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

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Speaker 2: What y'all, it's Laiah for Team Supreme. Now, our newest

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Speaker 2: episode of Quest Love Supreme is with the legend Ben Buren.

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Speaker 3: Now, in that.

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Speaker 2: Episode, which you have to check out, Ben mentions growing

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Speaker 2: up in Brooklyn with none other than Glenn Turman. Yeah, y'all,

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Speaker 2: they went to high school together. So this week we're

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Speaker 2: gonna revisit our late twenty twenty interview with Glynn. Now,

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Speaker 2: just to remind you, Glenn's career spans over sixty five

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Speaker 2: years and numerous pivotal, pivotal I know the word, numerous

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Speaker 2: pivotal roles. And in that conversation that we had, he

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Speaker 2: speaks about his approach to the work, some of the

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Speaker 2: roles that defined his career. Yes, it was very different

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Speaker 2: than our conversation that we had with Ben spoke about

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Speaker 2: his family and self discovery and more. But that's the

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Speaker 2: beauty of Questlove Supreme, the beauty of these conversations and

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Speaker 2: the beauty of preserving. So take a listen as we

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Speaker 2: preserved and celebrate our history.

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Speaker 1: May much better.

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Speaker 4: Yeah, I was gonna say, also, uh, if he's been

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Speaker 4: acting with Teddy Wilson at least three filmself.

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Speaker 2: I gotta get picked, pay, pay and place Julia. That's

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Speaker 2: all I'm saying. All right, I'm I'm just bringing it.

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Speaker 5: I think between all of us will give me his career.

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Speaker 6: Yeah, get y'all.

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Speaker 5: Wow, Hello, legend, what's going on?

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Speaker 3: What's that? Colonel Way?

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Speaker 1: Listen?

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Speaker 3: What know? Yeah? It's great, It's great.

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Speaker 4: All right, ladies and gentlemen, please welcome to another episode

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Speaker 4: of Quest of Supreme Supreme Teams in the house, all

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Speaker 4: of us here and unpaid Bill.

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Speaker 1: Yeah, you're doing how worried roys to the building? Ready

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Speaker 1: for each of.

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Speaker 4: Us in this room, we're gonna have like are our

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Speaker 4: memories of our guest today?

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Speaker 1: Find take alo you cool?

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Speaker 5: Yeah, man, listen, I'm cool as I could be a legend,

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Speaker 5: and I know.

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Speaker 1: Questions.

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Speaker 3: Cool.

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Speaker 1: Good to see everybody.

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Speaker 7: Nice to see you, sir.

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Speaker 1: Oh yeah, and like you is also with us.

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Speaker 2: I am over joyed over there.

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Speaker 3: We already met.

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Speaker 1: This is special.

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Speaker 3: Now you got your healming on? No, I see him?

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Speaker 4: Okay, So I'll say that you know our guest today

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Speaker 4: beyond super legend. I mean I personally grew up watching

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Speaker 4: his entire canon, even if I didn't know I was

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Speaker 4: watching him. But he's literally been practically almost in every

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Speaker 4: movie that I was allowed to watch, which speaks highly

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Speaker 4: of his his his choice of film. This man is

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Speaker 4: sixty years of acting under his belt on all mediums, movies, television, plays.

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Speaker 4: I mean, if I name them, all will be here forever.

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Speaker 4: I mean Raising the Sun, Julia Room two, my Squad,

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Speaker 4: the White Shadow, Yeah, Coolie High, Peyton.

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Speaker 3: Place, Homework ain't nothing, but.

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Speaker 1: I know.

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Speaker 4: All the Black ABC After School's specials.

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Speaker 1: Jad's Revenged, you know, a different I'd see it had

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Speaker 1: one g in exactly.

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Speaker 3: You know that right, you.

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Speaker 2: Know, Jamie Fox Stay that one day just made me laugh.

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Speaker 4: I'm sorry, of course, our our white contendency definitely knows

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Speaker 4: him from the wire, you know, currently.

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Speaker 1: Riding high now on his I mean, uh, nomination.

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Speaker 4: Of How to get Away with Murder, currently giving us

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Speaker 4: a twofer in Fargo on effect.

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Speaker 5: Doctor Senator, doctor Senator.

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Speaker 4: His birth name, Doctor Senator. I love I love it,

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Speaker 4: you know, not to be out done in the in

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Speaker 4: the historical telling of My Rainey's uh illustrious career as

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Speaker 4: a as a pioneer in My Rainey's Black Bottom. Ladies

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Speaker 4: and gentlemen, please welcome to quest Love, Supreme One and

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Speaker 4: only Glenn Turman.

