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Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora. Ladies and gentlemen,

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Speaker 1: welcome to part two of q LS Classic with the

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Speaker 1: Great Spike Lee. We have so many questions about the

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Speaker 1: illustrious cinematic history. You know, we're just nerves here at

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Speaker 1: Quest Love Supreme. We hope you enjoy part two of

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Speaker 1: our journey with Spike Lee. Let's go.

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Speaker 2: Again another film. The last time I father scored were

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Speaker 2: my films, and he.

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Speaker 3: Was ready and willing to be actually in the film

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Speaker 3: because that was like his first life.

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Speaker 1: Part part of the part of the score. Did I

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Speaker 1: not hear some of those score motifs in later films?

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Speaker 1: The I felt there's one particular score piece.

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Speaker 2: There's one piece of Terrence Blanchet wrote that that we

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Speaker 2: used later to say, it's the thing. It's called song

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Speaker 2: for Soweto I love. Yeah, and that's the one he's

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Speaker 2: playing on the Brooklyn Bridge. Terrence blanche wrote that, Okay,

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Speaker 2: so here's the thing. Note with those scores with the

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Speaker 2: school Day's score, do the right thing, and Branford with

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Speaker 2: school Days do the right thing. Mo better blues in

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Speaker 2: the orchestra. My father scored. You had Terrence Blanchard. I

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Speaker 2: mean you had Terrence so for more better blues. When

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Speaker 2: you hear Wesley, that's Branford. Denzel is Terrence blanche So

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Speaker 2: they were both given the actors. You know, my favorite

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Speaker 2: got to be a musician how to play the instruments.

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Speaker 1: This is one I want to ask you because there's

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Speaker 1: a scene that you do that not many musicians notice.

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Speaker 1: But because I was coming up and starting about the

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Speaker 1: inter college and stuff and like mo, I'll say that

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Speaker 1: it's where even though I don't pick mo Beta Blues

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Speaker 1: as like, okay, that might be my spike leave film

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Speaker 1: of choice. It's just like maybe it chose me. But

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Speaker 1: so there's the scene where Denzel interrupts uh.

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Speaker 2: Yeah.

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Speaker 1: So there's a point you watch if you watch Wesley

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Speaker 1: and it's done and it's even on the soundtrack. It's like,

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Speaker 1: how did you Is it written in the script that okay, uh,

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Speaker 1: Denzel's character is going to interrupt Wesley's sack solo.

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Speaker 2: Yeah, because that desk that's all done the playback, so

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Speaker 2: we had to had to be in the script. So

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Speaker 2: when we recorded it.

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Speaker 1: So at what point did you say exactly five minutes

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Speaker 1: and thirty four seconds, I want you to interrupt.

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Speaker 2: It wasn't exactly, but but the script says he has

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Speaker 2: I mean structurally and for a dramatic Denzel his character

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Speaker 2: but get him has been humiliated. And so these two

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Speaker 2: brothers who are at odds, want to show shadow Henderson's

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Speaker 2: his humanity, his love for his brother. So he's like

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Speaker 2: picking him up, let me save you, saving him.

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Speaker 1: I'm not even talking about the end. I'm talking at

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Speaker 1: the very beginning, the very not even the battle just

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Speaker 1: and that's this thing.

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Speaker 2: It was so much that see what I'm talking about.

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Speaker 1: It was so minuscule at the very beginning, when you're

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Speaker 1: you're egging on Denzel like yo, man, he's so in

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Speaker 1: for thirty six bars, get him, go and get him.

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Speaker 2: And then we worked out in the recording stoo because

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Speaker 2: all this stuff is done, done, done, done, and you

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Speaker 2: know the playback.

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Speaker 1: I realized you were on some next ship because any

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Speaker 1: in lesser hands, I felt like that scene would have

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Speaker 1: been an interrupted scene. I don't know. Just as a musician,

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Speaker 1: I hate watching music, miss.

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Speaker 2: It the same way I hate watching basketball films.

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Speaker 4: Really, yes, even though I want the dog that.

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Speaker 2: Somebody shoots, there's the cut to the basket and the

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Speaker 2: ball goes in.

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Speaker 1: So why were you not allowed to call it a

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Speaker 1: Love Supreme?

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Speaker 2: Oh? Alice Cole tranp uh did not like the profanity

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Speaker 2: and sex in the film in the script, so I said,

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Speaker 2: you let her read it first. Yeah, I mean that,

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Speaker 2: that's she she requested that. But I did care about

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Speaker 2: the title. I just wanted love.

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Speaker 1: Supreme because when doing that period.

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Speaker 2: Because we do. It's funny because every film we had,

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Speaker 2: like we make Jackets, the crew Jackets, the Crew Jackets

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Speaker 2: said Love Supreme.

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Speaker 1: I was gonna say, why do you because like with rappers,

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Speaker 1: we will send the clean version of that song for

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Speaker 1: the sample to get cleared.

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Speaker 2: Yeah, yeah, I cannot do that. The junk cold Tran's

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Speaker 2: wife could not.

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Speaker 1: Yeah, but in the name of art, you know, older

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Speaker 1: people don't.

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Speaker 2: I cannot do that. But I think most In fact,

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Speaker 2: a friend of mine who I went to school with,

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Speaker 2: Patty Hale's, She's one that came up with the title

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Speaker 2: MO Better Wow.

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Speaker 3: By this time, I'm not that I'm adding, but I

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Speaker 3: will say I'm I too. Am a fan of the

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Speaker 3: spike love scenes. So by more Better Blues, the numbers

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Speaker 3: had come up, you know, what I'm saying, like from

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Speaker 3: school days.

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Speaker 2: From junkle Fever, what do you mean numbers?

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Speaker 5: Numbers? Like as many scenes? It was more. It was like, yeah,

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Speaker 5: more sex, more sex.

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Speaker 3: It was Denzel and Senda, and then it was Senda

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Speaker 3: and Wesley and then it.

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Speaker 1: Was the scenes. What's the question?

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Speaker 3: The question is what is your love scene philosophy? I

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Speaker 3: guess I would ask Spike because they are so a

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Speaker 3: party of movies.

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Speaker 2: People think those things sexy, but they are hard to shoot.

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Speaker 2: It's hard, people uncomfortable and.

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Speaker 5: You shot your sister, So what is that like?

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Speaker 1: Yeah, she read the script.

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Speaker 2: Then they read the script and they were cool. I

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Speaker 2: was cool.

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Speaker 6: And so the scene, uh, where she delivers the baby,

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Speaker 6: we had.

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Speaker 2: We went up to Harlem hospital and we knew about

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Speaker 2: the We we we went to the doctor and say

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Speaker 2: when is somebody can be born this day? Hm hmmm.

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Speaker 2: So they can predict, you know. So we we had

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Speaker 2: several people who signed up and uh, we got the call.

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Speaker 2: We rushed to the hospital and filmed the birth.

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Speaker 1: I was going to say this point, you had leverage

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Speaker 1: because you were Spike Lee and.

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Speaker 2: It was a Harlem hospital.

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Speaker 1: I'm just I'm just saying that by that point, I

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Speaker 1: doubt like you got that. I mean, I'm sure you've

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Speaker 1: gotten your share of nose from the Hollywood system.

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Speaker 2: But like, but the whole the hospitals found as long

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Speaker 2: as you get permission from the moms and the family.

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Speaker 1: People film births all the time.

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Speaker 6: So if the people that you know, if they prove it,

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Speaker 6: then they approve of it being used in the film,

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Speaker 6: then what's the problem.

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Speaker 1: But I'm certain that I would get well not I'm

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Speaker 1: sure that your Joe Schmoe filmmaker would get funk out

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Speaker 1: of here. I'm not, you know, as opposed to it's

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Speaker 1: an honor.

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Speaker 2: I met her too, okay one day, said, you know

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Speaker 2: I was in More Better Blues, So yeah, what role

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Speaker 2: you feel it being booked? She was like a teenager.

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Speaker 1: That's crazy. That's where I wanted to see, Like as

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Speaker 1: the VC, this is my.

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Speaker 2: First immortalized forever man.

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Speaker 1: Nothing that film. I didn't expect it to take the

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Speaker 1: turn that it took f the end and every musician.

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Speaker 2: Man, but here's the thing, though, A mirror that doesn't

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Speaker 2: come from music, that comes from sports. So you just

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Speaker 2: what I did, because you know, any athlete. Now let's

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Speaker 2: say let's let's say, most athletes, whatever sport is, they

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Speaker 2: started playing it. They started playing it when they're a

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Speaker 2: little kid.

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Speaker 1: And so.

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Speaker 2: At a certain point, you see, I'm going to try

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Speaker 2: this is what I want to do. So just like musicians, athletes,

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Speaker 2: whatever sport, they spend all their time developing the skill.

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Speaker 2: So what happens I was thought about these athletes who

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Speaker 2: are very young blow out their knee or their armed.

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Speaker 1: I want you to save my life, you.

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Speaker 2: Know, and then they're like, they're like twenty twenty five and.

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Speaker 1: Like and retiring.

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Speaker 2: Yeah, so I just that premise of a career and

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Speaker 2: an injury. I just moved that to music to a

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Speaker 2: trumpet player.

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Speaker 5: That's still one of the hardest things to watch.

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Speaker 1: Yeah, that was a Yeah.

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Speaker 6: That was another movie that I saw it as a kid,

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Speaker 6: but seeing it older, that was when it really guys like.

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Speaker 2: And musicians they turn that yes, yeah, child, they turned

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Speaker 2: no musician like I actually played.

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Speaker 7: They know they know what you know what this time

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Speaker 7: out what I'm jumping in?

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Speaker 8: Uh?

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Speaker 1: Like through middle school, I was like first chair, all

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Speaker 1: State ban all that. Can you be a guest on

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Speaker 1: your own reas? I don't know this, I thought, I

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Speaker 1: tell yeah, yeah you Grammy nominated freaking acting man, you

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Speaker 1: do everything?

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Speaker 5: He missed The Humble Tea Manids.

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Speaker 1: How did you discover Williams audition? Was she Robbie Reid

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Speaker 1: still Robbie Reid cool? So we gotta get right yes,

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Speaker 1: here into the street.

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Speaker 2: Or it's a combination of both. You have to go

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Speaker 2: find new talent or does she have interns that like, no,

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Speaker 2: you go to you go you find new talent. Also

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Speaker 2: people sending her agents are sending her people to the

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Speaker 2: combination of both.

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Speaker 1: Mm hmm.

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Speaker 2: Wow was her first film Williams?

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Speaker 3: I mean fast forward years years later. But were you

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Speaker 3: proud when you kind when you watched the new Additional

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Speaker 3: Story because that was really great?

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Speaker 5: Cast into that she she did.

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Speaker 2: Rob Yeah, did do that.

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Speaker 1: That's right.

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Speaker 2: She's I mean, she's a top executive at BT. No,

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Speaker 2: I mean she's done great. I mean Ruth Carter one

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Speaker 2: of the top costume designers again her class of Hanton

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Speaker 2: two chemical nominations for Malcolm X and Amistad. So Rufe's

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Speaker 2: doing the thing, you know.

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Speaker 1: Speaking of Academy, how did you feel about that? That

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Speaker 1: was a very awkward thing, like thesenger, Oh.

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Speaker 2: I know you're talking about why do you explain it

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Speaker 2: because I remember.

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Speaker 1: Yeah, I remember watching the Academy and it's basically like

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Speaker 1: Kim bassengers just went off script and said that. You know,

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Speaker 1: it was like the very first Oscars a white moment

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Speaker 1: where the the the glaring omission of Do the Right

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Speaker 1: Thing getting nominated for Best Picture, Best Picture, and it

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Speaker 1: made literally everyone.

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Speaker 2: We had two nominations. Danny got one for supporting Supporting

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Speaker 2: Yeah he lost the Denzel Denzel cried right and and screenplay.

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Speaker 1: Yeah. So you know, she just made mentioned that, you know,

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Speaker 1: you know, it's the glaring omission of and I almost

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Speaker 1: feel like even I mean back.

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Speaker 2: Then said said, yeah, she said it like she really

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Speaker 2: went off script and went rogue.

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Speaker 1: But I was just like, m she didn't get black balled.

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Speaker 1: Let me find out. They just not like, yeah, let's

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Speaker 1: script it in just to you know, keep them at

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Speaker 1: bay and to keep them satisfied and not protesting us

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Speaker 1: and whatever. But were you in the art I was there,

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Speaker 1: How did you feel? Were you shocked? I was shocked

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Speaker 1: because you lost the driving His Days that was that

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Speaker 1: the year.

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Speaker 2: Was Driving as motherfucking Day.

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Speaker 1: I like that movie Wait.

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Speaker 2: The best picture of the year that date.

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Speaker 1: Were you was do the Right thing up for the

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Speaker 1: palmdor that year or was that for ju No we

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Speaker 1: lost it to h Was that Jungle Fever?

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Speaker 2: Or no, do the right thing? We lost to uh

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Speaker 2: Sex Lives of the Tape? Wow?

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Speaker 1: So was that that another movie I haven't thought about

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Speaker 1: in thirty exactly? Was that that we was robbed?

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Speaker 6: Here?

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Speaker 1: Damn you damn near the Kanye of your pre Kanye

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Speaker 1: Kanye is a spike of his.

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Speaker 3: No wonder you ain't show up to get that jo

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Speaker 3: on that look look bested up?

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Speaker 1: So with with with Jungle Fever? I know that com

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Speaker 1: Film Festival was so moved by Samuel Jackson's performance. Did

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Speaker 1: they invented best supporting? The category?

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Speaker 2: Just made it up right?

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Speaker 1: So they decided to have supporting categories so that Sam

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Speaker 1: could win. Did he win or no he won?

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Speaker 2: They made up?

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Speaker 1: He better went if they made up.

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Speaker 2: It was all stand I mean, Sam, I mean that

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Speaker 2: that for me. You know people might talk about, uh

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Speaker 2: that turned yeah, but it was really jungle for you.

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Speaker 2: And the Sam has even said to himself, was.

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Speaker 6: He actually still going through fighting his addiction at the time?

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Speaker 2: He was, but he just I was the last one

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Speaker 2: to find out.

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Speaker 1: You didn't know I didn't know.

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Speaker 3: Wow, So how much of that role is scripted? Like

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Speaker 3: I really I kind of want to even go like

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Speaker 3: scene by scene.

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Speaker 5: It's weird. I'm like, how much did he improve at

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Speaker 5: the dance?

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Speaker 1: You know how I do it.

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Speaker 2: Here's the thing though, so again, this is how it

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Speaker 2: buries first film. So while we rehearse in rehearsal process,

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Speaker 2: he's taking hoghly all his former spots.

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Speaker 5: Wow, what she said he taught her how to be

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Speaker 5: a crackhead.

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Speaker 2: Damn he was taking like so that I mean, that's

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Speaker 2: I mean due to the right. Then here's the thing though,

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Speaker 2: I like to say real quick because I know we

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Speaker 2: gotta want to move move ahead. But people, we all

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Speaker 2: know what a misdirection play is in football, right. The

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Speaker 2: misdirection and Jungle Fever was the inter racial relationship between

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Speaker 2: and Wes Annabella Shore and wealthy character. The real story,

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Speaker 2: which a lot of people miss, is the effect of

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Speaker 2: crack on black families. That's what Jungle Fever is about.

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Speaker 1: See, I've always about religion and black family because to.

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Speaker 2: Me that that things, but that that comes with Ozzy

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Speaker 2: and Ruby. But also we also get the whole thing

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Speaker 2: with Marvin gay senr.

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Speaker 6: Right, and mar You know that that comes directly from Yeah,

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Speaker 6: I felt that the that's that's where it.

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Speaker 2: Came from Senior killing his son, Marvin.

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Speaker 1: Gay, because I felt like that was the father. Maybe

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Speaker 1: the son was the crack story and the Holy Ghost

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Speaker 1: was the interracial relationship as far as like subplot lines whatever.

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Speaker 1: But dude, no scene has ever scared the ship out

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Speaker 1: me more than Charlie Murphy. He was how.

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Speaker 2: Yes, No, that was that was the old ballroom. I

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Speaker 2: think of Abostinian Ballroom, which which is in it was just.

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Speaker 1: In decay.

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Speaker 2: But what I do is there great songs. Why just

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Speaker 2: make a mental checklist, And I said, one day I'm

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Speaker 2: going to use I just gotta find the right scene.

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Speaker 9: But motherfucker, I'm gonna use that.

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Speaker 1: Yeah.

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Speaker 3: And the way it matched up with the lyrics and and.

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Speaker 1: The touch of I don't know if it was maybe

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Speaker 1: on television at the time, but when I seen it

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Speaker 1: as he got closer to the crackhouse, there was more

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Speaker 1: of like a green tint of I don't don't know

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Speaker 1: if you guys used to filter or not, or what.

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Speaker 2: Kind of TV do you sody? Why would the TV?

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Speaker 1: I how many extras was that? How many extras.

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Speaker 2: Had a thousand. We wanted we wanted that to be

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Speaker 2: like that famous scene from God with the Wind where

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Speaker 2: they all the Confederate soldiers are like on the ground

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Speaker 2: and injured.

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Speaker 1: Did you have to pay them all?

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Speaker 2: Yes? At the point did the sack rules up a

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Speaker 2: certain point that to be SAG members. After that we

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Speaker 2: said number then you just they don't have to be.

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Speaker 5: Sacked non unions like me, I take that dollars.

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Speaker 2: Really, but that that that that and then the thing.

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Speaker 2: It's a great scene. But then at the Wesley Leaves

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Speaker 2: where the whole when when divin the crack coat golsness

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Speaker 2: pocket goes and makes some pockets and sees it here

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Speaker 2: he's been holding on crack like I mean here sucking

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Speaker 2: dicks for you, and I mean like and she was

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Speaker 2: she was, yes, she was smacking this ship out of us.

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Speaker 3: Then she came around and then she was like, now

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Speaker 3: smoked this ship because she's seen that he was in.

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Speaker 2: Yeah, I mean that's that's one.

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Speaker 1: I mean, how take how many hours was it? That

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Speaker 1: was one day?

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Speaker 2: That whole scene an entire day in there?

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Speaker 1: Damn?

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Speaker 5: When did you know that?

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Speaker 3: Like Ruby d and Ozzie Davis just believed in what

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Speaker 3: you were going to do.

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Speaker 5: That's an amazing accomplished.

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Speaker 2: My father had done this thing called I Forgot the play,

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Speaker 2: but he did the music for it, and they were

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Speaker 2: in it. So I've always known them and loved their work.

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Speaker 2: And uh just I've been blessed to work with Ruby

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Speaker 2: d I mean with first, as you mentioned before school days,

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Speaker 2: co Oldham didn't do the right thing, the mayor Ruby

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Speaker 2: mother's sister. Then you got them playing together, husband and

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Speaker 2: wife and jungle fever. Then uh, Ozzie getting and get on.

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Speaker 1: The bus, get on the bus.

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Speaker 2: But then we brought his people. And remember, don't forget this.

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Speaker 2: We bought Ozzie back. Did we do.

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Speaker 1: Malcolm eulogy?

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Speaker 2: He back and Steard? We do that? So giants, giants.

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Speaker 1: By that point, Uh, Spike Lee, the media star, I

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Speaker 1: mean you were constantly on Nightline. Uh seen you on

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Speaker 1: Phil Donahue, Seeing you on I mean you were like,

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Speaker 1: you know, well the point where you're like the the

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Speaker 1: black spokesperson or the angry militant black spokesperson. And I

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00:20:00,359 --> 00:20:03,399
Speaker 1: remember doing your Donna Hue appearances that you were, you know,

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00:20:03,480 --> 00:20:06,639
Speaker 1: a little myth that you were being asked like where

348
00:20:06,680 --> 00:20:09,280
Speaker 1: the drugs like, how come you haven't dealt with the

349
00:20:09,320 --> 00:20:11,879
Speaker 1: crack epidemic? Kettering where you know? How come there was

350
00:20:11,920 --> 00:20:13,680
Speaker 1: no crack? And do the right Wall Street?

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Speaker 2: I mean we that was a big criticism of do

352
00:20:15,920 --> 00:20:20,200
Speaker 2: the right thing, that the streets were clean, that that

353
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Speaker 2: that there was no crack and stuff like that.

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Speaker 1: But that was.

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Speaker 2: A conscious decision. That was another film, which was was

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Speaker 2: Jungle Fever. But I mean, I mean I made the

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Speaker 2: comment because Wall Street. You know those marvels, right, I

358
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Speaker 2: mean there was no any I mean any of that

359
00:20:42,920 --> 00:20:43,520
Speaker 2: stuff in there.

360
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Speaker 1: But did you feel the pressure at that point like Okay,

361
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Speaker 1: I gotta I gotta do a crack movie now, or

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Speaker 1: you know.

363
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Speaker 2: No, it wasn't the pressure. It was just seeing the

364
00:20:53,440 --> 00:20:56,760
Speaker 2: devastation of a crack. I mean, we're still dealing with

365
00:20:56,840 --> 00:21:01,919
Speaker 2: crack because we had a generation of people who are

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Speaker 2: beautiful Black people grew up without parents in the homes

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Speaker 2: and mothers.

368
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Speaker 1: They killed the moms. Like every other drug was kind

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Speaker 1: of like social whatever.

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00:21:12,920 --> 00:21:16,280
Speaker 2: Took people's soul. I mean, we always had drugs, be hairmal.

371
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Speaker 1: Stuff like that.

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Speaker 2: But crack. This thing was was a devilish.

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Speaker 1: The infamous uh Sister Girls scene, I forgot what you

374
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Speaker 1: called it.

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Speaker 6: Yeah, I forgot what you're going one day, I'm going

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Speaker 6: back to the vaults.

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Speaker 5: I want to see the full what do.

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Speaker 1: You call it in the film? Don't go in there

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00:21:38,200 --> 00:21:41,239
Speaker 1: there because that's the you had a special title for it.

380
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Speaker 1: Told them don't go in there because they're having.

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Speaker 2: A Yeah you did.

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Speaker 1: I forget the title. But was that.

383
00:21:48,280 --> 00:21:51,800
Speaker 2: No, that was not around it.

384
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Speaker 1: You just let the cameras run, talk about all your

385
00:21:54,720 --> 00:21:56,119
Speaker 1: all the bags when you ever had your life with

386
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Speaker 1: black men?

387
00:22:00,720 --> 00:22:05,479
Speaker 6: So basically it was it was a day on Twitter.

388
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Speaker 3: Wait so then that was there each their individual real experiences. Yes, wow,

389
00:22:10,520 --> 00:22:12,480
Speaker 3: so Teresa when Theresa was like.

390
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Speaker 5: How data mall? And you know, oh.

391
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Speaker 2: My god, that could have been a movie alone we

392
00:22:19,320 --> 00:22:22,399
Speaker 2: have that was the the least that for two hours.

393
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Speaker 1: Wow. I have to okay, I have to play Devil's

394
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Speaker 1: advocate because I know that there's been criticism of your

395
00:22:31,000 --> 00:22:35,760
Speaker 1: representation of women and how the scripted, which I was

396
00:22:35,800 --> 00:22:38,520
Speaker 1: asking like, well, damn, that seemed pretty realistic. But they

397
00:22:38,520 --> 00:22:46,000
Speaker 1: were so how especially with Phillis yvon Stickney, who always

398
00:22:46,000 --> 00:22:52,320
Speaker 1: felt was so underutilized. At no point did you think like, okay,

399
00:22:52,359 --> 00:22:55,000
Speaker 1: I have to give her a piece so that she can.

