1 00:00:00,480 --> 00:00:02,520 Speaker 1: Wake that ass up in the morning. 2 00:00:02,640 --> 00:00:07,520 Speaker 2: The Breakfast Club Morning, Everybody's DJ M V Jess hilarious, 3 00:00:07,560 --> 00:00:09,400 Speaker 2: Charlamagne the guy. We are the Breakfast Club. 4 00:00:09,400 --> 00:00:11,240 Speaker 1: We got a special guest in the building. Yes, indeed, 5 00:00:11,400 --> 00:00:15,400 Speaker 1: be on Crocket. Welcome back. It's been a long time too, 6 00:00:15,680 --> 00:00:18,720 Speaker 1: not that long, but long enough. You're here for a 7 00:00:18,760 --> 00:00:20,759 Speaker 1: good reason though, a hip hop story. Come on, brother, 8 00:00:20,840 --> 00:00:24,200 Speaker 1: come Friday. Independent. You know what I'm saying. Independently, a 9 00:00:24,280 --> 00:00:27,920 Speaker 1: hip hop story. And I wanted to really emphasize because 10 00:00:27,920 --> 00:00:30,280 Speaker 1: people are like when they see a movie, right, they 11 00:00:30,440 --> 00:00:32,919 Speaker 1: always assume why it ain't playing near me? How come 12 00:00:32,960 --> 00:00:35,240 Speaker 1: it ain't at the theater right by my house? Well, 13 00:00:35,240 --> 00:00:38,159 Speaker 1: because there's no big studio behind it, you know what 14 00:00:38,200 --> 00:00:40,279 Speaker 1: I mean. This is me and my boy Domain. We 15 00:00:40,400 --> 00:00:42,520 Speaker 1: just put this thing out. But it just thank you, brother, 16 00:00:42,760 --> 00:00:45,920 Speaker 1: it just happens to look great and it has a 17 00:00:45,920 --> 00:00:48,640 Speaker 1: great message, and it's it's for the culture, by the culture. 18 00:00:48,760 --> 00:00:51,959 Speaker 3: It's amazing that Domain looks so tall in person as 19 00:00:51,960 --> 00:00:53,199 Speaker 3: opposed to how he looks. 20 00:00:52,960 --> 00:00:55,240 Speaker 1: In the in the movie. Right because he plays the 21 00:00:55,320 --> 00:00:58,200 Speaker 1: frowayre a freewayway for you. 22 00:00:59,440 --> 00:01:01,360 Speaker 3: I hope you'll them put in the call to let 23 00:01:01,440 --> 00:01:02,800 Speaker 3: him know it's all fun and games. 24 00:01:02,960 --> 00:01:04,880 Speaker 1: Now. We spoke to him on Live theother day. Freeway 25 00:01:04,920 --> 00:01:07,640 Speaker 1: is our brother. Man. He loves, he loves the energy 26 00:01:07,680 --> 00:01:12,800 Speaker 1: around it, and he's amazing if you need to love 27 00:01:12,840 --> 00:01:15,920 Speaker 1: the energy around it before you. But he's seen us 28 00:01:16,040 --> 00:01:18,760 Speaker 1: do the impersonations before, man, so it's all love and 29 00:01:18,840 --> 00:01:20,760 Speaker 1: it's all love. Charlamagne, you're trying to start ship. 30 00:01:21,400 --> 00:01:24,080 Speaker 3: I was just like, I was like, why free Way, 31 00:01:24,440 --> 00:01:26,360 Speaker 3: why Freeway getting all these shots? 32 00:01:26,880 --> 00:01:29,000 Speaker 1: Because he saves the days, the hero. What are you 33 00:01:29,000 --> 00:01:31,040 Speaker 1: talking about? He got to go through a few trials 34 00:01:31,040 --> 00:01:34,000 Speaker 1: and tribulations and jokes. It's a comedy. We gotta we 35 00:01:34,000 --> 00:01:37,280 Speaker 1: gotta make fun of people. We all get some strays. 36 00:01:37,880 --> 00:01:41,120 Speaker 4: And when you said this is independent, it's completely independent. 37 00:01:41,600 --> 00:01:44,280 Speaker 4: Shout out to you for writing and producing it too, Like, ma'am, 38 00:01:44,280 --> 00:01:46,559 Speaker 4: that's amazing. I love saying it because I love seeing 39 00:01:47,080 --> 00:01:48,360 Speaker 4: us do things like that. 40 00:01:48,560 --> 00:01:49,240 Speaker 1: You know what I mean? 41 00:01:49,520 --> 00:01:50,000 Speaker 2: I like that. 42 00:01:50,120 --> 00:01:51,960 Speaker 4: I want just to figure back what you said off of, 43 00:01:52,040 --> 00:01:56,200 Speaker 4: like how he's trying to start stuff with the impersonations 44 00:01:56,200 --> 00:01:58,800 Speaker 4: and people getting people to play them. Has anybody ever 45 00:01:58,960 --> 00:02:02,800 Speaker 4: like been offended by you like doing impersonations. 46 00:02:02,120 --> 00:02:05,559 Speaker 1: Or just nah, I'm the I'm the guy that they 47 00:02:05,840 --> 00:02:07,760 Speaker 1: I'm friends with all of these people first of all, 48 00:02:07,800 --> 00:02:10,040 Speaker 1: and then you know I'm the guy that I'm the 49 00:02:10,120 --> 00:02:13,799 Speaker 1: hip hop weird al where I've become the guy that 50 00:02:13,919 --> 00:02:16,440 Speaker 1: they know. I'm showing love to them, and it's like 51 00:02:16,480 --> 00:02:18,440 Speaker 1: a it's like I'm giving they know I'm giving them flowers, 52 00:02:18,440 --> 00:02:21,079 Speaker 1: you know what I'm saying. And so it's almost like 53 00:02:21,120 --> 00:02:23,280 Speaker 1: a badge of honor. Like NAS asked me, man, why 54 00:02:23,280 --> 00:02:24,840 Speaker 1: you ain't never did an impression to me? So when 55 00:02:24,880 --> 00:02:28,200 Speaker 1: I when I hear a god MC asking me to 56 00:02:28,200 --> 00:02:30,680 Speaker 1: do an impression, that means I mean something to the culture. 57 00:02:30,760 --> 00:02:34,800 Speaker 1: So this is a love letter to everybody in the culture, 58 00:02:34,840 --> 00:02:35,359 Speaker 1: you know what I'm saying. 59 00:02:35,360 --> 00:02:37,239 Speaker 3: When when I was watching the movie, the thing I 60 00:02:37,320 --> 00:02:41,040 Speaker 3: kept thinking about was this is the only vehicle Avion 61 00:02:41,160 --> 00:02:44,240 Speaker 3: could showcase all of these skills that in one. 62 00:02:44,080 --> 00:02:46,320 Speaker 1: Play and placause you've been doing all these characters forever. 63 00:02:47,040 --> 00:02:50,720 Speaker 3: But it's like, I don't know, Hollywood, wuldver understand exactly 64 00:02:50,760 --> 00:02:52,120 Speaker 3: what it is you do, Like you would have to 65 00:02:52,120 --> 00:02:52,959 Speaker 3: do this on your own. 66 00:02:53,000 --> 00:02:54,960 Speaker 1: Well, that's it's funny you picked up on that, because 67 00:02:54,960 --> 00:02:56,720 Speaker 1: that's why I originally wrote it. I wrote this back 68 00:02:56,760 --> 00:02:59,080 Speaker 1: in two thousand and eight. So when I did it, 69 00:02:59,120 --> 00:03:01,000 Speaker 1: that was at the time me and Domaine was doing 70 00:03:01,040 --> 00:03:04,720 Speaker 1: all of the the YouTube parodies and everybody every time 71 00:03:04,720 --> 00:03:06,960 Speaker 1: I go, someone, yo, do jay Z, do this? Do that? 72 00:03:07,280 --> 00:03:10,200 Speaker 1: And I was like, I'm tired of doing these goddamn impressions. 