WEBVTT - Episode 46: Horror Noire 0:00:09.160 --> 0:00:13.360 You know what, how are y'all doing, Nerd fan? This 0:00:13.520 --> 0:00:16.640 is nerdifficent. I'm iff you way way and sitting cross 0:00:16.680 --> 0:00:22.600 from me as always, Danny Fernandez, I'm doing good, Iffy. 0:00:22.760 --> 0:00:25.800 It is the Oscars just happened. Yeah, oh oh by 0:00:25.840 --> 0:00:28.960 this time, right, yeah, the Oscar has just happened. I'm 0:00:29.000 --> 0:00:35.440 either very excited about the Black clansman when or just 0:00:35.960 --> 0:00:39.720 pretending like I don't care. I'm very excited that into 0:00:39.720 --> 0:00:44.720 the Spider verse one arety calling that? Or I will 0:00:44.760 --> 0:00:48.960 have someone edit this on Monday. I'm very excited at 0:00:49.000 --> 0:00:55.000 that beep uh today. You know, man, we have a 0:00:55.120 --> 0:00:58.160 powerhouse of a guest, a good friend of mine. We 0:00:58.640 --> 0:01:02.279 worked on a thing together way back when it was 0:01:02.320 --> 0:01:04.639 it was like a you would have liked it, Danny. 0:01:04.640 --> 0:01:08.680 It was like if Peter Pan went to college, and 0:01:08.720 --> 0:01:12.080 you know, I was me. It was our mutual friend 0:01:12.240 --> 0:01:16.000 Christopher in Cell, right, Okay. I was afraid that I 0:01:16.040 --> 0:01:18.640 was describing something we did not work on together, because 0:01:18.680 --> 0:01:21.360 that's how bad my memory is. But I totally remember, 0:01:21.360 --> 0:01:23.440 because I remember when we first met at that table 0:01:23.440 --> 0:01:25.000 read and I was like, oh, because you know, I 0:01:25.080 --> 0:01:27.880 just saw your name, Xavier Bergen. But when I saw 0:01:28.160 --> 0:01:30.640 that it was a black person. I was like, yes, 0:01:30.920 --> 0:01:34.320 thank you. Also, good on Christopher in self for you know, 0:01:34.880 --> 0:01:37.120 getting I mean, but it's not like he was doing 0:01:37.200 --> 0:01:41.960 you a favorite. This is a you went to USC, right, Yeah, yeah, 0:01:42.000 --> 0:01:47.160 I did the whole oh man. Yeah, and you're the 0:01:47.240 --> 0:01:50.440 second person I know who went to uh the USC 0:01:50.840 --> 0:01:54.240 Film School, and y'all all are doing great things. The 0:01:54.280 --> 0:01:57.360 other person was my friend Aaron Covington. Who wait, we 0:01:57.440 --> 0:02:00.520 knew another one? Who else? RB three? He goes by 0:02:03.120 --> 0:02:06.840 as us. Yeah, I know all of you made a Yeah, 0:02:06.880 --> 0:02:09.519 he made a he made a horror film. Ever, his 0:02:10.040 --> 0:02:14.040 h got a lot of coming up. Yeah, I know, 0:02:14.160 --> 0:02:18.480 it's exciting taking over RB three Xavier L. Bergen and 0:02:19.000 --> 0:02:23.720 Lett's introduce you first and say your whole name because 0:02:23.840 --> 0:02:27.280 you know, I know you, so I will just start 0:02:27.280 --> 0:02:33.200 talking to you. But yeah, Xavier, you recently had a 0:02:33.240 --> 0:02:37.400 documentary come out called Horror Newir that is a study 0:02:37.440 --> 0:02:41.400 of the history of black filmmakers in the horror genre. 0:02:41.960 --> 0:02:45.399 What kind of got you started on this? Like why 0:02:45.400 --> 0:02:47.840 did you want to make this documentary? So he's an 0:02:47.840 --> 0:02:50.480 interesting thing I always bring up. So just station of 0:02:50.560 --> 0:02:54.720 the actual documentary start with a homegirl Ashley Blackwell, who's 0:02:54.800 --> 0:02:57.520 the writer and producer, wanted them on The Bad Boy, 0:02:57.560 --> 0:03:00.480 and essentially it was based on the book It's also 0:03:00.520 --> 0:03:03.760 called a har noir by Dr Robin Our means Coleman 0:03:03.800 --> 0:03:07.120 shout out to her. So essentially she got up with 0:03:07.360 --> 0:03:09.840 Stage three Productions and they were like, you know, we 0:03:09.840 --> 0:03:11.680 want to make something that's like talking about this thing 0:03:11.680 --> 0:03:14.720 that we barely ever see on a regular basis. So 0:03:15.360 --> 0:03:17.320 I remember them telling me how, like you know, Shuttle 0:03:17.360 --> 0:03:19.320 was interested and they were thinking about it and stuff 0:03:19.360 --> 0:03:24.600 like that. And then when Jordan's one was like, oh, 0:03:24.680 --> 0:03:28.800 let's let's pick this bad Boy up forget Out exactly, 0:03:29.000 --> 0:03:32.120 and then that's how everything really started to like push 0:03:32.160 --> 0:03:35.160 forward with it. And once they started getting together, that's 0:03:35.160 --> 0:03:36.960 when Shutter and Stage we said like, Yo, we want 0:03:36.960 --> 0:03:39.640 to get a director behind this, but we want someone 0:03:39.640 --> 0:03:43.840 who's young black who you know, knows some stuff about 0:03:43.880 --> 0:03:46.400 this and it's actually like within the culture of it. 0:03:46.840 --> 0:03:50.600 And that's when they reached out to me about it. Yeah. Well, 0:03:50.640 --> 0:03:53.360 I had been following you, i think this past year, 0:03:53.680 --> 0:03:57.240 and so you were known for doing your threads. You're 0:03:57.280 --> 0:04:03.040 like you would keep people on the edge of their seats, 0:04:04.600 --> 0:04:07.200 but they're there. Yeah, No, I loved it, you like, 0:04:07.320 --> 0:04:09.680 it was so funny that you gave people even on this, 0:04:09.760 --> 0:04:13.440 like even on Twitter, like which, um, you can use 0:04:13.520 --> 0:04:16.960 though as a storytelling platform if you wanted to, you know. 0:04:17.080 --> 0:04:18.880 So that's how I got to know you from that. 0:04:18.960 --> 0:04:22.320 And then further, um, you are working on a project 0:04:22.360 --> 0:04:24.280 with one of our good friends which I can't name 0:04:24.360 --> 0:04:26.039 right now, but y'all will be seen that in a 0:04:26.120 --> 0:04:30.560 year or two. So but um, I guess what what 0:04:30.600 --> 0:04:35.279 got you into horror? Like what was the first movie 0:04:35.839 --> 0:04:39.200 or or franchise or something that you remember vividly where 0:04:39.200 --> 0:04:42.640 you're like, yes, this is it got you. I guess ignited, 0:04:43.200 --> 0:04:45.240 I want to do this. It's so funny. So you know, 0:04:45.279 --> 0:04:49.440 he um some a man Tony Todd, so you know, 0:04:49.560 --> 0:04:52.760 loving to death. And when we're at the premiere for 0:04:53.000 --> 0:04:55.360 Horror Noir, one of the things you brought ups like 0:04:55.400 --> 0:04:57.600 everybody always brings up Oh man, we watched candy Man. 0:04:57.720 --> 0:05:00.000 Watched Candy Man's Scared as the Scaredest and it would 0:05:00.000 --> 0:05:03.359 like he tony types, how old union like eight or nine? 0:05:03.760 --> 0:05:07.480 You know, like why why why y'all watching candy Man 0:05:07.480 --> 0:05:10.039 eight or nine? What type of parents do you have. 0:05:11.040 --> 0:05:14.640 But the whole thing about it is like I specifically 0:05:14.680 --> 0:05:19.599 remember Cannyman and Horizon, those two specifically like scaring the 0:05:19.640 --> 0:05:21.200 crap out of me as a kid. I still know 0:05:21.279 --> 0:05:24.039 why my parents even let me. Maybe I just didn't 0:05:24.080 --> 0:05:26.960 let him know I ended up seeing them, and that 0:05:27.080 --> 0:05:29.000 always just kind of stuck in my head for a 0:05:29.040 --> 0:05:32.280 long time, even before I was, you know, figuring out 0:05:32.320 --> 0:05:34.200 I want to go on the film and stuff like that, 0:05:34.320 --> 0:05:36.960 because you know, I'm a cat from like down south, 0:05:37.040 --> 0:05:40.760 like you know, Alabama, Mississippi. So growing up as a kid, like, 0:05:40.800 --> 0:05:42.359 you know, I'm watching all this type of stuff, But 0:05:42.560 --> 0:05:45.360 wasn't nobody telling me that, oh, you know what your 0:05:45.400 --> 0:05:47.640 career could be, you could be a filmmaker. Wasn't nobody 0:05:47.640 --> 0:05:50.040 saying that for real? For real? So you know, I 0:05:50.080 --> 0:05:54.200 didn't really like get to understand the gestation of all 0:05:54.200 --> 0:05:55.960 the stuff that I liked until I got a lot 0:05:55.960 --> 0:05:58.000 older and realized this was the route that I wanted 0:05:58.040 --> 0:06:02.240 to go. Yeah, No, it's it is funny because you know, I, 0:06:03.360 --> 0:06:05.719 like I said, since I follow you, I already knew 0:06:05.720 --> 0:06:09.520 all about this, and it's such a great concept because 0:06:09.560 --> 0:06:12.320 I do think just especially because right now I think 0:06:12.320 --> 0:06:14.960 it's safe to say we're in a renaissance of black film. 0:06:15.040 --> 0:06:17.960 Like I just said it to myself when I saw, like, uh, 0:06:18.160 --> 0:06:21.360 that new film, uh Lina wayit is I think either 0:06:21.400 --> 0:06:24.560 producing or directing, and they just showed a teaser but 0:06:24.600 --> 0:06:26.719 it's like the two kids and then it has like 0:06:26.760 --> 0:06:29.000 the I'm gonna find the name so I can actually 0:06:29.040 --> 0:06:31.680 like shout it out properly. But I was like, man, 0:06:31.760 --> 0:06:35.400 we're in a renaissance, and it's weird because like it 0:06:35.440 --> 0:06:37.400 almost feels like where did it go? Because if you 0:06:37.440 --> 0:06:39.080 go back to the nineties, you know, we had t 0:06:39.200 --> 0:06:43.159 G I F. You had shows like uh, Family Matters 0:06:43.200 --> 0:06:45.640 on the air, Fresh Prints and all that stuff. And 0:06:45.680 --> 0:06:49.200 in the horror too you you mentioned a candy Man, 0:06:49.360 --> 0:06:52.160 but also uh one of one movie I mentioned recently 0:06:52.200 --> 0:06:54.160 that I was so surprised. I mentioned it in the 0:06:54.240 --> 0:06:56.480 room I'm in right now and no one else saw it. 0:06:56.520 --> 0:06:57.800 But it was so big when I was a kid, 0:06:58.040 --> 0:07:02.080 Tales from the Hood, like my anthology. I mean, you know, 0:07:02.360 --> 0:07:04.640 some of it, you