400
00:22:55,600 --> 00:22:58,320
Speaker 2: No, I saw Phyllis her One man Shows, I mean

401
00:22:58,359 --> 00:23:01,119
Speaker 2: one woman shows. She's a she's a great talent, so

402
00:23:01,160 --> 00:23:03,800
Speaker 2: that's why I put her down, right.

403
00:23:03,680 --> 00:23:07,639
Speaker 1: But I felt like, especially she stole that scene like

404
00:23:08,840 --> 00:23:11,320
Speaker 1: she's going to have a movie by herself and you

405
00:23:11,359 --> 00:23:15,800
Speaker 1: know it, but it never happened. Is it hard to

406
00:23:15,920 --> 00:23:20,439
Speaker 1: really write for for? Is it hard for you to

407
00:23:20,480 --> 00:23:21,320
Speaker 1: write for women?

408
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Speaker 2: And I think it really depends on that.

409
00:23:25,200 --> 00:23:30,160
Speaker 1: Are you concerned with their development as much as your

410
00:23:30,240 --> 00:23:31,159
Speaker 1: your male characters?

411
00:23:31,240 --> 00:23:31,359
Speaker 5: Oh?

412
00:23:31,440 --> 00:23:33,320
Speaker 2: Yes, I think I think I got a lot much

413
00:23:33,320 --> 00:23:34,600
Speaker 2: better than once I got married.

414
00:23:36,280 --> 00:23:38,200
Speaker 5: When when she hated me? Was that post marriage?

415
00:23:39,119 --> 00:23:40,640
Speaker 2: That was pre marriage?

416
00:23:40,960 --> 00:23:43,440
Speaker 5: Okay, Okay, you're right, you're right, you're right, you're right.

417
00:23:45,160 --> 00:23:50,520
Speaker 2: You you can definitely look where I got married as

418
00:23:50,680 --> 00:23:55,280
Speaker 2: us before and after, and so I would definitely say

419
00:23:55,320 --> 00:23:58,320
Speaker 2: that my woman, my betrayals of women more fuller and

420
00:23:58,400 --> 00:23:59,879
Speaker 2: more layered after I got married.

421
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Speaker 1: Damn girl, how long was Malcolm X in your pocket

422
00:24:03,920 --> 00:24:07,920
Speaker 1: before you finally felt the need to unleash it as

423
00:24:07,920 --> 00:24:10,399
Speaker 1: far as the script was concerned, and you wanting to

424
00:24:10,400 --> 00:24:13,439
Speaker 1: because I can imagine that you had Malcolm X in

425
00:24:13,480 --> 00:24:13,960
Speaker 1: your pocket.

426
00:24:14,480 --> 00:24:16,840
Speaker 2: No, it wasn't that that wasn't the case at all. Uh.

427
00:24:17,280 --> 00:24:20,800
Speaker 2: The late producer of Marvel Worker bought the rights to

428
00:24:20,920 --> 00:24:26,680
Speaker 2: the book from the late great Alex Haley and the

429
00:24:26,760 --> 00:24:28,440
Speaker 2: late great doctor Betty Shabbaz.

430
00:24:28,840 --> 00:24:31,560
Speaker 1: Was it instantly yours or you had to know.

431
00:24:31,600 --> 00:24:33,399
Speaker 2: He's been trying to make that film for twenty years

432
00:24:33,480 --> 00:24:37,920
Speaker 2: sh And so finally it was announced that Norman Jewison

433
00:24:38,040 --> 00:24:41,080
Speaker 2: was going to direct the film with Denzel and I

434
00:24:41,200 --> 00:24:46,280
Speaker 2: started saying the press, hell no, and then the Marvel

435
00:24:46,280 --> 00:24:49,399
Speaker 2: worf got in touching me and said, Spike stopped, stopped

436
00:24:49,440 --> 00:24:51,879
Speaker 2: speaking the press, and I'm going to arrange a meeting

437
00:24:51,920 --> 00:24:57,040
Speaker 2: between you and Norman Jewison. Very fine directed work, yeah,

438
00:24:57,920 --> 00:25:03,400
Speaker 2: and heated a night with ste Poitier, and I explained

439
00:25:03,400 --> 00:25:05,639
Speaker 2: to Norman Jewis and why I think that I was

440
00:25:05,640 --> 00:25:08,879
Speaker 2: the right director for the film, And to his credit,

441
00:25:09,320 --> 00:25:12,879
Speaker 2: he gracely bowed out because he had the gig. He

442
00:25:13,040 --> 00:25:18,439
Speaker 2: had the gig, He had the gig Denzel or Denzel

443
00:25:18,520 --> 00:25:21,360
Speaker 2: was going to play Malcolm X, so that that thing

444
00:25:21,440 --> 00:25:24,840
Speaker 2: was together before me. Denzel Will played Malcolm X and

445
00:25:24,840 --> 00:25:27,240
Speaker 2: Norma Jewis and direct the film was.

446
00:25:27,200 --> 00:25:30,280
Speaker 1: The final product your vision?

447
00:25:31,640 --> 00:25:33,119
Speaker 2: Yes, that's why three hours?

448
00:25:33,240 --> 00:25:34,800
Speaker 1: Was there any scene that You're like.

449
00:25:35,480 --> 00:25:38,280
Speaker 2: Damn if we could just only No, it was it

450
00:25:38,400 --> 00:25:39,880
Speaker 2: was three hours convening long.

451
00:25:41,240 --> 00:25:41,679
Speaker 1: I mean.

452
00:25:45,000 --> 00:25:49,520
Speaker 2: We I always saw this film as an epic film.

453
00:25:50,760 --> 00:25:52,840
Speaker 2: I mean Ernest Dickerson and I. He was very we

454
00:25:52,840 --> 00:25:56,520
Speaker 2: were very lucky that somehow there was a restoration of

455
00:25:56,760 --> 00:25:58,919
Speaker 2: lawnser Ray. But right when you were in preproduction at

456
00:25:58,920 --> 00:26:02,480
Speaker 2: the Zigfield and we said, that's the shit we gotta do.

457
00:26:03,480 --> 00:26:08,399
Speaker 2: So we wanted to tell the autobiography his life and

458
00:26:08,440 --> 00:26:10,280
Speaker 2: not just pick us a certain dis and that. No,

459
00:26:10,320 --> 00:26:15,000
Speaker 2: we want to show the evolution of man, Malcolm Little Detroit, Red,

460
00:26:15,600 --> 00:26:20,280
Speaker 2: Malcolm x Elhaa, you know, to show the whole evolution

461
00:26:20,400 --> 00:26:25,200
Speaker 2: of many. And you can't show his transformations from this

462
00:26:25,240 --> 00:26:28,239
Speaker 2: person for that person in a two hour film. And

463
00:26:28,320 --> 00:26:32,360
Speaker 2: so trouble began from the very beginning because we never

464
00:26:32,440 --> 00:26:35,800
Speaker 2: had the correct budget, enough budget for the shoot.

465
00:26:35,800 --> 00:26:37,439
Speaker 1: That film was the initial budget.

466
00:26:38,440 --> 00:26:39,280
Speaker 2: It wasn't enough.

467
00:26:39,400 --> 00:26:44,680
Speaker 1: I forgot, Okay, were you given rat budgets? In other words?

468
00:26:45,040 --> 00:26:46,000
Speaker 2: Uh uh?

469
00:26:47,720 --> 00:26:52,320
Speaker 1: Cypress Hill's first album sixty one thousand. Meanwhile, Metallica's Black

470
00:26:52,359 --> 00:26:56,560
Speaker 1: Album was four million. Double standard.

471
00:26:56,600 --> 00:27:00,240
Speaker 2: No, it wasn't a double standard, just wasn't enough due

472
00:27:00,280 --> 00:27:04,560
Speaker 2: to epic film we wanted to do, and also Warner

473
00:27:04,640 --> 00:27:06,879
Speaker 2: Brothers did not want the film to be that length

474
00:27:06,960 --> 00:27:12,160
Speaker 2: because three hours, that's one less screening in the theater.

475
00:27:13,200 --> 00:27:17,360
Speaker 2: Funny story, not funny, but the first time we screened

476
00:27:17,359 --> 00:27:22,040
Speaker 2: the film for the two heads of Warner Brothers co chairman,

477
00:27:22,080 --> 00:27:28,040
Speaker 2: it was Bob Daily and I keep forgetting the other

478
00:27:28,080 --> 00:27:33,840
Speaker 2: guy's name. Anyway, the first time they saw the film

479
00:27:34,200 --> 00:27:35,399
Speaker 2: was the day of the La.

480
00:27:35,359 --> 00:27:37,399
Speaker 1: Riots show.

481
00:27:38,520 --> 00:27:43,560
Speaker 2: Wow, and to their credit, they both stayed. And that

482
00:27:43,640 --> 00:27:47,320
Speaker 2: was a four hour cut. But the secretaries would come

483
00:27:47,400 --> 00:27:49,560
Speaker 2: in and throughout the whole thing, or notices and stuff

484
00:27:49,600 --> 00:27:53,879
Speaker 2: like that. So it's ironic that the first time we

485
00:27:54,040 --> 00:27:57,440
Speaker 2: showed the film, the Warner Brothers La was up in flames.

486
00:27:57,600 --> 00:28:00,399
Speaker 1: Damn, do you remember any of the celebrity these that

487
00:28:01,160 --> 00:28:01,920
Speaker 1: didn't help.

488
00:28:04,480 --> 00:28:09,320
Speaker 2: No, here's a thing, let me get the story. So

489
00:28:11,160 --> 00:28:14,760
Speaker 2: I will not cut the So Warner Brothers wants the

490
00:28:14,760 --> 00:28:18,280
Speaker 2: film to be two hours. I said, look, it can't

491
00:28:18,280 --> 00:28:21,399
Speaker 2: be two hours. And so I know that all the

492
00:28:21,560 --> 00:28:27,040
Speaker 2: Stone is getting ready to finish. JFK preproduction and water

493
00:28:27,040 --> 00:28:31,119
Speaker 2: brought us film. So I say, how long is JEFFK?

494
00:28:31,359 --> 00:28:32,639
Speaker 2: They say it's two hours.

495
00:28:33,960 --> 00:28:42,920
Speaker 9: They're knowing I knew al the stone, I think, yo, alva,

496
00:28:43,320 --> 00:28:44,280
Speaker 9: how long is the okay?

497
00:28:44,360 --> 00:28:50,800
Speaker 2: The spikes? Three hours? Don't tell us mother etn cursed,

498
00:28:50,960 --> 00:28:53,800
Speaker 2: he said, don't tell me my I said, so, so wait

499
00:28:53,800 --> 00:28:56,640
Speaker 2: a minute, jaff case me three hours and we can't

500
00:28:56,640 --> 00:28:59,640
Speaker 2: be three hours. I wouldn't. I wouldn't cut the film.

501
00:29:00,640 --> 00:29:03,560
Speaker 2: So Warner Brothers let the Bond Company take over the film.

502
00:29:04,240 --> 00:29:04,920
Speaker 1: Oh no.

503
00:29:05,200 --> 00:29:10,040
Speaker 2: And so then all the people post production got a

504
00:29:12,880 --> 00:29:19,800
Speaker 2: letter saying you're no longer. You're fired. So we had

505
00:29:19,800 --> 00:29:22,160
Speaker 2: no money and I got paid one million dollars for

506
00:29:22,240 --> 00:29:25,040
Speaker 2: Malcolm X. I put that money into the budget right

507
00:29:26,000 --> 00:29:30,240
Speaker 2: towards the film. And so in the eight nine months

508
00:29:30,280 --> 00:29:36,000
Speaker 2: in pre production for Malcolm X, this these I kept

509
00:29:36,200 --> 00:29:40,600
Speaker 2: thinking about what Malcolm talked about, self reliance, self determination,

510
00:29:41,680 --> 00:29:45,680
Speaker 2: self religned, self determination, and I kept thinking about that.

511
00:29:46,400 --> 00:29:49,440
Speaker 2: Then it hit me like a motherfucker tongue of bricks.

512
00:29:50,360 --> 00:29:54,200
Speaker 2: I got people I could call. I got the number.

513
00:29:57,000 --> 00:30:01,440
Speaker 2: And here's the tricky thing. It it It couldn't. It

514
00:30:01,480 --> 00:30:04,440
Speaker 2: was not gonna be a investment in the film. It

515
00:30:04,440 --> 00:30:07,000
Speaker 2: cannot be a tax break. It just had to be

516
00:30:07,600 --> 00:30:08,120
Speaker 2: a gift.

517
00:30:08,800 --> 00:30:09,160
Speaker 1: Mm hmm.

518
00:30:09,800 --> 00:30:14,240
Speaker 2: The first call was Bill Cosby, so called Bill was

519
00:30:14,360 --> 00:30:18,080
Speaker 2: up and he said, what do you want to spike?

520
00:30:18,800 --> 00:30:23,200
Speaker 2: I told him he knew, so he said, I'll put

521
00:30:23,240 --> 00:30:26,000
Speaker 2: the check in. I said, no, no, no, I'm coming now.

522
00:30:27,000 --> 00:30:28,160
Speaker 2: So I jumped on the subway.

523
00:30:28,800 --> 00:30:29,160
Speaker 1: Mm hmm.

524
00:30:30,640 --> 00:30:33,200
Speaker 2: Just where you live up east.

525
00:30:33,000 --> 00:30:34,960
Speaker 1: Side, you went to him.

526
00:30:35,240 --> 00:30:38,400
Speaker 2: Yeah, So I got on the subway.

527
00:30:40,480 --> 00:30:42,120
Speaker 1: He was like, I don't believe you. I'm gonna get it.

528
00:30:44,240 --> 00:30:46,480
Speaker 2: He opened the door, had the check. I snatched the

529
00:30:46,600 --> 00:30:49,240
Speaker 2: check and even come in the house and it ran

530
00:30:49,320 --> 00:30:58,480
Speaker 2: to the bank before ran the bank before you could

531
00:30:58,520 --> 00:31:04,960
Speaker 2: cancel that ships. So we had Janet Jackson.

532
00:31:06,080 --> 00:31:08,239
Speaker 1: Did you have a relationship with her like that you

533
00:31:08,280 --> 00:31:09,080
Speaker 1: could ask her?

534
00:31:09,280 --> 00:31:11,360
Speaker 2: I had a number, you know.

535
00:31:11,600 --> 00:31:13,320
Speaker 1: She just said the strangers for a million?

536
00:31:15,080 --> 00:31:22,080
Speaker 2: So Janet Prince, Tracy Chapman, Wow, ms Oprah Winfrey. There's

537
00:31:22,120 --> 00:31:26,360
Speaker 2: a woman, an African American woman whose entrepreneur name is

538
00:31:26,400 --> 00:31:29,520
Speaker 2: Pegga Cooper k for it's from DC. So there's two

539
00:31:29,560 --> 00:31:35,040
Speaker 2: more people on my list, Magic Johnson. Now one more

540
00:31:35,040 --> 00:31:40,360
Speaker 2: person my list, Michael m hm. So the only thing

541
00:31:40,440 --> 00:31:44,000
Speaker 2: that people said, please do not discount, Please do not,

542
00:31:44,520 --> 00:31:48,800
Speaker 2: you know, disclose how much? So I said, my mother's grave.

543
00:31:49,400 --> 00:31:52,360
Speaker 2: No one's ever gonna know. So I called my last

544
00:31:52,400 --> 00:31:58,160
Speaker 2: call my main man money. So Michael Jordan is very

545
00:31:58,320 --> 00:31:59,280
Speaker 2: very competitive.

546
00:32:00,600 --> 00:32:02,680
Speaker 1: Oh wow, you want to know how much everybody else get?

547
00:32:02,800 --> 00:32:07,880
Speaker 2: You know, I just mentioned the range of what Magic gave.

548
00:32:15,280 --> 00:32:16,120
Speaker 1: He wanted to make it rain.

549
00:32:18,680 --> 00:32:25,560
Speaker 7: He said, fuck that you're getting this. So that money

550
00:32:26,560 --> 00:32:31,120
Speaker 7: enabled me to rehire Oh yeah, that's dope my people.

551
00:32:31,640 --> 00:32:34,360
Speaker 2: And we kept it quiet so there was no interaction

552
00:32:34,400 --> 00:32:38,280
Speaker 2: between myself and it's still for months. And on Malcolm

553
00:32:38,360 --> 00:32:41,760
Speaker 2: Ex's birthday, May nineteenth, we had a press conference at

554
00:32:41,800 --> 00:32:44,880
Speaker 2: the Schomberg Library one hundred and thirty fifth Street in Lennox,

555
00:32:45,280 --> 00:32:48,760
Speaker 2: where we had a press conference announced the names these

556
00:32:48,800 --> 00:32:53,240
Speaker 2: prominent African Americans who came through out of goodness their heart,

557
00:32:53,880 --> 00:32:57,600
Speaker 2: so the vision so the world can see our vision

558
00:32:57,680 --> 00:33:00,480
Speaker 2: of Malcolm X. And the next day, you know happened.

559
00:33:01,040 --> 00:33:05,840
Speaker 2: Warner Brother started putting back on the payroll man true story.

560
00:33:06,040 --> 00:33:08,080
Speaker 2: So how long?

561
00:33:08,320 --> 00:33:11,600
Speaker 1: Okay? Can I ask you who's who was the hardest pitch?

562
00:33:12,160 --> 00:33:14,560
Speaker 1: Because it's weird because like I have a hard time

563
00:33:14,640 --> 00:33:19,520
Speaker 1: getting people to come to my DJ gigs. It's like

564
00:33:19,720 --> 00:33:23,840
Speaker 1: as a virtual stranger. I mean, I have a hard

565
00:33:23,880 --> 00:33:29,959
Speaker 1: time getting people to do this show. So it's like,

566
00:33:30,360 --> 00:33:33,360
Speaker 1: how's your pitch? Is it lengthy or is it just

567
00:33:33,400 --> 00:33:35,320
Speaker 1: like black people education?

568
00:33:36,200 --> 00:33:40,000
Speaker 2: It's like it's nation time. Wow, It's Nation time.

569
00:33:40,120 --> 00:33:41,720
Speaker 5: And nobody was scared. Did their name?

570
00:33:43,320 --> 00:33:44,960
Speaker 1: Was this your first conversation with Prince?

571
00:33:45,000 --> 00:33:45,040
Speaker 10: Like?

572
00:33:45,040 --> 00:33:48,120
Speaker 1: Who was your first? Like? Did you have That's what

573
00:33:48,200 --> 00:33:48,480
Speaker 1: I'm saying.

574
00:33:48,520 --> 00:33:51,640
Speaker 2: As knew everybody, not like friends, but I knew enough

575
00:33:51,680 --> 00:33:55,120
Speaker 2: that I had that number. And it wasn't like, look,

576
00:33:55,120 --> 00:33:55,880
Speaker 2: here's the story.

577
00:33:56,040 --> 00:33:58,760
Speaker 1: How'd you even get to Prince to be like, yo,

578
00:33:58,920 --> 00:34:02,640
Speaker 1: I gotta ask him because he's kind of elusive.

579
00:34:03,960 --> 00:34:06,400
Speaker 2: I don't remember, but I got his check, I talked,

580
00:34:07,440 --> 00:34:11,680
Speaker 2: I told everybody people because it had been the pressed though,

581
00:34:12,160 --> 00:34:14,319
Speaker 2: I mean it was in the press. This, I mean,

582
00:34:14,360 --> 00:34:17,320
Speaker 2: the whole thing of Malcolm X was huge, the whole baking,

583
00:34:17,360 --> 00:34:18,120
Speaker 2: all this stuff.

584
00:34:17,960 --> 00:34:20,800
Speaker 1: And at that point by that point too.

585
00:34:21,000 --> 00:34:23,600
Speaker 2: You know, so it was known. And then the fact

586
00:34:23,640 --> 00:34:27,440
Speaker 2: that there was known, that that that that they pulled

587
00:34:27,440 --> 00:34:32,320
Speaker 2: the plug on the money, and so people people understood

588
00:34:32,280 --> 00:34:35,839
Speaker 2: what was at stake and they would just say how

589
00:34:35,920 --> 00:34:38,200
Speaker 2: much you need? And so here's the thing, though, so

590
00:34:39,320 --> 00:34:42,279
Speaker 2: I have a list. Everybody asked in the list came through,

591
00:34:43,920 --> 00:34:47,600
Speaker 2: but every time one said no one said no, how

592
00:34:47,600 --> 00:34:49,000
Speaker 2: can you even go to the other Michael.

593
00:34:49,120 --> 00:34:57,920
Speaker 1: That's about that matter of fact, the two other Michaels.

594
00:34:56,200 --> 00:34:59,440
Speaker 2: Who both were Muslim at some point, because at a

595
00:34:59,480 --> 00:35:03,960
Speaker 2: point I had my money. Okay, so you didn't want

596
00:35:03,960 --> 00:35:05,839
Speaker 2: to go over just no, no, I just I didn't

597
00:35:05,840 --> 00:35:06,520
Speaker 2: want to be greedy.

598
00:35:06,880 --> 00:35:09,960
Speaker 1: And you knew that you needed nine million more.

599
00:35:10,160 --> 00:35:11,880
Speaker 2: That wasn't a million. There was at nine million, But

600
00:35:11,880 --> 00:35:13,960
Speaker 2: I just knew what I needed. So every time I

601
00:35:14,000 --> 00:35:16,360
Speaker 2: would asked, I would go up and get more confidence,

602
00:35:16,440 --> 00:35:20,120
Speaker 2: getting pepping my step. So it's like a scale. Every

603
00:35:20,120 --> 00:35:21,480
Speaker 2: next call, I'm asking for more?

604
00:35:21,520 --> 00:35:22,239
Speaker 5: Are you hitting your chest?

605
00:35:24,760 --> 00:35:27,800
Speaker 2: Like self determination, self alliance? And these prida black people

606
00:35:27,880 --> 00:35:31,840
Speaker 2: came together and gave us the money to make the

607
00:35:31,880 --> 00:35:33,160
Speaker 2: feeling way he wanted to make it.

608
00:35:33,320 --> 00:35:36,080
Speaker 1: So Tracy Chapman wasn't like, Okay, well maybe I'll need

609
00:35:36,160 --> 00:35:38,920
Speaker 1: two videos like no one.

610
00:35:39,239 --> 00:35:41,759
Speaker 2: No, it was all love. It's all love. It had

611
00:35:41,760 --> 00:35:44,200
Speaker 2: nothing to do with me. It's about Malcolm X. It

612
00:35:44,280 --> 00:35:44,960
Speaker 2: was about Malcolm.

613
00:35:45,640 --> 00:35:47,360
Speaker 1: Even more importantly, how did you get them all in

614
00:35:47,360 --> 00:35:49,280
Speaker 1: the room at the same time to shoot that last

615
00:35:49,320 --> 00:35:51,279
Speaker 1: the credit scene where they're.