73 00:03:10,800 --> 00:03:13,200 Speaker 1: Why don't I just put them all in one project, 74 00:03:13,560 --> 00:03:16,560 Speaker 1: So y'all can have all the impressions in one one sitting, 75 00:03:17,120 --> 00:03:19,960 Speaker 1: and I'm done with them. That's how I thought at 76 00:03:19,960 --> 00:03:21,960 Speaker 1: the time, But now it's just like, all right, it's 77 00:03:22,080 --> 00:03:25,079 Speaker 1: I'm gonna use all my tools and to my advantage. 78 00:03:25,280 --> 00:03:26,560 Speaker 1: You know, how many do you do in the movie? 79 00:03:26,560 --> 00:03:27,400 Speaker 2: How many impersonations? 80 00:03:27,400 --> 00:03:30,320 Speaker 1: I still haven't counted, but it's probably twelve. 81 00:03:30,440 --> 00:03:38,520 Speaker 5: Russell, Jay, Jas, Luda Cornell, Web, Drakez, Joe, Joe Budden 82 00:03:39,560 --> 00:03:40,640 Speaker 5: h did we say. 83 00:03:42,960 --> 00:03:48,760 Speaker 1: Yeah, Drake Ship, Will Smith Fresh Prince, Oh yeah. And 84 00:03:48,880 --> 00:03:53,400 Speaker 1: I'm doing Biggie's voice for Cedric on the rat. Yeah. 85 00:03:53,520 --> 00:03:57,000 Speaker 1: It's a lot. It's a lot, man, Dang we cooking. 86 00:03:57,040 --> 00:04:00,720 Speaker 1: But when I say it's independent, I mean I literally 87 00:04:00,760 --> 00:04:04,040 Speaker 1: paid for this movie with stand up tour money, right. 88 00:04:04,280 --> 00:04:06,840 Speaker 1: He demand had all the cameras in the film. Know 89 00:04:06,920 --> 00:04:08,480 Speaker 1: how we both know how to edit, we both know 90 00:04:08,480 --> 00:04:11,760 Speaker 1: how to produce, so this was really uh an effort. 91 00:04:11,840 --> 00:04:15,200 Speaker 1: So to see that when I dropped that trailer, to 92 00:04:15,280 --> 00:04:17,599 Speaker 1: see it spread around the Internet as fast as it 93 00:04:17,640 --> 00:04:19,880 Speaker 1: did within a day, and to see all the culture 94 00:04:19,960 --> 00:04:25,520 Speaker 1: from Snoop to Exhibit to Cedric to deon Cole Russell Simmons, 95 00:04:25,560 --> 00:04:28,600 Speaker 1: like everybody was posting this joint and just rallying behind it, 96 00:04:28,680 --> 00:04:31,000 Speaker 1: you know what I'm saying. So I'm just thankful to 97 00:04:31,040 --> 00:04:32,840 Speaker 1: the culture for seeing it for what it is. I 98 00:04:32,839 --> 00:04:34,160 Speaker 1: don't think it was real at first. Yeah, that's what 99 00:04:34,200 --> 00:04:34,520 Speaker 1: I'm saying. 100 00:04:34,520 --> 00:04:39,600 Speaker 2: You played so many games sometimes that I was like. 101 00:04:38,400 --> 00:04:41,920 Speaker 1: What do you mean, I don't think it was real. 102 00:04:42,000 --> 00:04:45,240 Speaker 1: I was like, me, it's a funny trailer. Thought it 103 00:04:45,240 --> 00:04:48,320 Speaker 1: was like a sketch trailer. I did. I can see 104 00:04:48,320 --> 00:04:51,360 Speaker 1: that because you always playing rightfully, so I do play 105 00:04:51,400 --> 00:04:53,640 Speaker 1: a lot. But you know, I'm also very serious. 106 00:04:54,640 --> 00:04:56,120 Speaker 3: I didn't realize it was a real movie about two 107 00:04:56,120 --> 00:04:58,680 Speaker 3: weeks ago. I saw the trailer and I was like, 108 00:04:58,800 --> 00:05:01,000 Speaker 3: that's a funny trailer. But then if I saw people 109 00:05:01,080 --> 00:05:02,920 Speaker 3: like Charlie Mack and everybody keep posting it, and I 110 00:05:02,920 --> 00:05:05,040 Speaker 3: saw the post I'm like oh this is really a movie. 111 00:05:05,279 --> 00:05:09,400 Speaker 4: Yeah, oh yeah, because everybody used to his parodies like nah, 112 00:05:10,080 --> 00:05:13,640 Speaker 4: but you see certain people posting it's. 113 00:05:13,520 --> 00:05:18,240 Speaker 1: Like, oh, I gotta be all the time. So yeah, 114 00:05:18,279 --> 00:05:20,839 Speaker 1: you seeing Snoop. Snoop is one of the biggest fans man. 115 00:05:21,080 --> 00:05:24,480 Speaker 1: He's like really championing the movie right now too. But again, 116 00:05:24,520 --> 00:05:26,240 Speaker 1: this is my love letter to the culture. But we 117 00:05:26,279 --> 00:05:28,360 Speaker 1: put some production value into it too, Like it ain't. 118 00:05:28,360 --> 00:05:32,320 Speaker 1: It ain't like some bootleg kind of cheesy movie. We 119 00:05:32,360 --> 00:05:34,760 Speaker 1: got lighting, we got cameras, we got the whole situation, 120 00:05:34,800 --> 00:05:36,000 Speaker 1: and it's a it's a great story. 121 00:05:36,120 --> 00:05:37,520 Speaker 3: We gave you the idea of him because you said 122 00:05:37,520 --> 00:05:39,159 Speaker 3: you started in two thousand and eight, but it feels 123 00:05:39,200 --> 00:05:41,200 Speaker 3: so timely because last year it was the fiftieth year. 124 00:05:41,480 --> 00:05:43,320 Speaker 1: Yeah hip ho. Yeah. So I wrote it in two 125 00:05:43,360 --> 00:05:45,960 Speaker 1: thousand and eight, and because I incorporated so much of 126 00:05:46,000 --> 00:05:50,080 Speaker 1: hip hop history and the nostalgia that doesn't change, right, 127 00:05:50,240 --> 00:05:53,080 Speaker 1: So the only thing I had to change reference wise 128 00:05:53,120 --> 00:05:55,280 Speaker 1: was some of the some of the newer references, like 129 00:05:55,560 --> 00:05:57,640 Speaker 1: in the original scripts when they were trying to go 130 00:05:57,680 --> 00:06:01,320 Speaker 1: around and get the message of hip hop back out 131 00:06:01,360 --> 00:06:03,560 Speaker 1: to the culture. We went to places like one O 132 00:06:03,680 --> 00:06:05,880 Speaker 1: six in Park and Tavis Smiley Show. So I just 133 00:06:05,920 --> 00:06:07,640 Speaker 1: swapped that out for you know what I mean, like 134 00:06:07,800 --> 00:06:09,680 Speaker 1: Funk Flex and Joe Budden and all that. So you 135 00:06:09,720 --> 00:06:11,719 Speaker 1: know what I mean. Did you ever consider not playing 136 00:06:11,760 --> 00:06:12,880 Speaker 1: all those roles in the movie? 137 00:06:14,200 --> 00:06:14,360 Speaker 6: Uh? 138 00:06:14,680 --> 00:06:16,880 Speaker 1: Not, the ones that I knew that I could play. 139 00:06:16,960 --> 00:06:20,000 Speaker 1: I never considered like switching them out. The only one 140 00:06:20,000 --> 00:06:23,120 Speaker 1: that I wasn't supposed to play was ghost the ghost 141 00:06:23,120 --> 00:06:27,280 Speaker 1: Face character. But you know, we had a we had 142 00:06:27,279 --> 00:06:28,920 Speaker 1: a situation and I had to step in at the 143 00:06:29,000 --> 00:06:31,000 Speaker 1: last minute and to do do what I had to do. 144 00:06:31,080 --> 00:06:34,920 Speaker 1: But no, I always wanted to showcase myself and my friends, 145 00:06:34,960 --> 00:06:40,760 Speaker 1: like the main place three characters, Puff Freeway, who else? 146 00:06:41,640 --> 00:06:45,560 Speaker 1: Mo D? Yeah, oh my god, bodies D in the 147 00:06:45,600 --> 00:06:50,080 Speaker 1: in the flashback scene that we showcase some really historic moments. 