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Speaker 3: Yes, thank you very much for everyoneful introduction. My brother.

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Speaker 3: You look, man, I grow up. I won't be like

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Speaker 3: you look got kicked back. You up.

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Speaker 4: I'm just you know this, you know, I'm just relaxing

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Speaker 4: with friends. I know, I know, I know we usually

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Speaker 4: do this chronological thing, but it would be forever, so

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Speaker 4: I think this is going to be more rapid fire,

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Speaker 4: so I will go first. You know, I'm obsessed with

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Speaker 4: a particular period. I know that you're a Harlem Knight.

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Speaker 1: Correct. You were born in Harlem, you know.

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Speaker 4: And I've heard a lot from Nina Simone, James Baldwin,

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Speaker 4: but I never got to hear any personal tales of

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Speaker 4: the great Lorraine Huntsbury. And I know that she cast

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Speaker 4: you at a young age and raising in the sun

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Speaker 4: so and I think the way she casts you was

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Speaker 4: very casual. It wasn't like you had, you know, these

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Speaker 4: goals to be an actor. Can you just explain to me, like,

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Speaker 4: what was it like in that environment growing up with

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Speaker 4: those those giants as as a young person looking at them?

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Speaker 3: Well, you know, I was born in Harlem but raised

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Speaker 3: in Greenwich Village, so my mother a single parent moved

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Speaker 3: from Harlem, she and I to a cold water flat

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Speaker 3: six what they used to call cold water flat in

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Speaker 3: Greenwich Village in the fifties, and that meant that the

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Speaker 3: departments were were literally that there was no hot water

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Speaker 3: and you had to walk up five flights and six

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Speaker 3: flights of stairs and you had to boil your water,

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Speaker 3: you know. And that was sort of the norm of

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Speaker 3: apartments styles in the village at that time. And the

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Speaker 3: people who were predominantly living in these these conditions were

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Speaker 3: artists James Baldwin, Lorraine Hansbury, Smith, Oliver, Nina Simone, and

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Speaker 3: all of these people were my mother's contemporaries. And there

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Speaker 3: were few, just a handful of blacks in the village

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Speaker 3: at that time, and she was a part of this

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Speaker 3: bohemian sort of clique of intellectuals, you know. So one

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Speaker 3: Dame Lorrain, my mother said, you know, my friend Ms. Hansbury,

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Speaker 3: she's written a play. There's a part for a little

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Speaker 3: boy in it, and she was wondering if you might

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Speaker 3: be interested in and auditioning for the part. But I

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Speaker 3: didn't know what an audition was. I had no idea.

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Speaker 3: And my mother said, well, yeah, if you get this part.

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Speaker 3: It's going to be many saturdays. So I said, well,

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Speaker 3: I don't know. She said, well, let's study the part

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Speaker 3: and we'll go and meet them on this particular date,

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Speaker 3: which I did. And then there were a whole bunch

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Speaker 3: of other little kids, black boys in the hallway when

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Speaker 3: we got to this office up in Midtown, and I

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Speaker 3: didn't know what they were there for. I didn't know

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Speaker 3: that they were there competing for the same role that

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Speaker 3: I was competing for. I thought the role was mine,

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Speaker 3: So I couldn't figure out what all these other little

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Speaker 3: knuckleheads was doing there because my role I read the play.

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Speaker 3: There's only one little boy in the play. That's me.

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Speaker 3: So what y'all doing here? You know? So but I

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Speaker 3: larned to found out what an audition was that they

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Speaker 3: were all we were all there for the same role.

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Speaker 3: But I got the role, and so there I was

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Speaker 3: in show business.

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Speaker 1: That's that's a hell of an entry.

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Speaker 4: Yeah, do you do you have just personal memories of

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Speaker 4: speaking with her or interacting with her or well what

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Speaker 4: it was?

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Speaker 3: Yes, she she and I. I. You know, there were

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Speaker 3: a lot of games that you played in the streets

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Speaker 3: in those days. You didn't have to be in the

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Speaker 3: house all the time. When I grew up, you know,

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Speaker 3: there were games that you play, you know, stickball, stickball, skullzies,

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Speaker 3: you know, sullies. Yeah, yeah, yeah, that was my game.