616
00:35:51,000 --> 00:35:53,960
Speaker 2: All they weren't the same room. You just made it

617
00:35:54,360 --> 00:35:57,239
Speaker 2: seem no, we we just where we could find them

618
00:35:57,520 --> 00:35:58,920
Speaker 2: put on the.

619
00:35:59,480 --> 00:36:01,000
Speaker 5: Wait is that a X men? And I swear I

620
00:36:01,040 --> 00:36:03,280
Speaker 5: didn't know past that and credits.

621
00:36:03,440 --> 00:36:06,800
Speaker 1: It just looks like when revolution explained by arrested development.

622
00:36:07,160 --> 00:36:12,320
Speaker 2: Who's where to have Ganet, Michael and Magic are together?

623
00:36:13,280 --> 00:36:16,080
Speaker 1: Right? Okay? The way you cut it, though, I just

624
00:36:16,160 --> 00:36:17,960
Speaker 1: thought everybody was in the room at the same time.

625
00:36:18,080 --> 00:36:20,640
Speaker 1: I was more impressed with that. I'm like, it was different.

626
00:36:20,680 --> 00:36:23,320
Speaker 1: This prince got a Malcolm X, this crib or something.

627
00:36:23,719 --> 00:36:25,279
Speaker 1: Did you give him a baseball gap just in case

628
00:36:25,320 --> 00:36:26,879
Speaker 1: he wanted one? Prince? That's where I at.

629
00:36:32,800 --> 00:36:37,479
Speaker 2: But that was that was the main because I don't

630
00:36:37,480 --> 00:36:38,120
Speaker 2: know what it's gonna do.

631
00:36:38,440 --> 00:36:40,479
Speaker 1: How did you pull off the mega sine?

632
00:36:41,440 --> 00:36:45,040
Speaker 2: We were the first, yes, we were the first people

633
00:36:45,239 --> 00:36:49,440
Speaker 2: ever allowed to bring a thirty five millimeters camera in

634
00:36:49,520 --> 00:36:52,640
Speaker 2: the Holy City of Mecca during Hajj, and so we

635
00:36:52,760 --> 00:36:54,640
Speaker 2: just had to hire a Muslim crew.

636
00:36:55,080 --> 00:36:57,400
Speaker 5: Why why why would they they say they let you

637
00:36:57,480 --> 00:36:57,719
Speaker 5: do it.

638
00:36:59,280 --> 00:37:02,120
Speaker 2: They respect my welcome mix as a Muslim.

639
00:37:02,640 --> 00:37:06,360
Speaker 1: And again, who's pitching them? I don't know. It's just

640
00:37:06,680 --> 00:37:08,799
Speaker 1: the then of miracles.

641
00:37:09,080 --> 00:37:13,279
Speaker 2: One of the social producers of Fernando Sultan. Somehow he

642
00:37:13,480 --> 00:37:16,520
Speaker 2: talked the High Islamic Court into grant this permission to shoot.

643
00:37:16,800 --> 00:37:19,479
Speaker 1: Was the resistance or is there a sex in the film?

644
00:37:19,640 --> 00:37:19,920
Speaker 1: Is there?

645
00:37:21,239 --> 00:37:22,879
Speaker 2: We had to send describe mean, look, I'm not gonna

646
00:37:23,040 --> 00:37:29,759
Speaker 2: mess around with the High Islamic Court. So thank thank

647
00:37:29,840 --> 00:37:32,520
Speaker 2: Allah they gave us permission to shoot it because you

648
00:37:32,640 --> 00:37:35,520
Speaker 2: cannot recreate what we did when when that stuff?

649
00:37:35,600 --> 00:37:37,560
Speaker 1: I mean, come on, well, on the other side of

650
00:37:37,600 --> 00:37:42,360
Speaker 1: the coin, how did you avoid the ire or anger

651
00:37:42,760 --> 00:37:43,480
Speaker 1: of the nation?

652
00:37:44,360 --> 00:37:47,600
Speaker 2: Easy? In pre production, I flew to Chicago and had

653
00:37:47,640 --> 00:37:55,399
Speaker 2: a meeting with the minister. Minister far Khan gotcha, I had.

654
00:37:55,480 --> 00:37:59,560
Speaker 2: I don't want no problems. So I got on a plane,

655
00:38:00,920 --> 00:38:04,600
Speaker 2: flew Chicago and sat down on the minister and the

656
00:38:04,680 --> 00:38:07,480
Speaker 2: minister was really not concerned how he portrayed Malcolm X.

657
00:38:08,080 --> 00:38:09,759
Speaker 1: I was more concerned with.

658
00:38:11,719 --> 00:38:13,880
Speaker 2: Only concerned about honor Olije Muhammad.

659
00:38:13,560 --> 00:38:13,800
Speaker 1: That's what.

660
00:38:14,200 --> 00:38:19,120
Speaker 2: And he said, Spike, I wish you well, but there

661
00:38:20,600 --> 00:38:26,239
Speaker 2: hopefully you will do say that, what do you let

662
00:38:26,280 --> 00:38:31,440
Speaker 2: me do all the time? Terms like it could possibly?

663
00:38:31,960 --> 00:38:33,960
Speaker 5: Was he cool because you gave a couple of gems

664
00:38:34,040 --> 00:38:36,160
Speaker 5: in the movie, bro, I mean, but.

665
00:38:38,000 --> 00:38:40,560
Speaker 2: It's deeper.

666
00:38:41,360 --> 00:38:41,799
Speaker 1: There is two.

667
00:38:41,960 --> 00:38:44,719
Speaker 2: He liked the film. He did say Spike, I saw

668
00:38:44,800 --> 00:38:47,080
Speaker 2: him eventually after he did like the film, did not

669
00:38:47,440 --> 00:38:47,879
Speaker 2: Who played?

670
00:38:50,000 --> 00:38:52,440
Speaker 1: Was he nominated for Best Supporting Actor?

671
00:38:53,120 --> 00:38:54,080
Speaker 2: Should have been was any?

672
00:38:54,200 --> 00:38:54,640
Speaker 5: It was any?

673
00:38:55,480 --> 00:39:00,680
Speaker 2: Only the nominations were Denzel and Ruth Carter. And that's

674
00:39:00,719 --> 00:39:07,000
Speaker 2: a lost Alpacino for Center one number Wait, that's the

675
00:39:07,200 --> 00:39:10,680
Speaker 2: NBA makeup call because Pino is a great actor. Did

676
00:39:10,760 --> 00:39:16,839
Speaker 2: not win for Godfather One. Curp Cold the Afternoon, right,

677
00:39:17,320 --> 00:39:22,880
Speaker 2: and so Denzil's young You'll be back boom want anyway?

678
00:39:23,040 --> 00:39:26,920
Speaker 1: Center A Woman was stupid though that It's amazing disappoint

679
00:39:27,600 --> 00:39:30,680
Speaker 1: you had a good it was such a classic film.

680
00:39:31,040 --> 00:39:36,200
Speaker 2: But look, Pacino did not win for Godfather One, Godfather Circle,

681
00:39:36,680 --> 00:39:42,960
Speaker 2: do the right thing. At least one of those you

682
00:39:43,000 --> 00:39:45,600
Speaker 2: should have won too, At least.

683
00:39:50,320 --> 00:39:53,320
Speaker 6: Malcolm X was so crazy. I remember it's it's just

684
00:39:53,360 --> 00:39:55,000
Speaker 6: so crazy to be sitting there with you. It came

685
00:39:55,040 --> 00:39:56,720
Speaker 6: out when I was in seventh grade. You cut school,

686
00:39:57,160 --> 00:40:01,480
Speaker 6: no even better. I tried to get my class to

687
00:40:01,600 --> 00:40:05,680
Speaker 6: go see it, and I almost got it done, but

688
00:40:05,960 --> 00:40:08,960
Speaker 6: something happened and the principle was like nah, and it

689
00:40:09,080 --> 00:40:09,920
Speaker 6: ended up in the paper.

690
00:40:10,840 --> 00:40:13,000
Speaker 2: They ended up in the papers.

691
00:40:16,239 --> 00:40:24,560
Speaker 1: It was as the school I went to. Ready, Yeah, we're.

692
00:40:24,440 --> 00:40:27,120
Speaker 2: Gonna go see cut school play Hooky.

693
00:40:30,040 --> 00:40:31,959
Speaker 1: The school I went to men in the Hall Middle.

694
00:40:32,040 --> 00:40:34,560
Speaker 6: It was like it was like a school that was

695
00:40:34,640 --> 00:40:37,439
Speaker 6: in the middle of a very affluent neighborhood in our city.

696
00:40:37,600 --> 00:40:39,960
Speaker 5: But it's still Carolina And uh, I mean, yeah, but

697
00:40:40,080 --> 00:40:41,920
Speaker 5: niggas got money. I'm saying that.

698
00:40:41,960 --> 00:40:43,320
Speaker 1: I was just saying, you know, but yeah, but it

699
00:40:43,440 --> 00:40:45,239
Speaker 1: was you know so but yeah, But I was like, Yo,

700
00:40:45,480 --> 00:40:46,920
Speaker 1: we should go see it. We could make it a

701
00:40:46,960 --> 00:40:50,360
Speaker 1: class trip and all this ship and it was happening

702
00:40:50,440 --> 00:40:52,200
Speaker 1: and then all of a sudden it just got shut down.

703
00:40:52,239 --> 00:40:54,600
Speaker 6: And I remember reading it in the paper. So apparently

704
00:40:54,680 --> 00:40:56,360
Speaker 6: something went down with the principal of some ship. But

705
00:40:56,440 --> 00:40:58,640
Speaker 6: they were like nah, But I ended up going to

706
00:40:58,640 --> 00:41:02,239
Speaker 6: see it myself, of course. So were you fine with

707
00:41:02,480 --> 00:41:06,120
Speaker 6: the parting of you and Ernest at that period? I

708
00:41:06,200 --> 00:41:08,840
Speaker 6: don't know, Oh, yeah, you'd stopped working with each other after.

709
00:41:09,200 --> 00:41:12,880
Speaker 2: Because Ernest wanted to do the day he came to

710
00:41:13,080 --> 00:41:16,120
Speaker 2: film school told me I'm gonna be a director. So

711
00:41:16,160 --> 00:41:18,839
Speaker 2: I always knew that day was coming when he would,

712
00:41:19,480 --> 00:41:22,839
Speaker 2: you know, direct the film and continue on that path.

713
00:41:22,920 --> 00:41:25,279
Speaker 1: See, we're just like give me five years. And no,

714
00:41:25,400 --> 00:41:26,680
Speaker 1: we never talked about.

715
00:41:26,440 --> 00:41:31,360
Speaker 2: It, you know, but it was at Malcolm X. I

716
00:41:31,440 --> 00:41:32,960
Speaker 2: knew that was going to be the end that he

717
00:41:33,200 --> 00:41:34,560
Speaker 2: was looking to direct.

718
00:41:34,719 --> 00:41:37,719
Speaker 1: But you couldn't do both. I'm sorry, that's not.

719
00:41:37,719 --> 00:41:39,359
Speaker 2: What we wanted to do. And so look, I mean

720
00:41:39,360 --> 00:41:40,480
Speaker 2: I want people do what they want to do.

721
00:41:41,120 --> 00:41:44,840
Speaker 1: But aren't you afraid that the formula will be different?

722
00:41:45,000 --> 00:41:47,320
Speaker 1: Like damn? Like you you have such a good marriage

723
00:41:47,400 --> 00:41:49,760
Speaker 1: and such an identity with these shots.

724
00:41:49,800 --> 00:41:54,080
Speaker 2: I've worked with great deep peace, Malik said Ellen curis

725
00:41:55,520 --> 00:41:59,040
Speaker 2: uh a whole bunch of people, you know. So we

726
00:41:59,160 --> 00:42:02,879
Speaker 2: had we had a great time together. You know, we're

727
00:42:02,920 --> 00:42:05,080
Speaker 2: away to have those films and he's doing what he

728
00:42:05,160 --> 00:42:06,400
Speaker 2: wants to do, which is direct.

729
00:42:06,560 --> 00:42:10,840
Speaker 1: What did you think of Juice? Loved it? This was it. Damn.

730
00:42:11,360 --> 00:42:13,520
Speaker 1: It just hit me that you never worked with Tupac

731
00:42:14,480 --> 00:42:17,440
Speaker 1: And now I wonder what would have come of it

732
00:42:17,680 --> 00:42:22,920
Speaker 1: had Tupac acted in one of your films. I mean

733
00:42:22,920 --> 00:42:26,759
Speaker 1: he had he had conversations at all.

734
00:42:26,840 --> 00:42:29,480
Speaker 2: I don't think I ever met him. I don't I

735
00:42:29,520 --> 00:42:32,680
Speaker 2: don't really remember meeting him. Wow, because when I came

736
00:42:32,719 --> 00:42:33,839
Speaker 2: to the set, he wasn't there.

737
00:42:34,560 --> 00:42:38,000
Speaker 1: Juice, no have you ever met Tubac. I don't think

738
00:42:38,320 --> 00:42:41,120
Speaker 1: I remember. I remember was Distance spit in the interview

739
00:42:41,239 --> 00:42:45,000
Speaker 1: like this was a while. I mean this is he was.

740
00:42:45,920 --> 00:42:49,200
Speaker 6: He was saying, because I didn't come to the premiere

741
00:42:49,320 --> 00:42:50,279
Speaker 6: or Juice or something like that.

742
00:42:50,719 --> 00:42:53,520
Speaker 2: No, that I wasn't around the set. I mean me

743
00:42:53,560 --> 00:42:55,800
Speaker 2: and Ernst were like we grew up together. I have

744
00:42:55,880 --> 00:42:58,000
Speaker 2: to be on this first of all, when i'm when

745
00:42:58,000 --> 00:43:00,000
Speaker 2: i'm when I'm on when i'm if I'm a direct

746
00:43:00,080 --> 00:43:01,000
Speaker 2: in the film, I don't.

747
00:43:00,840 --> 00:43:01,040
Speaker 3: Go to this.

748
00:43:01,560 --> 00:43:03,719
Speaker 2: I just I just feel awkward on all the people's sense.

749
00:43:03,760 --> 00:43:04,160
Speaker 1: I don't go.

750
00:43:05,200 --> 00:43:12,240
Speaker 8: And also, you visited Graffiti Bridge anywhere I wanted any Prince,

751
00:43:14,440 --> 00:43:15,360
Speaker 8: you couldn't stop that.

752
00:43:15,719 --> 00:43:17,200
Speaker 1: You couldn't stop that from half.

753
00:43:19,880 --> 00:43:23,719
Speaker 2: I wanted, when Prince calls for you, I'm coming right

754
00:43:23,920 --> 00:43:24,319
Speaker 2: right right?

755
00:43:24,520 --> 00:43:26,360
Speaker 1: Is that how y'all got girls sick? And how you

756
00:43:26,640 --> 00:43:27,320
Speaker 1: got him to do this?

757
00:43:27,440 --> 00:43:27,560
Speaker 3: Oh?

758
00:43:27,600 --> 00:43:29,759
Speaker 2: Yeah, I had this script and I said, look, I

759
00:43:29,840 --> 00:43:32,919
Speaker 2: said the script, want use all your songs? So okay,

760
00:43:33,040 --> 00:43:35,319
Speaker 2: And he said, can I choose a song? Said yeah,

761
00:43:35,360 --> 00:43:41,320
Speaker 2: go ahead, Wow, So he wrote the theme song title.

762
00:43:42,440 --> 00:43:46,600
Speaker 1: So I guess for crooking. Well, even though it's the

763
00:43:46,680 --> 00:43:48,719
Speaker 1: story of your mother, that could have been more the.

764
00:43:48,760 --> 00:43:53,320
Speaker 2: Lee family story, the Lee family growing up and for

765
00:43:55,840 --> 00:43:58,759
Speaker 2: true was it anything that was I mean, the dog

766
00:43:58,800 --> 00:44:03,680
Speaker 2: didn't pop about of the castle, the character that.

767
00:44:03,760 --> 00:44:07,160
Speaker 5: You played with, and the dude the neighbor down.

768
00:44:07,840 --> 00:44:11,279
Speaker 1: But I'm just saying that even though you're talking about

769
00:44:11,320 --> 00:44:14,520
Speaker 1: your family, that is really something on a biographical But

770
00:44:14,760 --> 00:44:18,399
Speaker 1: to me it was like a lighthearted Okay, it wasn't

771
00:44:18,400 --> 00:44:20,920
Speaker 1: in the days. Yeah, that could have been your romantic

772
00:44:20,960 --> 00:44:23,080
Speaker 1: comedy or you're you're lighthearted.

773
00:44:23,200 --> 00:44:25,920
Speaker 2: We want to do something after Malcolm X different.

774
00:44:26,239 --> 00:44:27,759
Speaker 3: That was the first time I say my daddy cry

775
00:44:27,800 --> 00:44:29,799
Speaker 3: after he saw Crookly because people want to raise.

776
00:44:29,719 --> 00:44:32,960
Speaker 6: The New York the scene in Crookland where when she

777
00:44:33,120 --> 00:44:38,600
Speaker 6: goes south down and what was the thought behind That's.

778
00:44:38,880 --> 00:44:40,800
Speaker 2: Well, it was ours in Wonderland Ash.

779
00:44:41,040 --> 00:44:42,680
Speaker 1: She's in a strange place, and you.

780
00:44:42,719 --> 00:44:46,839
Speaker 2: Know it's crazy because people were I was TV.

781
00:44:49,080 --> 00:44:56,759
Speaker 1: I was confused at first, but straight it took me

782
00:44:56,760 --> 00:44:58,400
Speaker 1: a minute to figure out what you were going for.

783
00:45:00,480 --> 00:45:01,839
Speaker 1: I love that. That's one of my favorite movies.

784
00:45:02,520 --> 00:45:09,960
Speaker 2: The other day Raising and Beads and you know what,

785
00:45:11,120 --> 00:45:18,360
Speaker 2: people if I if I took score, people come up

786
00:45:19,800 --> 00:45:21,920
Speaker 2: of all the things I done. People say Crookland want

787
00:45:22,000 --> 00:45:25,359
Speaker 2: any other film more to do the right thing more

788
00:45:25,400 --> 00:45:30,520
Speaker 2: than Malcolm X. Just on the street, just strangers, they say, Crook.

789
00:45:31,000 --> 00:45:35,560
Speaker 1: Yeah, because yeah, and it's like a not a workingman's film.

790
00:45:35,600 --> 00:45:39,320
Speaker 1: But you know, I feel like your your initial arsenal.

791
00:45:39,440 --> 00:45:44,879
Speaker 1: The first five or six were so larger than life

792
00:45:44,920 --> 00:45:47,600
Speaker 1: and epic and you know, again you have the pressure

793
00:45:47,640 --> 00:45:51,520
Speaker 1: of being our spokesperson and you have to cross every team,

794
00:45:51,640 --> 00:45:55,520
Speaker 1: dot every I I was gonna ask like, is there

795
00:45:56,680 --> 00:45:58,840
Speaker 1: I mean, do you have writers block? And I'm paralleling

796
00:45:58,920 --> 00:46:02,120
Speaker 1: this the songwriting, Like, okay, so obviously Malcolm X is

797
00:46:02,200 --> 00:46:05,640
Speaker 1: your thriller, your Purple Rain or whatever. Like when you're

798
00:46:05,680 --> 00:46:07,719
Speaker 1: trying to follow up a film, are you just like

799
00:46:08,360 --> 00:46:12,440
Speaker 1: I'm out of ideas or I just like, where do

800
00:46:12,560 --> 00:46:16,759
Speaker 1: you go to? Well, I've been to your crib before.

801
00:46:17,760 --> 00:46:19,640
Speaker 2: But here's the thing though, is that is that I've

802
00:46:19,719 --> 00:46:23,160
Speaker 2: done films I didn't direct. I mean, excuse me, I

803
00:46:23,200 --> 00:46:28,440
Speaker 2: didn't write. So the original script A Crook was called

804
00:46:28,480 --> 00:46:31,040
Speaker 2: hot Piece and Butters written my brother SANKI and my

805
00:46:31,560 --> 00:46:34,759
Speaker 2: sister JOI. So they brought it to me. I said,

806
00:46:34,760 --> 00:46:37,759
Speaker 2: I want to, you know, rewrite it. And so that's

807
00:46:37,800 --> 00:46:40,759
Speaker 2: where that that was the origin of that. So I

808
00:46:41,239 --> 00:46:44,120
Speaker 2: always have I have a bunch of stuff to make,

809
00:46:45,400 --> 00:46:47,680
Speaker 2: So it's nothing about writers blocks about getting the money

810
00:46:48,320 --> 00:46:49,640
Speaker 2: to make those films.

811
00:46:50,200 --> 00:46:53,000
Speaker 6: My question for you one thing I've always admired about you,

812
00:46:53,120 --> 00:46:55,440
Speaker 6: and I don't know how you do it. You always

813
00:46:55,480 --> 00:46:58,239
Speaker 6: seem to be like right on time, like timely, so

814
00:46:58,360 --> 00:47:01,880
Speaker 6: like particularly thinking of twenty fifth hour, I mean that

815
00:47:02,040 --> 00:47:04,799
Speaker 6: came like right, you know, on the hills of nine eleven.

816
00:47:04,960 --> 00:47:06,800
Speaker 6: How how did that come together?

817
00:47:07,000 --> 00:47:10,560
Speaker 2: Well, twenty thous a novel by David Bennioff of Games

818
00:47:10,560 --> 00:47:17,000
Speaker 2: of Throne Fame, and the novel takes place before Nane eleven.

819
00:47:17,600 --> 00:47:19,040
Speaker 1: Ah, so.

820
00:47:20,560 --> 00:47:24,399
Speaker 2: Edward Norton I got the idea to make it take

821
00:47:24,480 --> 00:47:27,680
Speaker 2: place post nan eleven. So that's that's how that happened.

822
00:47:27,920 --> 00:47:30,240
Speaker 6: Yeah, that's one of my I think, in my opinion,

823
00:47:30,280 --> 00:47:32,959
Speaker 6: that's one of your underrated joints. Like, I mean, people

824
00:47:33,000 --> 00:47:34,640
Speaker 6: they talk about do the right thing and all the

825
00:47:34,760 --> 00:47:36,960
Speaker 6: early but twenty four that one really spoke to me.

826
00:47:37,000 --> 00:47:38,400
Speaker 6: I thought you really did a great joy was just

827
00:47:38,520 --> 00:47:41,520
Speaker 6: capturing the city post nine eleven.

828
00:47:41,320 --> 00:47:43,400
Speaker 1: Like it just felt so empty and like it was

829
00:47:43,480 --> 00:47:44,400
Speaker 1: fucked up. I loved it.

830
00:47:44,640 --> 00:47:49,000
Speaker 2: Thank you. Look at The Barry Pepper, Edward Norton, The

831
00:47:49,120 --> 00:47:53,440
Speaker 2: Lake Phillis, te Mahawfin Rosario, Brian Cox.

832
00:47:53,840 --> 00:47:57,440
Speaker 3: I mean the cast was killing, you know, don't you

833
00:47:57,520 --> 00:48:00,279
Speaker 3: think every person because that's Fante says, that's his favor.