148 00:06:50,120 --> 00:06:53,440 Speaker 1: So the battle between Kumo D and Busy B, which 149 00:06:53,560 --> 00:06:57,320 Speaker 1: was the time when lyricism was now like the showcase, 150 00:06:57,680 --> 00:06:59,360 Speaker 1: you know, even though we had Graham Astercas and those 151 00:06:59,400 --> 00:07:03,080 Speaker 1: guys doing it, that was the battle that made people say, Okay, 152 00:07:03,080 --> 00:07:05,600 Speaker 1: I want to go away from party MC into lyricism. 153 00:07:05,920 --> 00:07:08,160 Speaker 1: And so we wanted to just showcase real moments in 154 00:07:08,240 --> 00:07:11,200 Speaker 1: hip hop history interlaced with comedy. 155 00:07:11,200 --> 00:07:12,960 Speaker 2: How much homework did you have to do? A lot 156 00:07:12,960 --> 00:07:14,760 Speaker 2: of this stuff you grew up on and you knew already. 157 00:07:14,840 --> 00:07:16,120 Speaker 1: I knew a lot of it. A lot of it 158 00:07:16,160 --> 00:07:18,480 Speaker 1: was already living in my brain. What I did do 159 00:07:18,680 --> 00:07:23,440 Speaker 1: was research on like dates, times, people's ages so it 160 00:07:23,480 --> 00:07:26,080 Speaker 1: could be realistic to our portrayals of them. You know 161 00:07:26,120 --> 00:07:31,080 Speaker 1: what I mean. Theaters whit theaters. Yeah, we have a 162 00:07:31,240 --> 00:07:34,200 Speaker 1: deal with AMC. We have a close friend over there 163 00:07:34,240 --> 00:07:37,680 Speaker 1: that was like presented the idea to us, and I'm like, 164 00:07:39,400 --> 00:07:43,440 Speaker 1: the streaming game is amazing, but a movie like this 165 00:07:44,320 --> 00:07:46,880 Speaker 1: you need to see in theaters. It's a difference between 166 00:07:47,000 --> 00:07:50,480 Speaker 1: looking at or listening to an album on your phone 167 00:07:50,560 --> 00:07:53,320 Speaker 1: versus listening to it in the studio or in your car. 168 00:07:53,800 --> 00:07:56,320 Speaker 1: Like this is a hip hop movie. It's a musical, right, 169 00:07:56,400 --> 00:07:59,120 Speaker 1: so the beats in the in the rhymes, if you 170 00:07:59,200 --> 00:08:00,920 Speaker 1: listen to it in the theater, Like when we had 171 00:08:00,920 --> 00:08:03,960 Speaker 1: our premieeres the two screens that we've had, you see 172 00:08:03,960 --> 00:08:06,800 Speaker 1: people in the theater like doing this. They nodding their 173 00:08:06,840 --> 00:08:11,000 Speaker 1: head and they rocking and they're cheering. After the finale song. 174 00:08:11,000 --> 00:08:13,520 Speaker 1: I won't say what it is, but after that finale song, 175 00:08:13,600 --> 00:08:15,880 Speaker 1: they are cheering in the theater, so we wanted to 176 00:08:15,880 --> 00:08:18,160 Speaker 1: have that movie going experience, and because we have a 177 00:08:18,200 --> 00:08:20,960 Speaker 1: connection over there with AMC, it just felt like a 178 00:08:21,000 --> 00:08:25,160 Speaker 1: good look for us. You know, most movies have a 179 00:08:25,320 --> 00:08:28,840 Speaker 1: thousand to four thousand, those big budget movies, those superhero movies, 180 00:08:28,880 --> 00:08:30,960 Speaker 1: they have four thousand locations. We were like, all right, 181 00:08:30,960 --> 00:08:33,640 Speaker 1: give us one hundred and fifty and let us just 182 00:08:33,679 --> 00:08:36,680 Speaker 1: work with that. And that's plenty for us because again, 183 00:08:36,720 --> 00:08:39,560 Speaker 1: we don't have big marketing dollars behind us. It's my 184 00:08:39,720 --> 00:08:44,240 Speaker 1: stand up money, you understand me, So call you called 185 00:08:44,280 --> 00:08:46,400 Speaker 1: in a lot of favors to this. Of course, man, 186 00:08:46,600 --> 00:08:48,839 Speaker 1: this game is all about relationship absolutely. I mean even 187 00:08:48,880 --> 00:08:50,719 Speaker 1: me being here with y'all, Like I just put out 188 00:08:50,720 --> 00:08:53,000 Speaker 1: the call Eddie, and you know, y'all show love to 189 00:08:53,000 --> 00:08:54,760 Speaker 1: me all the time. So I was like, yeah, I 190 00:08:54,800 --> 00:08:57,000 Speaker 1: want to promote this indie movie and that's why I'm here. 191 00:08:57,040 --> 00:09:00,559 Speaker 1: So same with the movie. I called Cedric Little Real. 192 00:09:00,640 --> 00:09:03,280 Speaker 1: It was all text messages. Charlie Max, he put in 193 00:09:03,360 --> 00:09:06,040 Speaker 1: calls little Mama, came out, she played the m C 194 00:09:06,200 --> 00:09:09,600 Speaker 1: light boy. But everybody was perfectly cast. It was it 195 00:09:09,640 --> 00:09:11,240 Speaker 1: was everyone that I had in my mind that I 196 00:09:11,280 --> 00:09:14,000 Speaker 1: wanted to play these roles. They all showed up for me. 197 00:09:14,120 --> 00:09:19,640 Speaker 6: Give us the sense of the budget, Nope, five million 198 00:09:22,880 --> 00:09:25,800 Speaker 6: like mine your own, god damn business. 199 00:09:26,080 --> 00:09:28,760 Speaker 1: The sense of the budget is minya got damn Who 200 00:09:28,760 --> 00:09:30,800 Speaker 1: may want to do the whole independent film? 201 00:09:31,040 --> 00:09:31,319 Speaker 5: Nah? 202 00:09:31,480 --> 00:09:34,960 Speaker 1: The ball park range. They be shooting on their phone. 203 00:09:34,160 --> 00:09:39,240 Speaker 1: You keep shooting on their phone. We got other things 204 00:09:39,240 --> 00:09:42,320 Speaker 1: we're doing over here. Charlemagne, I'm gonna come to you 205 00:09:42,400 --> 00:09:44,040 Speaker 1: next time. You're gonna invest He got it? 206 00:09:44,160 --> 00:09:46,839 Speaker 4: Oh, we got it, got we got you got them 207 00:09:46,840 --> 00:09:48,040 Speaker 4: to be in it, Jackson. 208 00:09:50,440 --> 00:09:53,560 Speaker 1: Fuck that charlam is gonna be an actor. I'm gonna 209 00:09:53,559 --> 00:09:56,720 Speaker 1: turn him into a Morpheus. Nigga. You get talk with 210 00:09:56,760 --> 00:09:58,680 Speaker 1: the perfect eyebrows, already got those. 211 00:09:59,080 --> 00:10:01,439 Speaker 2: That's not you get tired of doing impersonations? 212 00:10:01,520 --> 00:10:02,120 Speaker 1: Is it one of the things? 