WEBVTT - Questlove Salutes Sinners

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<v Speaker 1>Quest Love Show is a production of iHeartRadio.

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<v Speaker 2>I am cousin Jake, producer of The Quest Love Show.

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<v Speaker 2>Throughout this season, as you've noticed, we've been doing many episodes.

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<v Speaker 2>I'm sitting here with Amir Thompson aka Questlove and you know,

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<v Speaker 2>throughout the year it just drop us a line. Hit

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<v Speaker 2>us in the DMS of the QLs channels. Go to

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<v Speaker 2>Questlove Supreme dot com. There's a contact us page, but

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<v Speaker 2>ask questions, give us comments, give us feedback. We're gonna

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<v Speaker 2>do some themed episodes beyond those questions. If you have

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<v Speaker 2>any ideas just for these little mini conversations, do let

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<v Speaker 2>us know and please be liking subscribing Amir. On the

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<v Speaker 2>latest episode of The Quest Love Show, Jamie Lee Curtis

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<v Speaker 2>told you how you jarred her with manifesting her oscar

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<v Speaker 2>win with four words, dust off your mantle. Earlier this season,

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<v Speaker 2>on the second episode of The Quest Love Show, you

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<v Speaker 2>also told Autumn durald Archipa from Cinems that she should

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<v Speaker 2>be prepared for her own award tour. Yeah, you don't

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<v Speaker 2>say that to everyone for everything. So can you speak

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<v Speaker 2>on your meter for knowing when something is truly award worthy?

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<v Speaker 1>I know that I have this rep as a music savant,

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<v Speaker 1>you know, like with music, I'll get the occasional you know, hey,

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<v Speaker 1>do you think like Steve gadd uses a process the

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<v Speaker 1>fifty seven short of mic or does he use fifty

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<v Speaker 1>eight or does he use a you know, Ribbon Royer,

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<v Speaker 1>you know, like talking shop. But I've been in this

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<v Speaker 1>this short six year journey of mine. In the world

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<v Speaker 1>of film. There is nothing more attimidating than knowing a

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<v Speaker 1>movie buff. And it's so intimidating. So that said, I mean,

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<v Speaker 1>I watched way more movies than I probably should, and

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<v Speaker 1>I think i'm it's probably the over compensatory nature of

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<v Speaker 1>wanting to really master the art of filmmaking having not

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<v Speaker 1>went to film school. So that said, I think I

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<v Speaker 1>have this really good rhythm and knowing like when a

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<v Speaker 1>person's moment is one. It's not even just judging the work,

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<v Speaker 1>but it's just like, well for starters. With Jamie Lee one,

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<v Speaker 1>it took me six minutes like wait, that's Jamie Lee Curtis,

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<v Speaker 1>even though I knew she was in the movie. Once

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<v Speaker 1>I started watching it, I lost myself And if you

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<v Speaker 1>can fool me for six minutes. This also happened the

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<v Speaker 1>first time I saw Good Time, I had no clue

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<v Speaker 1>I was watching Robert Pattinson, which is strange because he's

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<v Speaker 1>the star of Good Time. But when I see movies,

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<v Speaker 1>i'm more or less I'm I'm a director head and

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<v Speaker 1>I'm an editor head. So to me, it was like, oh,

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<v Speaker 1>the Saftie Brothers had this new film out called Good Time.

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<v Speaker 1>Let me go see that. And it wasn't until you know.

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<v Speaker 1>I was like walking and leaving the movie theater and

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<v Speaker 1>there are people talking about Twilight and Robert Pattison, Robert

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<v Speaker 1>Patterson's and I went back to the poster and I

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<v Speaker 1>actually went back to see it a second time. So

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<v Speaker 1>I don't know. It's like when a person loses themselves

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<v Speaker 1>in a character, I just immediately know. The one time

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<v Speaker 1>I didn't call it, and I don't think it's my

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<v Speaker 1>fault was when Mickey Rourke lost to Sean Penn for

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<v Speaker 1>Best Actor Ystler and the wrestler, Yeah versus Milk. And

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<v Speaker 1>once I did the research, I realize that I didn't

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<v Speaker 1>see Mickey Rourke's accepting speech at the Golden Clothes kind

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<v Speaker 1>of maybe Ben is shallow may moment of where you

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<v Speaker 1>talk yourself out of your own award or whatever. But yeah,

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<v Speaker 1>I think he like dedicated to it to his dead

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<v Speaker 1>dog or whatever. Like he just freak people out a

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<v Speaker 1>little bit. And I wish I'd known that because there

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<v Speaker 1>was a period where there was this, uh, this kind

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<v Speaker 1>of underground. I'm not a gambler at all, but the