know, don't hold up as well, 0:07:04.680 --> 0:07:08.240 but man if I was just so blown away that, yeah, 0:07:08.320 --> 0:07:12.240 it was such a good like we just always have 0:07:12.360 --> 0:07:15.160 been making it it's just the spotlight and how much 0:07:15.160 --> 0:07:18.240 people are you know, really showing it. And you know, 0:07:18.320 --> 0:07:21.240 I feel like the nineties were a time where like 0:07:21.640 --> 0:07:24.040 we were making movies, but they always put it in 0:07:24.040 --> 0:07:26.239 a box where it's like, oh, that's a black movie, 0:07:26.280 --> 0:07:29.720 that's a and I feel like we're finally hopefully starting 0:07:29.720 --> 0:07:31.440 to move away from that. You know, you didn't hear 0:07:31.520 --> 0:07:34.000 like Moonlight being called the black movie. It was like 0:07:34.160 --> 0:07:38.160 the art movie to see full stop and uh and 0:07:38.200 --> 0:07:40.920 I and you know, same thing with Black Klansmen, like 0:07:41.000 --> 0:07:44.160 you can now you know, have these movies, especially like 0:07:44.360 --> 0:07:46.720 Black Panther, you know, like you know, we just talked 0:07:46.760 --> 0:07:49.920 about that last week, but a movie like that, you know, 0:07:51.320 --> 0:07:53.880 like everyone said, like, you know, it was supposed to 0:07:53.920 --> 0:07:56.960 be done in the nineties, and I could very easily 0:07:57.200 --> 0:07:58.760 see people just kind of pushing that off to the the 0:07:58.840 --> 0:08:01.000 side and be like, that's the black superhero movie for 0:08:01.040 --> 0:08:04.720 black people. And now you got you know, people trying 0:08:04.720 --> 0:08:08.280 to claim it for themselves, you know, like like where's 0:08:08.320 --> 0:08:11.400 my space in what kinda And it's like, well, you 0:08:11.400 --> 0:08:15.400 don't need that space, yeah, So you know, all right, 0:08:15.520 --> 0:08:18.080 so they reach out to you, you hop on and 0:08:18.280 --> 0:08:20.080 I'm assuming one of the first thing, did you read 0:08:20.120 --> 0:08:23.040 the book before you did the documentary or like when 0:08:23.040 --> 0:08:25.240 you got it your like, let's let me check this out. 0:08:25.360 --> 0:08:26.880 So yeah, that's the thing that you know. Of course, 0:08:26.920 --> 0:08:29.360 they reached down there like yo, you're interested, Um, you know, 0:08:29.560 --> 0:08:31.440 we want you to come in and we're gonna have 0:08:31.480 --> 0:08:33.160 you pitched, because you know, they were looking at a 0:08:33.160 --> 0:08:35.240 couple of folks. Yeah, and I was like, okay, well 0:08:35.520 --> 0:08:37.000 I'm gonna do this. I'm gonna do it right, So 0:08:37.080 --> 0:08:41.360 sat down, you know, read the book, then literally beast 0:08:41.440 --> 0:08:43.800 it out like this, you know, twelve to fifteen page 0:08:43.920 --> 0:08:45.320 like you know, a type a little book of how 0:08:45.360 --> 0:08:47.600 I wanted to see it, how I wanted the different 0:08:47.679 --> 0:08:49.640 errors to come in and go through based on the 0:08:49.679 --> 0:08:51.480 book and things to that degree. And of course, like 0:08:51.520 --> 0:08:53.679 the nice thing, it's like literally ride and shout out 0:08:53.679 --> 0:08:56.000 to you know, actually black one Daniel Burrows had already 0:08:56.000 --> 0:08:59.400 like build out something like a huge outline that already 0:08:59.640 --> 0:09:01.280 that's up some of the stuff that I was just 0:09:01.320 --> 0:09:02.960 now reading, you know, within it. Because they have been 0:09:03.000 --> 0:09:05.800 in this word, especially Ashley, for such a long time. 0:09:06.520 --> 0:09:09.160 So put it together, send it over to them, they 0:09:09.160 --> 0:09:11.080 send it back, Send over. I sent it a couple 0:09:11.080 --> 0:09:13.240 of times, like going back and forth to see what 0:09:13.280 --> 0:09:15.120 they want any things like that, and then you stop 0:09:15.240 --> 0:09:17.120 hitting me up and I was like, oh man, maybe 0:09:17.120 --> 0:09:21.280 maybe maybe I didn't get this. And then they finally 0:09:21.360 --> 0:09:23.040 got back to me like, Yo, we love this. We 0:09:23.080 --> 0:09:25.800 want you to come onto this and you know, start shooting. 0:09:25.920 --> 0:09:29.280 And I was just excited for it, because you know, 0:09:29.320 --> 0:09:32.280 the thing for me is like, you know, I love films, 0:09:32.320 --> 0:09:33.840 you know, I love what I do, but I also 0:09:33.880 --> 0:09:35.320 love it when I see black folks and the black 0:09:35.320 --> 0:09:37.800 and brown folks and that bad Boy. So to have 0:09:37.960 --> 0:09:42.480 something that specifically spoke to us that with us was 0:09:42.520 --> 0:09:43.960 huge for me. That's the type of stuff that I 0:09:44.000 --> 0:09:46.040 want to see in the first place. So for the 0:09:46.080 --> 0:09:47.480 me to be a director of it, to be a 0:09:47.480 --> 0:09:50.480 part of it, that's crazy. And honestly, when I was 0:09:50.880 --> 0:09:52.440 first making I was like, Okay, I'm coming here to 0:09:52.440 --> 0:09:55.120 make this Bad Boy. Maybe it blows up and not, 0:09:55.200 --> 0:09:56.840 who cares, Like, I'm just happy to be making this, 0:09:56.920 --> 0:10:00.960 And I would have never expected the type of viral 0:10:01.080 --> 0:10:03.960 success that's like been happening with it, Like that was 0:10:04.000 --> 0:10:06.680 not something I was thinking about whatsoever, but it came 0:10:06.760 --> 0:10:09.840 with it. Yeah, yeah, and is have you done a 0:10:09.920 --> 0:10:14.320 documentary before this? So on suit very very small, like 0:10:14.400 --> 0:10:17.000 you know, small short dots. So I did a documentary 0:10:17.000 --> 0:10:19.080 back in two thousand and eleven about the tornado that 0:10:19.200 --> 0:10:22.920 hit um Alabama, tech Loose Alabama. Back in the day. 0:10:22.960 --> 0:10:25.760 I did a documentary that specifically dealt with what it 0:10:25.800 --> 0:10:28.240 meant to be like a black woman in the mental 0:10:28.280 --> 0:10:31.480 health system. So like that was way way back before 0:10:31.600 --> 0:10:33.280 See and all that type of stuff. But you know, 0:10:33.320 --> 0:10:35.080 coming into SC and all that stuff, I focused so 0:10:35.160 --> 0:10:38.280 much on narrative. So when they finally hit me back 0:10:38.280 --> 0:10:40.080 and I'm like, okay, I'm doing the doc well, you 0:10:40.120 --> 0:10:42.920 know it's been a second, but you know I'm down 0:10:43.000 --> 0:10:45.120 for this. Yeah. Yeah, No, that's because that's what I 0:10:45.160 --> 0:10:47.280 was saying. A lot of your work is narrative. So 0:10:47.320 --> 0:10:49.960 I was wondering what did that shift feel like? Because 0:10:50.160 --> 0:10:54.840 I feel like that almost just from a personal you know, 0:10:54.920 --> 0:10:57.520 I guess film fan perspective would give you an edge 0:10:57.520 --> 0:11:01.280 because I find the best document documentary are one that 0:11:01.400 --> 0:11:04.440 tell a story. And you know, the argument is that 0:11:04.520 --> 0:11:07.080 all documents do. But I find that when you have 0:11:07.240 --> 0:11:10.560 a narrative director behind it, their brain is already in 0:11:10.600 --> 0:11:12.960 that mode that you're kind of pushing the story more 0:11:13.000 --> 0:11:15.559 than I feel like a lot of docs can get 0:11:16.080 --> 0:11:19.640 heavy on the information and kind of feel disjointed and 0:11:19.720 --> 0:11:22.600 not flow as well because of that. Uh is did 0:11:22.600 --> 0:11:25.440 you feel like you had that advantage or where you like, look, 0:11:25.480 --> 0:11:28.160 I'm I'm just trying to make their vision come true. 0:11:28.360 --> 0:11:30.080 What an interesting thing when you look at her and 0:11:30.120 --> 0:11:32.160 are like, you know, for the most part, it really 0:11:32.320 --> 0:11:35.400 it literally is clips from a whole bunch of movies 0:11:36.000 --> 0:11:39.800 and talking heads, like you know, it's usually what folks 0:11:39.800 --> 0:11:41.599 will be like, Oh man, that's what it's gonna be. This, 0:11:41.640 --> 0:11:47.600 I don't want to watch the documentary. But what we 0:11:47.840 --> 0:11:49.839 make sure we wanted to do because we literally dealing 0:11:49.920 --> 0:11:51.760 with like going for the nineteen hundreds to like the 0:11:51.800 --> 0:11:55.160 present day, And what we realized is we needed to 0:11:55.520 --> 0:11:58.160 not only make it informative, but it needed to be fun. 0:11:58.200 --> 0:12:00.520 It needed to be interesting. It needed to be the 0:12:00.520 --> 0:12:04.040 type of thing where like you're enjoying yourself as you're 0:12:04.080 --> 0:12:06.000 as you're listening to all this type of stuff. And 0:12:06.040 --> 0:12:09.000 that's something that I think we did a great job with. 0:12:09.120 --> 0:12:11.079 And but I think even before I came in with 0:12:11.600 --> 0:12:14.440 with the entire production team with the producers, with Ashley, 0:12:14.480 --> 0:12:17.439 with Danielle, they all understood that if we're gonna get 0:12:17.440 --> 0:12:21.959 folks to watch this, it needs to be fun while 0:12:22.080 --> 0:12:25.880 also being informative in giving you the type of lessons 0:12:25.960 --> 0:12:29.040 that like you're not gonna get anywhere else, um, because 0:12:29.040 --> 0:12:30.360 you know, to be one held you like, I love 0:12:30.480 --> 0:12:33.920 USC to death, amazing school, so happy I went there, 0:12:34.080 --> 0:12:37.160 but you know, quite literally going to the school, there 0:12:37.200 --> 0:12:40.559 are no classes like this. There's there's nothing like this, 0:12:40.640 --> 0:12:43.200 like whatsoever. Like the only place I can think of 0:12:43.320 --> 0:12:46.600 right now is Dr Coleman's classes that she teaches at 0:12:46.600 --> 0:12:49.720 her university. And then also Tonna Reeve Do who does 0:12:49.840 --> 0:12:54.640 the Sunken Place courses at u c l A. Um. 0:12:54.720 --> 0:12:58.199 I remember when I remember when you sent me the 0:12:58.320 --> 0:13:01.000 screening and I watched it and I ediately messaged you 0:13:01.080 --> 0:13:04.240 because this quote from it just stuck out so much 0:13:04.320 --> 0:13:07.880 to me, and it was it said, black history is 0:13:08.040 --> 0:13:11.160 black horror. Can you like talk about that quote and 0:13:11.160 --> 0:13:14.400 how and how y'all tackled that in the documentary. Well, 0:13:14.400 --> 0:13:16.880 I mean, the big thing to understand about that quote is, 0:13:16.920 --> 0:13:18.320 you know, for a lot of white folks, they have 0:13:18.360 --> 0:13:21.480 to find the other to be scared of, whether that 0:13:21.640 --> 0:13:23.960 is black people where that it is like you know, 0:13:24.400 --> 0:13:28.720 a monster from a lagoon, whether it's um, you know, robots, 0:13:28.760 --> 0:13:31.080 there's it's always a standing for something because in a 0:13:31.120 --> 0:13:33.679 lot of ways, America is set up to be a 0:13:33.800 --> 0:13:36.520 nation where white folks tend not to have the type 0:13:36.520 --> 0:13:39.000 of things that truly like you know, um oppressed or 0:13:39.040 --> 0:13:41.719 scare them in the same way, whereas black folks, so 0:13:41.800 --> 0:13:44.040 much of the system is set up to oppress us 0:13:44.160 --> 0:13:47.200 that you know, for us, a horror is dealing with 0:13:47.240 --> 0:13:50.120 the police, a horror is dealing with the judicial system. 