213 00:10:02,200 --> 00:10:04,280 Speaker 2: Like it's like I'm tired of doing a goddamn pressice time. 214 00:10:04,320 --> 00:10:05,920 Speaker 1: When I when I wrote the movie, that's when I 215 00:10:05,960 --> 00:10:07,080 Speaker 1: was tired of it because I was like, I want 216 00:10:07,280 --> 00:10:09,400 Speaker 1: the world to see me for whatever. Now, I don't 217 00:10:09,440 --> 00:10:11,880 Speaker 1: give a shit. Love me for how you love me, 218 00:10:11,920 --> 00:10:13,679 Speaker 1: you know what I'm saying. However, you recognize me, have 219 00:10:13,760 --> 00:10:16,680 Speaker 1: you whatever you you take on if you just know 220 00:10:16,760 --> 00:10:19,080 Speaker 1: me from an Instagram post, it's all. 221 00:10:19,240 --> 00:10:20,160 Speaker 2: What's your favorite one to do? 222 00:10:20,840 --> 00:10:22,880 Speaker 1: I don't have a favorite impression to do. I just 223 00:10:22,960 --> 00:10:25,600 Speaker 1: I just do them. But my my favorite new one, 224 00:10:25,600 --> 00:10:28,480 Speaker 1: because it's been so well received in these screenings, is 225 00:10:28,520 --> 00:10:31,040 Speaker 1: Cornell West. I didn't I've never seen you do. I 226 00:10:31,080 --> 00:10:34,040 Speaker 1: never seen anybody hilarious. I've seen a couple of people 227 00:10:34,080 --> 00:10:36,400 Speaker 1: do it, but I just did my own take on them. 228 00:10:36,480 --> 00:10:38,960 Speaker 1: But that was my first time doing them. I didn't 229 00:10:39,000 --> 00:10:40,640 Speaker 1: even know I could really do it. So I just 230 00:10:40,679 --> 00:10:42,360 Speaker 1: told my makeup artist, I said, just give me the wig, 231 00:10:42,360 --> 00:10:44,240 Speaker 1: give me the gap and the teeth, And once I 232 00:10:44,280 --> 00:10:48,280 Speaker 1: had the whole garb on, Charlie Mack almost passed out laughing. 233 00:10:48,760 --> 00:10:50,960 Speaker 1: He just couldn't contain himself. It was just so funny 234 00:10:50,960 --> 00:10:53,280 Speaker 1: to him. So that's when I knew the look was 235 00:10:53,360 --> 00:10:57,000 Speaker 1: right on. And then when the cameras game was, you know, 236 00:10:57,440 --> 00:11:05,079 Speaker 1: I want to get down here into the breakfast cloud, 237 00:11:06,559 --> 00:11:12,480 Speaker 1: even though they don't have no eggs, bakers, our vocado toad. 238 00:11:13,559 --> 00:11:21,720 Speaker 7: You see you see Charla Madney, Yeah, Charla Madney understands 239 00:11:22,559 --> 00:11:26,480 Speaker 7: what the eyebrows mean to the black people. 240 00:11:26,559 --> 00:11:33,520 Speaker 1: You see, you see y see Now, why do they 241 00:11:33,600 --> 00:11:40,640 Speaker 1: have Jet sitting in a gender you see? I don't know, 242 00:11:41,760 --> 00:11:48,520 Speaker 1: because she's the queen of the gender people. You see. 243 00:11:52,679 --> 00:11:55,560 Speaker 3: It's just immortalized those characters forever. Like, do you even 244 00:11:55,559 --> 00:11:57,960 Speaker 3: do off? You do jay Z anymore? Do you do 245 00:11:58,120 --> 00:11:58,840 Speaker 3: Russell anymore? 246 00:11:58,840 --> 00:12:02,120 Speaker 1: After that? Yeah? Okay, yeah you have to. I mean 247 00:12:02,600 --> 00:12:05,600 Speaker 1: the two that you just named, Jay and Russell, they're 248 00:12:05,600 --> 00:12:07,959 Speaker 1: fans of my impression of them. Rus love it. So 249 00:12:08,200 --> 00:12:10,559 Speaker 1: it's like, uh, and this movie is one of those 250 00:12:10,559 --> 00:12:13,440 Speaker 1: movies that's gonna live on forever, even though we set 251 00:12:13,440 --> 00:12:17,600 Speaker 1: out to do it with our our hopes and you know, 252 00:12:17,840 --> 00:12:19,640 Speaker 1: let's see what it does. Let's let's see we can 253 00:12:19,640 --> 00:12:21,720 Speaker 1: make a movie. Now that we have it done and 254 00:12:21,760 --> 00:12:24,640 Speaker 1: you can see it, it's gonna live on forever. What 255 00:12:24,760 --> 00:12:25,880 Speaker 1: is hip hop culchy to you? 256 00:12:26,920 --> 00:12:28,559 Speaker 3: Because I always thought about this because even back in 257 00:12:28,559 --> 00:12:29,920 Speaker 3: the day when y'all used to do the sketches you 258 00:12:29,920 --> 00:12:31,920 Speaker 3: and Nick, it always kind of felt like y'all was 259 00:12:31,920 --> 00:12:33,199 Speaker 3: making fun of down South music. 260 00:12:33,840 --> 00:12:37,880 Speaker 1: Nah, what we made fun of is lazy music, okay, 261 00:12:38,600 --> 00:12:43,800 Speaker 1: because that's that's the distinction. In the movie, the barbershop 262 00:12:43,880 --> 00:12:47,440 Speaker 1: scene shows you that this conversation between old heads and 263 00:12:47,520 --> 00:12:50,760 Speaker 1: young heads and old music versus young It's always been 264 00:12:50,760 --> 00:12:54,120 Speaker 1: a conversation. You know, that Barbershops scene was about blues 265 00:12:54,200 --> 00:12:57,560 Speaker 1: versus soul. So that's me pointing out saying, look, as 266 00:12:57,640 --> 00:13:02,280 Speaker 1: old heads, we gotta stop saying that the young generation 267 00:13:02,800 --> 00:13:05,160 Speaker 1: is trash or that they we just don't understand them. 268 00:13:05,280 --> 00:13:08,319 Speaker 1: Were older. We're not supposed to understand them. But all 269 00:13:08,360 --> 00:13:11,600 Speaker 1: of them are. Some of them are great. The same way, 270 00:13:11,640 --> 00:13:14,960 Speaker 1: there's some garbage old niggas. Everybody in the nineties was 271 00:13:15,000 --> 00:13:16,640 Speaker 1: not fire, you know what I mean, So we can't 272 00:13:16,679 --> 00:13:18,920 Speaker 1: sit back and be like your hip hop always been fired. 