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<v Speaker 1>one thing that I used to bet on were award shows,

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<v Speaker 1>and like I won great the year that Halle Berry

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<v Speaker 1>and Denzel Washington won the same year, Like no one

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<v Speaker 1>called a double wind for black people. So I mean

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<v Speaker 1>like money and I lost so much money. I just

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<v Speaker 1>knew Mickey Rourke was gonna take it home. And people

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<v Speaker 1>were like, nah, man, it's gonna be showing pan. I'm like, no, man,

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<v Speaker 1>Like I cried at the wrestler, you know. So that's

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<v Speaker 1>the one time I failed at calling something. But I'm

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<v Speaker 1>I'm pretty accurate and spot on for what I think

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<v Speaker 1>the Academy will award someone.

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<v Speaker 2>So from Questlove Supreme in the Quest Love Show, it's

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<v Speaker 2>very curated. I mean there are so many times where

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<v Speaker 2>there's somebody will say you want to speak to or

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<v Speaker 2>you'll run into somebody, and why haven't we had a conversation?

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<v Speaker 2>I have to say in my four years running with

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<v Speaker 2>this team. When we brought Autumn's name to you, it

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<v Speaker 2>was one of the fastest resounding yeses. And not only

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<v Speaker 2>did you say yes, you said I dream of working

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<v Speaker 2>with her one day.

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<v Speaker 1>Yeah.

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<v Speaker 2>And you know, I'm just very curious because in your

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<v Speaker 2>space so far, you know, cinematography is very different. But

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<v Speaker 2>in seeing the film as many times as you did,

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<v Speaker 2>what really stood out to you that was so amazing

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<v Speaker 2>in the camera work.

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<v Speaker 1>I was in la and there was a meeting I

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<v Speaker 1>was supposed to have and I knew that Sinners was

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<v Speaker 1>going to be shown in seventy milimeter at one of

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<v Speaker 1>my two favorite destinations of all time is both of

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<v Speaker 1>Tarantino's the movie theaters. He has the New Beverly and

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<v Speaker 1>he also has the L Ray. Yeah, I knew it

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<v Speaker 1>was going to play at the L Ray. And I

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<v Speaker 1>know this is like real nerd shit, but if like,

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<v Speaker 1>there's something I've been dying to see on film in

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<v Speaker 1>thirty five millimeter in a way that I know in

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<v Speaker 1>movie snob will come in and curate the sound and

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<v Speaker 1>make sure even down to the butter used on the popcorn,

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<v Speaker 1>Like when you go to the New Beverly. Tarantino's whole

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<v Speaker 1>structure is trying to bring you into what a Grindhouse

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<v Speaker 1>was like back in nineteen seventy eight, seventy nine. Like

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<v Speaker 1>everything he shows cartoons and previews very much like the

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<v Speaker 1>Grindhouse movie. I won't hesitate for a second to just

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<v Speaker 1>hop on a plane to go out there just to

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<v Speaker 1>watch it and catch the Red Eye and come back home.

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<v Speaker 1>I know it's like weird FLEXI shit to say, but

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<v Speaker 1>I wanted to experience Centers on seventy millimeter in its prime,

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<v Speaker 1>like when audiences are like packed and whatnot. And it

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<v Speaker 1>just so happened that I had a major career breakthrough

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<v Speaker 1>that day news. So I was already in my feelings

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<v Speaker 1>with like, you know, oh my god, you know, so

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<v Speaker 1>the news that I got had hit me in mo

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<v Speaker 1>like I had to sit in my car and cry

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<v Speaker 1>for like a half hour. You know. It's like I

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<v Speaker 1>got the roller or whatever, like no, no, no, no happened.

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<v Speaker 1>And so I was already in my feelings about the

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<v Speaker 1>breakthrough that just happened, and I just sat there in

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<v Speaker 1>a movie theater still. It was like I was subconsciously

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<v Speaker 1>watching the film because I was just thinking of, like

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<v Speaker 1>I can't believe this is about to happen. I can't

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<v Speaker 1>believe this is about to happen. And so I saw it,

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<v Speaker 1>but I didn't experience, but I'm still the visuals were

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<v Speaker 1>just keeping me ground.

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<v Speaker 2>The thing you paid attention to the most that first time.

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<v Speaker 1>Yeah, Like I sat like, this is a project I've

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<v Speaker 1>been dying to do for like twelve years, and so

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<v Speaker 1>when I finally got the green light, I just sat

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<v Speaker 1>in the back of that theater like I can't believe it.