0:13:50.200 --> 0:13:52.240 Like all those type of things are scared to us 0:13:52.320 --> 0:13:55.840 because it's a real life thing in what we deal 0:13:55.920 --> 0:14:01.439 with as black folks can be and usually is very horrific. 0:14:01.880 --> 0:14:06.560 So it's it's what we wanted folks to understand. What's that, 0:14:06.600 --> 0:14:07.800 you know, you take it all the way back to 0:14:07.920 --> 0:14:11.280 like you know that film Birth of the Nation one, 0:14:11.360 --> 0:14:16.320 like you know d W. Griff and it's you know, 0:14:16.400 --> 0:14:19.040 white folks, but I mean they they showed it in 0:14:19.040 --> 0:14:21.400 the White House, like Woodrow Wishon was like, man, I 0:14:21.480 --> 0:14:27.560 love this, I like that. Probably it's still playing there 0:14:27.600 --> 0:14:33.120 to day, like literally back back during that time, they 0:14:33.160 --> 0:14:37.160 were like, this is the most accurate representation there is 0:14:38.720 --> 0:14:42.040 what and you got to think about, like this quote 0:14:42.080 --> 0:14:46.880 unquote revolutionary film to white folks during that time, is 0:14:46.960 --> 0:14:52.600 pushing the Ku Klux Klan as the saviors of America. 0:14:53.640 --> 0:14:56.200 I don't think it needs to It can't be understated 0:14:56.240 --> 0:14:59.280 how horrifying that had to be for black folks to 0:14:59.440 --> 0:15:01.880 not only see our lives portrayed in this way, to 0:15:02.240 --> 0:15:04.520 again have black face at this time and want to 0:15:04.560 --> 0:15:08.280 bring up the fact that black uh Frederick Douglas was 0:15:09.040 --> 0:15:11.200 talking about how bad black face was back in the day, 0:15:11.240 --> 0:15:14.200 so you know, this ain't just no new thing. And 0:15:14.640 --> 0:15:17.320 then you have this showing their lives and showing the 0:15:17.360 --> 0:15:21.000 folks that are lynching and killing us being held as 0:15:21.080 --> 0:15:25.000 the heroes. There is no words harder than that. And 0:15:25.040 --> 0:15:28.040 what we needed to show with horror her from you 0:15:28.080 --> 0:15:31.640 know d. W. Griffith to um, you know King Kong 0:15:32.200 --> 0:15:36.200 two Engagi that a lot of times what you were noticing, 0:15:36.320 --> 0:15:40.640 especially back then, was that white folks were either using 0:15:40.880 --> 0:15:45.400 us black people or taking our features and pushing them 0:15:45.440 --> 0:15:49.040 into standings for us for that fear, and that's something 0:15:49.080 --> 0:15:52.520 we needed folks to understand about, like how because the 0:15:52.520 --> 0:15:55.080 biggest thing we have to understand, like Hollywood from then 0:15:55.120 --> 0:16:00.760 to now is the biggest exporter of culture worldwide, Hollywood 0:16:00.840 --> 0:16:04.560 shows on the screens is what more often than not, 0:16:04.720 --> 0:16:08.480 the world thinks of certain people. And it's a horrifying 0:16:08.560 --> 0:16:10.840 thing to think about that for such a long time 0:16:10.880 --> 0:16:15.440 and even to this day, that we still have these stereotypical, 0:16:15.560 --> 0:16:22.400 horrific and unfair characterizations of black and brown people as 0:16:22.440 --> 0:16:26.000 the other, as something to be scared of. And that 0:16:26.120 --> 0:16:28.360 was a very big point we had to make clear 0:16:28.600 --> 0:16:33.720 upfront when it came to the documentary. So I never 0:16:34.880 --> 0:16:39.880 heard of, seen or known about this in gagy movie. 0:16:40.560 --> 0:16:43.120 And then I just did a quick search and I 0:16:43.200 --> 0:16:48.200 was like, damn, we only seventeen minutes in it. I'm 0:16:48.240 --> 0:16:52.440 already mad. So just just a quick brief for anyone. 0:16:52.480 --> 0:16:55.960 In God is a nineteen thirties pre code exploitation film. 0:16:56.040 --> 0:16:59.400 It purports to be a documentary about Sir Hubert Warrens 0:16:59.520 --> 0:17:03.080 Wednesday of London on an expedition to the Belgian Congo, 0:17:03.240 --> 0:17:06.359 and depicts a tribe of guerilla worshiping woman encountered by 0:17:06.400 --> 0:17:09.159 an explorer. The film claims to show a ritual in 0:17:09.160 --> 0:17:12.400 which African women are given over to guerrillas as sex slaves, 0:17:12.520 --> 0:17:16.000 but in actuality was mostly filmed in Los Angeles, using 0:17:16.000 --> 0:17:19.600 white actresses in black face in place of natives. It 0:17:19.640 --> 0:17:24.000 was produced and distributed by Nat Spitzer's Congo Pictures, which 0:17:24.080 --> 0:17:27.640 had been formed expressly to make the film. Although marketed 0:17:27.720 --> 0:17:30.560 under the pretense of being an ethnographic film, the premise 0:17:30.720 --> 0:17:34.560 was a fabrication, leading to the Motion Pictures UH Motion 0:17:34.920 --> 0:17:39.199 Picture Producers and Distribution Association to retract any involvement with 0:17:39.280 --> 0:17:42.000 the film. So, yeah, that's that's what that is for 0:17:42.040 --> 0:17:45.240 those who might be wandering. That's such a good point. 0:17:45.240 --> 0:17:48.760 And that's and to really get into that. We talked 0:17:48.760 --> 0:17:50.720 about this a little bit in The Horror and even 0:17:50.760 --> 0:17:54.160 furthermore in Twilight Zone, and that fact that true horror 0:17:54.640 --> 0:17:58.639 UH kind of borrows from real human nature, and and 0:17:58.960 --> 0:18:01.960 then that kind of using that same psychology, This all 0:18:02.040 --> 0:18:04.879 makes sense. And that's why I like get Out is 0:18:04.960 --> 0:18:09.520 such a simplistic idea and why it's so powerful. And 0:18:09.640 --> 0:18:12.119 it's so powerful when you really have to understand that 0:18:12.160 --> 0:18:14.720 you really don't have to be black to get get 0:18:14.760 --> 0:18:17.520 out and get why it's scary, But it goes that 0:18:17.640 --> 0:18:21.080 much further when you are black and that and it 0:18:21.240 --> 0:18:25.119 is crazy to think that you know, yeah, they really 0:18:25.200 --> 0:18:29.320 were just afraid of us, you know, back then for 0:18:29.359 --> 0:18:32.320 them to just do this in And this also shows 0:18:32.359 --> 0:18:34.919 the power of media and how like films like this 0:18:34.960 --> 0:18:40.200 can perpetuate so many stereotypes and so many unearned fears 0:18:40.240 --> 0:18:42.920 that you know, someone can see a child and think 0:18:42.920 --> 0:18:45.720 they have these superpowers because you know, this type of 0:18:45.760 --> 0:18:50.280 stuff is just threatened in the DNA. Uh. And it's like, 0:18:50.520 --> 0:18:54.359 you know, I think I made this kind of correlation before, 0:18:54.720 --> 0:18:58.879 but as creators, that's something I don't take lightly. And 0:18:59.000 --> 0:19:01.280 just like Uncle Ben said, as with great power comes 0:19:01.280 --> 0:19:05.080 great responsibility. There's power to your words. There's power to 0:19:05.160 --> 0:19:08.480 the things you create, and they can have good consequences 0:19:08.520 --> 0:19:11.199 and they can very much so have bad consequences, like 0:19:11.320 --> 0:19:13.760 these movies like Birth of a Nation and Engagi and 0:19:13.760 --> 0:19:16.080 it's and it seems like it's a great mind in 0:19:16.119 --> 0:19:19.360 the zitgeis brain thing too, because um, I don't know 0:19:19.960 --> 0:19:23.080 if all of y'all saw Black Klansmen, but they also 0:19:23.400 --> 0:19:26.240 splicing clips from Birth of a Nation and you can 0:19:26.240 --> 0:19:28.919 see and it and it is jarring to see, like 0:19:29.000 --> 0:19:31.119 if you did not know that was the movie. You 0:19:31.119 --> 0:19:33.680 would think that it's something fabricated by Spike Lee to 0:19:33.800 --> 0:19:36.800 know that that is a thing that people went and 0:19:36.800 --> 0:19:38.800 and in the same way they were doing in the movie, 0:19:38.880 --> 0:19:41.760 like watching it like a popcorn flick. That's what people 0:19:41.800 --> 0:19:43.640 were doing. I mean, like you said, it was played 0:19:43.680 --> 0:19:48.440 in the White House. Um. But you know, that's why 0:19:48.480 --> 0:19:54.760 I think things like like Core Noir is so important 0:19:55.119 --> 0:19:58.880 because we still are talking about birth of a Nation, 0:19:58.920 --> 0:20:01.800 like we might have gotten Gaggy. I'm sure they are 0:20:01.960 --> 0:20:05.560 praying we forget those movies, but like, yeah, no one 0:20:05.680 --> 0:20:09.160 is out here like highlighting