273 00:13:19,040 --> 00:13:21,800 Speaker 1: There's some garbage niggas in the eighties and the nineties, right, 274 00:13:22,280 --> 00:13:25,840 Speaker 1: So there's some lazy young rappers. And then we got Simba, 275 00:13:25,960 --> 00:13:28,280 Speaker 1: and we got l Russell. We got some dope, dope 276 00:13:28,400 --> 00:13:31,439 Speaker 1: guys out here. UZI Vert is a bee boy, you 277 00:13:31,520 --> 00:13:33,840 Speaker 1: know what I mean. He chooses to do songs like 278 00:13:34,800 --> 00:13:37,560 Speaker 1: I just want to rock, and that's him having fun. 279 00:13:37,600 --> 00:13:42,719 Speaker 1: He has the creative artistic freedom to do that. But 280 00:13:42,800 --> 00:13:45,240 Speaker 1: that dude's really a bee boy. He will win mill 281 00:13:45,320 --> 00:13:47,199 Speaker 1: on your ass, he will do some flares, he will 282 00:13:47,280 --> 00:13:49,320 Speaker 1: top rock on you. So you can't say he's not 283 00:13:49,360 --> 00:13:51,760 Speaker 1: of the culture. So it's just to point out to say, look, 284 00:13:51,800 --> 00:13:55,480 Speaker 1: we gotta stop bickering. We use the young people as 285 00:13:55,480 --> 00:13:59,640 Speaker 1: a device to get the backpack character, Jay Bum to 286 00:13:59,720 --> 00:14:02,080 Speaker 1: have something to be like, Yo, man, hip hop is 287 00:14:02,080 --> 00:14:04,560 Speaker 1: fucked up. And when he goes to the Rosco Russell character, 288 00:14:04,840 --> 00:14:07,680 Speaker 1: that gives him the incentive to point Russell around to 289 00:14:07,720 --> 00:14:09,760 Speaker 1: say hip hop is fucked up. But as we start 290 00:14:09,800 --> 00:14:12,920 Speaker 1: going down the journey, black culture starts to be put 291 00:14:13,000 --> 00:14:15,440 Speaker 1: on the spotlight and the elites of the black culture 292 00:14:15,480 --> 00:14:17,600 Speaker 1: start to be you know, so we all are responsible 293 00:14:17,600 --> 00:14:19,120 Speaker 1: for where we are as a culture. 294 00:14:19,920 --> 00:14:22,600 Speaker 3: Because it wasn't about, you know, just hip hop being bad. 295 00:14:22,640 --> 00:14:25,840 Speaker 3: It was what the negative impact is having on people. 296 00:14:26,000 --> 00:14:27,800 Speaker 1: More so about that, yeah, more so about you know, 297 00:14:27,880 --> 00:14:32,080 Speaker 1: the deaths and you know, the drug overdoses. It's been 298 00:14:32,080 --> 00:14:34,440 Speaker 1: a lot more of that in the last fifteen years 299 00:14:34,480 --> 00:14:37,000 Speaker 1: than we've ever seen in hip hop. Chris Rock, that's 300 00:14:37,000 --> 00:14:42,040 Speaker 1: another character, you play, Craig, and he did the whole hell, 301 00:14:43,360 --> 00:14:51,680 Speaker 1: but god, they do a whole, a whole I wanted 302 00:14:51,720 --> 00:14:54,160 Speaker 1: to do a whole stand up special in the movie 303 00:14:54,480 --> 00:14:57,080 Speaker 1: of Chris Rock just talking about hip hop. In the 304 00:14:57,200 --> 00:15:00,200 Speaker 1: Brilliant way that he breaks down everything. You know what 305 00:15:00,240 --> 00:15:00,640 Speaker 1: I'm saying. 306 00:15:01,080 --> 00:15:03,800 Speaker 2: I see you comedians are crazy in these rappers right now. 307 00:15:05,000 --> 00:15:07,600 Speaker 1: You know I used to always say this in inter 308 00:15:07,600 --> 00:15:09,600 Speaker 1: of your other man comedians, we're not rappers, man, let's 309 00:15:09,840 --> 00:15:12,280 Speaker 1: let's not be let's not let's not beef with each 310 00:15:12,280 --> 00:15:15,080 Speaker 1: other and do all that. But it's it's really there 311 00:15:15,160 --> 00:15:19,120 Speaker 1: now get worse. Why though, I don't know. I have 312 00:15:19,240 --> 00:15:21,960 Speaker 1: nothing to do with it. I've never been the guy 313 00:15:22,120 --> 00:15:27,040 Speaker 1: that that brings his personal beefs into the public. If 314 00:15:27,080 --> 00:15:28,960 Speaker 1: I say anything about somebody that's gonna be positive. I 315 00:15:28,960 --> 00:15:31,720 Speaker 1: have positive things to say about all these guys. But 316 00:15:31,800 --> 00:15:33,800 Speaker 1: you know that that's not a popular message. You know 317 00:15:33,840 --> 00:15:36,640 Speaker 1: what I'm saying. So I just stay out of it. 318 00:15:36,720 --> 00:15:38,680 Speaker 1: Has nothing to do with me. I don't I don't 319 00:15:38,760 --> 00:15:40,560 Speaker 1: ever get involved in that kind of stuff. If I 320 00:15:40,600 --> 00:15:42,760 Speaker 1: got a problem with you, me and you could talk 321 00:15:42,760 --> 00:15:45,320 Speaker 1: about it. It's as simple as that. Like we've grown 322 00:15:45,360 --> 00:15:47,720 Speaker 1: as fuck. Like why why am I on a microphone 323 00:15:47,760 --> 00:15:50,360 Speaker 1: talking about anybody. I'm gonna just call you and if 324 00:15:50,400 --> 00:15:51,600 Speaker 1: we could work it out, we can work it out. 325 00:15:51,640 --> 00:15:52,800 Speaker 1: If not, I just don't mess with you. 326 00:15:53,120 --> 00:15:56,320 Speaker 4: Do you feel like it hurts or helps comedy. 327 00:15:56,520 --> 00:15:59,200 Speaker 1: I think it divides the audience. It makes the audience 328 00:15:59,240 --> 00:16:01,480 Speaker 1: have to choose. And we're in such a we're in 329 00:16:01,480 --> 00:16:04,720 Speaker 1: a Dick riding society, so people who want to choose, uh, 330 00:16:04,880 --> 00:16:07,320 Speaker 1: they want to rally behind whoever they think is whatever. 331 00:16:07,760 --> 00:16:11,360 Speaker 1: And so yeah, it definitely can divide the audience. And 332 00:16:11,400 --> 00:16:13,800 Speaker 1: I think we're more We're just more of a beautiful 333 00:16:13,840 --> 00:16:16,720 Speaker 1: creative people that that ship. We don't. 334 00:16:16,880 --> 00:16:17,240 Speaker 5: I don't. 335 00:16:17,600 --> 00:16:19,400 Speaker 1: It's not me, you don't not me. 336 00:16:19,840 --> 00:16:21,680 Speaker 3: I agree with the Dick riding society and the best 337 00:16:21,680 --> 00:16:23,240 Speaker 3: Dick changes from moment to moment. 338 00:16:27,560 --> 00:16:28,320 Speaker 1: Running back. 339 00:16:28,880 --> 00:16:32,800 Speaker 4: But over there, over there that you can't even impersonate. 340 00:16:34,240 --> 00:16:38,640 Speaker 1: Why that that's a new movie. 341 00:16:38,680 --> 00:16:41,040 Speaker 3: That's what I'm trying to say, is whoever people think 342 00:16:42,160 --> 00:16:46,480 Speaker 3: trying to say that whoever said people think is hot, 343 00:16:46,560 --> 00:16:50,160 Speaker 3: they hot from Dick based on the moment whoa look. 344 00:16:50,040 --> 00:16:52,400 Speaker 1: Like it was in January then there was more nique, 345 00:16:52,440 --> 00:16:54,040 Speaker 1: you know what I'm saying. So it looks like when 346 00:16:54,040 --> 00:16:56,560 Speaker 1: I said it's a Dick riding society, we could have 347 00:16:56,600 --> 00:17:00,880 Speaker 1: left the analogy we understood it Dick that was that 348 00:17:01,240 --> 00:17:03,640 Speaker 1: was something different. You could have came through with your 349 00:17:03,680 --> 00:17:07,040 Speaker 1: own addition to the same problem would be a consistent 350 00:17:07,080 --> 00:17:08,040 Speaker 1: dick ride, is what I'm saying. 