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<v Speaker 1>I can't believe it's happening. It happened. So I really

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<v Speaker 1>didn't consciously pay attention to the film because I just

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<v Speaker 1>sat there like in the daze. But I'm still like

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<v Speaker 1>still aware of the visuals and whatnot. And then I

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<v Speaker 1>was like, well, I have just stay and see it.

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<v Speaker 1>I wound up sitting there for three showings in a

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<v Speaker 1>row froday. Yes, from the first showing, I think it

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<v Speaker 1>was like eleven I left there and it was like

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<v Speaker 1>ten eleven PM. Before I was making movies, I was

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<v Speaker 1>just seeing movies and see movies. But now I am

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<v Speaker 1>aware of sound and lighting and film stock. I'm looking

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<v Speaker 1>at every aspect of so I almost have to see

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<v Speaker 1>a film like three or four times once as a

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<v Speaker 1>film and then like, okay, see what the editing is, Like, oh,

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<v Speaker 1>let me see. And I was just really really impressed

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<v Speaker 1>because oftentimes, like period pieces might get it wrong. And

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<v Speaker 1>I literally had no notes of well why did they

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<v Speaker 1>do it? And is too the film stocks too clean

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<v Speaker 1>and whatever? Like, I had no notes whatsoever. So I

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<v Speaker 1>was just in love with the look of it, like

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<v Speaker 1>I'm with her. I was that way with Ernest Dickerson

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<v Speaker 1>with Spike films, like I love Spike, but I love

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<v Speaker 1>Ernest Dickerson, you know what I mean. So like, for me,

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<v Speaker 1>cinematography and the look of a film is what gives

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<v Speaker 1>you the feels.

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<v Speaker 2>Yeah, and I mean Autumn, Ernest had the fish eye

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<v Speaker 2>up here Autumn. It seems like it's a lot about motion.

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<v Speaker 2>And she talked to you about building her own lenses. Yeah,

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<v Speaker 2>anamorphic structure of it all. I'm curious when you drive

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<v Speaker 2>the point home of seeing on seventy is it correct

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<v Speaker 2>to say that you really capture the difference in the motion.

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<v Speaker 2>Is it like how the film dances? What about seventy

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<v Speaker 2>millimeter makes that experience enhanced? Well?

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<v Speaker 1>One being born in seventy one is really just I

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<v Speaker 1>mean there's so many invisible timelines between what was life

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<v Speaker 1>before nineteen seventy one and what life is in the future, socially, musically, entertainment,

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<v Speaker 1>all those things. I think the first movie that I

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<v Speaker 1>consciously remember seeing as a kid, I think my sister

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<v Speaker 1>took me to go see King Kong. And it's only

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<v Speaker 1>because of a particular movie theater we were in. I

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<v Speaker 1>found an old advertisement and I saw that, oh seventy milimeter.

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<v Speaker 1>Someone schooled me to the difference between seventy and thirty

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<v Speaker 1>five millimeter, and so you know, since then, especially in

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<v Speaker 1>those eighteen years of touring with the Roots, I became

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<v Speaker 1>my own ze guide for every vintage movie house. So

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<v Speaker 1>I meant pretty much the one thing that like I

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<v Speaker 1>spent the most time doing, besides record shopping, my number

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<v Speaker 1>one priority was driving movie theaters. And this way before

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<v Speaker 1>the pandemic, like I was going to if we go

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<v Speaker 1>to LA I might on a day off. Okay, it's

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<v Speaker 1>like two hours and twenty minute drive, but I'm gonna

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<v Speaker 1>go ceet at, you know. So I love driving movie theaters.

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<v Speaker 1>I like second run movie theaters where they'll you know,

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<v Speaker 1>shows space aliens, you know, attack my father and you know,

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<v Speaker 1>they'll always show like a cowboy film, science fiction film,

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<v Speaker 1>really bad you know b film. I mean, I'm in

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<v Speaker 1>New York right now. There's a couple of niche spots.

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<v Speaker 1>There's there's a someone turned their house in Brooklyn into

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<v Speaker 1>this like niche movie theater where they show like Italian cinema.

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<v Speaker 1>This is how I learned about what Dogma ninety five

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<v Speaker 1>was like, even if I'm not into the genre or whatever.

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<v Speaker 2>Like I'll just go there just to Lars von Tree

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<v Speaker 2>or all that stuff.

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<v Speaker 1>Yes, just to just to expand, you know. And yeah,

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<v Speaker 1>sometimes it might be mister Thompson. Oh, I'm sorry, it's

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<v Speaker 1>two am. So I really really love I love going

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<v Speaker 1>to movies.

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<v Speaker 2>So this mini episode is just to show some love

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<v Speaker 2>to sinners and also call back to the conversation with Autumn.