the other stuff that we 0:20:09.640 --> 0:20:11.800 that you cover in the film. And I actually want 0:20:11.840 --> 0:20:14.120 to get into it and really start talking about like 0:20:14.200 --> 0:20:17.080 those black films. And we'll do that right after these 0:20:17.119 --> 0:20:24.840 messages and we're back. And I did want to say 0:20:24.880 --> 0:20:27.320 before we hop in if he I saw you on 0:20:27.359 --> 0:20:30.960 Twitter today batting for Rod Sterling with all the John 0:20:30.960 --> 0:20:35.480 Wayne stuff, because it's so frustrating that this excuse that like, 0:20:35.560 --> 0:20:38.320 oh everyone was racist back then, and it was like Noah, 0:20:38.760 --> 0:20:40.959 and I went back and I watched that interview and 0:20:40.960 --> 0:20:43.160 what it was because remember we were saying that Rod 0:20:43.200 --> 0:20:45.520 Sterling was really which is great because you know, Jordan 0:20:45.680 --> 0:20:48.359 is now taking over that mantel I'm doing twilight Zone. 0:20:48.920 --> 0:20:51.960 Um Is. I watched that interview that I was talking about, 0:20:52.280 --> 0:20:54.439 and he and the story he wanted to tell was 0:20:54.600 --> 0:20:58.879 on Emmett Till and the studio kept essentially bastardizing it 0:20:58.920 --> 0:21:01.320 and changing it to the point that it was unrecognizable, 0:21:01.520 --> 0:21:03.879 where he was like, I no longer am going to 0:21:03.960 --> 0:21:06.280 be a part of this, but he did try. Like 0:21:06.359 --> 0:21:07.919 That's the thing though, is that he was saying, no, 0:21:08.000 --> 0:21:11.400 they kept trying to censor us um to the point 0:21:11.400 --> 0:21:14.679 that they got into this discussion about pre censorship, and 0:21:14.720 --> 0:21:18.600 it was essentially that writers would um not even try. 0:21:18.640 --> 0:21:20.800 They wouldn't even because because what we were saying with 0:21:20.880 --> 0:21:23.120 Twilight Zone, which I'm so excited to see what Jordan 0:21:23.200 --> 0:21:24.800 is going to deal with it, is that a lot 0:21:24.840 --> 0:21:27.679 of those stories were about people of color and what 0:21:27.760 --> 0:21:30.440 they went through but this but studios wouldn't let them 0:21:30.520 --> 0:21:32.399 essentially show it. So instead it had to be an 0:21:32.440 --> 0:21:34.840 alien or it had to be you know, something like that, 0:21:34.880 --> 0:21:38.040 because it was easier for white audiences to feel sorry 0:21:38.080 --> 0:21:40.639 for an alien than for a person of color. I know, 0:21:40.800 --> 0:21:43.359 I mean, I I always call that even though this 0:21:43.440 --> 0:21:47.240 comes much later, the The X Men Effect where made 0:21:47.280 --> 0:21:50.639 a hole like that whole series is about racism, but 0:21:50.680 --> 0:21:53.119 they had to use mutants to get it, and and 0:21:53.160 --> 0:21:56.320 it still didn't work if you look at some of 0:21:56.320 --> 0:22:00.480 these comments from comic Comic book, still work. He tried, 0:22:00.560 --> 0:22:03.840 he did everything. He gave you all the clues, Mr Policeman. Uh, 0:22:04.320 --> 0:22:06.400 let's yeah, so let's talk about some of these films. 0:22:06.400 --> 0:22:08.800 So not a Living Dead, that is super cool. It's 0:22:09.119 --> 0:22:11.239 actually if you haven't I mean, I don't know how 0:22:11.240 --> 0:22:12.520 you haven't seen it, but if you haven't seen it, 0:22:12.560 --> 0:22:15.119 you can watch it. I believe it's fair use. You 0:22:15.160 --> 0:22:18.000 can watch on YouTube. It's only a bunch of different 0:22:18.560 --> 0:22:21.760 cinema platforms that you can check out. But that was 0:22:21.800 --> 0:22:24.760 really important. I remember that. And even though spoiler, I 0:22:24.760 --> 0:22:26.600 guess it's not a spoiler because it's like what fifty 0:22:26.680 --> 0:22:29.080 or sixty years old that he dies, but I do 0:22:29.200 --> 0:22:31.280 know that that was It was such a stark contrast. 0:22:31.320 --> 0:22:34.200 Then when get Out happened that it was like having 0:22:34.600 --> 0:22:37.159 not having to go through that again, like getting to 0:22:37.240 --> 0:22:42.040 actually have a having your protagonists live. Yeah. Yeah, it's 0:22:42.040 --> 0:22:44.679 a huge thing because you know, you know, so not 0:22:44.800 --> 0:22:47.919 a living dead like was truly made it amazing? Is 0:22:47.960 --> 0:22:50.399 you know You've got Dwayne Drums as a as the 0:22:50.400 --> 0:22:55.280 inneritative character in there, and it's this black man who's 0:22:55.560 --> 0:23:01.040 taken over everything, who's beating up white people, taking out 0:23:01.040 --> 0:23:05.040 white zombies. And you know, Tanana Reeve brings it up 0:23:05.040 --> 0:23:07.480 in in the documentary where I'm she said, like this 0:23:07.560 --> 0:23:11.280 has to be horrifying. Is he something like this to racists, 0:23:11.359 --> 0:23:12.840 like you know, for them to see stuff like this, 0:23:12.960 --> 0:23:15.680 especially with everything that was going on in the late 0:23:15.800 --> 0:23:18.960 you know sixties, you know, around that time, and the 0:23:19.080 --> 0:23:21.960 juxtaposition with it is like, you know, as powerful as 0:23:21.960 --> 0:23:24.879 it was what happened to him, he still got killed 0:23:24.920 --> 0:23:28.000 at the end. And while that might be realistic or 0:23:28.119 --> 0:23:31.520 feel right, I think what made Get Out so strong 0:23:31.680 --> 0:23:34.000 is that, like, you know, we've seen the realistic stuff 0:23:34.320 --> 0:23:36.800 we've seen you know, black men in like you know, 0:23:36.920 --> 0:23:41.360 prison suits. We've seen us get constantly killed and maimed 0:23:41.359 --> 0:23:44.480 and lynched and destroyed not only in real life but 0:23:44.600 --> 0:23:47.439 also in film and then also in horror films. So 0:23:47.640 --> 0:23:50.240 you know, one thing that Uh Jordan brings up in 0:23:50.240 --> 0:23:52.560 the documentary is the fact that, like, you know, the 0:23:52.600 --> 0:23:55.040 reason why he went to right, he did where he lives, 0:23:55.080 --> 0:23:57.439 and he succeeds and he gets out of it. Is 0:23:57.640 --> 0:24:00.760 because you know, as black folks, we needed something to applaud, 0:24:00.840 --> 0:24:05.679 we needed something to lift up. And like essentially and 0:24:05.760 --> 0:24:07.800 sometimes happening to the nineties two with Tells from the Hood, 0:24:08.200 --> 0:24:13.399 where we're not getting the justices that we need in 0:24:13.480 --> 0:24:17.600 real life. So at least in some things in entertainment, 0:24:17.640 --> 0:24:20.480 in the films that we're making, can we see some 0:24:20.600 --> 0:24:24.119 of this restorative justice that we're not getting, you know, 0:24:24.400 --> 0:24:26.840 right now in America? And that's something that was true 0:24:27.600 --> 0:24:30.520 back then and in the sixties, during the nineties who 0:24:30.520 --> 0:24:32.400 tell Us from the Hood, and then even more so, 0:24:32.640 --> 0:24:34.080 like you know, with get Out, Coming Out, and that 0:24:34.160 --> 0:24:37.000 was just it was huge, Like literally I still remember, 0:24:37.040 --> 0:24:39.480 you know, being to get out and seeing them you know, 0:24:39.560 --> 0:24:43.080 cock the cock car come up and I still remember, 0:24:43.160 --> 0:24:44.760 like you know, some of the white was like, yes, 0:24:44.800 --> 0:24:52.000 he's okay, and you know, I'm just likely I mean, yeah, exactly, 0:24:52.040 --> 0:24:54.280 that's that's all I see some cock cars. I see 0:24:54.280 --> 0:24:57.240 them size. That's not a good thing. So to to 0:24:57.240 --> 0:25:01.439 to see my man come and it's not a con 0:25:01.640 --> 0:25:04.320 and it's his homeboy and He's like, Yo, let's go, 0:25:04.400 --> 0:25:07.320 we getting out of here. That was that was huge. 0:25:07.359 --> 0:25:09.600 That was huge because that's not something we get to 0:25:09.640 --> 0:25:14.280 see on a regular basis for you know, black people, 0:25:14.400 --> 0:25:17.760 for black characters in in films in general. Like a 0:25:17.800 --> 0:25:20.160 great example is, have y'all got the chance to watch 0:25:20.280 --> 0:25:23.399 bird Box? Yeah? Saw it? Yea, yeah, yeah, So you 0:25:23.440 --> 0:25:26.320 know I enjoyed bird Box. I enjoyed it. But you know, 0:25:26.359 --> 0:25:29.280 folks act well, you know, we're doing so much better 0:25:29.400 --> 0:25:32.400 and things are like, you know, changing, and you're not 0:25:32.480 --> 0:25:35.600 seeing the same stereotypes that you saw back then. No, no, no, 0:25:35.600 --> 0:25:39.439 no, no no, no, let's talk about a little rail. In 0:25:39.520 --> 0:25:44.520 bird Box, he meets them maybe like twenty minutes into 0:25:44.560 --> 0:25:47.879 the film, maybe five to ten minutes later, he's like, 0:25:47.920 --> 0:25:49.760 you know what I'm gonna do with this, you know, 0:25:49.880 --> 0:25:54.119 crazy zombie man like trying to get inside. I'm just 0:25:54.160 --> 0:25:56.800 gonna run straight in there, and I'm gonna sacrifice myself 0:25:56.800 --> 0:26:01.560 for all these white folks. And that's literally the sacrificial Negro. 