351 00:17:08,080 --> 00:17:13,800 Speaker 4: Yeah, God, Yo, you want to talk about who Dick? 352 00:17:14,000 --> 00:17:23,240 Speaker 1: Wow? He just went with it. Was got weird. How 353 00:17:23,280 --> 00:17:25,440 Speaker 1: involved with Charlie Mack into making of this? You're gonna 354 00:17:25,440 --> 00:17:34,040 Speaker 1: go from follow them dick? Don't make Charlie following them dicks? 355 00:17:35,160 --> 00:17:37,240 Speaker 1: How dare you? Charla Mane can come up with another question? 356 00:17:37,720 --> 00:17:46,640 Speaker 1: Charlie his first out di limo, first out, the first out, 357 00:17:46,640 --> 00:17:50,119 Speaker 1: the port on, no matter where you go after that. 358 00:17:50,640 --> 00:17:54,840 Speaker 1: So you can leave now? Can we got done with all? Right? 359 00:17:54,880 --> 00:17:57,680 Speaker 1: We're done with done with Dick. We delivered. But look, 360 00:17:57,760 --> 00:18:01,359 Speaker 1: look I have a Dick. It's all good, Charlie. Charlie's 361 00:18:01,359 --> 00:18:04,879 Speaker 1: big bro's he's hip hop, He's the connector. There's not 362 00:18:04,960 --> 00:18:08,280 Speaker 1: a call that he will not make. You know what 363 00:18:08,280 --> 00:18:10,760 Speaker 1: I'm saying. The first person that saw this movie in 364 00:18:10,880 --> 00:18:13,280 Speaker 1: full was Will Smith. Because of Charlie Mack, Me and 365 00:18:13,359 --> 00:18:16,280 Speaker 1: Charlie went to Will's theater and screened it for him. 366 00:18:16,680 --> 00:18:21,320 Speaker 1: Will gave me forty five minutes of filmmaking gems after that, 367 00:18:21,480 --> 00:18:25,240 Speaker 1: just wisdom, and he loved the movie. And we saw 368 00:18:25,320 --> 00:18:27,879 Speaker 1: him at the fiftiest celebration of hip hop where he 369 00:18:28,080 --> 00:18:32,040 Speaker 1: the first time he performed again and he was telling 370 00:18:32,040 --> 00:18:37,719 Speaker 1: people back said, yo yo Apion has this movie. Hey 371 00:18:38,520 --> 00:18:46,440 Speaker 1: it plays like forty people right, great, but yeah, that's first. 372 00:18:49,000 --> 00:18:50,520 Speaker 1: I was just trying to move away from the dicks. 373 00:18:54,040 --> 00:18:55,920 Speaker 3: Did you ever think about having the real characters in 374 00:18:55,960 --> 00:18:58,040 Speaker 3: because there's a moment where Fredro's in there. 375 00:18:59,119 --> 00:19:01,760 Speaker 1: We wanted to have a mix of that just to 376 00:19:01,920 --> 00:19:05,159 Speaker 1: make it grounded, to make it feel valid, to make 377 00:19:05,200 --> 00:19:07,240 Speaker 1: it really feel like they were sitting next to a rustle, 378 00:19:07,280 --> 00:19:09,240 Speaker 1: and then when you see Jay, you really want to 379 00:19:09,240 --> 00:19:11,560 Speaker 1: feel like it's Jay. So yeah, we did purposely sprinkle 380 00:19:11,600 --> 00:19:15,359 Speaker 1: in some real ogs just to yeah, give it that 381 00:19:15,400 --> 00:19:16,800 Speaker 1: real hip hop, grounded feeling. 382 00:19:17,080 --> 00:19:18,960 Speaker 2: Is there any character that you tried to catch that 383 00:19:19,000 --> 00:19:20,920 Speaker 2: you just couldn't catch? It was like I tried, but 384 00:19:20,960 --> 00:19:22,600 Speaker 2: it's just it's not fitting. 385 00:19:22,359 --> 00:19:26,359 Speaker 1: Right impression wise. No, everything that we that was on 386 00:19:26,400 --> 00:19:28,240 Speaker 1: the page the movie is pretty much what was on 387 00:19:28,280 --> 00:19:30,880 Speaker 1: the page, So we were able to cast it or 388 00:19:30,960 --> 00:19:33,840 Speaker 1: play the roles that we wanted. Shout out to my 389 00:19:33,880 --> 00:19:37,600 Speaker 1: boy Jevin smith Man, Jevin smith he played fifty or 390 00:19:37,640 --> 00:19:42,720 Speaker 1: forty five cent two short e forty that dude man. 391 00:19:42,760 --> 00:19:45,200 Speaker 1: We all been rocking together for like twenty years YouTube 392 00:19:45,520 --> 00:19:48,080 Speaker 1: doing all of the spoofs. But yeah, he's one of 393 00:19:48,119 --> 00:19:51,359 Speaker 1: those guys that transforms also. You know, there's a lot 394 00:19:51,359 --> 00:19:53,200 Speaker 1: of people that do impersonations, but to be able to 395 00:19:53,240 --> 00:19:56,919 Speaker 1: transform your face enough to where it looks like you 396 00:19:57,080 --> 00:20:00,199 Speaker 1: really believe that that's the person, you know, he one 397 00:20:00,240 --> 00:20:00,720 Speaker 1: of them dudes. 398 00:20:00,760 --> 00:20:04,320 Speaker 3: So that one scene when it's a is you playing 399 00:20:04,320 --> 00:20:06,159 Speaker 3: Cornell and Joe Budden at the same time? Is that 400 00:20:06,160 --> 00:20:11,680 Speaker 3: difficult to pull off? So my body double is my security. Carlos, 401 00:20:11,680 --> 00:20:13,520 Speaker 3: this is my god. We just happened to be the 402 00:20:13,520 --> 00:20:15,080 Speaker 3: same size. He's more muscles than me. 403 00:20:15,160 --> 00:20:18,040 Speaker 1: But the for the characters that we were playing, he 404 00:20:18,160 --> 00:20:21,080 Speaker 1: was able to play the Roscoe when I needed him to. 405 00:20:21,520 --> 00:20:24,880 Speaker 1: He was the second Joe Budden when I'm Cornell. So 406 00:20:25,080 --> 00:20:27,200 Speaker 1: it just all blended the right way. 407 00:20:27,720 --> 00:20:30,359 Speaker 3: Were you concerned about portraying Russell because of like the 408 00:20:30,359 --> 00:20:31,560 Speaker 3: controversy surrounding him. 409 00:20:31,600 --> 00:20:33,800 Speaker 1: I wrote it in two thousand and eight, so you 410 00:20:33,840 --> 00:20:35,480 Speaker 1: know what I mean, before all of that stuff happened. 411 00:20:35,600 --> 00:20:38,320 Speaker 1: I just I made the movie about the culture, you 412 00:20:38,320 --> 00:20:40,440 Speaker 1: know what I mean? I was it wasn't a thing 413 00:20:40,520 --> 00:20:45,440 Speaker 1: to emphasize anybody's cases. I don't. I'm not in that world, 414 00:20:45,440 --> 00:20:49,959 Speaker 1: so I don't know. So I just made it funny 415 00:20:50,080 --> 00:20:52,800 Speaker 1: enough and universal enough to where it's about the culture 416 00:20:52,880 --> 00:20:54,520 Speaker 1: and we're just telling a story about hip hop. 417 00:20:54,600 --> 00:20:56,679 Speaker 3: And if you tell a story about hip hop, you 418 00:20:56,800 --> 00:20:58,720 Speaker 3: can't tell it without talking about fact. 419 00:20:58,960 --> 00:21:00,520 Speaker 1: I mean, he can't tell it aout talking about did 420 00:21:00,720 --> 00:21:03,240 Speaker 1: you have to? He contributed? And then we also wanted 421 00:21:03,240 --> 00:21:06,800 Speaker 1: to do characters that we could convincingly portray. You know 422 00:21:06,840 --> 00:21:09,800 Speaker 1: what I'm saying. He's somebody that I've been doing impressions 423 00:21:09,800 --> 00:21:12,360 Speaker 1: of for so long. And then the whole yoga thing, 424 00:21:12,560 --> 00:21:14,840 Speaker 1: like me and my my tidy whities. I just thought 425 00:21:14,880 --> 00:21:17,080 Speaker 1: it was a funny device to use, and then to 426 00:21:17,160 --> 00:21:19,720 Speaker 1: have a narration of him with the lisp the whole 427 00:21:19,720 --> 00:21:21,200 Speaker 1: movie why not. 428 00:21:22,720 --> 00:21:22,880 Speaker 4: Moment? 