834
00:48:00,360 --> 00:48:02,120
Speaker 3: But I feel like every person who's a Spike fan

835
00:48:02,239 --> 00:48:05,680
Speaker 3: has their list of classics and then the ones that

836
00:48:05,800 --> 00:48:07,560
Speaker 3: I think people slept on, like I think people slept

837
00:48:07,600 --> 00:48:09,000
Speaker 3: on Miracle as Saint Anna, you know what I mean.

838
00:48:09,080 --> 00:48:10,960
Speaker 5: But it seems like you have those two lists of

839
00:48:11,440 --> 00:48:11,960
Speaker 5: you slept.

840
00:48:14,200 --> 00:48:14,359
Speaker 1: Well.

841
00:48:14,360 --> 00:48:17,720
Speaker 2: Here's the thing, though, you know, you really it's like music.

842
00:48:17,880 --> 00:48:20,840
Speaker 2: You know, we sleep on albums, you know, you sleep

843
00:48:20,880 --> 00:48:25,279
Speaker 2: on plays, and and you just gotta hope that sooner

844
00:48:25,360 --> 00:48:30,000
Speaker 2: or later people get it, you know, and that's that's

845
00:48:30,080 --> 00:48:32,239
Speaker 2: all you can do as an artist. You know, you

846
00:48:32,360 --> 00:48:34,960
Speaker 2: just put it out there, and once it's out in

847
00:48:35,000 --> 00:48:38,480
Speaker 2: the public, you know, really, what can you do? You know,

848
00:48:38,640 --> 00:48:41,759
Speaker 2: you can't really, especially when you don't have millions of

849
00:48:41,760 --> 00:48:45,360
Speaker 2: million dollars behind you to push it. You know, I

850
00:48:45,520 --> 00:48:47,800
Speaker 2: just gotta you just gotta leave it out there, you know,

851
00:48:47,880 --> 00:48:48,520
Speaker 2: see what happens.

852
00:48:48,600 --> 00:48:51,640
Speaker 1: Yes, I'm slightly and I'm jumping ahead of a lot

853
00:48:51,680 --> 00:48:55,240
Speaker 1: of films because I felt that one of the films

854
00:48:56,880 --> 00:49:06,040
Speaker 1: that has proved itself there very accurate in time. Yeah. Yeah, Actually,

855
00:49:06,160 --> 00:49:10,520
Speaker 1: in this very room that we're in, you came to me, uh,

856
00:49:14,360 --> 00:49:18,720
Speaker 1: sixteen seventeen years ago with all of these menstrual toys

857
00:49:18,920 --> 00:49:19,120
Speaker 1: in a.

858
00:49:19,200 --> 00:49:22,680
Speaker 2: Bag which I still have.

859
00:49:23,040 --> 00:49:28,080
Speaker 1: You pitched us bamboozle and ask you a question.

860
00:49:28,320 --> 00:49:30,040
Speaker 2: Yes, did you guys take a lot of heat for

861
00:49:30,120 --> 00:49:32,600
Speaker 2: playing Alabama porch Monkeys once?

862
00:49:33,640 --> 00:49:39,839
Speaker 1: NAS tried to use that against us because okay, well,

863
00:49:40,719 --> 00:49:45,000
Speaker 1: because we had backed up jay z It's it was

864
00:49:45,040 --> 00:49:47,560
Speaker 1: like we chose sides during that Nas jay Z war,

865
00:49:48,040 --> 00:49:52,560
Speaker 1: and we chose when we did jay Z's Unplugged, but

866
00:49:52,680 --> 00:49:57,520
Speaker 1: you were choosing size though we were supposed to be Switzerland.

867
00:49:57,760 --> 00:49:58,000
Speaker 5: Yeah.

868
00:49:59,360 --> 00:50:01,640
Speaker 1: But the thing was when we did take over, like

869
00:50:01,800 --> 00:50:05,680
Speaker 1: we started your music, yeah right, we started doing like

870
00:50:05,760 --> 00:50:08,000
Speaker 1: non music, so like really like you know, put the

871
00:50:08,560 --> 00:50:11,279
Speaker 1: put the dagger in the heart and so you know,

872
00:50:11,400 --> 00:50:13,520
Speaker 1: he he had words for us on Hot ninety seven,

873
00:50:13,600 --> 00:50:19,360
Speaker 1: but we didn't we didn't catch words. However, when what's it?

874
00:50:19,520 --> 00:50:19,640
Speaker 3: Uh?

875
00:50:19,960 --> 00:50:24,040
Speaker 1: Who played? Uh, I'm about to say not not the

876
00:50:24,120 --> 00:50:31,400
Speaker 1: Detta Man Roger Smith. Yeah, yeah, he had visited the

877
00:50:31,840 --> 00:50:36,239
Speaker 1: fallon set and on like day one. He happened to

878
00:50:36,280 --> 00:50:39,080
Speaker 1: be like a the NBC building and he he had

879
00:50:39,160 --> 00:50:40,440
Speaker 1: a h he's a.

880
00:50:46,840 --> 00:50:47,040
Speaker 2: Man.

881
00:50:53,719 --> 00:50:56,840
Speaker 1: A matter of fact, we did Barefoot Pregnant for Spikes

882
00:50:56,920 --> 00:51:01,239
Speaker 1: walk Out Late Night with Jimmy fo.

883
00:51:02,880 --> 00:51:04,880
Speaker 6: Is that an original song or is that? Yeah, we

884
00:51:05,040 --> 00:51:07,560
Speaker 6: just made on on the spot. I've been waiting for

885
00:51:07,640 --> 00:51:08,719
Speaker 6: that to show up on the Roots album for the

886
00:51:08,800 --> 00:51:09,560
Speaker 6: last sixteen years.

887
00:51:11,600 --> 00:51:14,080
Speaker 5: When you think porch Monkeys or.

888
00:51:16,400 --> 00:51:19,880
Speaker 1: The thing is, here's the thing was? It was like.

889
00:51:22,040 --> 00:51:22,760
Speaker 2: I was warned.

890
00:51:22,920 --> 00:51:25,879
Speaker 1: I regret it. No hell, no good, here's the thing.

891
00:51:26,040 --> 00:51:26,560
Speaker 2: I was like.

892
00:51:28,719 --> 00:51:35,120
Speaker 1: At first, I thought, come on, man, like, all right,

893
00:51:35,200 --> 00:51:35,759
Speaker 1: here's the deal.

894
00:51:36,719 --> 00:51:36,759
Speaker 6: You.

895
00:51:37,520 --> 00:51:39,160
Speaker 1: I didn't know if you were doing the school days

896
00:51:39,200 --> 00:51:43,800
Speaker 1: on us, but for some reason, the trailer for the

897
00:51:43,920 --> 00:51:46,680
Speaker 1: Roots and we had to put on black face and

898
00:51:46,719 --> 00:51:49,680
Speaker 1: all that ship the trailer for the Roots and wearing

899
00:51:49,719 --> 00:51:55,280
Speaker 1: those jail suits. The trail, the our dressing room trailer

900
00:51:56,800 --> 00:51:59,760
Speaker 1: was three blocks away from where we had to shoot

901
00:52:00,120 --> 00:52:08,960
Speaker 1: that school you being with no context whatsoever, I don't know.

902
00:52:09,880 --> 00:52:12,640
Speaker 1: And you know this nineteen ninety nine two thousand was

903
00:52:12,640 --> 00:52:17,560
Speaker 1: our breakout year, so you know, pre things fall apart,

904
00:52:18,320 --> 00:52:19,959
Speaker 1: you know, I was like the guy with the weird

905
00:52:20,000 --> 00:52:21,800
Speaker 1: head or you know, you have the Snoop Dogg haircut.

906
00:52:22,320 --> 00:52:27,799
Speaker 1: Here comes. But I was definitely quest love at that point,

907
00:52:28,600 --> 00:52:31,279
Speaker 1: and there was a thank god social media wasn't out

908
00:52:31,520 --> 00:52:34,319
Speaker 1: man at that point. It was it was like.

909
00:52:35,840 --> 00:52:37,400
Speaker 5: When there was okay.

910
00:52:37,400 --> 00:52:41,080
Speaker 6: No, they were just confused, like what the how was this?

911
00:52:42,520 --> 00:52:46,120
Speaker 6: And because I had the red lipstick. Yeah, so it

912
00:52:46,239 --> 00:52:48,680
Speaker 6: wasn't even like y'all could do the Dead Presidents with

913
00:52:48,800 --> 00:52:49,520
Speaker 6: the white.

914
00:52:51,600 --> 00:52:55,160
Speaker 1: Get sat doing it for a week, just doing it

915
00:52:55,560 --> 00:52:58,480
Speaker 1: without context. So people just think there was no cell

916
00:52:58,560 --> 00:53:01,839
Speaker 1: phone back then on this stuff. And by the last day,

917
00:53:01,880 --> 00:53:03,520
Speaker 1: I was like, let me find out Spike's trying to

918
00:53:03,520 --> 00:53:07,800
Speaker 1: school days us. And so when I saw the film,

919
00:53:09,800 --> 00:53:11,600
Speaker 1: I was like, damn, this is this is a hard

920
00:53:11,680 --> 00:53:15,160
Speaker 1: feel to swallow, Like what's the likelihood? Because I knew

921
00:53:15,400 --> 00:53:18,400
Speaker 1: by that point the only menstrual we really truly had

922
00:53:18,440 --> 00:53:20,880
Speaker 1: to worry about was like, you know, upn had that

923
00:53:21,440 --> 00:53:25,400
Speaker 1: home and yeah, he's a secret diary of Desmond BI.

924
00:53:25,880 --> 00:53:27,320
Speaker 1: Yeah that's stuff.

925
00:53:27,400 --> 00:53:29,719
Speaker 5: And that was a funny slave show.

926
00:53:29,800 --> 00:53:33,840
Speaker 1: I was like a slave rom com. I mean, we

927
00:53:33,920 --> 00:53:35,920
Speaker 1: were excited because this is like our first feature thing.

928
00:53:36,000 --> 00:53:38,799
Speaker 1: But in the bad I was like, maybe Spike went

929
00:53:38,880 --> 00:53:42,480
Speaker 1: over the top with this one. But then maybe five

930
00:53:42,600 --> 00:53:45,279
Speaker 1: years later I was like, oh, just like they said

931
00:53:45,320 --> 00:53:49,799
Speaker 1: in Bamboozle. Next year, oh yeah, that's right, just like Bamboozle.

932
00:53:50,280 --> 00:53:52,920
Speaker 1: But then by year ten I remember hitting up like,

933
00:53:53,920 --> 00:53:55,480
Speaker 1: I was like, Yo, do you find it strange that

934
00:53:55,680 --> 00:53:57,960
Speaker 1: all the things that Spike was talking about back in

935
00:53:58,000 --> 00:54:01,160
Speaker 1: two thousands happening now?

936
00:54:02,480 --> 00:54:06,239
Speaker 6: It's like bamboozo and Idiocracy or like films, Yeah, their

937
00:54:06,320 --> 00:54:08,200
Speaker 6: documentaries squat.

938
00:54:08,320 --> 00:54:13,920
Speaker 1: I just want to say, yeah, so I mean you,

939
00:54:15,400 --> 00:54:16,919
Speaker 1: I mean, if you have the dart in your hand,

940
00:54:16,960 --> 00:54:19,160
Speaker 1: I would said that, you know, you weren't exactly one

941
00:54:19,239 --> 00:54:22,840
Speaker 1: hundred maybe you were kind of like sixty one percent

942
00:54:24,239 --> 00:54:31,080
Speaker 1: back in two thousand. Now I'm thinking that you went

943
00:54:31,160 --> 00:54:37,440
Speaker 1: a little light, like, well, did you really foresee that

944
00:54:37,640 --> 00:54:43,239
Speaker 1: we wound up in the post minstrel entertainment hell that

945
00:54:43,400 --> 00:54:44,279
Speaker 1: we are in right now?

946
00:54:44,400 --> 00:54:49,800
Speaker 2: Where I saw it coming and what I wanted to

947
00:54:50,480 --> 00:54:51,319
Speaker 2: coming though, I mean.

948
00:54:51,560 --> 00:54:54,239
Speaker 5: Tyler, it was just.

949
00:54:55,760 --> 00:55:05,279
Speaker 1: The Korea, not where are you listening this album? Totally

950
00:55:05,320 --> 00:55:06,239
Speaker 1: forgot what you're talking about.

951
00:55:07,080 --> 00:55:09,160
Speaker 2: I just think I've always felt that you could tell

952
00:55:09,360 --> 00:55:12,200
Speaker 2: who we are as a people. Bar music that really

953
00:55:12,360 --> 00:55:12,799
Speaker 2: tells you.

954
00:55:12,880 --> 00:55:15,640
Speaker 1: Know who we are. Boy, damn muse.

955
00:55:18,200 --> 00:55:23,719
Speaker 2: And I just saw it going south and uh literally or.

956
00:55:26,360 --> 00:55:30,680
Speaker 1: No Southland, No south I'm not doing that. No Southlander.

957
00:55:31,880 --> 00:55:40,200
Speaker 1: Don't you live down south? But come on, bruh. But

958
00:55:40,520 --> 00:55:47,360
Speaker 1: you know you from Queens, you know, and we adopted you, brom.

959
00:55:47,640 --> 00:55:49,760
Speaker 1: I'm Carolina born and raised. Man. I ain't going nowhere

960
00:55:52,480 --> 00:55:55,160
Speaker 1: claim man. We claimed you. Okay, that's cool. I just

961
00:55:55,239 --> 00:55:59,560
Speaker 1: saw where's your heart? Line? My heart it's still line.

962
00:56:00,160 --> 00:56:01,640
Speaker 5: You have a Northeast liberal, you are.

963
00:56:02,040 --> 00:56:03,080
Speaker 1: I'm a Northeast liberal.

964
00:56:03,239 --> 00:56:04,200
Speaker 5: Half a Northeast liberal.

965
00:56:04,320 --> 00:56:04,760
Speaker 1: Oh okay.

966
00:56:04,960 --> 00:56:09,520
Speaker 2: Maybe I just think that it was going, you know, down,

967
00:56:09,640 --> 00:56:16,359
Speaker 2: not south, but down, and that we were losing. We're

968
00:56:16,400 --> 00:56:20,439
Speaker 2: forgetting who we are. We're great people, come from great ancestors,

969
00:56:20,600 --> 00:56:24,840
Speaker 2: and we were losing that for the fame of money

970
00:56:24,920 --> 00:56:31,279
Speaker 2: and fame praying at the on our knees, praying at

971
00:56:31,320 --> 00:56:37,560
Speaker 2: the altar, the almighty dollar. And this was an examination

972
00:56:37,760 --> 00:56:44,120
Speaker 2: of this character De la Croix, who lost his soul

973
00:56:44,520 --> 00:56:50,959
Speaker 2: trying to be successful and then once he got woke,

974
00:56:52,400 --> 00:56:55,040
Speaker 2: it was too late. It was too late. And it

975
00:56:55,120 --> 00:56:59,600
Speaker 2: was also when that film was made. It was one

976
00:56:59,640 --> 00:57:05,319
Speaker 2: hundred anniversary of film and was the fifth one hundred

977
00:57:05,320 --> 00:57:09,040
Speaker 2: and it was the fiftieth anniversary of television. So why

978
00:57:09,080 --> 00:57:14,000
Speaker 2: did this show how these two mediums have the based

979
00:57:16,680 --> 00:57:21,439
Speaker 2: our ancestors are people who we are. But that same

980
00:57:21,600 --> 00:57:26,920
Speaker 2: film can be made about the debasement of Native Americans women.

981
00:57:29,040 --> 00:57:31,120
Speaker 2: So it's how I mean, if you look at look

982
00:57:31,160 --> 00:57:34,480
Speaker 2: at the films of John Ford and John Wayne, look

983
00:57:34,560 --> 00:57:41,440
Speaker 2: what the Native Americans are savages and this whole the

984
00:57:41,560 --> 00:57:48,000
Speaker 2: humanization of people through the powerful mediums of television and Cinnamon.

985
00:57:48,040 --> 00:57:51,560
Speaker 2: That's why we have that that very very hard, hard

986
00:57:51,720 --> 00:57:57,000
Speaker 2: hard montage at the end, which is really painful to see.

987
00:57:57,120 --> 00:57:59,640
Speaker 2: But I felt that, you know, we need to Why

988
00:57:59,800 --> 00:58:03,120
Speaker 2: is it that that your people, Jewish people talk every

989
00:58:03,160 --> 00:58:08,040
Speaker 2: day about the Holocaust and that's great, you know, we

990
00:58:08,240 --> 00:58:12,920
Speaker 2: should deal with our own Holocaust too, and that's what

991
00:58:13,040 --> 00:58:13,720
Speaker 2: that film is about.

992
00:58:13,880 --> 00:58:18,160
Speaker 1: But I was just what was yeah you said, because

993
00:58:18,160 --> 00:58:19,240
Speaker 1: that means I get the floor.

994
00:58:23,640 --> 00:58:27,280
Speaker 4: Just coincidentally maybe or I don't know, my favorite one

995
00:58:27,320 --> 00:58:30,439
Speaker 4: of your films, bimbos. Yeah, with the just the most

996
00:58:30,520 --> 00:58:35,680
Speaker 4: direct message, most in your favorite message, Malcolm X. And

997
00:58:35,760 --> 00:58:39,439
Speaker 4: then that's the truth.

998
00:58:40,200 --> 00:58:41,200
Speaker 2: I believe you. I believe you.

999
00:58:41,640 --> 00:58:42,920
Speaker 1: So it was a very very.

1000
00:58:44,880 --> 00:58:48,600
Speaker 2: I mean, just like this stuff that you talked about

1001
00:58:48,680 --> 00:58:53,240
Speaker 2: those those the memorabilia, the Jolly Nigger Bank and all

1002
00:58:53,320 --> 00:58:58,440
Speaker 2: that stuff. That is the real thing, real things.

1003
00:58:58,760 --> 00:59:00,560
Speaker 3: And I invite everybody to go to the National Museum

1004
00:59:00,600 --> 00:59:02,240
Speaker 3: of African American History and Culture where they have a

1005
00:59:02,760 --> 00:59:06,160
Speaker 3: crazy display of the history of the menstrual and that stuff.

1006
00:59:06,480 --> 00:59:10,600
Speaker 1: Well did you Okay? So even even more than just

1007
00:59:10,800 --> 00:59:15,880
Speaker 1: the menstrual angle, reality TV, just with reality TV and

1008
00:59:16,800 --> 00:59:20,919
Speaker 1: the viral natel that we are in now, snuff film, Yeah,

1009
00:59:21,680 --> 00:59:23,480
Speaker 1: the live streaming snuff film.

1010
00:59:23,600 --> 00:59:25,960
Speaker 5: Oh my god. Yeah, the girl killing her sister in

1011
00:59:26,040 --> 00:59:27,280
Speaker 5: the car like you.

1012
00:59:27,440 --> 00:59:31,240
Speaker 2: And Eric the murder Eric Gardner's the snuff film, and

1013
00:59:31,400 --> 00:59:37,320
Speaker 2: we go on, I mean every just snuff films we're seeing.

1014
00:59:37,560 --> 00:59:39,280
Speaker 5: Because after a certain amount of views is.

1015
00:59:40,560 --> 00:59:44,840
Speaker 1: Yeah, h wow. Did I interrupt you?

1016
00:59:45,040 --> 00:59:47,840
Speaker 6: Oh? Well, only the question I had about one at

1017
00:59:56,200 --> 00:59:58,960
Speaker 6: what was the decision to shoot? Because you shot that

1018
00:59:59,120 --> 01:00:02,560
Speaker 6: on digit many TV? So my questions what was it budget?

1019
01:00:02,720 --> 01:00:03,200
Speaker 1: Was it a budget?

1020
01:00:03,560 --> 01:00:06,600
Speaker 2: It was two things. It was artistic and budget. Chair

1021
01:00:06,720 --> 01:00:12,720
Speaker 2: you wanted to shoot the performance on digital tape and

1022
01:00:12,800 --> 01:00:16,200
Speaker 2: everything and everything else on film because most TV shows

1023
01:00:16,280 --> 01:00:18,760
Speaker 2: are filmed on tape. So that was that was Ellen.

1024
01:00:18,840 --> 01:00:21,720
Speaker 2: Curious again, was it the DP did a great job.

1025
01:00:21,800 --> 01:00:23,160
Speaker 2: So that was the decision to do it like that?

1026
01:00:24,360 --> 01:00:27,520
Speaker 1: Oh no, actually.

1027
01:00:28,840 --> 01:00:36,000
Speaker 2: I love the the end for the end title song

1028
01:00:36,440 --> 01:00:43,680
Speaker 2: Misrepresented People No Shadow Lands by Bruce Warren. Yeah, great, yeah, great,

1029
01:00:43,720 --> 01:00:44,240
Speaker 2: great song.

1030
01:00:45,040 --> 01:00:46,160
Speaker 5: It's a good soundtrack too.

1031
01:00:46,360 --> 01:00:48,800
Speaker 2: Yeah, Stevie mister, speaking of.

1032
01:00:48,840 --> 01:00:51,560
Speaker 1: The soundtracks, how did you and Stevie get together for

1033
01:00:51,640 --> 01:00:52,160
Speaker 1: Jungle Fever?

1034
01:00:53,320 --> 01:00:53,520
Speaker 3: Job?

1035
01:00:57,920 --> 01:01:01,240
Speaker 1: Did you? Had you already chosen to do the the

1036
01:01:01,480 --> 01:01:03,600
Speaker 1: Ta Mall scene was living for the city and then.

1037
01:01:03,760 --> 01:01:06,720
Speaker 2: But that was the only song that was not written

1038
01:01:06,840 --> 01:01:07,680
Speaker 2: for the film.

1039
01:01:07,760 --> 01:01:10,320
Speaker 1: After I was asking, like, did you ask Steve after

1040
01:01:10,360 --> 01:01:10,760
Speaker 1: you had made this?

1041
01:01:12,120 --> 01:01:14,600
Speaker 2: Out of his son wrote to the script. I said,

1042
01:01:14,680 --> 01:01:17,160
Speaker 2: see the script and he said, please do this, do

1043
01:01:17,320 --> 01:01:19,680
Speaker 2: the songs for us. He said okay, wow. And everybody

1044
01:01:19,800 --> 01:01:21,280
Speaker 2: told me that he would not do it in time,

1045
01:01:21,400 --> 01:01:22,080
Speaker 2: but he through.

1046
01:01:22,680 --> 01:01:25,480
Speaker 1: I was going to say, how did you because one

1047
01:01:25,560 --> 01:01:30,280
Speaker 1: he had no no records ready. Between eighty eight and

1048
01:01:30,720 --> 01:01:31,880
Speaker 1: nineteen ninety five.

1049
01:01:33,280 --> 01:01:38,520
Speaker 2: The script was transcribing to Braille, Wow, and we would

1050
01:01:38,560 --> 01:01:40,600
Speaker 2: send them scenes and you know, he goes. Steve goes

1051
01:01:40,600 --> 01:01:45,960
Speaker 2: the movies all the time, and he came through. One

1052
01:01:46,000 --> 01:01:49,360
Speaker 2: of my favorite songs on that album is a chemical

1053
01:01:49,440 --> 01:01:51,680
Speaker 2: Love you remember that.