0:26:01.800 --> 0:26:04.399 That is one of the stereotypes we see on a 0:26:04.440 --> 0:26:07.639 regular basis all the way back to the nine hundreds 0:26:07.720 --> 0:26:11.159 too now and we're still dealing with those type of 0:26:11.200 --> 0:26:14.320 stereotypes that we need to push back against. In the 0:26:14.440 --> 0:26:17.440 film that came out that came out this year last 0:26:17.480 --> 0:26:20.440 yea literally this year, like right now this year, the 0:26:20.560 --> 0:26:23.520 two of them like little and intrevante, you know, And 0:26:23.600 --> 0:26:25.240 I guess maybe you can kind of say like O 0:26:25.359 --> 0:26:27.320 came around with the people, he came to love a 0:26:27.320 --> 0:26:29.679 little bit. Mo. I never liked the fact of that 0:26:29.720 --> 0:26:31.560 one that you know, it's like what two, three, five 0:26:31.640 --> 0:26:36.480 years later and he still got an immaculate haircuts that 0:26:40.320 --> 0:26:42.480 like did you save your Barbara? And then he died 0:26:43.160 --> 0:26:47.480 five days before they found you. Also, he was just jacked, 0:26:47.760 --> 0:26:53.040 like right, because you have a different body Like even 0:26:53.160 --> 0:26:55.840 I was like, even if you're lifting like logs and stuff, 0:26:55.880 --> 0:26:57.919 your body type is a little bit different than like 0:26:58.040 --> 0:27:01.199 straight up just doing squats to eat so much to 0:27:01.280 --> 0:27:04.679 keep that that that huge pack them biceps. I was like, 0:27:04.720 --> 0:27:08.560 not not realistic, y'all. But what we pay attention to 0:27:11.640 --> 0:27:14.960 those two specifically, like again like who lives in the 0:27:15.600 --> 0:27:18.720 uh in the Sandral book, in the Little Kids and 0:27:19.000 --> 0:27:21.440 our two black characters. You know, we don't see any 0:27:21.440 --> 0:27:23.600 black woman in it. I don't think we saw any 0:27:23.640 --> 0:27:25.560 black woman in it, but the two black carreters. We 0:27:25.600 --> 0:27:29.040 had the two men, both of them. We're justified or not, 0:27:29.160 --> 0:27:31.840 We're still the sacrificial negroes, which is a trot we 0:27:31.880 --> 0:27:36.880 see on a regular basis even now in h Well, 0:27:36.920 --> 0:27:41.199 it's it's funny because you you see these things, unless 0:27:41.200 --> 0:27:44.080 you're like actively trying to combat it, you do see 0:27:44.119 --> 0:27:48.200 these things pop up because it's just so as creatives, 0:27:48.280 --> 0:27:51.879 we put out what we ingest, and unless you're actively 0:27:52.000 --> 0:27:54.520 trying to go against the grain, actively looking at the work, 0:27:54.600 --> 0:27:57.200 because sometimes you know, right now I'm writing, you know, 0:27:57.640 --> 0:28:00.439 going through like doing rewrites on once it right now, 0:28:00.480 --> 0:28:04.320 and going through I see myself do certain things and like, 0:28:04.400 --> 0:28:08.919 you know, so like the lead of this show is 0:28:08.920 --> 0:28:12.199 supposed to be an Indian female. That that's that's what 0:28:12.200 --> 0:28:15.320 what the current plan is. But the name isn't you know, 0:28:15.720 --> 0:28:19.119 particularly Indian. It's just a typical what what would be 0:28:19.160 --> 0:28:22.240 perceived as a quote unquote white name. And because of that, 0:28:22.520 --> 0:28:27.000 I find myself, you know, just falling into the trope 0:28:27.080 --> 0:28:30.000 of like in my head, are automatically making her white? 0:28:30.200 --> 0:28:32.960 And then you know, and then you know, obviously we'll 0:28:32.960 --> 0:28:35.280 be like, no, well, what what speaks to her? Because 0:28:35.280 --> 0:28:38.360 obviously the one of the showrunner is Indian, so he's like, 0:28:38.440 --> 0:28:40.400 this is this is this would be like this, that 0:28:40.440 --> 0:28:42.960 would be like that type of stuff. And it's so 0:28:43.320 --> 0:28:47.239 crazy how quickly like if you don't explicitly make in 0:28:47.320 --> 0:28:50.360 your mind that this person is this race, your mind 0:28:50.360 --> 0:28:53.280 defaults to white because that's all the media we've been 0:28:53.320 --> 0:28:56.160 taken in. And that's and when we're like, Okay, I'm 0:28:56.280 --> 0:28:58.800 just trying to create some of what I've been watching 0:28:59.200 --> 0:29:01.200 you do that. I had to do that when I 0:29:01.280 --> 0:29:05.160 started writing sketch, because you know, right around the time 0:29:05.200 --> 0:29:07.320 I started writing sketch was pointed out that you know, 0:29:07.880 --> 0:29:10.720 I think we had the issue with U. S and L, 0:29:10.920 --> 0:29:13.520 you know, where they had no black women, and then 0:29:13.560 --> 0:29:17.000 in general most comedy things were heavily men based. So 0:29:17.040 --> 0:29:19.480 when I wrote sketches, I just would make it half 0:29:19.520 --> 0:29:22.920 and half, no matter what. Fift me women and and 0:29:23.440 --> 0:29:25.640 like the question be like why are you doing it? 0:29:25.720 --> 0:29:28.760 Why not like, oh, you're just trying to, You're just 0:29:28.800 --> 0:29:30.480 trying to, And I was like, yeah, I am, because 0:29:30.480 --> 0:29:31.959 the only way to change it is to change it, 0:29:32.120 --> 0:29:34.360 and there's no reason when you look at like I. 0:29:34.480 --> 0:29:36.000 And that's what I found is when I would go 0:29:36.080 --> 0:29:38.320 back and look at the rooms, like there's no reason 0:29:38.600 --> 0:29:42.080 that this person has to specifically be you know, uh, 0:29:43.360 --> 0:29:47.239 a man. There's no reason there whereas like, you know, 0:29:47.760 --> 0:29:50.600 we when you make like a person of color or 0:29:50.600 --> 0:29:54.280 a woman and thing you like the just the description 0:29:54.640 --> 0:29:57.240 of which, by the way, I actually haven't seen uh 0:29:57.640 --> 0:30:01.040 night have Living Dead uh most because like I was like, oh, 0:30:01.200 --> 0:30:04.960 I typically don't care for black and white movies, mostly 0:30:05.000 --> 0:30:08.040 because I'm like funny enough, like, oh, well, that's just 0:30:08.080 --> 0:30:12.120 like old movies made for white people. I didn't know 0:30:12.160 --> 0:30:14.640 the lead was black. I would have saw this yesterday, 0:30:14.760 --> 0:30:16.720 you know, like like but the thing of them at 0:30:16.720 --> 0:30:19.840 the way, like him being in this role in eight 0:30:20.040 --> 0:30:22.600 it was the It was the first time an African 0:30:22.640 --> 0:30:25.920 American actor was cast to star in a horror film 0:30:25.960 --> 0:30:28.720 and one of the first times in American cinema where 0:30:28.720 --> 0:30:31.000 a person of color was given an important role when 0:30:31.040 --> 0:30:34.240 the script does not explicitly call for one. And that 0:30:34.360 --> 0:30:37.160 and that's how it was. So it's funny how like 0:30:37.160 --> 0:30:40.120 like we had to work past you know, them doing 0:30:40.200 --> 0:30:42.600 black face, and then after that, like it was only 0:30:42.640 --> 0:30:45.760 if you were playing like a slave, you know, or 0:30:46.680 --> 0:30:48.720 if you watch a lot of old Western since that's 0:30:48.760 --> 0:30:51.760 in the zeitgeis right. Now, you know, you had uh, 0:30:52.040 --> 0:30:56.280 Mexicans playing Mexicans and you had Native Americans sometimes playing 0:30:56.360 --> 0:30:59.440 natives like you had to be your person, and that 0:30:59.520 --> 0:31:03.200 seems to be the weird like new de facto argument 0:31:03.240 --> 0:31:06.440 against diversity in film wars, like well, we should just 0:31:06.440 --> 0:31:11.400 have people playing the roles they do, like you know, like, oh, 0:31:11.440 --> 0:31:15.720 this is actually great. It's what uh Vigo Mortenson when 0:31:15.720 --> 0:31:18.120 they kind of brought up like the writer of this 0:31:18.240 --> 0:31:20.880 and why you know it's a white writer and black 0:31:21.040 --> 0:31:23.200 and he was like, well, he was like look if 0:31:23.880 --> 0:31:27.280 if if This was a very hilarious clip because when 0:31:27.320 --> 0:31:29.440 you watch the faces, they are all types of shade. 0:31:29.440 --> 0:31:32.080 But he's like, but if you know me, Herschela wants 0:31:32.120 --> 0:31:36.160 to write a story about a white or an Italian 0:31:36.240 --> 0:31:39.480 guy from YadA, YadA, YadA, he can do that, so 0:31:39.640 --> 0:31:42.080 we shouldn't be saying X should be X. And I 0:31:42.120 --> 0:31:45.800 was like, well, there's a difference because there's like you're 0:31:45.840 --> 0:31:49.200 thinking about it in a totally different way, like like 0:31:49.280 --> 0:31:51.720 for example, if we go back to the room example, 0:31:51.960 --> 0:31:55.240 like I said, my showrunners Indian, so he is making 0:31:55.240 --> 0:31:59.200 sure there's authenticity there when you have, like you know, 0:31:59.600 --> 0:32:02.160 and I'm saying, I don't think any white person could 0:32:02.160 --> 0:32:05.680 ever write black stories or black roles. But there there's 0:32:05.720 --> 0:32:09.200 a level of authenticity that isn't gonna set off their alarms. 0:32:09.440 --> 0:32:13.360 And sometimes you run into the mistake of just just 0:32:13.600 --> 0:32:16.320 re skinning a white roll. But there's like levels to 0:32:16.600 --> 0:32:19.840 people of color. Their experiences are different. There's gonna they're 0:32:19.880 --> 0:32:23.600 gonna react to things differently. One of our good friends, 0:32:23.800 --> 0:32:26.000 I won't say his name because you know, not trying 0:32:26.040 --> 0:32:29.200 to blest this out, but he was doing a short 0:32:29.720 --> 0:32:32.479 and and in the short he was saying like it 0:32:32.520 --> 0:32:35.880 was him and his buddy, they're both black, and they 0:32:36.280 --> 0:32:39.479 like they were too high in the short, and so 0:32:39.560 --> 0:32:41.520 they were like, let's call the cops. And he was like, 0:32:41.560 --> 0:32:44.400 we black people would never do that. Black people, you 0:32:44.400 --> 0:32:47.040 would never call the cops if you were too high. 0:32:47.160 --> 0:32:50.960 And and you know, obviously the wider you know, I 0:32:51.280 --> 0:32:53.960 got a little we got a little like defensive, and 0:32:54.000 --> 0:32:56.200 he was like, oh, well you know this, and it's like, no, 0:32:56.440 --> 0:32:59.520 that's someone telling you of the experience. And I could 0:32:59.520 --> 0:33:01.800 have told you right there, like no, they that wouldn't 0:33:01.800 --> 0:33:04.480 be their first instinct to call the cops. That's never 0:33:05.120 --> 0:33:08.040 their instinct. Ever, we were if you and I were 0:33:08.040 --> 0:33:09.640 on a panel. I think it was at Wonder Con 