.200 --> 1:39:55.120
<v Speaker 2>it's summed up the whole motherfucking movie.

1:39:56.640 --> 1:39:58.519
<v Speaker 1>And he asked for none of this. Didn't asked for Elvis,

1:39:59.439 --> 1:40:02.040
<v Speaker 1>John Wayne, none of that ship like you just not

1:40:02.280 --> 1:40:03.880
<v Speaker 1>nothing to do with that. Did you name the song

1:40:03.960 --> 1:40:05.639
<v Speaker 1>and say I need a song called fight the power?

1:40:07.320 --> 1:40:12.519
<v Speaker 1>They got that from brothers, But I just all I

1:40:12.640 --> 1:40:16.639
<v Speaker 1>said was I need an anthem. That's a tall order spike.

1:40:17.560 --> 1:40:25.200
<v Speaker 2>And that's why with the public X.

1:40:27.640 --> 1:40:32.679
<v Speaker 1>Okay, the the pizzeria that burnt down, the fire, which

1:40:32.800 --> 1:40:36.400
<v Speaker 1>I assume that you burnt it down for real, how

1:40:36.439 --> 1:40:38.880
<v Speaker 1>did y'all control that since you weren't on a studio, Like,

1:40:39.479 --> 1:40:41.479
<v Speaker 1>what's not that from.

1:40:41.400 --> 1:40:44.439
<v Speaker 2>Spreading to the fire departments there?

1:40:46.560 --> 1:40:49.240
<v Speaker 1>But the fire department that was Were they the actual

1:40:49.280 --> 1:40:56.920
<v Speaker 1>fire department? That's weird, okay, But that.

1:40:58.920 --> 1:41:05.760
<v Speaker 2>That song, I mean sometimes I don't even I can't even.

1:41:06.240 --> 1:41:09.240
<v Speaker 2>Can you imagine Do the Right Thing with the fight,

1:41:09.360 --> 1:41:13.040
<v Speaker 2>the power. It's not the same movie. It's not the

1:41:13.080 --> 1:41:16.320
<v Speaker 2>same another character in the movie. It's a movie, I mean,

1:41:16.880 --> 1:41:21.320
<v Speaker 2>but that it was a gift. It's a gift from God.

1:41:21.439 --> 1:41:24.519
<v Speaker 2>That's that's all. I mean. You you should ask Chuck

1:41:24.560 --> 1:41:27.719
<v Speaker 2>and those guys you know, but their their their version. Eventually,

1:41:27.960 --> 1:41:28.880
<v Speaker 2>I'll get to that. Yeah.

1:41:28.960 --> 1:41:36.360
<v Speaker 1>Yeah, Spike's film inspired Do the Right Thing inspired uh,

1:41:37.680 --> 1:41:42.040
<v Speaker 1>the song that was originally the Roots before Scott Stortch

1:41:42.080 --> 1:41:45.760
<v Speaker 1>gave it to his girlfriend Little Kim, the song that

1:41:45.800 --> 1:41:47.080
<v Speaker 1>will eventually be Lighters Up.

1:41:47.560 --> 1:41:47.800
<v Speaker 2>Wow.

1:41:48.120 --> 1:41:50.840
<v Speaker 1>Well, when we got to the studio, Do the Right

1:41:50.880 --> 1:41:55.040
<v Speaker 1>Thing was on television, and uh, Samuel Jackson was senior

1:41:55.160 --> 1:41:58.760
<v Speaker 1>ladder Love Daddy, and he was doing roll Call. And

1:41:58.800 --> 1:42:02.320
<v Speaker 1>when I heard that drum by the time, I said,

1:42:02.400 --> 1:42:04.400
<v Speaker 1>I want to remake that sit and so I remade

1:42:04.439 --> 1:42:15.679
<v Speaker 1>it and my father, see Scott Storch, I remade made

1:42:17.880 --> 1:42:21.640
<v Speaker 1>and Scott did the piano and then here's here's the

1:42:21.720 --> 1:42:25.040
<v Speaker 1>crazy ship toik stay by to write the first verse.

1:42:25.120 --> 1:42:26.320
<v Speaker 1>This is going to be like the first thing off

1:42:26.400 --> 1:42:26.960
<v Speaker 1>tipping point.

1:42:28.000 --> 1:42:28.120
<v Speaker 2>Uh.

1:42:28.439 --> 1:42:31.360
<v Speaker 1>And then Scott was like We're going to somebody's birthday party.

1:42:31.439 --> 1:42:33.880
<v Speaker 1>I didn't realize it that night is when I had.

1:42:33.840 --> 1:42:35.000
<v Speaker 2>Dinner with O. J. Simpson.

1:42:38.240 --> 1:42:41.000
<v Speaker 1>Long story of that night, and that was the first

1:42:41.040 --> 1:42:46.599
<v Speaker 1>time literally we made that beat. And then we went

1:42:46.680 --> 1:42:53.320
<v Speaker 1>to some friends of ours, uh birthday party, and and

1:42:53.720 --> 1:42:56.439
<v Speaker 1>OJ and Buster the Rhymes and me and Scott Stort

1:42:56.560 --> 1:43:01.720
<v Speaker 1>sitting at the small small kids take Thanksgiving. It was

1:43:01.880 --> 1:43:06.360
<v Speaker 1>very and we were like the four black people there,

1:43:06.439 --> 1:43:09.920
<v Speaker 1>so we just sat at the small table. All I

1:43:09.960 --> 1:43:12.760
<v Speaker 1>got with that night was that he he said that

1:43:13.600 --> 1:43:17.360
<v Speaker 1>that you know the way that the rappers, uh, the

1:43:17.439 --> 1:43:21.599
<v Speaker 1>way that Bob Dylan Uh. And was it Patty Smith,

1:43:23.720 --> 1:43:28.360
<v Speaker 1>you know Champion Hurricane Carter. Yeah, that us with us

1:43:28.479 --> 1:43:39.040
<v Speaker 1>rappers need to get the sentence Champion. Yes, very surreal night. Anyway,

1:43:39.439 --> 1:43:45.960
<v Speaker 1>Thank you, Spike ladies and gentlemen. I hope you enjoyed

1:43:45.960 --> 1:43:49.960
<v Speaker 1>that encore presentation of a Spike Lee's interview on QLs Classic.

1:43:50.560 --> 1:43:50.680
<v Speaker 2>Uh.

1:43:50.800 --> 1:43:53.519
<v Speaker 1>Stay tuned for next go round when we ask more

1:43:53.640 --> 1:43:57.120
<v Speaker 1>questions about his history behind the count Spike Lee Part

1:43:57.160 --> 1:44:03.640
<v Speaker 1>two come out next QLs Classic. What's Love Supreme is

1:44:03.680 --> 1:44:07.679
<v Speaker 1>a production of iHeartRadio. This classic episode was produced by.

1:44:07.680 --> 1:44:09.160
<v Speaker 2>The team at Pandora.

1:44:13.960 --> 1:44:18.360
<v Speaker 1>For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:44:18.800 --> 1:44:20.479
<v Speaker 1>or wherever you listen to your favorite shows.