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Speaker 3: So Skelzies and so on and so for and Ms Hansbury

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Speaker 3: had a college dog. And and she herself was beautiful,

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Speaker 3: She was really pretty. And what happened was that happened

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Speaker 3: was because we were on the ground playing skullzies. You know,

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Speaker 3: we were thumping the bottle caps or whatever it was

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Speaker 3: was your piece. You know. We spent a lot of

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Speaker 3: time down low on the ground as kids. But all

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Speaker 3: of a sudden, this dog would walk through our game,

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Speaker 3: you know, and then these beautiful set of legs would

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Speaker 3: walk through the game. And when I was looking up,

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Speaker 3: I would find myself saying hello. In his hands, she

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Speaker 3: said hello, laying you know, I tell your mother this.

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Speaker 3: I'll tell you mother that of blah blah blah blah blah.

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Speaker 3: So she was very part of the neighborhood. You know,

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Speaker 3: we were it was a neighborhood and we were all

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Speaker 3: in this neighborhood. So you know, sometimes I say I

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Speaker 3: carry that for you. I carry those groceries for you

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Speaker 3: in Garam home and she just hitting me a quarter

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Speaker 3: and so on and so forth, you.

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Speaker 4: Know, everyone fighting to get her attention. I see wait,

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Speaker 4: I do have a question for you. You mentioned growing

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Speaker 4: up in Harlem. Do you have any memories whatsoever of

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Speaker 4: the Harlem Cultural Festival that went on? It was it

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Speaker 4: was it was a concert thrown by a gentleman named

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Speaker 4: Tony Lawrence.

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Speaker 1: And this was like nineteen sixty nine. It was like Nina.

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Speaker 4: Simone Stevie Wonder. Yeah, like it was all the summer

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Speaker 4: of nineteen sixty nine.

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Speaker 1: Do you have any memories of I don't.

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Speaker 3: I really don't. I came to California in sixty eight, literally,

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Speaker 3: and I've been in California living since nineteen sixty eight,

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Speaker 3: so that that particular event I'm not necessarily familiar with.

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Speaker 1: What prompted the move to California.

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Speaker 3: I came to do a play at a theater company

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Speaker 3: called the Inner City Cultural Center. The Inner City Cultural

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Speaker 3: Center was over on Pico and New Hampshire, the East

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Speaker 3: LA and it was run by a man by the

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Speaker 3: name of ce Bernard Jackson, and it was a wonderful

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Speaker 3: theater company. It there's still remnants of it now, which

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Speaker 3: I'm still a part of As a matter of fact,

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Speaker 3: we've got a zoom thing that we're getting ready to

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Speaker 3: do pretty soon. But I came to do a play

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Speaker 3: there called Slow Dance on the Killing Ground, which had

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Speaker 3: been done in Broadway in New York with Clarence Williams

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Speaker 3: the third and I was going to do the West

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Speaker 3: Coast version of it, and that brought me here by

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Speaker 3: a woman who is a high school teacher of mine

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Speaker 3: at the High School Performing Arts which I attended. She

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Speaker 3: brought me out here to do that play. Her name

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Speaker 3: was Bennett Carroll, and she was one of the first

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Speaker 3: black female directors on Broadway, having directed a play called

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Speaker 3: Your Arms Are Too Short to Box with God, God.

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Speaker 4: Before Your Turn and Raising in the Sun. Did you

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Speaker 4: have aspirations to give them a business or to be

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Speaker 4: an actor or was it just like something that worked

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Speaker 4: out and you're like, well, I want to try it again?

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Speaker 1: Like what was No?

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Speaker 3: I had no obsperation at all. You know, I did

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Speaker 3: this thing. My mama told me about it. She said,

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Speaker 3: we get to travel, so which we did. You know.

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Speaker 3: I was got to go to Chicago and Philly and

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Speaker 3: New Hampshire with the play touring before we came into

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Speaker 3: New York. Of course I got to meet all these

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Speaker 3: wonderful people, Sidney Poitier and work with them, Ruby d

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Speaker 3: and Ivan Dixon and Lou Gossett, you know, all these

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Speaker 3: people that were fantastic. And then see some people that

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Speaker 3: I knew from the movies like Sammy Davis, Junior Earth

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Speaker 3: a kid to you know, beautiful Dothy Dandridge. You know.