1054
01:01:51,880 --> 01:01:58,680
Speaker 1: Yeah, yeah, some people don't drive drink. Yeah that woman, yeah,

1055
01:01:58,880 --> 01:02:01,360
Speaker 1: cover yeah. Me and my band the Forny Change we

1056
01:02:01,520 --> 01:02:07,960
Speaker 1: covered heart Yeah. I got that's from from Jungle all right,

1057
01:02:08,000 --> 01:02:12,880
Speaker 1: So we get on the bus. Did you knowing that

1058
01:02:12,960 --> 01:02:15,840
Speaker 1: the event? How much an advance did you have before?

1059
01:02:15,920 --> 01:02:17,840
Speaker 1: You were like, okay, you know what I'm saying, like

1060
01:02:17,880 --> 01:02:18,760
Speaker 1: it was so old time.

1061
01:02:19,600 --> 01:02:20,080
Speaker 3: We had like.

1062
01:02:22,040 --> 01:02:24,760
Speaker 2: Really probably two months. But to shoot it, I mean,

1063
01:02:24,800 --> 01:02:27,480
Speaker 2: they came to me, so let's do this film. Were

1064
01:02:27,480 --> 01:02:28,160
Speaker 2: shooting eighteen.

1065
01:02:28,360 --> 01:02:28,880
Speaker 1: They came to you.

1066
01:02:29,000 --> 01:02:35,920
Speaker 2: Who oh, I forget I'm bad with names now, but

1067
01:02:36,080 --> 01:02:39,080
Speaker 2: they said, we got this film, I want to shoot it.

1068
01:02:41,880 --> 01:02:43,640
Speaker 1: A road movie. And you didn't write it.

1069
01:02:43,840 --> 01:02:48,520
Speaker 2: No, Reggie Rock wrote it. Okay, Reggie, Yeah, he wrote it.

1070
01:02:49,200 --> 01:02:54,480
Speaker 1: Oh, Gena and okay, oh I didn't know it. Okay, okay, okay.

1071
01:02:54,920 --> 01:02:55,840
Speaker 2: So it was a road movie.

1072
01:02:56,040 --> 01:03:00,320
Speaker 3: I'm trying to get everything out there were touched Where's

1073
01:03:00,360 --> 01:03:02,480
Speaker 3: girl six in the skil?

1074
01:03:02,880 --> 01:03:03,200
Speaker 5: Kind of did?

1075
01:03:03,240 --> 01:03:05,960
Speaker 3: But I was just had a Teresa always say Randall Randall,

1076
01:03:06,320 --> 01:03:09,520
Speaker 3: Teresa Randall question because she had such in Malcolm X

1077
01:03:09,600 --> 01:03:12,160
Speaker 3: and in Jungle Fever like especially younger people was a

1078
01:03:12,160 --> 01:03:14,919
Speaker 3: smaller role and of course Malcolm x more still small

1079
01:03:14,960 --> 01:03:15,920
Speaker 3: but like what why her?

1080
01:03:16,520 --> 01:03:22,520
Speaker 2: Like, I mean, it's very hard for black women.

1081
01:03:22,440 --> 01:03:26,640
Speaker 5: To say that in the mics, I hear it's very

1082
01:03:26,680 --> 01:03:27,400
Speaker 5: hard for black.

1083
01:03:27,240 --> 01:03:35,440
Speaker 2: Women to sustain long careers. And uh, very talented, very attractive.

1084
01:03:35,560 --> 01:03:42,200
Speaker 2: And I don't know what happened, but I mean, I

1085
01:03:42,280 --> 01:03:44,520
Speaker 2: mean bad boys, but I mean.

1086
01:03:44,560 --> 01:03:45,800
Speaker 1: She father what.

1087
01:03:50,760 --> 01:03:51,080
Speaker 6: He is?

1088
01:03:51,240 --> 01:03:55,960
Speaker 1: Fad Jesus? The story? Sorry?

1089
01:03:56,480 --> 01:03:58,800
Speaker 6: fIF for is it the story true about him taking

1090
01:03:58,840 --> 01:04:00,560
Speaker 6: pictures at the walmart and bring them to you?

1091
01:04:00,960 --> 01:04:01,920
Speaker 2: For? Yes? Uh?

1092
01:04:02,320 --> 01:04:03,520
Speaker 1: For? She got.

1093
01:04:05,160 --> 01:04:06,720
Speaker 2: I don't know that Mackay's cousin.

1094
01:04:06,920 --> 01:04:07,600
Speaker 1: What's that story?

1095
01:04:08,240 --> 01:04:18,320
Speaker 2: Mackay accompanied his cousin to the audition, and we asked him,

1096
01:04:18,360 --> 01:04:19,160
Speaker 2: what do you want audition?

1097
01:04:19,560 --> 01:04:19,960
Speaker 1: You're here?

1098
01:04:21,440 --> 01:04:23,840
Speaker 2: So he came in and he got the role.

1099
01:04:25,200 --> 01:04:28,400
Speaker 5: Wow, okay, seeing you.

1100
01:04:28,600 --> 01:04:31,160
Speaker 1: Or seeing Robbie? Does he do all? I was in

1101
01:04:31,200 --> 01:04:33,440
Speaker 1: the room, Oh okay, okay.

1102
01:04:33,600 --> 01:04:36,120
Speaker 2: Robbie like pre screen stuff. But you know, like I

1103
01:04:36,240 --> 01:04:39,640
Speaker 2: was in the room when I saw Mackay said, because

1104
01:04:39,640 --> 01:04:42,360
Speaker 2: he was even the comfortable dishes came because he said,

1105
01:04:43,320 --> 01:04:43,760
Speaker 2: come with me.

1106
01:04:44,640 --> 01:04:45,840
Speaker 5: Wow, look at him now?

1107
01:04:46,280 --> 01:04:50,360
Speaker 1: So for he got game? First of all, what irks

1108
01:04:50,400 --> 01:04:52,840
Speaker 1: you about basketball films.

1109
01:04:52,480 --> 01:04:56,000
Speaker 2: That I don't fake? That what I'm using, I'm not

1110
01:04:56,120 --> 01:04:59,200
Speaker 2: saying fake news, just don't look real. And here's the

1111
01:04:59,280 --> 01:05:02,400
Speaker 2: thing though, where I sit in masquare a garden, I

1112
01:05:02,560 --> 01:05:05,480
Speaker 2: did not want players on the Knicks or opposing teams,

1113
01:05:06,280 --> 01:05:08,880
Speaker 2: say Spike, that movie is bullshit.

1114
01:05:10,760 --> 01:05:14,640
Speaker 1: So the last scene of Denzel and Ray planning that

1115
01:05:14,760 --> 01:05:15,400
Speaker 1: was a real game.

1116
01:05:15,680 --> 01:05:21,400
Speaker 2: Oh yeah, it's scripted. This famous famous story is scripted

1117
01:05:22,560 --> 01:05:28,800
Speaker 2: that Ray's polls to win. He live in zip. Denzel No,

1118
01:05:29,160 --> 01:05:34,320
Speaker 2: Denzel was on Fortum's JV team. His coach was PJ. Chrissimo.

1119
01:05:36,480 --> 01:05:42,040
Speaker 2: And Denzel is says, an athlete. So his thing was like,

1120
01:05:42,880 --> 01:05:46,800
Speaker 2: fuck what the script says, I'm scoring at least one

1121
01:05:46,880 --> 01:05:49,560
Speaker 2: basket and it will be a moral victory. And so

1122
01:05:49,920 --> 01:05:52,880
Speaker 2: Denzel started throwing up some humble shit it was going

1123
01:05:52,960 --> 01:05:59,640
Speaker 2: in and Ray Allen was shocked because this Ray's first film.

1124
01:06:00,040 --> 01:06:03,760
Speaker 2: You gotta do what the script so racist. Spike was up,

1125
01:06:04,120 --> 01:06:07,080
Speaker 2: He's not He's not about to get any basket like this,

1126
01:06:07,440 --> 01:06:11,880
Speaker 2: What do you want me to do? So after that,

1127
01:06:12,080 --> 01:06:14,680
Speaker 2: Race said fun that then they doesn't score another basket,

1128
01:06:15,200 --> 01:06:17,440
Speaker 2: but it was a moral victory and it was better

1129
01:06:17,520 --> 01:06:22,600
Speaker 2: for the film too, that that that Denzel that that

1130
01:06:22,880 --> 01:06:30,640
Speaker 2: that Jake Schulsworth got those baskets the scripted raised Jesu

1131
01:06:30,640 --> 01:06:32,000
Speaker 2: supposed to win. He liveing zip.

1132
01:06:35,000 --> 01:06:35,600
Speaker 6: And and and.

1133
01:06:37,240 --> 01:06:39,800
Speaker 2: Ray did not know basket that the Densil could play.

1134
01:06:41,840 --> 01:06:45,760
Speaker 1: I didn't know that Denzel could Playford JV Team on

1135
01:06:45,920 --> 01:06:50,760
Speaker 1: the crazy mm hmm. So how did you? I mean,

1136
01:06:52,120 --> 01:06:57,480
Speaker 1: just what is it as a non sports junkie asking

1137
01:06:57,560 --> 01:07:02,320
Speaker 1: you guys? Shocker? No, I'm not. I'm not. So what

1138
01:07:02,480 --> 01:07:05,560
Speaker 1: am I missing in sports films that you see or

1139
01:07:05,640 --> 01:07:07,680
Speaker 1: you look at sports film the way that look at

1140
01:07:07,800 --> 01:07:10,120
Speaker 1: music films like, Okay, his fingering is not right.

1141
01:07:10,080 --> 01:07:14,800
Speaker 2: It's fake and it's not real. Earl Monroe from Philadelphia

1142
01:07:15,480 --> 01:07:19,400
Speaker 2: was a basketball consultant on the film, and we just

1143
01:07:19,520 --> 01:07:24,000
Speaker 2: wanted that's where we cast real players. We've cast real players,

1144
01:07:24,960 --> 01:07:26,280
Speaker 2: so we get the You know.

1145
01:07:26,760 --> 01:07:28,440
Speaker 1: Now, how much patience did you have to have with

1146
01:07:28,600 --> 01:07:33,800
Speaker 1: your actors who didn't have that much experienced acting.

1147
01:07:39,760 --> 01:07:43,000
Speaker 2: Yeah. One of the world's greatest acting coach, Susan Batson,

1148
01:07:43,040 --> 01:07:45,800
Speaker 2: who was there every day with him. So I mean,

1149
01:07:45,840 --> 01:07:48,760
Speaker 2: I think Ray did a great job, you know, and

1150
01:07:49,240 --> 01:07:53,400
Speaker 2: just that whole again, for me, it's more than a

1151
01:07:53,440 --> 01:07:55,920
Speaker 2: basketball film. For me, that that is a father and

1152
01:07:56,160 --> 01:07:56,920
Speaker 2: Son story.

1153
01:07:58,560 --> 01:07:59,960
Speaker 1: I'm gonna get to the end. I swear to.

1154
01:08:01,920 --> 01:08:02,680
Speaker 5: Seven more movies.

1155
01:08:04,600 --> 01:08:07,680
Speaker 1: I don't know, I've seen I've seen Summer Sam maybe

1156
01:08:07,800 --> 01:08:12,160
Speaker 1: at the right time, but I don't know. That's it's

1157
01:08:12,240 --> 01:08:14,760
Speaker 1: not like, you know, it wouldn't be in my my

1158
01:08:14,920 --> 01:08:18,439
Speaker 1: Spike type top three. But for some reason, you know,

1159
01:08:18,680 --> 01:08:21,880
Speaker 1: I'm picking that in my I love that film.

1160
01:08:24,280 --> 01:08:24,400
Speaker 5: Uh.

1161
01:08:26,520 --> 01:08:29,839
Speaker 1: I like thrillers. I wish you would do more thrillers.

1162
01:08:31,640 --> 01:08:34,720
Speaker 1: You know, it's just it. Yeah, and in fact, you

1163
01:08:34,760 --> 01:08:37,639
Speaker 1: got Jimmy Breslin to like do it. That was crazy.

1164
01:08:38,120 --> 01:08:42,639
Speaker 2: Yeah, the beginning and the end, like the book. Yeah,

1165
01:08:43,000 --> 01:08:47,439
Speaker 2: because theo Berg was on Sam. He was writing letters

1166
01:08:47,520 --> 01:08:50,360
Speaker 2: to Jimmy Bresling. I mean, that's why I want to

1167
01:08:51,280 --> 01:08:53,639
Speaker 2: be the booking And you know he just recently passed

1168
01:08:53,800 --> 01:08:56,680
Speaker 2: God bless his soul. Great guy, great guy.

1169
01:08:57,760 --> 01:09:02,360
Speaker 1: So my question for Inside Man is was there a

1170
01:09:03,920 --> 01:09:05,960
Speaker 1: not Again, I don't know if there's ever a pressure,

1171
01:09:06,320 --> 01:09:11,360
Speaker 1: but I mean, Inside Man, you made your Holly film. Yeah, yeah,

1172
01:09:11,720 --> 01:09:16,120
Speaker 1: you're you know you're opening The opening was marvelous, know it?

1173
01:09:16,560 --> 01:09:19,639
Speaker 1: So for you, was it just like, Okay, I want

1174
01:09:19,680 --> 01:09:22,559
Speaker 1: to show Hollywood that I know how to make I'm

1175
01:09:22,600 --> 01:09:25,120
Speaker 1: gonna play their game, and you know, not.

1176
01:09:25,360 --> 01:09:31,560
Speaker 2: Not really, because it was a great script and it

1177
01:09:31,680 --> 01:09:33,799
Speaker 2: was a chance to work again with my men, Denzel

1178
01:09:33,920 --> 01:09:41,560
Speaker 2: Washington and I and I like that genre and we

1179
01:09:41,800 --> 01:09:49,400
Speaker 2: we we screened Dog Day Afternoon like numerous times by

1180
01:09:49,520 --> 01:09:54,920
Speaker 2: the great director Sydney. So it was a fun It

1181
01:09:55,000 --> 01:10:00,840
Speaker 2: was a fun film. Russell Russell Gorovitz first, I'm screenwriter.

1182
01:10:01,920 --> 01:10:05,040
Speaker 2: And the twist at the end, we know we would

1183
01:10:05,080 --> 01:10:08,800
Speaker 2: get people. The funny thing about that film is that

1184
01:10:10,840 --> 01:10:17,960
Speaker 2: that the it was critical the fine actor would stand

1185
01:10:18,120 --> 01:10:23,080
Speaker 2: up to Denzel because most actors, you know, Denzel could

1186
01:10:23,120 --> 01:10:23,640
Speaker 2: run over you.

1187
01:10:24,520 --> 01:10:27,240
Speaker 1: How how you see she would tell no.

1188
01:10:30,320 --> 01:10:31,759
Speaker 5: The way he does is a quiet attext.

1189
01:10:34,040 --> 01:10:38,280
Speaker 1: Is it to direct Denzel is Denzel? You know you

1190
01:10:38,360 --> 01:10:39,720
Speaker 1: can't tell me nothing, no, no.

1191
01:10:40,120 --> 01:10:42,240
Speaker 2: You let Denzel do his thing. And then there's certain

1192
01:10:42,320 --> 01:10:44,519
Speaker 2: things that you know, listen, but you know he doesn't

1193
01:10:44,560 --> 01:10:46,360
Speaker 2: need you to say do this, do this this. You

1194
01:10:46,640 --> 01:10:47,960
Speaker 2: know that's that's disrespectful.

1195
01:10:48,400 --> 01:10:51,560
Speaker 1: You know you never do that, is it? Yes? But

1196
01:10:51,720 --> 01:10:55,240
Speaker 1: even though you get the final word, well, I mean

1197
01:10:55,760 --> 01:10:56,360
Speaker 1: and we.

1198
01:10:56,479 --> 01:10:58,920
Speaker 2: Never we've never ever had had an instant. I mean

1199
01:10:58,960 --> 01:11:02,519
Speaker 2: it's like sometimes he says, Spike, I think I got

1200
01:11:02,600 --> 01:11:04,920
Speaker 2: us okay, and sometimes I need one more and he said, cool,

1201
01:11:04,960 --> 01:11:07,000
Speaker 2: let's do it. But you know we we've it's always

1202
01:11:07,080 --> 01:11:10,800
Speaker 2: been me and him been mad, mad cool, but I

1203
01:11:10,840 --> 01:11:13,639
Speaker 2: want to get back. The other point is that Denzel

1204
01:11:13,800 --> 01:11:19,240
Speaker 2: is so powerful that he makes an actor shrink and

1205
01:11:19,320 --> 01:11:22,759
Speaker 2: he's intimidating, so I knew I had to get an actor.

1206
01:11:24,000 --> 01:11:26,360
Speaker 2: It was like, there's not going to be afraid of Denzel,

1207
01:11:27,920 --> 01:11:29,920
Speaker 2: Like Clyde was like, fuck this, I'm a man too

1208
01:11:31,920 --> 01:11:34,639
Speaker 2: over me and you needed that that happens.

1209
01:11:35,120 --> 01:11:37,320
Speaker 1: Yes, well, I was just imagining that if you have

1210
01:11:37,479 --> 01:11:38,360
Speaker 1: a script.

1211
01:11:40,320 --> 01:11:41,479
Speaker 5: A little bit like you can see that.

1212
01:11:41,600 --> 01:11:43,680
Speaker 1: But I'm like, if you have a script and say,

1213
01:11:43,880 --> 01:11:46,800
Speaker 1: like there's a scene where I have conflict with Denzel's character,

1214
01:11:47,280 --> 01:11:49,680
Speaker 1: and I had to argue, you're saying that he's so

1215
01:11:49,840 --> 01:11:53,400
Speaker 1: powerful of an actor that I might intimidation. It's like

1216
01:11:53,439 --> 01:11:56,479
Speaker 1: if you're playing on stage with somebody this yeah, yeah,

1217
01:11:57,240 --> 01:12:00,559
Speaker 1: but I figured that a tier and I'm not doudesn't.

1218
01:12:00,800 --> 01:12:03,360
Speaker 1: I'm just saying that I figured that a wise veteran

1219
01:12:03,439 --> 01:12:07,519
Speaker 1: actor would want you to shine with them.

1220
01:12:07,760 --> 01:12:09,840
Speaker 2: Or is it just because it might be that your

1221
01:12:09,920 --> 01:12:12,920
Speaker 2: character's role that you gotta do your thing and so

1222
01:12:13,120 --> 01:12:16,040
Speaker 2: if somebody'dn't stand up against you, it's gonna be like

1223
01:12:17,000 --> 01:12:20,479
Speaker 2: a slaughter. And that's why, because you had to have

1224
01:12:21,960 --> 01:12:27,960
Speaker 2: this conflict where they were like head the head and

1225
01:12:28,120 --> 01:12:31,640
Speaker 2: if someone was weak or soft, you won't believe it.

1226
01:12:32,760 --> 01:12:35,960
Speaker 2: And that's why it was Thank god we got Clive Owen.

1227
01:12:36,120 --> 01:12:39,640
Speaker 1: So can I ask you were you did you know

1228
01:12:40,479 --> 01:12:44,040
Speaker 1: that Denzel had in him to do training day? Because

1229
01:12:44,080 --> 01:12:46,040
Speaker 1: when I watched that shit, I was like, oh God,

1230
01:12:46,120 --> 01:12:51,519
Speaker 1: who knew? I never knew knew it. How come you

1231
01:12:51,640 --> 01:12:54,040
Speaker 1: weren't tempted to show that because.

1232
01:12:53,960 --> 01:12:57,320
Speaker 2: Because the films I did didn't that wasn't a role.

1233
01:12:58,680 --> 01:13:00,240
Speaker 2: I mean, you get someone, you see someone, and he

1234
01:13:00,360 --> 01:13:00,720
Speaker 2: got game.

1235
01:13:00,840 --> 01:13:04,920
Speaker 1: No, yeah, yeah, but he he was also at the

1236
01:13:05,000 --> 01:13:07,200
Speaker 1: mercy of you know, like he was on his knee,

1237
01:13:07,520 --> 01:13:10,640
Speaker 1: not on his but or or he was on his

1238
01:13:10,760 --> 01:13:13,439
Speaker 1: knees and humbled because he was in prison and trying

1239
01:13:13,479 --> 01:13:14,240
Speaker 1: to broker deal.

1240
01:13:14,320 --> 01:13:16,720
Speaker 2: Yeah, but when he came out though, he was smacking.

1241
01:13:19,120 --> 01:13:23,960
Speaker 1: Throat punch And I'm not going to say that.

1242
01:13:32,200 --> 01:13:34,280
Speaker 2: But amir, here's the thing I'm gonna repeat this though,

1243
01:13:34,960 --> 01:13:38,400
Speaker 2: is that I knew Denzel had a train date. But

1244
01:13:40,439 --> 01:13:43,400
Speaker 2: what what film would that would that was not working

1245
01:13:43,479 --> 01:13:45,519
Speaker 2: mo better, I.

1246
01:13:47,000 --> 01:13:49,040
Speaker 1: Did you come up with a vehicle that would maybe

1247
01:13:49,040 --> 01:13:52,559
Speaker 1: even he looked he like the Detroit red O come

1248
01:13:52,600 --> 01:13:55,760
Speaker 1: on out. Yeah, with the gun.

1249
01:13:56,920 --> 01:14:00,320
Speaker 2: He was pure gangster hit hit the upside in in

1250
01:14:00,520 --> 01:14:05,000
Speaker 2: in the Great Bar to just close the Harlem Linux Louns. Yeah,

1251
01:14:05,040 --> 01:14:08,439
Speaker 2: Lynus lounge. They even took the sign down. It's crazy side.

1252
01:14:08,439 --> 01:14:12,479
Speaker 2: The guys have the bottle. Oh, he's definitely a gang American.

1253
01:14:12,640 --> 01:14:17,560
Speaker 2: That's just that's that's that's the American gangster and trendated

1254
01:14:18,520 --> 01:14:20,040
Speaker 2: which you read would.

1255
01:14:19,840 --> 01:14:23,040
Speaker 1: You ever have? Do you think it's in you to

1256
01:14:23,439 --> 01:14:27,400
Speaker 1: come up with a fifth vehicle? Fourth vehicle for you

1257
01:14:27,520 --> 01:14:28,200
Speaker 1: and him to work in.

1258
01:14:28,360 --> 01:14:31,080
Speaker 2: Be the fifth Yeah, I'm sorry, but all the time,

1259
01:14:31,120 --> 01:14:33,920
Speaker 2: you know, just gotta to be the right right. First

1260
01:14:33,920 --> 01:14:37,519
Speaker 2: of all, you got to get him because it's just

1261
01:14:37,600 --> 01:14:40,559
Speaker 2: stacked them like at JFK mean, I mean like got

1262
01:14:42,760 --> 01:14:44,200
Speaker 2: movies the next two years and.

1263
01:14:44,200 --> 01:14:47,160
Speaker 5: Ship were you were you really proud of the defenses?

1264
01:14:47,320 --> 01:14:52,559
Speaker 5: I mean that was his to my but him him

1265
01:14:52,600 --> 01:14:54,880
Speaker 5: doing it if I'm directing just the.

1266
01:14:54,960 --> 01:14:57,120
Speaker 1: Product itself, but I know that he also did the

1267
01:14:57,320 --> 01:15:01,680
Speaker 1: Great Debaters, but say director.