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<v Speaker 2>I know there's other folks involved with that movie that

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<v Speaker 2>that film that we were supposed to have on, that

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<v Speaker 2>we will have on, but just leaving it with a

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<v Speaker 2>blanket statement. You referenced the film a lot in conversations

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<v Speaker 2>with different guests this season. How would you say today

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<v Speaker 2>that film has affected you.

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<v Speaker 1>I love the art of the Hail Mary throw. The

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<v Speaker 1>four seconds left in the game and you gotta fe

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<v Speaker 1>this thing for ninety nine yards and pray to guy

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<v Speaker 1>that someone catches it in the end zone to win

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<v Speaker 1>the game. I think all the odds were against it.

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<v Speaker 1>I read that Variety review and like, ah, man, damn.

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<v Speaker 1>Variety is sort of like the first the first voice

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<v Speaker 1>in the direction or the temperature of what a film's

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<v Speaker 1>going to do, the first review that most people go.

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<v Speaker 2>To, or Canary in the coal mine.

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<v Speaker 1>Yeah yeah, I mean even dude, even during Sly Lives,

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<v Speaker 1>like the second the credits went up, Zarah's like, oh

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<v Speaker 1>my god, look and I'm like, wait, are they reviewing

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<v Speaker 1>Live on the spot? Like as we show this thing?

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<v Speaker 1>And sure enough, like the person was in the back.

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<v Speaker 1>But you know, for me, I just the odds were

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<v Speaker 1>against it. And you know, I'm not big on the

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<v Speaker 1>horror genre. I like thrillers, Like for me, seven is

0:13:56.559 --> 0:13:59.400
<v Speaker 1>the type of thriller I like, or Silence of the Lambs,

0:14:00.400 --> 0:14:03.200
<v Speaker 1>you know, and if you're going to go into like

0:14:03.320 --> 0:14:06.560
<v Speaker 1>even with Beyond Centers, what was the film that Robert

0:14:06.640 --> 0:14:10.719
<v Speaker 1>Rodriguez and oh Dussell Dorn like those sort of things

0:14:10.760 --> 0:14:13.560
<v Speaker 1>where you might turn into a vampire. I was never

0:14:13.600 --> 0:14:15.600
<v Speaker 1>into that, So like I mean, the odds were working

0:14:15.600 --> 0:14:18.840
<v Speaker 1>against them. And even when I saw the first scene,

0:14:19.200 --> 0:14:22.320
<v Speaker 1>I had one snark where they're inside the juke joint.

0:14:22.600 --> 0:14:26.680
<v Speaker 1>I was like, wait, why why is he putting an

0:14:26.680 --> 0:14:30.880
<v Speaker 1>eight to eight inside of the song? It's not twenty

0:14:30.920 --> 0:14:33.520
<v Speaker 1>twenty six? And I sat there like what the fuck?

0:14:33.600 --> 0:14:35.600
<v Speaker 1>And I was about to get my phone out, like yo, dog,

0:14:35.800 --> 0:14:41.920
<v Speaker 1>like why are you doing? Trap me? Oh shit? And

0:14:41.960 --> 0:14:47.960
<v Speaker 1>then like once that scene to me, that entire music sequence.

0:14:48.720 --> 0:14:51.320
<v Speaker 1>The last time I saw a sequence that jarring to

0:14:51.400 --> 0:14:56.720
<v Speaker 1>me or that was when Ernest and Spike did the

0:14:57.040 --> 0:15:02.560
<v Speaker 1>seven minute taj Mahal Cracks for under Stevie Wonders, Living

0:15:02.600 --> 0:15:06.640
<v Speaker 1>for the City for Jungle Fever, which until recently just

0:15:06.680 --> 0:15:09.760
<v Speaker 1>started you know, in iTunes and you know you can

0:15:09.800 --> 0:15:12.520
<v Speaker 1>see it now, but previously that was the one Spike

0:15:12.560 --> 0:15:14.680
<v Speaker 1>Lee film you couldn't see. I don't know, like for me,

0:15:15.280 --> 0:15:18.200
<v Speaker 1>I just think that it's felt like the odds were

0:15:18.240 --> 0:15:24.280
<v Speaker 1>against it, and I think it was expected to just like,

0:15:24.440 --> 0:15:26.520
<v Speaker 1>you know, accept the seat of the table, like at

0:15:26.560 --> 0:15:29.000
<v Speaker 1>least you got here whatever. I don't know, I got

0:15:29.040 --> 0:15:33.840
<v Speaker 1>personally invested in that entire journey and and I'm a

0:15:33.840 --> 0:15:38.160
<v Speaker 1>board for whatever happens next with for anyone from mikeel

0:15:38.240 --> 0:15:43.200
<v Speaker 1>to literally anyone inside of that whole film experience, Like

0:15:43.240 --> 0:15:44.680
<v Speaker 1>I'm emotionally invested in now.