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Speaker 3: So I got to meet all these people that my

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Speaker 3: mother and my aunties and everybody was like saying, oh

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Speaker 3: my god, oh my god, oh my god, you know,

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Speaker 3: but for me it wasn't. I was just a kid,

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Speaker 3: so it was it was a big deal, but it

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Speaker 3: wasn't a big deal. You know what I'm saying. Kids

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Speaker 3: don't really pay a lot of attention to that.

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Speaker 4: Right So when it's over, then suddenly is it feeling

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Speaker 4: of emptiness like, well, when's the next one?

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Speaker 1: Or how can I do this?

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Speaker 3: No? I kept. I quit the play. I quit the

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Speaker 3: play after a year being in it. Sidney Poitier left.

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Speaker 3: I left soon after, just to get back to being

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Speaker 3: a regular kid, you know, and going to my regular

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Speaker 3: high school because I was going at that time. They

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Speaker 3: took me out of my regular school and put me

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Speaker 3: in a children's school, professional school, you know, and I

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Speaker 3: didn't like it. You know, all my thug buddies.

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Speaker 8: Was going to a different school, right so I was

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Speaker 8: ready for thug every one oh one, you know, and

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Speaker 8: I wasn't going to give that mace professional children's school.

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Speaker 3: You know what made what made.

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Speaker 2: You stay that long? I'm curious because you mentioned that

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Speaker 2: you weren't like phased by the stars or anything else,

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Speaker 2: but you stay long.

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Speaker 3: It was fun. I did this, you know, I was

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Speaker 3: with them. But also, you know, like I said, we

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Speaker 3: needed the money. You know, my mother was a single parent.

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Speaker 3: She wasn't working at the time, you know, and this

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Speaker 3: money came in handy to turn the lights back on,

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Speaker 3: you know, so uh uh. You know it was a

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Speaker 3: practical factor involved as well. And once we got on

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Speaker 3: our feet, you know, mom said it was okay, leave,

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Speaker 3: We're cool, and I split. Wow, you mentioned, but I

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Speaker 3: kept getting parts. I kept getting parts while I was

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Speaker 3: in junior high school because I had such notoriety as

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Speaker 3: a result of being this kid in a Broadway place.

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Speaker 3: So anytime there was a little black kid, they kept

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Speaker 3: putting me. I kept getting in these different shows. A

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Speaker 3: lot of different television shows, you know, and a lot

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Speaker 3: of different stage plays with Leroy Jones, who was Mari Baraka.

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Speaker 3: So I worked with him when creating some of his

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Speaker 3: early works. I worked with James James Kahn, Jimmy Kahn

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Speaker 3: and Robert Redford in a TV series, you know, TV special.

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Speaker 3: They were live, it was live television, man. And so

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Speaker 3: I kept getting in these things, and uh, then uh,

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Speaker 3: it came time to go to high school. And I

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Speaker 3: had a teacher, a wood shop teacher, black wood shop teacher,

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Speaker 3: who said, Terman, what what school you're going to go to?

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Speaker 3: What high school you're going I said, I'm going to

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Speaker 3: high school with aviations in his design. I'm going to

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Speaker 3: become an aviation's engineer. He said, Terman, you are a

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Speaker 3: chronic truant. You haven't been to a math class since

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Speaker 3: in the last three semesters. How do you don't? You

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Speaker 3: have to take a test for aviation and aviation and

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Speaker 3: design and you don't know anything about math. You know,

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Speaker 3: it's all math. I said, that's okay, I'm going to

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Speaker 3: take the test and I'll pass it. He said, well, look,

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Speaker 3: there's a school called the High School Performing Arts. It's

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Speaker 3: now called LaGuardia, right, And I said, he said, why

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Speaker 3: don't you audition for that school? They do acting and

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Speaker 3: stuff like that, the art I said, oh no, no, no, no, no,

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Speaker 3: I'm not doing that. I'm going to aviation and design,

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Speaker 3: you know. And he said they said, he said, well

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Speaker 3: do this take the test and the audition. Well I

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Speaker 3: failed the test, like he knew I would the audition.

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Speaker 4: What was the school like back in I'm assuming this

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Speaker 4: is the mid sixties or late sixties.

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Speaker 3: Yeah, early sixties earlier.

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Speaker 4: Yeah, Like I like, I've attended to Performing Arts school,

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Speaker 4: but in the late eighties and nineties. But what was

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Speaker 4: the curriculum like back then? Like was it diverse?

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Speaker 3: The Guadia is now on I think fifty ninth Street

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Speaker 3: or something like that, Yeah, and ninth or tenth Avenue.