1268
01:15:01,479 --> 01:15:03,719
Speaker 5: Yeah, he was more. That was like his passion project.

1269
01:15:04,200 --> 01:15:08,599
Speaker 1: Did he direct Antoine Fisher too? What did it? Yeah?

1270
01:15:09,400 --> 01:15:11,920
Speaker 1: That's where Derek Luke, Yeah, I forgot.

1271
01:15:15,200 --> 01:15:17,280
Speaker 2: Is a total package.

1272
01:15:17,800 --> 01:15:20,080
Speaker 1: All right, we can go on forever. I'm I'm gonna

1273
01:15:20,080 --> 01:15:24,639
Speaker 1: try and I'm gonna rapid fire this. Okay. So as

1274
01:15:24,760 --> 01:15:29,320
Speaker 1: as a musician, there are songs that I wish I

1275
01:15:29,400 --> 01:15:32,559
Speaker 1: had written as a director.

1276
01:15:32,720 --> 01:15:33,320
Speaker 2: What songs?

1277
01:15:34,920 --> 01:15:38,680
Speaker 1: I really I got really under my skin when I

1278
01:15:38,760 --> 01:15:43,880
Speaker 1: first heard outcasts Potiolicious. It's not a hit, but I

1279
01:15:44,160 --> 01:15:47,320
Speaker 1: just wish I came up with that. Well, yeah, it's

1280
01:15:47,360 --> 01:15:52,920
Speaker 1: in the hearts of But I really wish I had

1281
01:15:53,000 --> 01:15:54,680
Speaker 1: my hand in that because I got something to say.

1282
01:15:54,720 --> 01:15:59,760
Speaker 1: That's all I got to say. Shut up. But are

1283
01:15:59,880 --> 01:16:06,759
Speaker 1: there movies or projects that you well besides Jackie Robinson

1284
01:16:06,800 --> 01:16:11,160
Speaker 1: and James Brown, but films specifically, one film that you

1285
01:16:11,360 --> 01:16:17,160
Speaker 1: wish you directed, be it success or failure, that you

1286
01:16:17,240 --> 01:16:19,600
Speaker 1: wish he had your version of it? I wish he

1287
01:16:19,680 --> 01:16:21,080
Speaker 1: directed Ali for the record, but.

1288
01:16:22,960 --> 01:16:26,880
Speaker 2: I wanted direct I had interviewed for it. I didn't

1289
01:16:26,920 --> 01:16:27,439
Speaker 2: get the job.

1290
01:16:27,960 --> 01:16:33,280
Speaker 5: Wow, who did you have to talk to for Colored Girls?

1291
01:16:39,400 --> 01:16:40,320
Speaker 1: Ali? Yeah?

1292
01:16:40,840 --> 01:16:40,960
Speaker 6: Was it?

1293
01:16:41,320 --> 01:16:42,160
Speaker 1: Who was the executive?

1294
01:16:42,479 --> 01:16:44,960
Speaker 2: Was the Will and James? Last?

1295
01:16:46,120 --> 01:16:46,479
Speaker 1: Yikes?

1296
01:16:47,240 --> 01:16:48,360
Speaker 5: You know that's interesting.

1297
01:16:49,040 --> 01:16:52,639
Speaker 3: Never mind, I'm not getting anybody. And that's yeah, because

1298
01:16:52,640 --> 01:16:55,120
Speaker 3: they're both I was just thinking that's interesting. They're both brothers.

1299
01:16:55,400 --> 01:16:56,240
Speaker 3: It's over brook.

1300
01:16:56,439 --> 01:16:58,439
Speaker 5: They had to you know, and they chose.

1301
01:16:58,520 --> 01:16:59,920
Speaker 1: They chose Michael Mann exactly.

1302
01:17:00,200 --> 01:17:01,400
Speaker 5: So I was just thinking, that's interesting.

1303
01:17:01,400 --> 01:17:03,120
Speaker 2: I mean, it wasn't I mean, it was a I

1304
01:17:03,160 --> 01:17:06,280
Speaker 2: mean does the studio have to say to mm hmm?

1305
01:17:06,800 --> 01:17:10,400
Speaker 1: So you wish that Ali was your I would like

1306
01:17:10,479 --> 01:17:10,960
Speaker 1: to direct that.

1307
01:17:11,920 --> 01:17:14,680
Speaker 2: I would like to director Jackie Robbinson, James Brown too.

1308
01:17:15,479 --> 01:17:19,920
Speaker 1: I wish Brown movie. I still think there's others to do.

1309
01:17:24,760 --> 01:17:26,840
Speaker 1: We didn't talk about your documentary work at all. Whoa

1310
01:17:27,360 --> 01:17:29,000
Speaker 1: that could be oversight.

1311
01:17:30,960 --> 01:17:31,200
Speaker 5: Movies.

1312
01:17:32,760 --> 01:17:35,240
Speaker 6: We won't get into it now. If you could do

1313
01:17:35,280 --> 01:17:37,320
Speaker 6: a director cut of any of your movies, which one

1314
01:17:37,360 --> 01:17:37,760
Speaker 6: would you do?

1315
01:17:42,400 --> 01:17:45,000
Speaker 1: Wait? Is there a four hour Malcolm X?

1316
01:17:46,520 --> 01:17:48,120
Speaker 2: We knew that it was never gonna be four hours,

1317
01:17:48,160 --> 01:17:49,800
Speaker 2: but that was the first cut that we showed to.

1318
01:17:50,160 --> 01:17:52,760
Speaker 1: Is there a version of it unscathed? Is there a

1319
01:17:52,840 --> 01:17:53,599
Speaker 1: four hour cut?

1320
01:17:53,720 --> 01:17:56,439
Speaker 2: We think somewhere out there, I think a Warner Brothers.

1321
01:17:57,600 --> 01:17:59,280
Speaker 1: You don't have a copy for yourself, you don't keep

1322
01:17:59,280 --> 01:17:59,639
Speaker 1: a demo.

1323
01:18:00,200 --> 01:18:06,080
Speaker 2: Keep we were That was the last thing we would

1324
01:18:06,080 --> 01:18:07,800
Speaker 2: think about then damn.

1325
01:18:09,439 --> 01:18:09,880
Speaker 1: It made.

1326
01:18:10,280 --> 01:18:13,280
Speaker 2: But for the documentaries, I mean, I'm very proud of them,

1327
01:18:15,000 --> 01:18:26,360
Speaker 2: the two Katrina, uh God, and then Jesus Story about

1328
01:18:26,400 --> 01:18:32,439
Speaker 2: Full Little Girls. So while we're in pre production, uh,

1329
01:18:33,160 --> 01:18:37,240
Speaker 2: we found the post more than pictures of the Full

1330
01:18:37,280 --> 01:18:46,800
Speaker 2: Little Girls, and I kept praying and praying, should I

1331
01:18:46,880 --> 01:18:51,080
Speaker 2: include these photographs? And final just made the decision.

1332
01:18:51,360 --> 01:18:52,839
Speaker 1: We have to show.

1333
01:18:55,720 --> 01:19:00,360
Speaker 2: How hate looks like, how the clan looks like, how

1334
01:19:00,439 --> 01:19:04,000
Speaker 2: these murders look like, how these Reddinneck racists look like.

1335
01:19:05,360 --> 01:19:09,200
Speaker 2: And so we included the photographs. And I did not

1336
01:19:09,360 --> 01:19:16,200
Speaker 2: tell the parents that we included. You know, they were shook.

1337
01:19:17,120 --> 01:19:19,639
Speaker 1: Were they still alive them or some of them.

1338
01:19:20,840 --> 01:19:26,920
Speaker 2: That then uh Dan's parents were and then they were

1339
01:19:26,960 --> 01:19:33,200
Speaker 2: shook then, but they understood why, uh why I did it?

1340
01:19:35,280 --> 01:19:40,800
Speaker 2: And this who we are as a people. I mean,

1341
01:19:41,720 --> 01:19:46,840
Speaker 2: you know, it's amazing that we as black people don't

1342
01:19:46,880 --> 01:19:50,080
Speaker 2: go off man, who I mean, we're talking about p

1343
01:19:50,240 --> 01:19:54,800
Speaker 2: s what's it called? We had that from slavery, that's

1344
01:19:54,840 --> 01:19:59,920
Speaker 2: still with us, that is still with us, and we're

1345
01:20:00,120 --> 01:20:02,160
Speaker 2: not a lot of us aren't. Mentally you know, we're

1346
01:20:02,200 --> 01:20:06,320
Speaker 2: not right because we're still dealing with the vestages of slavery,

1347
01:20:06,360 --> 01:20:10,479
Speaker 2: and and and and washing television and seen as being

1348
01:20:10,520 --> 01:20:18,200
Speaker 2: shot down like dogs and then cops walk away like nothing,

1349
01:20:18,600 --> 01:20:24,160
Speaker 2: nothing even happened. And I mean it's crazy. Now today,

1350
01:20:24,200 --> 01:20:25,880
Speaker 2: I know this is not gonna be this will be

1351
01:20:25,920 --> 01:20:30,240
Speaker 2: seen dated. But today that they passed, uh, you know,

1352
01:20:30,280 --> 01:20:32,880
Speaker 2: getting rid of Obamacare, I mean, and and those are

1353
01:20:32,920 --> 01:20:39,720
Speaker 2: these guys. They have no heart, no love. They're just

1354
01:20:41,200 --> 01:20:44,479
Speaker 2: cold blood and murderers because people are gonna die if

1355
01:20:45,160 --> 01:20:49,680
Speaker 2: they can't get the stuff they got through Obamacare, and

1356
01:20:50,760 --> 01:20:53,280
Speaker 2: they don't want to give a fuck, so what poor

1357
01:20:55,880 --> 01:21:00,160
Speaker 2: it's it's it's, it's it's And that's why I to

1358
01:21:00,160 --> 01:21:02,320
Speaker 2: give a shout out to man jay Z. That album.

1359
01:21:03,640 --> 01:21:05,519
Speaker 2: I gotta give it up. You know, I've always been

1360
01:21:05,560 --> 01:21:09,839
Speaker 2: a fan, but this new album, I mean, it's it's amazing.

1361
01:21:10,360 --> 01:21:12,080
Speaker 1: Have you ever worked with or anything?

1362
01:21:12,160 --> 01:21:14,920
Speaker 2: I did one thing for him? There's a short film

1363
01:21:15,040 --> 01:21:18,360
Speaker 2: called to be jay Z for one Day. It was

1364
01:21:18,439 --> 01:21:21,080
Speaker 2: for as for his rock aware Well other than that,

1365
01:21:21,200 --> 01:21:21,519
Speaker 2: that's it.

1366
01:21:23,200 --> 01:21:25,080
Speaker 5: Did your son listen to the album? I wonder because

1367
01:21:25,080 --> 01:21:26,720
Speaker 5: I know, okay.

1368
01:21:27,120 --> 01:21:30,280
Speaker 2: Oh yeah, my son, he's on it. We'll be hipping

1369
01:21:30,320 --> 01:21:31,639
Speaker 2: me ship because.

1370
01:21:31,439 --> 01:21:32,880
Speaker 3: Folks, you know, sometimes they say, that's a little bit

1371
01:21:32,880 --> 01:21:34,400
Speaker 3: of an older person's album in that way.

1372
01:21:35,160 --> 01:21:37,240
Speaker 2: The certain things that the certain things that my wife

1373
01:21:37,280 --> 01:21:39,680
Speaker 2: and I town, you know, they ask questions like so

1374
01:21:39,760 --> 01:21:42,080
Speaker 2: we have to break it down, but you know there's

1375
01:21:42,080 --> 01:21:45,480
Speaker 2: something they don't know. My daughter too, who just graduate.

1376
01:21:45,280 --> 01:21:52,360
Speaker 1: N y U. Yeah, yeah, yeah, yeah doing she graduated.

1377
01:21:52,479 --> 01:21:57,160
Speaker 2: Yeah, she's working at MTV the new RTL show.

1378
01:21:58,600 --> 01:22:00,960
Speaker 1: One question I have for you is about remakes. Uh,

1379
01:22:01,800 --> 01:22:03,120
Speaker 1: how do you determine what the remake?

1380
01:22:03,120 --> 01:22:05,920
Speaker 6: Because when you did The Sweet Blood of Jesus, which

1381
01:22:05,960 --> 01:22:09,840
Speaker 6: was the Gonjas, that was a very odd I mean.

1382
01:22:12,120 --> 01:22:16,320
Speaker 1: Yeah, yeah, really odd.

1383
01:22:16,400 --> 01:22:19,640
Speaker 2: So I haven't seen that very early on when I

1384
01:22:19,760 --> 01:22:22,599
Speaker 2: was in film school. It was written by a really

1385
01:22:22,720 --> 01:22:26,960
Speaker 2: underrated black filmmaker, playwright Bill Gunn and uh so on

1386
01:22:27,040 --> 01:22:31,800
Speaker 2: the film school and always loved that film and thought about,

1387
01:22:31,800 --> 01:22:36,120
Speaker 2: you know what, how how we do that today with

1388
01:22:36,240 --> 01:22:42,040
Speaker 2: this whole religious you know impact, you know, and then

1389
01:22:42,439 --> 01:22:46,960
Speaker 2: going back to Africa and stuff like that. And it's

1390
01:22:47,120 --> 01:22:51,920
Speaker 2: not a horror film. And I never saw doctor Hess

1391
01:22:52,160 --> 01:23:01,320
Speaker 2: as a vampire, but these are people who blood, and

1392
01:23:01,640 --> 01:23:05,040
Speaker 2: you really use blood as a for a lot of

1393
01:23:05,120 --> 01:23:10,040
Speaker 2: other things. So that that film was great about that

1394
01:23:10,120 --> 01:23:12,240
Speaker 2: film was shooting Marla's Vinie because I've always wanted to

1395
01:23:12,240 --> 01:23:15,519
Speaker 2: shoot a film Marlin's Vienna. I ne't even heard of

1396
01:23:15,600 --> 01:23:18,760
Speaker 2: mars Vinia in one of my classmates. There's always been

1397
01:23:18,800 --> 01:23:21,120
Speaker 2: a large black community in mars Vinyon up and down

1398
01:23:21,120 --> 01:23:23,439
Speaker 2: the East coast, you know, professional black folks. And my

1399
01:23:23,560 --> 01:23:28,639
Speaker 2: friend was from Philly, John Wilson. One we were in school.

1400
01:23:28,680 --> 01:23:30,400
Speaker 2: We said, you should come to Martins have a house.

1401
01:23:30,439 --> 01:23:32,400
Speaker 2: My grandma's the house of mars Vina said Marla's viny

1402
01:23:33,600 --> 01:23:35,679
Speaker 2: I went there loved and I said, one day, Lord,

1403
01:23:35,760 --> 01:23:37,880
Speaker 2: if you ever get any money, I want to buy

1404
01:23:37,920 --> 01:23:42,120
Speaker 2: a Brownston Brooklyn season ticket to Knicks.

1405
01:23:42,320 --> 01:23:47,760
Speaker 1: In the house, would you consider doing the Kickstarter route again?

1406
01:23:47,960 --> 01:23:48,320
Speaker 1: Like for that?

1407
01:23:48,640 --> 01:23:53,960
Speaker 2: That was my questions, That was, I can't do that again.

1408
01:23:54,680 --> 01:24:00,880
Speaker 2: But what people might not know we were using the

1409
01:24:01,040 --> 01:24:05,560
Speaker 2: strategy a Kickstarter marketing to make them no, no, to

1410
01:24:05,680 --> 01:24:10,479
Speaker 2: make she's gonna have it right, you know. So we

1411
01:24:10,600 --> 01:24:14,639
Speaker 2: just have the technology. And so it's always been my thing,

1412
01:24:14,800 --> 01:24:17,120
Speaker 2: like you gotta you gotta whatever you gotta do, you know,

1413
01:24:17,240 --> 01:24:22,400
Speaker 2: show up killing somebody and going to jail and still

1414
01:24:22,479 --> 01:24:24,479
Speaker 2: be honest. You gotta do what we gotta do. To

1415
01:24:24,520 --> 01:24:27,760
Speaker 2: get the films made, because this is an industry, an

1416
01:24:27,920 --> 01:24:32,560
Speaker 2: art phone where you need money. And now with the technology,

1417
01:24:32,640 --> 01:24:36,200
Speaker 2: people making films with their their iPhones.

1418
01:24:36,479 --> 01:24:40,000
Speaker 6: Yeah, you and Tyler Perry, or maybe Tyler Perry had

1419
01:24:40,080 --> 01:24:43,560
Speaker 6: beef with you. He had words for you, and he

1420
01:24:43,760 --> 01:24:47,000
Speaker 6: was very vocal at one time saying, well, if you

1421
01:24:47,040 --> 01:24:48,960
Speaker 6: think my movies are bad, you know, why don't you

1422
01:24:49,080 --> 01:24:49,680
Speaker 6: try to help me?

1423
01:24:49,880 --> 01:24:50,200
Speaker 1: Or whatever?

1424
01:24:51,000 --> 01:24:53,880
Speaker 6: What would you say as a director and director speak,

1425
01:24:54,080 --> 01:24:55,479
Speaker 6: what could make his movies better?

1426
01:24:56,240 --> 01:24:59,200
Speaker 2: Me and Tyler Perry are cool. All that stuff it's

1427
01:24:59,240 --> 01:25:03,479
Speaker 2: been squashed like four or five years ago. So I

1428
01:25:03,560 --> 01:25:07,120
Speaker 2: mean it's it's there's really, you know, nothing to dig up.

1429
01:25:07,560 --> 01:25:11,000
Speaker 2: You know, we're cool. He's doing all things. You know,

1430
01:25:11,080 --> 01:25:12,840
Speaker 2: we got love for each other. And you know, I

1431
01:25:12,920 --> 01:25:16,920
Speaker 2: flew down to Atlanta. I said, Yo, we gotta speak.

1432
01:25:18,160 --> 01:25:22,200
Speaker 2: I got got on the plane delta, went to his house.

1433
01:25:22,560 --> 01:25:26,080
Speaker 2: We sat down, we talked. You know, we said, well,

1434
01:25:26,160 --> 01:25:29,000
Speaker 2: whatever we discuss, will just keep between us and say

1435
01:25:29,080 --> 01:25:31,759
Speaker 2: we're cool. And that was and that's that's what happened.

1436
01:25:31,880 --> 01:25:34,759
Speaker 5: I'm I had that conversation before Color for Colored Girls.

1437
01:25:37,840 --> 01:25:42,600
Speaker 1: You know, I I wish I can't wait for the

1438
01:25:42,680 --> 01:25:49,439
Speaker 1: day where he's just a producer and not star. I

1439
01:25:49,600 --> 01:25:52,280
Speaker 1: like him as an actor, and uh, girl, baby girl,

1440
01:25:53,520 --> 01:25:54,519
Speaker 1: the lawyer, he was the lawyer.

1441
01:25:56,400 --> 01:25:58,080
Speaker 6: But I couldn't have to sit through the trailer for

1442
01:25:58,240 --> 01:26:04,639
Speaker 6: Boom too, so Boom Boom, there's a second, the second one.

1443
01:26:08,240 --> 01:26:09,759
Speaker 1: Halloween Halloween.

1444
01:26:10,560 --> 01:26:16,320
Speaker 2: Lord, how I'm just doing trails for Halloween films already.

1445
01:26:16,720 --> 01:26:19,000
Speaker 1: I saw when I went to one.

1446
01:26:21,439 --> 01:26:23,719
Speaker 2: Next year that Black History Month.

1447
01:26:26,600 --> 01:26:31,120
Speaker 1: So well, yeah, I'm just saying that I can't wait

1448
01:26:31,200 --> 01:26:34,599
Speaker 1: for the where he's just producer and that he finds

1449
01:26:35,680 --> 01:26:39,400
Speaker 1: and he he's just you know, or the curator of

1450
01:26:39,720 --> 01:26:48,360
Speaker 1: other to come in and precious the studio. Speaking of which, okay, yes,

1451
01:26:49,760 --> 01:26:54,000
Speaker 1: red Stone and Ship, did you and Eddie Murphy ever

1452
01:26:54,160 --> 01:27:02,920
Speaker 1: have a Kumbay conversation moment just since never found the project? Wait?

1453
01:27:03,000 --> 01:27:03,040
Speaker 5: What?

1454
01:27:04,040 --> 01:27:07,880
Speaker 1: No? He just never We just never found the work together.

1455
01:27:08,000 --> 01:27:10,280
Speaker 1: So I know he was excited. I know Chris Rock

1456
01:27:10,720 --> 01:27:12,680
Speaker 1: told when he was on the show, he spoke of

1457
01:27:14,280 --> 01:27:17,519
Speaker 1: Eddie Murphy and all of them coming to see she's

1458
01:27:17,520 --> 01:27:20,439
Speaker 1: got to have it and you know, having a screening

1459
01:27:20,479 --> 01:27:25,479
Speaker 1: of it. But just during that period, like, did you

1460
01:27:25,560 --> 01:27:29,080
Speaker 1: guys ever did he ever try to invite you to

1461
01:27:29,120 --> 01:27:31,320
Speaker 1: be in the Black Pack and that sort of.

1462
01:27:31,400 --> 01:27:37,879
Speaker 2: Thing and funny story during Do the Right Thing. Halfway

1463
01:27:37,960 --> 01:27:40,120
Speaker 2: through said Spike, I want to give you guys a party.

1464
01:27:40,200 --> 01:27:42,000
Speaker 2: That's when he lived in that was it called Bubble Hill.

1465
01:27:46,280 --> 01:27:57,120
Speaker 2: We tourist house up this broken. I left when people

1466
01:27:57,160 --> 01:27:59,360
Speaker 2: started jumping in the pool naked. That's all I get

1467
01:27:59,400 --> 01:27:59,760
Speaker 2: out of here.

1468
01:28:04,320 --> 01:28:07,320
Speaker 6: Do the do the younger guys, the young cats come

1469
01:28:07,400 --> 01:28:10,519
Speaker 6: up like with Ava she you know, and like Ryan Coogler,

1470
01:28:10,600 --> 01:28:12,280
Speaker 6: did they chop it up with you today?

1471
01:28:12,400 --> 01:28:14,519
Speaker 1: Come to you for advice or game or whatever.

1472
01:28:15,280 --> 01:28:19,280
Speaker 2: Uh my man did when he was doing uh Rocky,

1473
01:28:19,560 --> 01:28:24,000
Speaker 2: he came to mind office and your office, n y U.

1474
01:28:26,000 --> 01:28:28,439
Speaker 2: But here's the thing though, you know, like look, people

1475
01:28:29,680 --> 01:28:32,559
Speaker 2: people have my number, so it's you know, people want

1476
01:28:32,560 --> 01:28:34,920
Speaker 2: to speak. I'm available, so it's not like I'm trying to.

1477
01:28:36,600 --> 01:28:41,800
Speaker 1: You know. What about with your cousin Malcolm, Yeah, I.

1478
01:28:41,840 --> 01:28:48,679
Speaker 2: Mean by the way, yeah girls, and yeah, big shout

1479
01:28:48,680 --> 01:28:52,280
Speaker 2: out to my first cousin Malcolm Lee, my father, his father, brothers,

1480
01:28:52,360 --> 01:28:55,640
Speaker 2: and uh he's doing this thing, doing that thing.