0:33:09.720 --> 0:33:12.240 or something, but it was with Steven L. Sears, who 0:33:12.280 --> 0:33:15.120 remember he was the writer for zena Warrior Princess, And 0:33:15.160 --> 0:33:18.920 even on the panel he was like, um that excuse, 0:33:19.040 --> 0:33:20.920 Like he was like, it's actually the easiest is to 0:33:20.960 --> 0:33:23.200 write for straight white guys because that's the world that 0:33:23.240 --> 0:33:24.880 we live in. That's the world that's been set up 0:33:24.920 --> 0:33:27.280 for them. It's actually the easiest to rite for them 0:33:27.280 --> 0:33:29.640 because that's how that's the world that cinema has been 0:33:29.640 --> 0:33:32.800 reflective of and everything is you know in this world 0:33:32.880 --> 0:33:37.720 is reflective of them, and it's much harder to write 0:33:37.760 --> 0:33:41.680 a different perspective. Yeah, and it's and it's all mostly 0:33:41.720 --> 0:33:44.240 because you've shared that experience. I'm hoping ten years down 0:33:44.320 --> 0:33:48.440 the line, after Xavier's fifth Academy Award, you know, a 0:33:48.880 --> 0:33:51.520 young white kid can write a black story because he's 0:33:51.600 --> 0:33:54.560 just obsessed with Xaviers movies. And even then there still 0:33:54.560 --> 0:33:57.280 won't be that full authenticity, but at least he'll have 0:33:57.600 --> 0:33:59.880 a little more information than he does. Now, what would 0:33:59.880 --> 0:34:02.520 you watch? Now, here's something I want to bring up 0:34:02.560 --> 0:34:04.720 to that I think is interesting. So we're having all 0:34:04.720 --> 0:34:09.480 of these discussions about diversity and inclusion and um, you 0:34:09.520 --> 0:34:11.400 know how we want to get more you know, black 0:34:11.440 --> 0:34:15.080 folks and brown folks women into these roles. And you 0:34:15.120 --> 0:34:17.399 know a lot of folks think that, oh well, this 0:34:17.440 --> 0:34:20.759 is a new discussion, this is only happening recently. That's 0:34:20.760 --> 0:34:23.640 not true, like literally, okay, So taking it back to horror, 0:34:23.920 --> 0:34:25.759 you take it all the way back to you know, 0:34:25.840 --> 0:34:31.720 the the nineties nineties and you have you know, Oscar 0:34:31.800 --> 0:34:35.400 me Show and you have Spencer Williams. So you know 0:34:35.480 --> 0:34:38.720 these guys, did you know films like Son of Ingagi 0:34:38.920 --> 0:34:42.080 or The Blood of Jesus or you know, Marching On. 0:34:42.239 --> 0:34:46.000 This was literally in the you know twenties, thirties and 0:34:46.080 --> 0:34:50.840 forties too black men. Now most folks know Spencer Williams 0:34:51.000 --> 0:34:54.200 um from Andy and Amos, which is gonna Old Susco 0:34:54.280 --> 0:34:58.200 and then Oscar michhow was quite literally this black man 0:34:58.239 --> 0:35:00.719 who was sick and in the in the in the 0:35:01.120 --> 0:35:04.600 early nineteen hundreds was sick of the betrayals of how 0:35:04.680 --> 0:35:08.360 black folks were being done and said, I'm gonna self 0:35:08.440 --> 0:35:13.400 finance my own films so we can see the actual 0:35:13.480 --> 0:35:18.279 black experience from our own eyes. So again, like you know, 0:35:18.360 --> 0:35:22.200 anybody who's listening to this, go look them up. Spencer Williams, 0:35:22.440 --> 0:35:25.040 Arsking Me Show. These were Caster was doing this type 0:35:25.040 --> 0:35:27.240 of stuff from the nineteen hundreds to like the nineteen 0:35:27.360 --> 0:35:30.520 forties and fifties before things, you know, things started to 0:35:30.560 --> 0:35:32.560 get more centralized and they got you know, boxed out, 0:35:33.400 --> 0:35:36.600 especially Arsking Me Show. But it speaks to the fact 0:35:36.640 --> 0:35:40.120 that the problems that we're facing right now in the industry, 0:35:40.960 --> 0:35:43.440 there's two cats, two black men that were trying to 0:35:43.480 --> 0:35:48.640 combat this almost like you know, fifties, sixty years ago, 0:35:48.880 --> 0:35:50.880 like you know, even further back than that, And that 0:35:50.960 --> 0:35:54.600 speaks to how just ingrained this is in the idea 0:35:54.640 --> 0:35:57.000 that this is now just a new issue. It's just 0:35:57.120 --> 0:35:59.400 not it's not true. It's not true. We've been dealing 0:35:59.520 --> 0:36:03.480 with this for a long time to where I can 0:36:03.560 --> 0:36:06.120 literally give you examples of folks trying to combat this, 0:36:06.360 --> 0:36:11.160 specifically in a genre of film from the nineteen twenties 0:36:11.200 --> 0:36:14.520 and thirties. Like you know, it's just it's crazy to 0:36:14.560 --> 0:36:17.160 even understand that that's like something that we have in 0:36:17.200 --> 0:36:19.279 the first place. But it speaks to the fact that 0:36:19.680 --> 0:36:22.359 these type of pushes that we're trying to do. It's 0:36:22.440 --> 0:36:27.360 not new. It didn't just starting twenty This is something 0:36:27.400 --> 0:36:31.479 that's been, you know, happening all the way back over 0:36:31.520 --> 0:36:34.319 a century ago. And really it's just the fact that 0:36:34.360 --> 0:36:37.720 for a lot of folks, they're just now hearing about 0:36:37.760 --> 0:36:41.080 it or caring about it. Yeah. I did want to 0:36:41.080 --> 0:36:43.640 say before we wrap up on that A Living Dead 0:36:43.760 --> 0:36:46.680 that George A. Romero you touched on this on the 0:36:46.719 --> 0:36:49.799 documentary that he was saying if you kind of what 0:36:49.840 --> 0:36:52.360 you were saying, that they didn't specify that they wanted 0:36:52.360 --> 0:36:55.400 a black actor. It just so happened that Duane Jones 0:36:55.680 --> 0:36:59.000 was the best actor that they saw, so it was like, 0:36:59.040 --> 0:37:02.440 he has to have it. I think that is amazing. 0:37:02.520 --> 0:37:04.400 And I know for you and I like, like you 0:37:04.440 --> 0:37:07.520 were saying, I realized, in working on these rooms and 0:37:07.600 --> 0:37:10.080 now seeing casting and what they bring in, if you 0:37:10.120 --> 0:37:14.680 don't specify of all ethnicities, if you don't write that 0:37:14.760 --> 0:37:17.200 on there, they will default to white. And I started 0:37:17.200 --> 0:37:19.640 to realize that working in these writers rooms where I 0:37:19.680 --> 0:37:23.239 was like I had to specifically put it on there. Um, 0:37:23.280 --> 0:37:28.879 it's just so frustrating. It's frustrating. Um. But we will 0:37:28.880 --> 0:37:31.239 get into more of these films. We just have to 0:37:31.239 --> 0:37:33.280 take a quick break. We're going to continue the conversation 0:37:33.400 --> 0:37:43.600 right after this can welcome back. I hope you enjoyed 0:37:43.640 --> 0:37:46.920 those messages. We are back still here with my man's 0:37:47.160 --> 0:37:50.839 Xavier Bergen uh Danny also sitting across from me. Now 0:37:50.880 --> 0:37:54.840 that we've checked everyone in, let me posit another question. 0:37:54.960 --> 0:37:57.640 So we talked about Night of Living Dead. So what's 0:37:57.680 --> 0:38:00.560 another you know, black horror film you talk about in 0:38:00.560 --> 0:38:02.880 the movie that you know, what's maybe one that you 0:38:02.960 --> 0:38:05.520 maybe didn't see before, something that kind of uh, I 0:38:05.560 --> 0:38:07.560 don't know, surprise here. You went to film school, so 0:38:07.560 --> 0:38:10.839 I doubt there's many things you haven't seen before. So 0:38:10.920 --> 0:38:13.839 you know, interestingly enough, like you know, of course I 0:38:13.880 --> 0:38:17.239 had had heard of it a lot, and you know, 0:38:17.360 --> 0:38:20.160 you heard jokes and stuff about it. But it wasn't 0:38:20.320 --> 0:38:25.440 until I jumped into doing this that I finally watched Blackula. 0:38:26.840 --> 0:38:29.040 And here's the thing. You know, a lot of folks, 0:38:30.640 --> 0:38:33.480 it's just a old, you know, black sportation film. There's 0:38:33.480 --> 0:38:37.640 nothing good or interesting or powerful or culturally connective about it. 0:38:37.640 --> 0:38:39.600 It's just you know, throw anything from you know, back then. 0:38:40.000 --> 0:38:45.160 But during that time, Blackula was huge, absolutely huge, in 0:38:45.239 --> 0:38:49.000 the Black Sportation era, and on a bigger level, it 0:38:49.120 --> 0:38:53.400 was directed by William Marshall, like a black man. And 0:38:53.440 --> 0:38:55.680 here's the thing, Like you go back to the seventies, 0:38:56.200 --> 0:38:59.280 there was there wasn't no black folks who were actually 0:38:59.600 --> 0:39:04.279 helm directing and writing films like it just wasn't like 0:39:04.320 --> 0:39:07.600 the Black exportation era, you know, black exploitation. And the 0:39:07.600 --> 0:39:09.960 whole thing about it was that like while we were 0:39:10.000 --> 0:39:14.160 finally getting you know again Tonano reeved and dcor Um 0:39:14.320 --> 0:39:16.600 robint Armans Coleman brings it up that we were getting 0:39:16.640 --> 0:39:19.160 on the screen, you were seeing us, but the representation 0:39:19.280 --> 0:39:21.839 of us was not good because you know, we were all, 0:39:21.880 --> 0:39:25.440 you know, pimps, hose, you know, slapping folks, shooting stuff, 0:39:25.680 --> 0:39:29.680 shaft type of stuff, the pimp type of stuff. And 0:39:29.719 --> 0:39:32.080 the whole thing about it is what made Blackla really 0:39:32.080 --> 0:39:35.439 stick out was that William Marshall was a twenty three 0:39:35.520 --> 0:39:41.239 year old black man directing this type of film. Like, 0:39:41.400 --> 0:39:43.480 first off, it'sn't heard of for a black person to 0:39:43.480 --> 0:39:47.319 even get to direct at that time, still not easy now, 0:39:47.600 --> 0:39:49.600 but for him to be twenty three years old doing 0:39:49.640 --> 0:39:52.880 this is unprecedented, and he brings up I mean one 0:39:52.920 --> 0:39:55.120 of the One of the biggest things that really stuck 0:39:55.160 --> 0:39:58.000 with me is when we were doing the interviews for it, 0:39:58.280 --> 0:40:01.560 and you know, Willen Marshall was talking about this and 0:40:01.640 --> 0:40:05.200 he specifically brought up how even though he was the 0:40:05.239 --> 0:40:09.600 director of the film, everyone else underneath them we're all white. 