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Speaker 3: But then Performing Arts, which was the movie Fame was

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Speaker 3: made about. Yeah, and actually that was my graduating class

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Speaker 3: that they made that movie about. What Yeah, And that

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Speaker 3: school was on forty sixth Street between sixth and seventh Avenue,

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Speaker 3: so it was right in the heart of Broadway. So

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Speaker 3: there I was again in the middle of Broadway, you know,

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Speaker 3: where I had been as a as a kid all

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Speaker 3: that time, and I ended up becoming top of the class.

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Speaker 3: I got an A for the first time ever in school.

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Speaker 3: I got all these great marks and graduated vice president

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Speaker 3: of my senior class and won all the awards and

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Speaker 3: all that. I said. When I got from A that

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Speaker 3: first semester, I came home, I said, Mom, look I

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Speaker 3: got an A. And she said, yeah, well I've been

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Speaker 3: trying to tell you, you know, so you need to go.

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Speaker 1: So she wanted it for you even more than you.

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Speaker 3: Wanted it for yourself, you know. But that was always

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Speaker 3: a ham. You know, I'm always a kid. You know,

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Speaker 3: you got a cousin or if maybe it's you, you

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Speaker 3: know that you got a kid that on the holidays

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Speaker 3: or the party, the house party or whatever. When you

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Speaker 3: were a kid, you know, your folks would call you,

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Speaker 3: come on out and do sing a song, Come on

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Speaker 3: out and dance, come on out and do this.

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Speaker 8: Come on.

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Speaker 3: I was always that kid, you know.

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Speaker 2: So you mentioned you went since Fame was based off

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Speaker 2: of your class, where there's some peers that came out

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Speaker 2: with you.

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Speaker 3: Remember there was a black kid in that movie Fame,

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Speaker 3: Lee Roy that was Ben Vereen. Shut up, yes, yes, So.

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Speaker 4: Genie was a troubled uh the troubled child that was

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Speaker 4: talented and still.

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Speaker 3: We're all troubled children. Word. But Ben and I close

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Speaker 3: to this day. We've been buddies ever since we've been roommates.

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Speaker 3: And the whole thing, as a matter of fact.

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Speaker 2: What's crazy is we interview the woman, the woman who

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Speaker 2: taught him how to dance. Her grandson became like the

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Speaker 2: legendary rapper because but she used to dance in the

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Speaker 2: Cotton Club. It's like a whole circle, remember y'all prodigy? Yeah, sorry,

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Speaker 2: but that's just.

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Speaker 3: So yeah, sure, that's dope.

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Speaker 4: Okay, I'm gonna push it up a little bit because again,

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Speaker 4: your your career sprawls decades, and you know, we got

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Speaker 4: to cover everything, and then I'm gonna let you all

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Speaker 4: take it after do this question because I know y'all

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Speaker 4: got questions too, But I just want to say that

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Speaker 4: in retrospect, I guess, uh, Preach was was maybe the

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Speaker 4: first black nerd I've ever seen on media screen. So

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Speaker 4: maybe because the thing is is that when all my

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Speaker 4: friends watched Coolly High, they all related to coaches. And

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Speaker 4: for me, she goes, yeah, I related to Preach. You know,

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Speaker 4: I mean I didn't see myself as a nerd back then.

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Speaker 4: But I mean, obviously I was more preach.

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Speaker 1: Than I was.

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Speaker 4: You hold the podcast. No, man, I'm fucked out done.

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Speaker 4: It was just no, it was it was important. It

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Speaker 4: was important for me to see that, even though I

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Speaker 4: guess in real time I didn't see that as a

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Speaker 4: seed being planted, but I definitely knew that watching that

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Speaker 4: character and kind of the cheapest way that he didn't

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Speaker 4: want people to know that he was that smart. Like,

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Speaker 4: especially when you have to survive in the area that

351
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Speaker 4: you grow up, you know, you don't want people think

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Speaker 4: that you're weaker anything, so you try and over commodate whatever.

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Speaker 4: But can you just talk about like just working with

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Speaker 4: Michael Schultz and that whole like as coolly high, as

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Speaker 4: iconic to you as it is to us, or you

356
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Speaker 4: are you tired of everyone like making the deal over it?

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Speaker 3: No? Actually, it is one of my favorite movies. Even

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Speaker 3: if I wasn't in it, the fact that I am

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Speaker 3: in it makes it one of my favorite movies that

360
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Speaker 3: I've been in. Oh really yeah, Yeah, it's a terrific movie.