1481
01:28:56,160 --> 01:28:58,280
Speaker 1: What's the what's the age gap between you two?

1482
01:28:58,360 --> 01:29:01,960
Speaker 2: Like were you when I was in fact, when I

1483
01:29:02,040 --> 01:29:04,040
Speaker 2: was in n y U. I was living in his basement.

1484
01:29:04,760 --> 01:29:08,639
Speaker 2: Oh wow, in Crown Heights. So Malcolm was in high

1485
01:29:08,680 --> 01:29:12,120
Speaker 2: school when I was in grad film?

1486
01:29:12,200 --> 01:29:13,840
Speaker 1: Were you the reason why he got in the film.

1487
01:29:14,520 --> 01:29:16,400
Speaker 2: That's what he said, That's what he says.

1488
01:29:18,479 --> 01:29:19,040
Speaker 6: I can take that.

1489
01:29:19,479 --> 01:29:22,639
Speaker 2: I mean, I mean his cousin was a big movie director,

1490
01:29:22,760 --> 01:29:26,040
Speaker 2: so it was it was an influence. But you know

1491
01:29:26,439 --> 01:29:29,519
Speaker 2: he's done it on his own, you know, so power

1492
01:29:29,600 --> 01:29:30,719
Speaker 2: to them. Happy form.

1493
01:29:31,360 --> 01:29:32,800
Speaker 5: Whose images are you feeling? Like?

1494
01:29:32,840 --> 01:29:35,400
Speaker 3: Who's what's the last couple of projects that you saw?

1495
01:29:35,479 --> 01:29:37,599
Speaker 3: You was like, I'm appreciating his voice.

1496
01:29:39,880 --> 01:29:46,600
Speaker 2: Well, my two films I saw last year, I'm Not

1497
01:29:46,680 --> 01:29:52,760
Speaker 2: Your Negro, Roe Peck and o J in America those

1498
01:29:52,840 --> 01:29:56,760
Speaker 2: are my joints. I mean those those were monumental.

1499
01:29:57,040 --> 01:29:57,840
Speaker 1: Did you see get Out?

1500
01:29:58,520 --> 01:29:59,479
Speaker 2: You loved it too, but.

1501
01:30:01,320 --> 01:30:04,920
Speaker 1: But I loved it. But for me, I just.

1502
01:30:06,600 --> 01:30:09,400
Speaker 2: Those two films I mentioned before, I'm not Your Negro

1503
01:30:09,720 --> 01:30:11,519
Speaker 2: and uh Older in America?

1504
01:30:11,600 --> 01:30:12,719
Speaker 1: Did you see Moonlight?

1505
01:30:13,160 --> 01:30:13,360
Speaker 2: Yeah?

1506
01:30:13,439 --> 01:30:14,439
Speaker 1: What what was your take on it?

1507
01:30:14,800 --> 01:30:18,080
Speaker 2: Like it too? But my two favorite, I.

1508
01:30:18,120 --> 01:30:21,760
Speaker 5: Mean just my Yeah, you know I'm not your Negro?

1509
01:30:21,920 --> 01:30:22,320
Speaker 5: Need to view?

1510
01:30:22,479 --> 01:30:25,599
Speaker 1: So yes, yeah, I saw that. I saw that one

1511
01:30:25,640 --> 01:30:26,800
Speaker 1: time I was up here we were taping.

1512
01:30:27,040 --> 01:30:29,760
Speaker 6: Yeah, I'm just always curious to hear just what you know,

1513
01:30:29,840 --> 01:30:32,960
Speaker 6: the movies that we like as consumers, but you as

1514
01:30:33,000 --> 01:30:35,080
Speaker 6: a director, like what you see?

1515
01:30:35,160 --> 01:30:39,400
Speaker 2: You know the new joint that is dunk Kirk, Is

1516
01:30:39,439 --> 01:30:44,719
Speaker 2: it like her? Yeah? You gotta goes Christopher Nolan's no joke.

1517
01:30:45,040 --> 01:30:48,840
Speaker 6: So I wasn't big on Interstellar, but I heard because

1518
01:30:48,880 --> 01:30:50,680
Speaker 6: like that, do we need to do the seventy millimeters?

1519
01:30:51,160 --> 01:30:56,240
Speaker 2: Yeah, you gotta see the Imax sixty eighth and Andy.

1520
01:30:55,600 --> 01:30:58,560
Speaker 1: Okay seven million? Oh that I heard they are in

1521
01:30:58,600 --> 01:31:00,960
Speaker 1: their ninety three Rotten Tomatoes, so that ship.

1522
01:31:01,840 --> 01:31:06,519
Speaker 2: Look, Christopher Nolan is a serious director. He's dope. And

1523
01:31:06,600 --> 01:31:09,720
Speaker 2: there's hardly any dialogue in it too, and no and

1524
01:31:09,840 --> 01:31:13,519
Speaker 2: no and no blue screens. All that'sh's real. No green screens.

1525
01:31:14,200 --> 01:31:17,280
Speaker 1: Wow, Okay, I'm gonna take it. Yea, I'm gonna let

1526
01:31:17,320 --> 01:31:20,400
Speaker 1: you because I'm getting the last question on this.

1527
01:31:21,680 --> 01:31:25,559
Speaker 6: How can I see the entire last hustle in Brooklyn

1528
01:31:25,680 --> 01:31:28,720
Speaker 6: aside from just a clip in the Off the Wall documentary.

1529
01:31:29,280 --> 01:31:31,120
Speaker 2: One day when when I'm going to have to go

1530
01:31:31,240 --> 01:31:33,400
Speaker 2: back do color correction, pick up the sound. But the

1531
01:31:33,479 --> 01:31:35,479
Speaker 2: thing about a lot of that music was never cleared,

1532
01:31:35,720 --> 01:31:37,719
Speaker 2: you know, there's all disco music.

1533
01:31:39,760 --> 01:31:41,960
Speaker 1: She's got to have it. Netflix series. Yes, when is

1534
01:31:42,000 --> 01:31:42,439
Speaker 1: that dropping?

1535
01:31:42,760 --> 01:31:51,120
Speaker 2: Thanksgiving Day? Can we talk all black excellence bene day?

1536
01:31:51,160 --> 01:31:51,680
Speaker 2: We will do that.

1537
01:31:51,840 --> 01:31:55,880
Speaker 3: Yes, the Wanda Miller I recently found I'm sorry, I

1538
01:31:56,000 --> 01:31:59,519
Speaker 3: recently fell in love with her underground shots fired. But

1539
01:32:00,000 --> 01:32:01,680
Speaker 3: I don't even know the sequence of the cast and

1540
01:32:01,720 --> 01:32:04,920
Speaker 3: if you were third or whatever, but we were after that? Okay, okay,

1541
01:32:05,080 --> 01:32:07,840
Speaker 3: So what made you decide she was no dope?

1542
01:32:08,200 --> 01:32:10,439
Speaker 5: Yeah, she's like dope.

1543
01:32:11,320 --> 01:32:13,639
Speaker 2: You know who's gonna be gonna know who's gonna surprise

1544
01:32:13,720 --> 01:32:14,200
Speaker 2: people in this?

1545
01:32:14,600 --> 01:32:18,280
Speaker 1: Who fat Joe? Wow?

1546
01:32:18,479 --> 01:32:19,120
Speaker 2: Bad joke.

1547
01:32:20,160 --> 01:32:22,800
Speaker 1: I'm telling you what's here for Joe?

1548
01:32:25,000 --> 01:32:26,960
Speaker 2: This character is called winn he Win and he plays

1549
01:32:27,920 --> 01:32:31,400
Speaker 2: the MC owner of a burless club called the Hot

1550
01:32:31,479 --> 01:32:31,840
Speaker 2: and Trot.

1551
01:32:33,280 --> 01:32:35,599
Speaker 1: Wow. How many episodes? Ten?

1552
01:32:35,960 --> 01:32:36,680
Speaker 2: I directed them?

1553
01:32:36,680 --> 01:32:38,639
Speaker 1: All? Is it our half hour?

1554
01:32:38,800 --> 01:32:39,160
Speaker 2: Half hour?

1555
01:32:39,240 --> 01:32:39,559
Speaker 1: Half hour?

1556
01:32:40,960 --> 01:32:42,000
Speaker 2: What's this given day?

1557
01:32:42,360 --> 01:32:45,040
Speaker 1: What's that? Can you give us? Like the premise or like,

1558
01:32:45,120 --> 01:32:47,360
Speaker 1: what's the kind of Well it's.

1559
01:32:47,240 --> 01:32:50,920
Speaker 2: Really an updating of the original film, but now it

1560
01:32:51,000 --> 01:32:56,439
Speaker 2: takes an a gentrified Ford Green, gentrified for Green.

1561
01:32:56,680 --> 01:32:59,080
Speaker 1: So is there Mars black Men and the Noble Darling?

1562
01:32:59,200 --> 01:33:03,439
Speaker 2: Yes, marsh Blackness Now Black and Puerto Rican. It's played

1563
01:33:03,479 --> 01:33:07,200
Speaker 2: by the Great Triple Threat Anthony Raymonds from Used to

1564
01:33:07,240 --> 01:33:15,280
Speaker 2: Have Oh, Hamilton Black, Hamilton, Hamilton.

1565
01:33:14,840 --> 01:33:16,400
Speaker 5: I know the dude from Hamilton is on Blackish.

1566
01:33:17,600 --> 01:33:19,600
Speaker 1: Boy, that's that one day I'll take you.

1567
01:33:20,320 --> 01:33:22,160
Speaker 5: I'm not I've never been to see Hamilton, sir. I'm

1568
01:33:22,200 --> 01:33:24,320
Speaker 5: not that rich. I'm so sorry.

1569
01:33:24,840 --> 01:33:27,320
Speaker 10: You know the producer of it, I always told not

1570
01:33:28,040 --> 01:33:35,920
Speaker 10: Hamilton yet. Hamilton's before for twenty years. Mars Blacks now

1571
01:33:36,080 --> 01:33:38,120
Speaker 10: a week wad black and Puerto Rican?

1572
01:33:38,160 --> 01:33:38,360
Speaker 5: Wow?

1573
01:33:38,760 --> 01:33:39,000
Speaker 3: Wow?

1574
01:33:42,320 --> 01:33:47,000
Speaker 6: Oh well this last one Red Hook Summer Nola Darlings. Uh,

1575
01:33:47,479 --> 01:33:49,760
Speaker 6: I was like sad to see. I was like, damn,

1576
01:33:49,920 --> 01:33:53,639
Speaker 6: Like she really just is the church lady that's like life?

1577
01:33:55,600 --> 01:33:57,280
Speaker 6: It was so that was based on a real.

1578
01:33:57,200 --> 01:34:00,599
Speaker 1: Character or she that's strange Camelo John's real life.

1579
01:34:00,640 --> 01:34:03,360
Speaker 2: Now, yes, she's a pentecost preacher.

1580
01:34:03,960 --> 01:34:05,720
Speaker 1: Oh wow, wow.

1581
01:34:07,080 --> 01:34:09,640
Speaker 5: Wow see your picture? Want you?

1582
01:34:10,920 --> 01:34:10,960
Speaker 1: So?

1583
01:34:11,200 --> 01:34:14,200
Speaker 5: She changed her life?

1584
01:34:14,240 --> 01:34:20,559
Speaker 2: So she left music, left movies and found the lord. Wow,

1585
01:34:20,880 --> 01:34:21,320
Speaker 2: where do you go?

1586
01:34:21,960 --> 01:34:24,000
Speaker 1: The only reason I consented to do this is because

1587
01:34:24,000 --> 01:34:25,080
Speaker 1: I wish to clear my nyme.

1588
01:34:28,840 --> 01:34:32,000
Speaker 2: Wow, that's it, that's what we brought that back.

1589
01:34:32,040 --> 01:34:36,120
Speaker 6: Oh so Tracey, he's in the in the cameo, Okay,

1590
01:34:36,200 --> 01:34:41,200
Speaker 6: that's dope, Bill. Anything you got left, I think, oh miracle,

1591
01:34:41,720 --> 01:34:44,840
Speaker 6: you got a questions. But okay, I want to go

1592
01:34:44,960 --> 01:34:48,719
Speaker 6: back to twenty fifth hour with the nightclub scene with Bra. Yeah,

1593
01:34:49,280 --> 01:34:51,840
Speaker 6: did you choose the song? I choose all the music

1594
01:34:51,880 --> 01:34:54,920
Speaker 6: and mine. Did you choose it before you shot it

1595
01:34:55,640 --> 01:34:56,720
Speaker 6: or did it come afterwards?

1596
01:34:57,880 --> 01:34:57,920
Speaker 1: No?

1597
01:34:58,160 --> 01:34:59,760
Speaker 2: Bra is one of one of those songs where I

1598
01:34:59,800 --> 01:35:02,880
Speaker 2: knew you know it okay because you said somewhere like.

1599
01:35:02,920 --> 01:35:05,280
Speaker 1: That is just so. It was so working.

1600
01:35:05,680 --> 01:35:08,160
Speaker 2: Who was on the cipher right was the.

1601
01:35:10,120 --> 01:35:10,240
Speaker 3: Yea?

1602
01:35:10,320 --> 01:35:15,559
Speaker 1: Yeah, mixed up like that's comedian extraordinary, that's what I've heard. Yeah,

1603
01:35:15,840 --> 01:35:17,320
Speaker 1: he's in the comedy.

1604
01:35:17,439 --> 01:35:19,160
Speaker 2: Rosario was dancing.

1605
01:35:19,400 --> 01:35:21,760
Speaker 1: She was mad at me, Yes, she was. You know,

1606
01:35:21,880 --> 01:35:33,240
Speaker 1: we weren't. Okay, I'm done, I have.

1607
01:35:33,720 --> 01:35:36,639
Speaker 2: But the first first time my stres are was film Kids.

1608
01:35:36,840 --> 01:35:39,120
Speaker 1: Yeah, yeah, yeah, yes.

1609
01:35:40,320 --> 01:35:44,559
Speaker 5: It's like show she hate me. I'm going to start

1610
01:35:44,600 --> 01:35:45,520
Speaker 5: by saying.

1611
01:35:46,880 --> 01:35:55,040
Speaker 3: Before Carrie Washington and Diana Ramirez, I too enjoyed that situation, Anthony, Yes,

1612
01:35:56,960 --> 01:35:59,560
Speaker 3: any regrets. I always thought it was interesting that so

1613
01:35:59,640 --> 01:36:01,559
Speaker 3: manysbians wanted to have sex with one man.

1614
01:36:01,640 --> 01:36:03,840
Speaker 5: It was lesbians.

1615
01:36:04,720 --> 01:36:08,599
Speaker 1: She feels like it was your uh midlife crisis film,

1616
01:36:08,640 --> 01:36:09,840
Speaker 1: and that was your Porsche.

1617
01:36:12,240 --> 01:36:13,800
Speaker 5: Is that's true?

1618
01:36:18,680 --> 01:36:21,840
Speaker 6: That's exactly how I feel it was properly make mo

1619
01:36:23,080 --> 01:36:25,960
Speaker 6: Like that's when I was like, oh damn, Carrie, what's

1620
01:36:26,080 --> 01:36:26,760
Speaker 6: what's it for?

1621
01:36:27,040 --> 01:36:30,519
Speaker 1: Like that was not Carrie Washington from say The Last Dance,

1622
01:36:31,160 --> 01:36:31,840
Speaker 1: not at all.

1623
01:36:33,040 --> 01:36:35,720
Speaker 2: So that it was a film we want to do

1624
01:36:35,760 --> 01:36:38,600
Speaker 2: at the time what people think? What I really liked

1625
01:36:38,640 --> 01:36:41,400
Speaker 2: about that film as well? We had the Tewetai character.

1626
01:36:43,000 --> 01:36:47,800
Speaker 1: Yes, was he the guard? Was the guard?

1627
01:36:47,960 --> 01:36:48,160
Speaker 2: Yeah?

1628
01:36:48,320 --> 01:36:51,000
Speaker 1: Yeah, Frank.

1629
01:36:51,680 --> 01:36:51,840
Speaker 3: Yes.

1630
01:36:52,360 --> 01:36:55,200
Speaker 2: Here's the thing though, if you watch CNN with this

1631
01:36:55,280 --> 01:36:58,160
Speaker 2: whole stuff happened with the White House, all these guys

1632
01:36:58,200 --> 01:37:03,760
Speaker 2: are half dead. They're talking about Watergate and John Dino's motherfuckers.

1633
01:37:03,800 --> 01:37:07,800
Speaker 2: They never talk about Frank Wells. It was this guy,

1634
01:37:07,960 --> 01:37:12,320
Speaker 2: this brother. If he didn't cast those crooks, the whole

1635
01:37:12,360 --> 01:37:13,679
Speaker 2: War Day thing would never happen.

1636
01:37:14,640 --> 01:37:16,960
Speaker 1: And he's dead.

1637
01:37:17,600 --> 01:37:21,200
Speaker 2: He died painless, and every time they talk about Watergate,

1638
01:37:21,240 --> 01:37:29,240
Speaker 2: they never mentioned his brother, Frank Wells. But look, I'm

1639
01:37:29,280 --> 01:37:31,680
Speaker 2: not ashamedly. Here's the thing though, I say this all

1640
01:37:31,720 --> 01:37:36,240
Speaker 2: the time, all the films I've done. The only thing

1641
01:37:36,240 --> 01:37:43,960
Speaker 2: I ever regret because the only thing I regret was

1642
01:37:44,040 --> 01:37:49,400
Speaker 2: the rape scene, and she because that was immature and

1643
01:37:49,520 --> 01:37:55,840
Speaker 2: made light of such a horrible act that one can

1644
01:37:55,880 --> 01:38:00,720
Speaker 2: do another human being. That is the only thing every.

1645
01:38:00,680 --> 01:38:03,519
Speaker 6: That's interesting because I remember we watched that in a

1646
01:38:03,680 --> 01:38:08,120
Speaker 6: class in college, and I remember we watched it and

1647
01:38:08,200 --> 01:38:10,519
Speaker 6: it was it was mixed crowd, it was men and women,

1648
01:38:11,160 --> 01:38:13,680
Speaker 6: and the teacher, our professor, came up and she was like,

1649
01:38:14,439 --> 01:38:16,560
Speaker 6: after we were discussing, she's like, so, what do you

1650
01:38:16,600 --> 01:38:17,519
Speaker 6: think about the rape scene?

1651
01:38:17,640 --> 01:38:18,519
Speaker 1: And like half the.

1652
01:38:18,560 --> 01:38:21,800
Speaker 6: Class was like, huh, like that was a rare rape, right, yeah,

1653
01:38:21,920 --> 01:38:24,360
Speaker 6: Like it's just odd. Just I mean, you say that

1654
01:38:24,439 --> 01:38:27,479
Speaker 6: you regret it, like because I didn't read it that way.

1655
01:38:28,520 --> 01:38:30,080
Speaker 5: When I first know, I was trying to think I

1656
01:38:30,120 --> 01:38:31,600
Speaker 5: was I can't even remember it to be when I.

1657
01:38:31,600 --> 01:38:34,320
Speaker 1: First eighteen, I just thought it was in passion love scene.

1658
01:38:34,800 --> 01:38:38,040
Speaker 1: And then when I started reading more and stuff than

1659
01:38:38,080 --> 01:38:40,960
Speaker 1: I realized like, oh, that's supposed to be a rape scene. Yeah.

1660
01:38:41,080 --> 01:38:43,280
Speaker 1: I read the screenplay first before I saw the movie,

1661
01:38:43,840 --> 01:38:45,160
Speaker 1: and I knew.

1662
01:38:48,439 --> 01:38:52,720
Speaker 5: So there's no regrets about she taking them none.

1663
01:38:53,120 --> 01:38:55,960
Speaker 2: So none.

1664
01:38:56,560 --> 01:38:58,600
Speaker 6: What about like specific shots of the specific shots you

1665
01:38:58,640 --> 01:38:59,479
Speaker 6: wish you could shoot over?

1666
01:39:01,240 --> 01:39:06,920
Speaker 1: You guys are kind of stepping the mart Wait, can

1667
01:39:07,000 --> 01:39:15,599
Speaker 1: I just ask ask Steve, do you have anything? Yes,

1668
01:39:15,720 --> 01:39:19,519
Speaker 1: mister Lee, what what can I as a white person

1669
01:39:23,600 --> 01:39:25,320
Speaker 1: if you make your films nothing.

1670
01:39:28,720 --> 01:39:29,080
Speaker 2: Supreme?

1671
01:39:29,400 --> 01:39:29,560
Speaker 3: You know?

1672
01:39:31,160 --> 01:39:35,920
Speaker 2: That was one of Malcolm's regrets that he told that, yes,

1673
01:39:36,040 --> 01:39:38,000
Speaker 2: the white coch student, that.

1674
01:39:38,600 --> 01:39:42,240
Speaker 1: I watched your extras, heady told her nothing, that is

1675
01:39:42,280 --> 01:39:43,439
Speaker 1: the one you're you're extras?

1676
01:39:43,479 --> 01:39:45,640
Speaker 5: What did he I didn't see the extras? What did

1677
01:39:45,680 --> 01:39:46,879
Speaker 5: he wished he would have said.

1678
01:39:47,200 --> 01:39:49,120
Speaker 2: Go back and talk to your people.

1679
01:39:49,760 --> 01:39:55,200
Speaker 3: There you go, Steve, Yeah, I told her white girlfriend

1680
01:39:55,240 --> 01:39:56,560
Speaker 3: who is starting to date black dudes, you can't do

1681
01:39:56,640 --> 01:39:58,120
Speaker 3: that if you ain't seen those spike Ly movies.

1682
01:39:58,320 --> 01:40:00,479
Speaker 5: That's the way I'm because tributing.

1683
01:40:02,479 --> 01:40:12,599
Speaker 1: You can see the collective? All right, so Spike Spike Thriller?

1684
01:40:12,840 --> 01:40:13,280
Speaker 1: Yes or no?

1685
01:40:15,120 --> 01:40:19,800
Speaker 2: Are you going to It's not up to me, it's

1686
01:40:19,920 --> 01:40:20,639
Speaker 2: up to the state.

1687
01:40:21,360 --> 01:40:24,680
Speaker 1: Was the estate happy with Bad They love it very much.

1688
01:40:24,880 --> 01:40:29,200
Speaker 1: Was the state happy with Off the Wall? Yes? So

1689
01:40:32,360 --> 01:40:34,760
Speaker 1: you gotta wait for Have you had a conversation yet

1690
01:40:34,800 --> 01:40:36,080
Speaker 1: or it hasn't come up yet.

1691
01:40:36,520 --> 01:40:39,880
Speaker 2: Well, we had conversations, but they're not I don't think

1692
01:40:39,880 --> 01:40:44,000
Speaker 2: they got other stuff they're doing before they get to Thriller.

1693
01:40:44,880 --> 01:40:48,960
Speaker 1: I'm sorry, what's What's what else? What else is it?

1694
01:40:49,040 --> 01:40:52,960
Speaker 1: Michael Jackson's arsenal that coming out on film?

1695
01:40:53,360 --> 01:40:56,240
Speaker 2: If you listen to me, I got some TV shows

1696
01:40:56,320 --> 01:40:56,920
Speaker 2: stuff like that.