0:40:09.760 --> 0:40:13.920 Everyone else above him, we're all white. And he literally 0:40:14.040 --> 0:40:19.560 had to fight fight with them to actually get off 0:40:19.880 --> 0:40:24.560 the vision that he was trying to make, because even 0:40:24.680 --> 0:40:27.480 for them, it still was like this, this is a 0:40:27.520 --> 0:40:29.200 black man direct and he doesn't need to have the 0:40:29.239 --> 0:40:31.359 type of power that we would give to a you know, 0:40:31.440 --> 0:40:34.400 a Ra Marro or someone else you know that was 0:40:34.440 --> 0:40:38.760 you know, doing this type of stuff. And what killed 0:40:38.760 --> 0:40:40.640 me a little bit is he talked about this and 0:40:40.680 --> 0:40:45.359 you could tell that this was a man who did 0:40:45.400 --> 0:40:50.360 something that was culturally important, but he didn't get to 0:40:50.400 --> 0:40:53.560 have the career that he should have. If you go 0:40:53.640 --> 0:40:55.480 up and look up his credits, he looked at William Marshall. 0:40:55.680 --> 0:40:57.279 He did Black like he did a couple of other 0:40:57.360 --> 0:41:01.359 things TV stuff, but it's not how much there and 0:41:01.480 --> 0:41:05.840 you realize that he made one of the biggest films 0:41:06.160 --> 0:41:10.919 in the seventies, the early seventies, and that still wasn't 0:41:11.040 --> 0:41:13.839 enough for him to actually build out a career as 0:41:13.880 --> 0:41:16.960 a filmmaker. And it's just crazy to think about the 0:41:17.000 --> 0:41:21.360 marginalization that comes into that and what that means, and 0:41:21.400 --> 0:41:24.160 how like, you know, if we didn't have someone like him, 0:41:24.239 --> 0:41:26.319 we wouldn't be able. I wouldn't be able to do 0:41:26.360 --> 0:41:28.399 what I'm doing right now, like we wouldn't be able 0:41:28.400 --> 0:41:30.920 to do during now without William Marshall. But to the 0:41:30.960 --> 0:41:34.279 regular person, they don't even know Black, they don't know 0:41:34.320 --> 0:41:37.280 William Marshall, or they treat Black as a joke without 0:41:37.360 --> 0:41:41.520 understanding how culturally significant that is, not only within horror, 0:41:41.640 --> 0:41:46.160 but just within the larger film history. What were some 0:41:46.239 --> 0:41:50.480 of them films that you did enjoy, I mean aside 0:41:50.480 --> 0:41:51.799 from get out, Like, what were some of the other 0:41:51.880 --> 0:41:54.000 films that you talked about in the documentary that you 0:41:54.040 --> 0:41:59.560 did actually that weren't as problematic? Oh man, So all 0:41:59.600 --> 0:42:02.879 of them? Okay, unfortunately, a lot of them, no matter what, 0:42:03.040 --> 0:42:06.040 are somewhat you know, probably so I think a good 0:42:06.040 --> 0:42:07.720 example is, like, you know, the Girl with all the Gifts. 0:42:07.760 --> 0:42:09.080 I don't know if you guys have seen that one. 0:42:09.360 --> 0:42:12.520 I haven't, but I saw a like it was a 0:42:12.520 --> 0:42:14.680 side by side film comparison, I was like, oh, I 0:42:14.719 --> 0:42:17.600 need to see this so like, for example, that one 0:42:17.640 --> 0:42:19.600 is amazing. It's it's a really good film, like and 0:42:19.719 --> 0:42:21.759 wants you check it out, and you know, it's kind 0:42:21.760 --> 0:42:24.319 of reminiscent of not Living Dead in that, like they 0:42:24.320 --> 0:42:26.360 weren't trying to make it for a little black girl, 0:42:26.560 --> 0:42:28.920 but you know, she came in. She just killed it 0:42:29.440 --> 0:42:31.400 and they decided to go with her. In the social 0:42:31.440 --> 0:42:34.440 commentary that came out of it, being specifically a black 0:42:34.520 --> 0:42:38.080 girl made it and again Tonana rebrought this up. It 0:42:38.200 --> 0:42:42.799 just made it sharper and stronger and more uh concise 0:42:43.320 --> 0:42:45.600 in comparison to maybe if they had just done it 0:42:45.640 --> 0:42:48.360 with a little white girl or you know something you 0:42:48.400 --> 0:42:50.920 know to that degree, Um, I'm trying to think of 0:42:50.960 --> 0:42:53.839 something else that you know, Pops, because all of them 0:42:53.880 --> 0:42:57.560 like it's only really recently now, like of course you 0:42:57.560 --> 0:42:59.880 think of tales, talesmanhood like you know, of course, I 0:43:00.000 --> 0:43:02.280 think that it's one that you didn't have some problematic 0:43:02.280 --> 0:43:04.560 stuff there, um to you know, to a degree, you know, 0:43:04.680 --> 0:43:07.200 one of the big things Paula I think about a 0:43:07.200 --> 0:43:09.160 Paula Jay Parker and seeing like you know, women getting 0:43:09.200 --> 0:43:11.920 beating things to that degree isn't great, but it's still 0:43:12.080 --> 0:43:14.920 pushed a lot of the restorative justice that we weren't seeing. 0:43:15.120 --> 0:43:17.359 And literally, I remember one of the episodes had like, 0:43:17.480 --> 0:43:21.640 you know, a a guy playing like trying to become 0:43:21.640 --> 0:43:24.560 the president and talking about being a real American. And 0:43:24.600 --> 0:43:26.600 it's interesting because this was being made back in the 0:43:26.680 --> 0:43:29.880 nineties and it's completely reflective what we're seeing with Trump 0:43:29.960 --> 0:43:32.640 right now, but then also reflective of what you know, 0:43:32.719 --> 0:43:34.520 Ronald Reagan was doing. And the whole thing for me 0:43:34.640 --> 0:43:37.440 is like, there is very little difference between Ronald Reagan 0:43:37.480 --> 0:43:39.200 and Trump, you know when it comes to this type 0:43:39.200 --> 0:43:42.160 of stuff. But just with the question that you're that 0:43:42.239 --> 0:43:45.640 you're bringing up because of the fact that you know, 0:43:45.680 --> 0:43:47.360 even though all of these feels good and you should 0:43:47.360 --> 0:43:49.960 listen to it, you should watch it. Um, there aren't 0:43:49.960 --> 0:43:53.160 too many that aren't problematic in their own way because 0:43:53.200 --> 0:43:55.000 they still fell into one of the troupe like some 0:43:55.040 --> 0:43:56.920 of these tropes, or they were still being done by 0:43:56.920 --> 0:43:59.680 white folks like for example, Canny man Cannon is amazing. 0:43:59.719 --> 0:44:02.560 I love Kenny man Um, It's great, Tony Todd is 0:44:02.600 --> 0:44:04.560 amazing it. But again it falls again that one falls 0:44:04.600 --> 0:44:06.359 specifically into one that we were seeing all the way 0:44:06.360 --> 0:44:08.640 back for Birth of a Nation, where it's still this 0:44:08.719 --> 0:44:12.920 black man. He's a villain, he's magical to a degree, 0:44:13.120 --> 0:44:15.720 but he's a black man who is still coveting over 0:44:16.160 --> 0:44:19.200 this white woman that he has to take in. And 0:44:19.280 --> 0:44:21.000 you know that's just like we gotta see it again, 0:44:21.080 --> 0:44:23.600 or you know, you take Abby for example, from the seventies, 0:44:23.600 --> 0:44:27.440 where it's this black woman and she is killing people 0:44:28.040 --> 0:44:35.080 by death and that literally you can say it's a 0:44:35.160 --> 0:44:37.439 it's an expiration of sexual lisperation, but you could also 0:44:37.480 --> 0:44:39.640 see that, like there is this thing about black womanhood 0:44:39.640 --> 0:44:42.279 being scary to a lot of people, especially black sexuality, 0:44:42.280 --> 0:44:43.759 because one of the things they do to black men 0:44:43.840 --> 0:44:47.239 and black women is either they're over sexualizing us or 0:44:47.280 --> 0:44:49.760 they're de sexualizing us. So you know, that's a problem. 0:44:49.800 --> 0:44:51.960 I think the only thing, the only film I can 0:44:52.000 --> 0:44:53.839 really really think about that if you want to see 0:44:53.880 --> 0:44:56.480 something where doesn't fall into these type of tropes, and 0:44:56.480 --> 0:45:00.080 it's just truly amazing, artistic, strong film is guns you 0:45:00.400 --> 0:45:03.480 in his You should take out the time to look 0:45:03.560 --> 0:45:06.280 up that film and to watch it. It's absolutely amazing. 0:45:06.280 --> 0:45:08.239 It's very artistic, made back I think it was back 0:45:08.239 --> 0:45:10.440 in the seventies at that point, and it was a 0:45:10.480 --> 0:45:13.640 film that's very smart for his time, dealt with you know, 0:45:13.680 --> 0:45:16.360 what it means to be a vampire, a black vampire, 0:45:17.120 --> 0:45:19.279 and like, you know what it means to to deal 0:45:19.320 --> 0:45:22.760 with addiction and you know, using that you know, via blood. 0:45:22.760 --> 0:45:24.160 But you know, one of the things we bring up 0:45:24.160 --> 0:45:26.200 in the in the documentary is so interesting is even 0:45:26.560 --> 0:45:28.759 and it's something that that you brought up if you were, like, 0:45:28.840 --> 0:45:31.480 you know, there's something culturally that we as black folks 0:45:31.480 --> 0:45:33.480 are as a black and brown person, you're gonna understand 0:45:33.480 --> 0:45:35.920 about your culture war that maybe a white person can't write. So, 0:45:36.080 --> 0:45:39.960 for example, in that movie, the main character a vampire, 0:45:40.440 --> 0:45:44.160 well to do rich established he's still scared of the police, 0:45:44.880 --> 0:45:47.520 still scared of the police as a vampire that could 0:45:47.560 --> 0:45:50.040 take them out, but he's still worried about that. He's 0:45:50.040 --> 0:45:52.800 still worried about the white folks around him because even 0:45:52.840 --> 0:45:56.279 at becoming this supernatural creature, he still has to think 0:45:56.320 --> 0:45:59.239 about some of the things that we as you know, 0:45:59.280 --> 0:46:01.160 black folks have to deal with from the first place. 