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Speaker 3: And because its it talks about just what an exposed is,

362
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Speaker 3: just what you're talking about, a side of us that

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Speaker 3: very few, so especially at the time when exploitation movies

364
00:21:46,359 --> 00:21:50,480
Speaker 3: were being made, because all the characters were pimps or

365
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Speaker 3: players or tough guys or gangsters and so on and

366
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Speaker 3: so forth. So all of a sudden, here you are

367
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Speaker 3: in the neighborhood, and the gangsters are not the star

368
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Speaker 3: of the movie. A nerd is the star of the movie.

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Speaker 3: You know. It gave us a chance to expose that

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Speaker 3: some of your concerns, you know, how do I stay

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Speaker 3: smart and stay cool? So you know, so he was

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Speaker 3: indeed a cool nerd, you know, and that's that's what

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Speaker 3: we that's what he turned out to be. But at

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Speaker 3: the same time, it was interesting that that our culture,

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Speaker 3: which was my culture. We used to hit you on

376
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Speaker 3: the back of the buses, you know, jump the turnstiles,

377
00:22:38,280 --> 00:22:40,880
Speaker 3: ditch class. Told you that ditch class. I Holly every

378
00:22:40,880 --> 00:22:43,800
Speaker 3: went to the class, you know, and so all those

379
00:22:43,840 --> 00:22:47,439
Speaker 3: and spend time after zoo while waiting, you know, for

380
00:22:47,920 --> 00:22:49,639
Speaker 3: school to be over so we can go back and

381
00:22:49,640 --> 00:22:52,600
Speaker 3: get up books and do whatever. All of that was

382
00:22:52,640 --> 00:22:56,119
Speaker 3: my culture, you know, and we had never seen that

383
00:22:56,160 --> 00:22:59,200
Speaker 3: on the screen before. Now the fact that forty five

384
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Speaker 3: years later, there are still for decades of people, youngsters

385
00:23:06,560 --> 00:23:10,919
Speaker 3: who grow up watching that movie. That surprises me, you know,

386
00:23:11,000 --> 00:23:13,760
Speaker 3: because I still have you know, young teenagers will come

387
00:23:13,800 --> 00:23:15,480
Speaker 3: up and say, oh, you preach you know. I said,

388
00:23:15,480 --> 00:23:20,920
Speaker 3: well you you watch Coolie. Yeah, yeah, you know. So

389
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Speaker 3: that's that surprises me. So no, I did not and

390
00:23:24,040 --> 00:23:27,200
Speaker 3: we did not expect it to be the iconic film

391
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Speaker 3: that it turned out to be. But a lot of

392
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Speaker 3: that has to do with Michael Schultz and Steve Krantz,

393
00:23:33,800 --> 00:23:36,200
Speaker 3: who was the producer, Michael Schultz, of course the director,

394
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Speaker 3: and of course Eric Monte who wrote the piece. They

395
00:23:41,119 --> 00:23:44,320
Speaker 3: did something that was brilliant. There's a star. There's a

396
00:23:44,359 --> 00:23:48,000
Speaker 3: star in the movie that no one notices. Of course,

397
00:23:48,000 --> 00:23:51,199
Speaker 3: there's myself, and there's Lawrence Hilton Jacobs and Garrett Morris

398
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Speaker 3: and Steven Williams and and the people who were acting

399
00:23:57,680 --> 00:24:00,679
Speaker 3: in the movie. But there's also a movie a music

400
00:24:00,840 --> 00:24:03,760
Speaker 3: score that you couldn't pay.

401
00:24:03,560 --> 00:24:09,880
Speaker 4: For today, Before the Big the greatest Motown score Motown. Yeah,

402
00:24:10,119 --> 00:24:13,920
Speaker 4: I was about to say, before the Big Chill. Yeah, yeah, yeah,

403
00:24:14,000 --> 00:24:17,760
Speaker 4: before the Big Chill. Cool music is a star of

404
00:24:17,840 --> 00:24:18,280
Speaker 4: the movie.

405
00:24:18,800 --> 00:24:22,320
Speaker 3: You know, it's one of the stars, you know, and uh,

406
00:24:22,520 --> 00:24:25,359
Speaker 3: you couldn't you couldn't buy that now for a motion picture,

407
00:24:26,080 --> 00:24:27,119
Speaker 3: you know, too expensive.