0:15:45.360 --> 0:15:47.680
<v Speaker 2>One last thought, because I've never heard you speak on

0:15:47.720 --> 0:15:52.560
<v Speaker 2>this since it's Sinners related, what is your favorite blue

0:15:52.600 --> 0:15:55.240
<v Speaker 2>song or blues album? Give us something from that genre.

0:15:56.640 --> 0:15:59.560
<v Speaker 1>Oh God, I'm taking this back to one of the

0:15:59.640 --> 0:16:05.240
<v Speaker 1>last conversations with DiAngelo. We were talking about him first

0:16:05.240 --> 0:16:06.960
<v Speaker 1>starting out like he thought he was going to be

0:16:07.040 --> 0:16:10.400
<v Speaker 1>a beat maker. You know. I was like, well, your

0:16:10.440 --> 0:16:13.720
<v Speaker 1>beat maker just happened to lead like your church choir

0:16:13.720 --> 0:16:15.920
<v Speaker 1>at the age of four. Like, were you're going to

0:16:15.960 --> 0:16:17.680
<v Speaker 1>sing on your beats or whatever? He says, Nah, man,

0:16:17.680 --> 0:16:19.960
<v Speaker 1>I just you know, I wanted to make some beats.

0:16:20.400 --> 0:16:22.240
<v Speaker 1>I was like, so, what's the first thing you sampled?

0:16:22.280 --> 0:16:24.800
<v Speaker 1>And he said that. You know, him and his cousin

0:16:24.840 --> 0:16:30.240
<v Speaker 1>Marlon had a copy of bb Kings Live at Cook

0:16:30.320 --> 0:16:33.920
<v Speaker 1>County and I was like really, and He's like, yo, man,

0:16:34.040 --> 0:16:37.160
<v Speaker 1>so much like that entire record we took from Dad.

0:16:38.320 --> 0:16:46.080
<v Speaker 1>And you know, the last night I saw him on

0:16:46.120 --> 0:16:50.280
<v Speaker 1>the drive home, I happened to have that record queued

0:16:50.360 --> 0:16:53.600
<v Speaker 1>up because I never heard it. I have this thing

0:16:53.800 --> 0:16:59.720
<v Speaker 1>where like music sounds way different to me when death

0:17:00.760 --> 0:17:04.760
<v Speaker 1>is kind of on the horizon, Like when someone dies,

0:17:05.840 --> 0:17:09.679
<v Speaker 1>their music sounds different to me when I'm in a

0:17:09.680 --> 0:17:12.440
<v Speaker 1>mournful state. Maybe it's just me not wanting to hear

0:17:12.840 --> 0:17:16.200
<v Speaker 1>the silence of the natural silence of this music just

0:17:16.240 --> 0:17:19.760
<v Speaker 1>speaks to me way different that way, And so I

0:17:19.920 --> 0:17:22.040
<v Speaker 1>decided to put it on to see if I get

0:17:22.040 --> 0:17:25.320
<v Speaker 1>to hear it as a ten year old Michael Archer

0:17:26.760 --> 0:17:28.879
<v Speaker 1>hearing it for the first time in his household. And

0:17:28.960 --> 0:17:31.399
<v Speaker 1>so that's kind of how It's almost like I have

0:17:31.440 --> 0:17:35.159
<v Speaker 1>to ask for travel ask someone to hear music the

0:17:35.200 --> 0:17:37.320
<v Speaker 1>way they hear it. That's kind of how I receive it.

0:17:37.359 --> 0:17:44.919
<v Speaker 1>I know it's a weird answer, but that's how it is. Guys,

0:17:45.760 --> 0:17:48.920
<v Speaker 1>this is the Quest Love Show. I really appreciate all

0:17:48.960 --> 0:17:54.400
<v Speaker 1>your feedback. We do read the comments and all your feedback.

0:17:55.200 --> 0:17:59.399
<v Speaker 1>Please like and subscribe the show. Spread the word of

0:17:59.480 --> 0:18:04.040
<v Speaker 1>this show and give us suggestions. People you want to

0:18:04.040 --> 0:18:08.360
<v Speaker 1>see on the show. Let us know and we will

0:18:08.400 --> 0:18:15.720
<v Speaker 1>try to make your dreams come true. All right, Quest

0:18:15.760 --> 0:18:18.000
<v Speaker 1>Love Show. It is a production of iHeart Radio