1697
01:40:57,439 --> 01:41:02,080
Speaker 1: Oh okay, nice, I mean asking Spike Lee if he's

1698
01:41:02,120 --> 01:41:04,520
Speaker 1: going to direct the Thriller documentary.

1699
01:41:05,640 --> 01:41:08,400
Speaker 2: I want to because I would if I was able to,

1700
01:41:08,720 --> 01:41:13,720
Speaker 2: if I was blessed to get to do trilogy. I'm

1701
01:41:13,760 --> 01:41:15,880
Speaker 2: dumb because I mean to do to do Thrilled, That'd

1702
01:41:15,920 --> 01:41:19,280
Speaker 2: be a trilogy for me. Trilogy. I'm done. That's someone

1703
01:41:19,320 --> 01:41:24,600
Speaker 2: else dangerous past. I'll be happy to pass the baton on.

1704
01:41:25,200 --> 01:41:28,680
Speaker 1: But Dangerous is a New jack classic in my eyes. No,

1705
01:41:28,920 --> 01:41:31,280
Speaker 1: I mean, I'm just saying that would be the only

1706
01:41:31,360 --> 01:41:33,160
Speaker 1: one that was to do it because he did the

1707
01:41:33,240 --> 01:41:37,840
Speaker 1: video for Remember the Time. Actually, yeah, yeah, it's actually

1708
01:41:37,880 --> 01:41:44,960
Speaker 1: three parts. Okay, this is kind of my rapid fire. Okay,

1709
01:41:49,120 --> 01:41:52,439
Speaker 1: now I'm gonna just running. Can you name me three

1710
01:41:52,560 --> 01:41:58,559
Speaker 1: directors uh that came under the leaves of your tree

1711
01:41:59,000 --> 01:42:03,439
Speaker 1: or or your family tree, that you've enjoyed their work.

1712
01:42:03,640 --> 01:42:06,479
Speaker 1: Three African American directors that you've.

1713
01:42:06,720 --> 01:42:14,519
Speaker 2: Malcolm Lee, Ernest Dickison, Uh, d Rees you said, Pariah

1714
01:42:15,200 --> 01:42:17,320
Speaker 2: she was she was my student.

1715
01:42:17,479 --> 01:42:25,439
Speaker 1: Well, n Yu those three now, uh, three acting students

1716
01:42:25,720 --> 01:42:29,680
Speaker 1: or three first timers that didn't have any history and

1717
01:42:29,760 --> 01:42:34,280
Speaker 1: films that have now blossomed to actors, Like who's your You're, You're, you're, you're,

1718
01:42:34,760 --> 01:42:37,639
Speaker 1: you're starting three squad, like the three students that you're

1719
01:42:37,640 --> 01:42:38,920
Speaker 1: proud of in the acting.

1720
01:42:38,720 --> 01:42:41,960
Speaker 2: World, Like I didn't teach acting, well not acting.

1721
01:42:41,720 --> 01:42:44,679
Speaker 1: But you know that you that you gave the first

1722
01:42:44,720 --> 01:42:48,960
Speaker 1: film that are now like, hey, like a halle Berry

1723
01:42:49,160 --> 01:42:49,719
Speaker 1: I was first.

1724
01:42:51,600 --> 01:42:59,640
Speaker 2: That wasn't I mean halle Berry Rosie. Uh, but that

1725
01:42:59,760 --> 01:43:01,760
Speaker 2: you Thiev was Queen Lativa's first film.

1726
01:43:06,840 --> 01:43:08,000
Speaker 1: So it's just the black and.

1727
01:43:11,680 --> 01:43:12,519
Speaker 2: Remember that lie.

1728
01:43:17,040 --> 01:43:20,360
Speaker 1: So those three you're the proudest of that they Okay,

1729
01:43:20,720 --> 01:43:24,320
Speaker 1: now the same question but for crew, because I know

1730
01:43:24,520 --> 01:43:28,600
Speaker 1: that besides Earnie Dickerson maliks I, I didn't imagine all

1731
01:43:28,600 --> 01:43:30,439
Speaker 1: the cematographers and editors.

1732
01:43:30,520 --> 01:43:32,960
Speaker 2: Maliks started as electric. I'm Malcolm X and now one

1733
01:43:33,000 --> 01:43:37,880
Speaker 2: of the best dps, Ellen Curis, who shot Summer sam

1734
01:43:38,080 --> 01:43:45,080
Speaker 2: Full Little Girls Bamboozled. Uh, my newest DP, a gentleman

1735
01:43:45,120 --> 01:43:48,679
Speaker 2: named Daniel Patterson morehouse Man. Also, what was my student,

1736
01:43:48,760 --> 01:43:52,360
Speaker 2: n y you who shot up all the episodes for

1737
01:43:52,680 --> 01:43:53,439
Speaker 2: She's Got to Have It?

1738
01:43:53,920 --> 01:43:58,800
Speaker 1: Who who? Side question yes, even side questions to my

1739
01:43:58,880 --> 01:44:06,160
Speaker 1: final question, you've been your longest ally employee that's been

1740
01:44:06,240 --> 01:44:08,280
Speaker 1: with you since. Has there been someone that's been there

1741
01:44:08,320 --> 01:44:13,280
Speaker 1: since the beginning like your editor or your costume designer

1742
01:44:13,400 --> 01:44:15,280
Speaker 1: or your craft services?

1743
01:44:16,000 --> 01:44:18,960
Speaker 2: Right, I mean they're people that I work with, but

1744
01:44:19,040 --> 01:44:21,160
Speaker 2: there has been like every single film, so you know

1745
01:44:21,479 --> 01:44:23,280
Speaker 2: a lot of times when I'm shooting something, they have

1746
01:44:23,360 --> 01:44:24,040
Speaker 2: another film.

1747
01:44:24,160 --> 01:44:28,600
Speaker 1: So okay, what what three actors have you yet to

1748
01:44:28,720 --> 01:44:31,760
Speaker 1: work with that you were like, I.

1749
01:44:31,880 --> 01:44:34,000
Speaker 2: Want Sean penn is one?

1750
01:44:34,600 --> 01:44:38,599
Speaker 1: Wow, dam have more together? I would see I could

1751
01:44:38,600 --> 01:44:40,720
Speaker 1: have seen Shan penn in twenty fifth Hour as well.

1752
01:44:41,720 --> 01:44:42,679
Speaker 2: Sean Penn.

1753
01:44:54,760 --> 01:45:02,120
Speaker 1: Uh ever worked with no never?

1754
01:45:02,320 --> 01:45:02,439
Speaker 7: You know?

1755
01:45:02,680 --> 01:45:04,920
Speaker 1: You know, will you ever work with DeNiro? Hopefully?

1756
01:45:05,520 --> 01:45:10,080
Speaker 2: You know who's potentially be a great actress Solange?

1757
01:45:10,680 --> 01:45:10,920
Speaker 5: Wow?

1758
01:45:11,200 --> 01:45:11,400
Speaker 2: Wow?

1759
01:45:11,680 --> 01:45:12,680
Speaker 5: I think I see that.

1760
01:45:14,760 --> 01:45:16,880
Speaker 2: He wants to act, and that's another thing, but I

1761
01:45:17,000 --> 01:45:20,880
Speaker 2: think that a great potential.

1762
01:45:22,040 --> 01:45:24,479
Speaker 5: Uh, Morgan Freeman. Ain't getting no.

1763
01:45:28,760 --> 01:45:31,639
Speaker 2: Nothing against Moran, It's.

1764
01:45:31,520 --> 01:45:33,800
Speaker 5: Just funny guys like who has he not just been around?

1765
01:45:34,240 --> 01:45:35,519
Speaker 1: You haven't worked with Morgan Freeman?

1766
01:45:36,479 --> 01:45:39,240
Speaker 2: That did not happen, but work with.

1767
01:45:41,600 --> 01:45:44,040
Speaker 1: I'm just saying to be a black actor.

1768
01:45:44,520 --> 01:45:46,400
Speaker 3: No, that was just it was just a random legendary

1769
01:45:46,439 --> 01:45:48,559
Speaker 3: black actor that I was like, Oh, that's the one

1770
01:45:48,600 --> 01:45:50,160
Speaker 3: that he works a lot.

1771
01:45:51,000 --> 01:45:53,640
Speaker 2: But you said that, I mean I liked I was

1772
01:45:53,720 --> 01:45:55,240
Speaker 2: too young, but I wish I could have worked with

1773
01:45:55,280 --> 01:46:04,120
Speaker 2: Paul Newman. Ah that film, Uh cool hand Lucas. Yeah,

1774
01:46:04,200 --> 01:46:05,439
Speaker 2: yeah that's nice.

1775
01:46:06,160 --> 01:46:14,600
Speaker 1: So yeah, yes, yes, I'm sorry. Did you ask that

1776
01:46:14,640 --> 01:46:15,559
Speaker 1: because it was a white film?

1777
01:46:17,640 --> 01:46:18,200
Speaker 2: His head.

1778
01:46:20,120 --> 01:46:23,280
Speaker 1: Like, Paul, my head is that was like forty eggs,

1779
01:46:23,360 --> 01:46:28,040
Speaker 1: right eggs? Yeah? Okay. So I don't know if directors

1780
01:46:28,160 --> 01:46:32,320
Speaker 1: can divide their scenes like their songs from an album whatever.

1781
01:46:33,320 --> 01:46:37,439
Speaker 1: But in your arsenal, what do you feel are your

1782
01:46:37,560 --> 01:46:42,320
Speaker 1: three most important scenes? Okay, your three most important scenes? Like,

1783
01:46:42,360 --> 01:46:46,080
Speaker 1: I'm more than three, you gotta get me three guns

1784
01:46:46,160 --> 01:46:49,560
Speaker 1: your head, three, I'm burning all your other world. We

1785
01:46:49,640 --> 01:46:50,920
Speaker 1: know his house is burning.

1786
01:46:56,720 --> 01:47:01,680
Speaker 2: I would say Mookie throwing a garbage the window. Absolutely

1787
01:47:02,439 --> 01:47:09,200
Speaker 2: assassination Malcolm Max and uh that scene in twenty four

1788
01:47:09,280 --> 01:47:11,479
Speaker 2: Hour Edwin Norton's talking into the mirror.

1789
01:47:12,080 --> 01:47:19,400
Speaker 1: M okay, tricky. I thought the uh, I could swear

1790
01:47:19,439 --> 01:47:22,519
Speaker 1: your number one would have been the Times Mahon scene. Oh,

1791
01:47:22,720 --> 01:47:28,000
Speaker 1: Oh yeah, you said only three though, Okay, but the

1792
01:47:28,080 --> 01:47:31,960
Speaker 1: fact that that wasn't even your got it? I mean, okay, No,

1793
01:47:32,479 --> 01:47:37,720
Speaker 1: I'll think those three again, the expanded version that that

1794
01:47:37,880 --> 01:47:42,719
Speaker 1: was your songs. You're you're the three albums and three albums,

1795
01:47:42,760 --> 01:47:47,840
Speaker 1: the three films that when you're gone and mind if

1796
01:47:47,880 --> 01:47:50,559
Speaker 1: we look at your cannon, what are the three films

1797
01:47:50,600 --> 01:47:55,320
Speaker 1: that you want representing your work? Wow?

1798
01:47:55,400 --> 01:47:57,559
Speaker 5: For me, that's that's it, ain't nothing.

1799
01:47:58,080 --> 01:48:01,600
Speaker 1: It's like picking kids. Pick your three favorite kids. You

1800
01:48:02,560 --> 01:48:04,639
Speaker 1: have twenties choice.

1801
01:48:05,000 --> 01:48:07,680
Speaker 2: But here's the thing, though, you you say you love

1802
01:48:07,760 --> 01:48:11,760
Speaker 2: all your children the same. We might like them tell

1803
01:48:11,760 --> 01:48:16,600
Speaker 2: about darkness, but I would just say I've done so

1804
01:48:16,720 --> 01:48:21,680
Speaker 2: many films that I leave it up to I'm telling you,

1805
01:48:21,720 --> 01:48:23,080
Speaker 2: I can't pick three guns to.

1806
01:48:23,120 --> 01:48:26,280
Speaker 1: Your head, man, I can't pick three guns to your head,

1807
01:48:26,680 --> 01:48:31,439
Speaker 1: House on fire, I can't pick three universal house burning

1808
01:48:31,560 --> 01:48:35,559
Speaker 1: all the reels. You can't pick three. Okay, Well, what's

1809
01:48:35,560 --> 01:48:39,680
Speaker 1: the opposite. That's the opposite. You gotta kill you three?

1810
01:48:40,280 --> 01:48:47,519
Speaker 1: You gotta kill three with three films? With three films,

1811
01:48:47,560 --> 01:48:52,040
Speaker 1: do you kind of wish? I'm cool if nobody sees that.

1812
01:48:54,040 --> 01:48:56,880
Speaker 2: As I said before, the only thing I wish I

1813
01:48:56,880 --> 01:49:02,800
Speaker 2: could do over the rape scene, and she's gonna have it.

1814
01:49:03,880 --> 01:49:09,880
Speaker 2: Because everything I've done, for good or bad, is the

1815
01:49:10,000 --> 01:49:13,720
Speaker 2: experience that helps me what the next film is. So

1816
01:49:13,880 --> 01:49:18,280
Speaker 2: that's that's the way it is, is learning how to

1817
01:49:19,400 --> 01:49:23,200
Speaker 2: hone your skills. You know, good, bad, and different. Every

1818
01:49:23,280 --> 01:49:26,160
Speaker 2: time out you learn something new, different circumstances, and if

1819
01:49:26,200 --> 01:49:29,160
Speaker 2: you're smart, the lessons that you learn, you'll apply that

1820
01:49:29,600 --> 01:49:31,840
Speaker 2: to the next film.

1821
01:49:32,600 --> 01:49:35,439
Speaker 6: He's not gonna answer your question, what is the most

1822
01:49:35,560 --> 01:49:39,080
Speaker 6: overlooked Spike Lee film in your opinion? I got a

1823
01:49:39,080 --> 01:49:40,720
Speaker 6: lot of those, like the one you think that most

1824
01:49:40,720 --> 01:49:41,920
Speaker 6: people really should see.

1825
01:49:43,320 --> 01:49:43,960
Speaker 1: Or see again.

1826
01:49:45,400 --> 01:49:51,120
Speaker 2: Well, I don't think people saw Miracle sa. I don't

1827
01:49:51,160 --> 01:49:56,479
Speaker 2: think people saw bamboozo Here's the thing, though, there's two

1828
01:49:57,400 --> 01:50:00,519
Speaker 2: there's two categories. How do people to see when it

1829
01:50:00,600 --> 01:50:04,200
Speaker 2: came out versus people discovered, you know later on so

1830
01:50:04,360 --> 01:50:05,320
Speaker 2: Bamboozle goals in.

1831
01:50:05,320 --> 01:50:09,040
Speaker 1: That character where people discovered it discovered it. Miracle is

1832
01:50:09,120 --> 01:50:12,080
Speaker 1: Saint Ana? What was there? Was a novel it was

1833
01:50:12,120 --> 01:50:14,080
Speaker 1: based on James McBride.

1834
01:50:14,280 --> 01:50:17,519
Speaker 6: I almost wrote The Color Water, almost entered the casting

1835
01:50:17,560 --> 01:50:18,599
Speaker 6: call for extras for that movie.

1836
01:50:18,680 --> 01:50:20,479
Speaker 1: Oh for real. I had a homie that was in

1837
01:50:20,560 --> 01:50:22,000
Speaker 1: that he was. He was one of the interesting did

1838
01:50:22,040 --> 01:50:23,040
Speaker 1: he go overseas? Yeah?

1839
01:50:23,640 --> 01:50:27,000
Speaker 6: Thereak no uh Ron he ain't gonna remember the name,

1840
01:50:29,479 --> 01:50:35,160
Speaker 6: but uh not Turanron something I can't.

1841
01:50:35,160 --> 01:50:35,519
Speaker 2: I don't want to.

1842
01:50:35,520 --> 01:50:36,280
Speaker 5: It's embarrassing you called.

1843
01:50:37,240 --> 01:50:40,439
Speaker 2: I mean, we had to cast these these guys to

1844
01:50:40,520 --> 01:50:44,120
Speaker 2: play the uh the Buffalo soldiers, but none of them

1845
01:50:44,240 --> 01:50:45,160
Speaker 2: had passports.

1846
01:50:46,240 --> 01:50:48,400
Speaker 1: We had to go to Italy's scrambling, you know, to

1847
01:50:48,479 --> 01:50:50,120
Speaker 1: get to get the past. That's why I didn't.

1848
01:50:51,720 --> 01:50:53,200
Speaker 2: Sing all about it.

1849
01:50:53,280 --> 01:50:55,320
Speaker 3: It's at the top of our list now for requirements.

1850
01:50:55,400 --> 01:50:56,560
Speaker 3: He must have a passport.

1851
01:50:56,880 --> 01:50:59,120
Speaker 1: I got it. Yeah, he was telling me that was real.

1852
01:50:59,200 --> 01:51:01,240
Speaker 6: He was like yo, like he's like, man, we had

1853
01:51:01,280 --> 01:51:02,920
Speaker 6: the cannons was going off, and he was like it

1854
01:51:03,080 --> 01:51:05,240
Speaker 6: was real, Like there was really like in comebat and

1855
01:51:05,320 --> 01:51:07,200
Speaker 6: he's ad for Like when he came back it took

1856
01:51:07,680 --> 01:51:09,679
Speaker 6: he like he kind of had PTSD after the shoot,

1857
01:51:09,720 --> 01:51:11,640
Speaker 6: Like it was like he was going to sleep and

1858
01:51:11,680 --> 01:51:12,120
Speaker 6: he couldn't.

1859
01:51:12,479 --> 01:51:13,960
Speaker 1: You know, He's still be hearing the ship going off.

1860
01:51:14,000 --> 01:51:22,439
Speaker 1: It was crazy. Okay, this is my final, my final, final,

1861
01:51:23,600 --> 01:51:29,000
Speaker 1: final question. It's two parts. Spike the episode absolutely no.

1862
01:51:29,160 --> 01:51:31,160
Speaker 1: First of all, I appreciate you for doing this.

1863
01:51:31,760 --> 01:51:32,040
Speaker 2: Thank you.

1864
01:51:32,160 --> 01:51:34,280
Speaker 1: I been amazing man.

1865
01:51:34,720 --> 01:51:37,840
Speaker 5: Yeah, macaroons for you, so that's well.

1866
01:51:37,960 --> 01:51:41,200
Speaker 1: I brought it for everybody. But appreciate the ship because

1867
01:51:41,200 --> 01:51:45,280
Speaker 1: we is he talking ba people don't eat macaroons. We

1868
01:51:45,439 --> 01:51:48,439
Speaker 1: don't you want that on there? Five million people don't

1869
01:51:49,600 --> 01:51:55,479
Speaker 1: offer no person ed? Okay anyway, Spike, Uh, there's a

1870
01:51:55,920 --> 01:51:59,679
Speaker 1: game that we play on the show. Yes, which one?

1871
01:52:00,080 --> 01:52:08,360
Speaker 1: This is your final question of Spike from his four

1872
01:52:08,439 --> 01:52:14,400
Speaker 1: million dollars? Can you please tell me what's the original

1873
01:52:14,439 --> 01:52:22,920
Speaker 1: sample of this song? Inside joke, ladies and gentlemen. Thank you,

1874
01:52:23,120 --> 01:52:28,519
Speaker 1: Spike Lee. We're coming on Quest Love Supreames, take a

1875
01:52:28,560 --> 01:52:32,800
Speaker 1: load sugar, Steve Boston, Bill, unpaid Bill and Lie.

1876
01:52:32,880 --> 01:52:33,080
Speaker 9: Yeah.

1877
01:52:33,200 --> 01:52:36,280
Speaker 1: This is Quest Love signing off Spike Leeve. Thank you

1878
01:52:36,400 --> 01:52:37,920
Speaker 1: so much for answering on my question.

1879
01:52:39,080 --> 01:52:42,160
Speaker 5: Appreciate doctor now sorry that was my.

1880
01:52:42,240 --> 01:52:44,639
Speaker 1: Last man, I'm sorry last words.

1881
01:52:45,080 --> 01:52:46,160
Speaker 2: Teacher he's a teacher.

1882
01:52:46,200 --> 01:52:46,840
Speaker 5: Okay, thank you?

1883
01:52:47,040 --> 01:52:52,559
Speaker 2: Sorry anyway, Harry, Yes, anyway till next week.

1884
01:52:52,680 --> 01:52:56,519
Speaker 1: Yeah, if we're still here, Yes, and macaroons for everybody.

1885
01:52:56,600 --> 01:53:00,879
Speaker 1: Don't listen. This is Quest Love signing off Only on Pandora.

1886
01:53:00,920 --> 01:53:02,320
Speaker 1: This is a Quest Love Supreme. You see all that

1887
01:53:02,400 --> 01:53:02,840
Speaker 1: show round.

1888
01:53:02,840 --> 01:53:05,160
Speaker 7: Thank you, yo yo yo I'm gone with the wind

1889
01:53:05,720 --> 01:53:07,679
Speaker 7: because it is sapapa love the fitness.

1890
01:53:07,720 --> 01:53:09,519
Speaker 6: When the ship hits the fan, I got my shake,

1891
01:53:09,560 --> 01:53:12,679
Speaker 6: give him my hand, black man with the permanent ten.

1892
01:53:12,920 --> 01:53:14,120
Speaker 1: I'll come from the building that.

1893
01:53:14,240 --> 01:53:17,600
Speaker 5: For rand Damn, I'm feeling the love the part of reality.

1894
01:53:18,080 --> 01:53:19,600
Speaker 1: It me one not represent the f.

1895
01:53:19,680 --> 01:53:22,880
Speaker 9: Ap straight from the Bill Hill, then't play the building.

1896
01:53:23,120 --> 01:53:24,479
Speaker 2: I mean they're releague or nothing.

1897
01:53:24,560 --> 01:53:26,719
Speaker 9: Y'all make a killing for a like see I'm fitting

1898
01:53:26,720 --> 01:53:28,960
Speaker 9: in the bus to pipe original head strip to chet

1899
01:53:29,000 --> 01:53:30,240
Speaker 9: the brook Man all night.

1900
01:53:30,600 --> 01:53:32,960
Speaker 2: Who would die? I'm saying this shot. Will I bring

1901
01:53:33,040 --> 01:53:34,080
Speaker 2: your clicks.

1902
01:53:33,720 --> 01:53:36,439
Speaker 5: That we can get stone like family slid. We need

1903
01:53:36,520 --> 01:53:39,360
Speaker 5: to see ya in the bush, Mighty Maxine, Rock.

1904
01:53:39,240 --> 01:53:41,880
Speaker 1: In the rock, Given the Bush quest Love Supreme. It's

1905
01:53:41,920 --> 01:53:45,920
Speaker 1: a production iHeartRadio. This classic episode was produced by the

1906
01:53:46,040 --> 01:53:52,040
Speaker 1: team at Pandora. For more podcasts from My Heart Radio,

1907
01:53:52,200 --> 01:53:55,560
Speaker 1: visit the Ihart Radio app, Apple Podcasts, or wherever you

1908
01:53:55,680 --> 01:53:56,840
Speaker 1: listen to your favorite shows.