0:46:01.400 --> 0:46:04.719 So if there was any film that as a horror 0:46:04.760 --> 0:46:08.440 buff or a film, you know, a ficionado obviously say 0:46:08.440 --> 0:46:10.560 that that you should go check out from back in 0:46:10.560 --> 0:46:12.279 the day at least take out the time to go 0:46:12.320 --> 0:46:16.880 watch ganjan Hes. So for everyone listening this is this 0:46:16.920 --> 0:46:22.280 is definitely a film fan uh film nerd episode. Uh. 0:46:22.600 --> 0:46:26.160 Just a quick by the way, Ganja and Hess came 0:46:26.200 --> 0:46:31.240 out on four nine, which, based on the title alone, 0:46:31.560 --> 0:46:37.200 is tight. Uh. But what give give your elevator pitch 0:46:37.640 --> 0:46:42.360 to Hord no Noir and why why our listeners should 0:46:42.400 --> 0:46:44.839 check it out right now as soon as this episode ends. 0:46:45.600 --> 0:46:49.839 Harvard Noir is a documentary that literally has never been 0:46:49.880 --> 0:46:54.600 done before. There is no documentary that deals with the 0:46:54.800 --> 0:46:59.200 history of African Americans, Black Americans from the nineteen hundreds 0:46:59.400 --> 0:47:03.600 to prey in within the horror genre. You are quite 0:47:03.719 --> 0:47:08.960 literally seeing the first film of is kind. It is historic. 0:47:10.480 --> 0:47:14.359 Be a part of it, learn something new, find out 0:47:14.360 --> 0:47:17.719 about a history that most folks in America are not 0:47:17.800 --> 0:47:21.040 going to teach you about. That's why you should watch this. Like, 0:47:21.120 --> 0:47:24.520 watching this is allowing yourself to be a part of 0:47:24.640 --> 0:47:28.799 history being made, and I think that's important. Oh, if 0:47:28.840 --> 0:47:31.759 you're not already downloading it, I don't know what else 0:47:31.800 --> 0:47:34.120 is gonna get you to watch it. Thanks for listening. 0:47:34.800 --> 0:47:37.520 By the way, shout out to everyone in the nerd 0:47:37.560 --> 0:47:40.200 fan for all your suggestions. We get into it. Y'all 0:47:40.239 --> 0:47:42.120 got a lot of things that y'all want us to cover. 0:47:42.520 --> 0:47:45.520 We're gonna get to it week by week. That's a 0:47:45.600 --> 0:47:48.560 job security. So I'm not even mad about I did 0:47:48.640 --> 0:47:50.360 want to say so, I just a gunja and Hessan 0:47:50.480 --> 0:47:54.080 Dwayne Jones is the star of it. Yes, so Doyanne 0:47:54.160 --> 0:47:57.600 Dwyane is just He's a He's an amazing actor like honestly. 0:47:57.960 --> 0:47:59.920 And and one thing I want to bring I do 0:48:00.000 --> 0:48:03.120 want to bring up in this life for anyone that's listening. Um, 0:48:03.360 --> 0:48:05.240 you know you'll be able to find me on social 0:48:05.239 --> 0:48:07.759 media and stuff like that, but I'm not. I'm not 0:48:07.800 --> 0:48:09.360 here to plug my social media. What I want to 0:48:09.400 --> 0:48:12.440 tell folks, if you like a black and brown you're making, 0:48:12.600 --> 0:48:15.520 you know you're making your horror feature, your horror script. 0:48:16.600 --> 0:48:19.920 Hit me up straight up. I want to read what 0:48:20.040 --> 0:48:24.239 you're making. I want to find the next thing and 0:48:24.280 --> 0:48:26.919 it doesn't need to be get out, but if it 0:48:27.000 --> 0:48:30.040 deals with us and it deals with horror, reach out 0:48:30.080 --> 0:48:32.480 to me. I want to find these stories because I 0:48:32.600 --> 0:48:37.320 want to keep the history of horror noir going because 0:48:37.719 --> 0:48:39.520 the whole thing about it is we just don't need 0:48:39.560 --> 0:48:44.920 a documentary. We need to see more of these films 0:48:45.360 --> 0:48:48.719 being made and put out there. We're having a renaissance, 0:48:48.920 --> 0:48:52.120 but that renaissance doesn't happen without the type of people 0:48:52.120 --> 0:48:56.840 who are out there who want to get this type 0:48:56.880 --> 0:48:59.520 of work made. And I want to be a part 0:48:59.520 --> 0:49:01.720 of that as a writer but then also has directed. 0:49:01.800 --> 0:49:04.320 So if you've got an idea, you've got a script. 0:49:04.560 --> 0:49:07.520 It's hard. It's deal with black and brown folks. Reach 0:49:07.560 --> 0:49:12.080 out to me, eat look at this. Every week we 0:49:12.200 --> 0:49:17.279 give people more info on how to break into this industry. Yeah, yeah, 0:49:17.320 --> 0:49:19.120 I know, this is this is I feel like we 0:49:19.160 --> 0:49:22.279 went ran the true gamut because we got we did 0:49:22.480 --> 0:49:28.279 uh development, and then now we're doing film. That's a 0:49:28.320 --> 0:49:31.400 good thing. I hope y'all. I hope everyone's having a 0:49:31.400 --> 0:49:37.160 good time. I mean, I don't know everyone here has 0:49:37.200 --> 0:49:40.919 had a long day. I know it was like man, 0:49:41.320 --> 0:49:45.200 but you know, uh, you know me. If you on 0:49:45.200 --> 0:49:47.799 social media, I F Y n W A d I 0:49:48.040 --> 0:49:51.160 W E on Twitter and Instagram, feel free to wish 0:49:51.200 --> 0:49:54.600 me a happy birthday. Today is my birthday. Yeah, when 0:49:54.600 --> 0:49:57.120 it drops it's going to be my birthday. No, my 0:49:57.480 --> 0:50:01.239 type A wrote down your birthday already. Yeah, yeah, no, 0:50:01.280 --> 0:50:03.560 I'm planning a little something for us to do, so 0:50:03.680 --> 0:50:08.239 I'll be in touch. But yeah, you know if if 0:50:08.320 --> 0:50:11.080 he's on Twitch. Thanks to all the nerd fam coming 0:50:11.080 --> 0:50:13.200 in and y'all are starting to get way active in 0:50:13.200 --> 0:50:16.480 that discord. So thanks for pulling up discord dot g 0:50:16.680 --> 0:50:19.719 g slash Salt Squad. We got Nerdive sent once again. 0:50:19.719 --> 0:50:23.680 Shout out to Fleckery for always dropping those footnotes in there. 0:50:23.719 --> 0:50:25.520 So if you're too lazy to click on the app, 0:50:25.640 --> 0:50:28.200 it's right there waiting for you. Shout out to Uh, 0:50:28.280 --> 0:50:30.920 I'm gonna I'm gonna shout out some more mods. Definitely 0:50:31.200 --> 0:50:34.640 gonna shout out so I said flak Largo since is great. 0:50:34.719 --> 0:50:38.160 You know he loves Danny's post. Danny has helped him 0:50:38.160 --> 0:50:41.279 a lot. Uh so big big shout out on that. 0:50:41.440 --> 0:50:44.360 Danny just speaking out and being herself as really he 0:50:44.560 --> 0:50:46.680 always tells me. I feel like he doesn't want to 0:50:46.719 --> 0:50:51.439 bug Danny, so I just know you can. I get 0:50:51.480 --> 0:50:54.799 overwhelmed sometimes, but I try to tweet and respond to 0:50:54.880 --> 0:50:57.040 most of all. Good. Now you're making it seem like 0:50:57.120 --> 0:50:59.760 I was being salty, but I was just saying it. Uh. 0:50:59.800 --> 0:51:02.799 You know. Also Razarick those guys for holding it down 0:51:02.880 --> 0:51:06.279 always flew for one of my new mods doing your Thing, 0:51:06.680 --> 0:51:09.400 and also marred by guests because he was complaining that 0:51:09.480 --> 0:51:11.600 I shouted at all the other mods out and not 0:51:11.760 --> 0:51:15.120 him on the podcast. As for shows coming up, you 0:51:15.120 --> 0:51:19.560 can catch your boy. Uh, you'll post about it. I'll 0:51:19.600 --> 0:51:23.279 post about him to look there. Danny Well Xaviera was 0:51:23.320 --> 0:51:26.439 going to say, where can people catch horn Noir? Oh? Yeah, 0:51:26.560 --> 0:51:30.080 so you can find horn Noir on shutter dot com. 0:51:30.120 --> 0:51:32.440 You can find shutter dot com or you can pick 0:51:32.520 --> 0:51:36.040 up Shutter streaming app and either. Thing I'll tell everybody is, 0:51:36.160 --> 0:51:38.800 you know, they've given out a seven day free trial, 0:51:39.640 --> 0:51:41.680 so y'all know what that means. I'm not gonna say 0:51:41.719 --> 0:51:44.239 anything else, but you know what that means. All I'm 0:51:44.280 --> 0:51:47.920 asking you to do is just watch my documentary and 0:51:47.960 --> 0:51:52.400 if you stay, stay but you know, just watch the documentary, 0:51:53.960 --> 0:51:56.040 tweet about it. Please let them know that you watched 0:51:56.040 --> 0:51:58.680 it because so many I've seen so many people tweet 0:51:58.719 --> 0:52:01.200 about it in the community. Yeah, it's it's been amazing 0:52:01.239 --> 0:52:03.560 how many folks are and literally if you watch it, 0:52:03.960 --> 0:52:08.239 hit me up on Twitter x l n B or 0:52:08.719 --> 0:52:12.760 hit up horror noir film on Twitter. Um, you'll find 0:52:12.800 --> 0:52:18.200 me on Instagram XLMB stories, hard nor Film on Instagram 0:52:18.280 --> 0:52:21.480 or just hard normal on Facebook. Let me know if 0:52:21.520 --> 0:52:23.560 you're watching it and if you like it. I love it. 0:52:23.560 --> 0:52:27.399 It's literally my first feature film, so it's it's it's 0:52:27.480 --> 0:52:31.520 it's a fresh rod and tomatoes. I want to see 0:52:31.600 --> 0:52:35.960 y'all tell me how dope go? Tell um? Um, I'm 0:52:36.000 --> 0:52:39.960 at miss Danny Fernandez on all the things, and uh yeah, 0:52:40.040 --> 0:52:42.319 I don't know. Follow me on Twitter because that's where 0:52:42.320 --> 0:52:45.240 I tweet my my shows and my appearances and stuff. 0:52:45.239 --> 0:52:48.279 So um oh yeah. Thank you to everyone that's been 0:52:48.280 --> 0:52:51.080 going to te public dot com slash nertificent and showing 0:52:51.200 --> 0:52:54.000 us in your merch. We love it. We love it 0:52:54.320 --> 0:52:56.799 so much. And Iffy and I have been reposting on 0:52:56.800 --> 0:52:59.960 our instant stories and sharing, and thank you to every 0:53:00.000 --> 0:53:01.759 and that took a second to go rate us on 0:53:01.800 --> 0:53:05.200 iTunes and really doesn't make a difference. We appreciate y'all, 0:53:05.239 --> 0:53:11.839 and as we always say, stay nerdy.