429 00:21:22,920 --> 00:21:25,000 Speaker 1: Do you think you want to offend the lip list community? 430 00:21:25,960 --> 00:21:29,000 Speaker 1: You mean like yourself? Yes? Did you? Were you sharp? 431 00:21:30,200 --> 00:21:40,520 Speaker 1: Were you offended? Watching the movie? No? Listeners like the 432 00:21:40,600 --> 00:21:49,720 Speaker 1: listeners all over the place protesting he goes to the club, 433 00:21:49,760 --> 00:21:50,760 Speaker 1: He'd be like, am I on the list? 434 00:21:54,320 --> 00:21:54,439 Speaker 5: So? 435 00:21:54,480 --> 00:21:56,440 Speaker 1: Where where where can we find this movie? Off? 436 00:21:56,480 --> 00:21:56,640 Speaker 5: Right? 437 00:21:56,680 --> 00:22:01,200 Speaker 1: AMC No, it's very lim that it's only one hundred 438 00:22:01,200 --> 00:22:03,520 Speaker 1: and fifty nine okay, one hundred fifty nine. Go to 439 00:22:03,600 --> 00:22:06,239 Speaker 1: AMC Theaters dot com search a hip hop story and 440 00:22:06,320 --> 00:22:08,040 Speaker 1: just see where it pops up in your area. It's 441 00:22:08,040 --> 00:22:11,639 Speaker 1: one hundred and fifty nine locations. And uh yeah, the people, 442 00:22:11,960 --> 00:22:15,080 Speaker 1: the people will determine how successful this movie is in theaters, 443 00:22:16,000 --> 00:22:18,639 Speaker 1: and then we'll we'll figure out the streaming deal or 444 00:22:18,680 --> 00:22:20,640 Speaker 1: the streaming platform that we want to go to after that. 445 00:22:20,960 --> 00:22:22,440 Speaker 1: But right now, if you want to enjoy the movie, 446 00:22:22,480 --> 00:22:23,359 Speaker 1: you'll see it this weekend. 447 00:22:23,359 --> 00:22:25,119 Speaker 3: What's considered the success, like, well, you need to like 448 00:22:25,160 --> 00:22:26,879 Speaker 3: make your money back some profit. 449 00:22:27,080 --> 00:22:31,280 Speaker 1: This is a bird going back to the budget situation, 450 00:22:32,119 --> 00:22:38,160 Speaker 1: eighty million, eighty to one hundred million, that'd be fantastic. 451 00:22:38,200 --> 00:22:42,600 Speaker 1: That would be great period. That'd be a big eighty 452 00:22:42,720 --> 00:22:46,440 Speaker 1: million Charlamagne. Bob Marley just did seventy. We love that 453 00:22:46,520 --> 00:22:49,520 Speaker 1: worldwide salute to the Marley film man. For sure. 454 00:22:49,560 --> 00:22:51,560 Speaker 2: I'm about to ask to what you do is sketch 455 00:22:51,560 --> 00:22:54,879 Speaker 2: it so early? Did you get your yea necessary I 456 00:22:54,880 --> 00:22:57,280 Speaker 2: should say profit or check from YouTube because you were 457 00:22:57,320 --> 00:22:58,719 Speaker 2: doing it before it was cool man. 458 00:22:58,800 --> 00:23:00,800 Speaker 1: Yeah, No, I wasn't. I wasn't. They didn't even have 459 00:23:00,800 --> 00:23:02,760 Speaker 1: the partner program when I was doing it, you know 460 00:23:02,800 --> 00:23:04,040 Speaker 1: what I mean, the only thing that I got at 461 00:23:04,040 --> 00:23:06,959 Speaker 1: the time. We would get like some brands that'd be like, hey, man, 462 00:23:07,000 --> 00:23:08,280 Speaker 1: we'll give you a couple of dollars to throw this 463 00:23:08,480 --> 00:23:10,639 Speaker 1: brand in here or whatever. But for the most part, no, 464 00:23:10,760 --> 00:23:14,080 Speaker 1: we just got cloud props. And I learned the social 465 00:23:14,080 --> 00:23:17,800 Speaker 1: media game before a lot of people were on it, 466 00:23:17,840 --> 00:23:20,800 Speaker 1: which is what makes me still relevant to this day 467 00:23:20,920 --> 00:23:22,560 Speaker 1: because I'm not the old head. I was never the 468 00:23:22,600 --> 00:23:24,439 Speaker 1: old head that was like, man, fuck these young niggas, 469 00:23:24,480 --> 00:23:27,280 Speaker 1: fu fuck, just hilarious. She using her phone, that's cheating. 470 00:23:28,000 --> 00:23:31,119 Speaker 1: I embraced it from day one because I if you 471 00:23:31,160 --> 00:23:33,920 Speaker 1: can use any platform, why wouldn't you use it? Why 472 00:23:33,920 --> 00:23:37,320 Speaker 1: would you be that nigga? I always say, like, that's 473 00:23:37,400 --> 00:23:40,960 Speaker 1: as dumb as when they put power windows in cars. 474 00:23:41,160 --> 00:23:43,160 Speaker 1: You the old niggas. I'm man, I need to roll 475 00:23:43,200 --> 00:23:45,640 Speaker 1: that shit down. I don't want to push no buttons. 476 00:23:46,560 --> 00:23:48,879 Speaker 1: I roll shit down. It made me more comfortable with 477 00:23:49,000 --> 00:23:51,119 Speaker 1: how I feel about things. You not a real nigga. 478 00:23:51,160 --> 00:23:54,439 Speaker 1: If you're not rolling it down, you ain't real. Right 479 00:23:54,720 --> 00:23:59,320 Speaker 1: what use every platform and just adjust to the times. 480 00:23:59,359 --> 00:23:59,960 Speaker 1: Old niggas. 481 00:24:00,760 --> 00:24:03,760 Speaker 3: Other than stand up sketches, the hardest comedy to me, though, 482 00:24:03,920 --> 00:24:06,479 Speaker 3: why it. 483 00:24:05,880 --> 00:24:09,960 Speaker 1: Is very good. I don't think miny artis. I don't 484 00:24:09,960 --> 00:24:12,600 Speaker 1: think many people are. In the history of comedy. I 485 00:24:12,640 --> 00:24:14,280 Speaker 1: don't think there's been too many people who are funny 486 00:24:14,320 --> 00:24:17,520 Speaker 1: at sketch where there's a difference between skits and sketches. 487 00:24:17,520 --> 00:24:20,399 Speaker 1: Oh okay, Online is where you see a lot of 488 00:24:20,400 --> 00:24:23,040 Speaker 1: skits and a lot of it is, you know, rehashed. 