408
00:24:27,440 --> 00:24:28,880
Speaker 5: I was watching an interview you did.

409
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Speaker 6: It was some years back, and you were talking about

410
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Speaker 6: that period in your career where, you know, the the

411
00:24:34,960 --> 00:24:38,199
Speaker 6: industry in kind of Hollywood. They were calling it black exportation.

412
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Speaker 6: But I always admired what you said. You said, you know,

413
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Speaker 6: to y'all it was black exportation.

414
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Speaker 5: To me, it was just work. Yeah, like we was.

415
00:24:47,160 --> 00:24:49,560
Speaker 6: We were just working, you know, And so I was

416
00:24:50,280 --> 00:24:53,720
Speaker 6: curious just to know, like, just with all your you know, career,

417
00:24:53,800 --> 00:24:56,360
Speaker 6: all your years in the game, you know, how has

418
00:24:56,400 --> 00:25:00,359
Speaker 6: your view on those movies changed, you know, like, you know,

419
00:25:00,400 --> 00:25:02,560
Speaker 6: do you still just see it just work or do

420
00:25:02,600 --> 00:25:06,000
Speaker 6: you think that there were some larger implications around those

421
00:25:06,080 --> 00:25:06,920
Speaker 6: kind of films.

422
00:25:07,200 --> 00:25:13,040
Speaker 3: No, I see it as work, you know, exploitation. Yeah,

423
00:25:13,200 --> 00:25:15,360
Speaker 3: you could look at it like that, you know, but

424
00:25:15,520 --> 00:25:18,400
Speaker 3: a lot of good came out of it, A lot

425
00:25:18,400 --> 00:25:20,960
Speaker 3: of progress came out of it, you know, and it

426
00:25:21,040 --> 00:25:26,359
Speaker 3: fed families, you know, because it gave us opportunity to work.

427
00:25:27,040 --> 00:25:30,399
Speaker 3: The only problem was that most of the time, it

428
00:25:30,480 --> 00:25:35,000
Speaker 3: was a one sided view of who we were as

429
00:25:35,000 --> 00:25:39,840
Speaker 3: a people. When those things opened up, those views opened up,

430
00:25:39,840 --> 00:25:42,960
Speaker 3: and especially now, I'm so proud of what the young

431
00:25:43,000 --> 00:25:46,199
Speaker 3: people you guys are doing now in terms of bringing

432
00:25:46,240 --> 00:25:50,240
Speaker 3: forth projects that show more dimensions of our experience and

433
00:25:50,280 --> 00:25:52,919
Speaker 3: who we are. You know, That's what our fight was

434
00:25:52,920 --> 00:25:56,320
Speaker 3: about back then. You know, that's what we went to

435
00:25:56,359 --> 00:25:59,359
Speaker 3: the head office about. That's what we lost jobs about.

436
00:25:59,800 --> 00:26:02,679
Speaker 3: That's how we, you know, get fired by speaking up

437
00:26:02,760 --> 00:26:06,359
Speaker 3: about you know, this character doesn't have a backstory, or

438
00:26:06,720 --> 00:26:10,240
Speaker 3: this character is one dimensional. Why doesn't this happen? Why

439
00:26:10,280 --> 00:26:13,199
Speaker 3: does this woman have to do this or that? You know.

440
00:26:14,000 --> 00:26:16,840
Speaker 3: So those were the battles that we were facing. But

441
00:26:17,359 --> 00:26:20,199
Speaker 3: and to see what you guys are doing now with

442
00:26:20,200 --> 00:26:24,080
Speaker 3: with your opportunities, in terms of taking advantage of the

443
00:26:24,160 --> 00:26:30,000
Speaker 3: changing tide is heartwarming for me, you know, because it's

444
00:26:30,000 --> 00:26:30,800
Speaker 3: been a long haul.

445
00:26:31,600 --> 00:26:33,000
Speaker 5: Well, we wouldn't be there without y'all.

446
00:26:33,040 --> 00:26:36,320
Speaker 2: I was about to say, yeah, thank you.

447
00:26:36,359 --> 00:26:41,880
Speaker 4: How difficult is that particular Hollywood shuffle where you kind

448
00:26:41,880 --> 00:26:48,160
Speaker 4: of have to wrestle between your dignity and a good paycheck.