489 00:24:23,040 --> 00:24:25,600 Speaker 1: People are borrowing from this person that person, and it's 490 00:24:25,640 --> 00:24:28,399 Speaker 1: all good. Like there's nothing new under the sun, so 491 00:24:28,480 --> 00:24:32,000 Speaker 1: somebody's gonna think about the same idea. Right, But long 492 00:24:32,119 --> 00:24:35,719 Speaker 1: form sketch. That's why In Living Color was so impactful. Absolutely, 493 00:24:35,840 --> 00:24:39,560 Speaker 1: That's why Saturday Night Live is an institution. Chappelle Right, 494 00:24:39,680 --> 00:24:43,280 Speaker 1: Chappelle Show, long form listen. Chappelle was so unorthodox with 495 00:24:43,400 --> 00:24:48,880 Speaker 1: sketch he did. He broke the mold right some episodes 496 00:24:48,920 --> 00:24:52,800 Speaker 1: he did traditional sketch three minutes, let's go to commercial break, 497 00:24:52,880 --> 00:24:55,480 Speaker 1: then come back to another whole new sketch. The Rick 498 00:24:55,600 --> 00:24:58,760 Speaker 1: James and the Prince of Charlie Murphy story was the 499 00:24:58,960 --> 00:25:02,199 Speaker 1: entire episode. So he broke the mot He told a 500 00:25:02,320 --> 00:25:05,679 Speaker 1: long form sketch in thirty minutes, and it was funny. 501 00:25:05,760 --> 00:25:07,880 Speaker 1: Every time they came back and it just kept upping 502 00:25:07,960 --> 00:25:11,400 Speaker 1: the ante. So sketch is a whole different art form 503 00:25:11,440 --> 00:25:13,399 Speaker 1: and you have to know how to write. You have 504 00:25:13,480 --> 00:25:16,920 Speaker 1: to understand story, and it takes you to a different level. 505 00:25:17,160 --> 00:25:19,720 Speaker 1: Skits that's that's what people do on the internet, and 506 00:25:19,960 --> 00:25:22,439 Speaker 1: it's great, like it's making them money. But if you 507 00:25:22,480 --> 00:25:24,600 Speaker 1: want to entertain people and be able to hold their 508 00:25:24,640 --> 00:25:29,399 Speaker 1: attention and do a film or long form sketch, you 509 00:25:29,440 --> 00:25:31,080 Speaker 1: have to know how to write. You have to know 510 00:25:31,200 --> 00:25:33,440 Speaker 1: some old school principles. I never thought about the different 511 00:25:33,440 --> 00:25:36,640 Speaker 1: struct that makes Well. 512 00:25:36,560 --> 00:25:38,400 Speaker 3: Why do you think you know early on you didn't 513 00:25:38,400 --> 00:25:41,080 Speaker 3: take off which sketch the way you should have. I think, 514 00:25:41,240 --> 00:25:43,159 Speaker 3: how do you remember I remember Short Circuit back in 515 00:25:43,200 --> 00:25:44,720 Speaker 3: the day that was like what seven? 516 00:25:44,760 --> 00:25:50,840 Speaker 1: That was before? Yeah, I don't know. I think I 517 00:25:50,840 --> 00:25:55,399 Speaker 1: think at some point there were sketch was oversaturated, you 518 00:25:55,480 --> 00:25:57,040 Speaker 1: know what I mean, and networks didn't want to take 519 00:25:57,200 --> 00:25:58,639 Speaker 1: the chance on it. I mean, Fox gave me a 520 00:25:58,720 --> 00:26:00,800 Speaker 1: chance to do it, but they put me with all 521 00:26:00,840 --> 00:26:03,359 Speaker 1: the wrong executives. When I had to explain to them 522 00:26:03,400 --> 00:26:05,399 Speaker 1: who Manny Pacil and Drake were at the time, I 523 00:26:05,440 --> 00:26:09,760 Speaker 1: was just like, Wow, this is the journey that we're on. Nah, 524 00:26:10,280 --> 00:26:11,760 Speaker 1: So you know, it's just the wrong people doing this. 525 00:26:11,840 --> 00:26:14,919 Speaker 1: So that's why I went to YouTube and just started 526 00:26:14,920 --> 00:26:17,159 Speaker 1: doing my own ideas, because it's like, why am I 527 00:26:17,200 --> 00:26:22,600 Speaker 1: waiting around for somebody to give me anything. We've always 528 00:26:22,760 --> 00:26:25,280 Speaker 1: been like, let's just do it, let's just go shoot it. 529 00:26:25,680 --> 00:26:30,920 Speaker 1: So you know, I feel like sketch has gotten me everywhere. 530 00:26:31,520 --> 00:26:33,840 Speaker 1: You know what I mean, how you might judge it 531 00:26:34,080 --> 00:26:36,800 Speaker 1: because you missed the numbers and want to no budgets. 532 00:26:37,240 --> 00:26:38,560 Speaker 1: It might be a different. 533 00:26:41,119 --> 00:26:43,359 Speaker 3: You've always been one of the best doing sketch, But 534 00:26:44,560 --> 00:26:46,520 Speaker 3: that just shows me that, you know, Hollywood don't know 535 00:26:46,520 --> 00:26:48,520 Speaker 3: what the they be talking about. 536 00:26:48,240 --> 00:26:51,960 Speaker 1: All. That's why we do our own independent movies because 537 00:26:52,000 --> 00:26:55,080 Speaker 1: you know, you can't audition for the same casting directors 538 00:26:55,119 --> 00:26:56,720 Speaker 1: all the time because they want to A lot of 539 00:26:56,840 --> 00:26:58,960 Speaker 1: them like to hire their friends and you know it's 540 00:26:59,000 --> 00:27:02,639 Speaker 1: that thing too, But uh, when you show them what 541 00:27:02,760 --> 00:27:06,520 Speaker 1: it is you want to do, it changes the conversation 542 00:27:06,600 --> 00:27:08,440 Speaker 1: for you, you know what I mean. It's the same thing 543 00:27:08,480 --> 00:27:11,560 Speaker 1: that Ryan Cooler Michael b did with fruit Vale Station. 544 00:27:11,680 --> 00:27:14,359 Speaker 1: Like they made a movie about a very serious, real 545 00:27:14,840 --> 00:27:19,040 Speaker 1: life event, but they presented themselves as no, we are 546 00:27:19,080 --> 00:27:21,680 Speaker 1: those guys. We really know how to make these stories 547 00:27:21,920 --> 00:27:24,000 Speaker 1: come to life. And that's what me and Demaine did 548 00:27:24,000 --> 00:27:24,760 Speaker 1: with a hip hop story. 549 00:27:24,800 --> 00:27:26,880 Speaker 3: And you've been building that based online for so long 550 00:27:27,000 --> 00:27:28,840 Speaker 3: that those same people will show up just Friday. 551 00:27:28,920 --> 00:27:32,119 Speaker 1: That's right, man, Come on, say it again, Charlemagne, I 552 00:27:32,119 --> 00:27:33,120 Speaker 1: forgot what I said now. 553 00:27:34,600 --> 00:27:36,800 Speaker 3: People, Yes, you've been building your based online for so 554 00:27:36,880 --> 00:27:38,280 Speaker 3: long that those same people are gonna. 555 00:27:38,080 --> 00:27:40,560 Speaker 1: Show up this Friday. There you go, right, you got 556 00:27:40,560 --> 00:27:41,760 Speaker 1: a real base, yes day. 557 00:27:42,080 --> 00:27:43,879 Speaker 2: The hip Hop Story is out this Friday, and we 558 00:27:43,920 --> 00:27:44,919 Speaker 2: appreciate you for joining us. 559 00:27:44,960 --> 00:27:48,800 Speaker 1: Brother, appreciate are you trying Tomaine for bringing up Dix 560 00:27:50,640 --> 00:27:52,720 Speaker 1: Dix budgets, Dix Budgets. 561 00:27:52,920 --> 00:27:57,000 Speaker 4: It's the Breakfast Club wakes up in the morning, The 562 00:27:57,080 --> 00:27:57,959 Speaker 4: Breakfast Club