449
00:26:49,080 --> 00:26:53,600
Speaker 4: Because there's there's one particular film that isn't often listed

450
00:26:53,680 --> 00:26:59,879
Speaker 4: in your your credits that I saw now. In two thousand,

451
00:27:00,760 --> 00:27:04,000
Speaker 4: I did a film with Spike Lee called bamboozle about

452
00:27:04,119 --> 00:27:09,879
Speaker 4: menstrual culture. And when Spike was first pitching us this film,

453
00:27:09,920 --> 00:27:12,679
Speaker 4: the first thing he did was he came to our

454
00:27:12,720 --> 00:27:15,120
Speaker 4: studio and he was like, all right, I need three hours.

455
00:27:15,160 --> 00:27:17,880
Speaker 4: I'm gonna show you this movie. And he puts in

456
00:27:18,680 --> 00:27:22,760
Speaker 4: this movie from seventy seven called minstrel Man, and basically,

457
00:27:23,280 --> 00:27:25,679
Speaker 4: like Spike, Lee just gave us a crash course on

458
00:27:26,680 --> 00:27:29,879
Speaker 4: the entire history of menstrual entertainment.

459
00:27:30,880 --> 00:27:33,760
Speaker 1: And you know, the thing on the Spike was like,

460
00:27:34,000 --> 00:27:35,120
Speaker 1: this movie's been banned.

461
00:27:35,359 --> 00:27:38,360
Speaker 4: You can't see you nowhere, Like he had to pull

462
00:27:38,440 --> 00:27:41,240
Speaker 4: strings to get this from like, you know, whatever company

463
00:27:41,280 --> 00:27:42,480
Speaker 4: had or whoever, like one.

464
00:27:42,400 --> 00:27:43,320
Speaker 1: Of the producers was.

465
00:27:44,000 --> 00:27:47,560
Speaker 4: But yeah, I've watched that film like three times and

466
00:27:48,040 --> 00:27:52,639
Speaker 4: even now then when I did the film, you know,

467
00:27:52,680 --> 00:27:55,440
Speaker 4: I thought, okay, well, Spike saying this is a satire.

468
00:27:55,560 --> 00:27:57,560
Speaker 4: But you know, I was kind of in that naive

469
00:27:57,600 --> 00:28:01,120
Speaker 4: place where I thought, like, okay, you know, we're we're

470
00:28:01,119 --> 00:28:04,720
Speaker 4: in a post racial part of you know, where it's

471
00:28:04,720 --> 00:28:07,120
Speaker 4: two thousand, there's a new leaf and da da da da,

472
00:28:07,880 --> 00:28:12,879
Speaker 4: And sure enough we've eased back into probably even worse

473
00:28:13,640 --> 00:28:17,320
Speaker 4: a need what I call neo minstrelsy. But at the time,

474
00:28:17,560 --> 00:28:20,199
Speaker 4: What made you want to do such a daring film

475
00:28:20,480 --> 00:28:24,640
Speaker 4: about uh, the history of menstrue entertainment?

476
00:28:25,400 --> 00:28:27,600
Speaker 1: And why was it not.

477
00:28:29,040 --> 00:28:32,240
Speaker 4: Exposed even on your on your Wikipedia page, it's not

478
00:28:32,280 --> 00:28:32,960
Speaker 4: even mentioned.

479
00:28:33,720 --> 00:28:37,120
Speaker 3: Uh, it's one of them. It's one of my favorite

480
00:28:37,119 --> 00:28:42,560
Speaker 3: pieces menstrum Man. It was daring, It was a revolutionary

481
00:28:42,600 --> 00:28:48,400
Speaker 3: film and it paid homage too. We as performance, somebody

482
00:28:48,440 --> 00:28:51,880
Speaker 3: had to bite the bullets, and these these performance bit

483
00:28:51,960 --> 00:28:55,760
Speaker 3: the bullet. You know, I met Stephen Fetcher, mister Perry

484
00:28:56,200 --> 00:28:59,360
Speaker 3: when I was doing Koolie High. You're all familiar with

485
00:28:59,360 --> 00:29:05,280
Speaker 3: the stepping Fees. Yes, who did more in terms of

486
00:29:06,080 --> 00:29:09,600
Speaker 3: really putting an image out there that really hurt us

487
00:29:09,760 --> 00:29:12,840
Speaker 3: as a as a as a people. But at the

488
00:29:12,880 --> 00:29:15,760
Speaker 3: same time, the reason it hurts is because he was

489
00:29:15,800 --> 00:29:19,320
Speaker 3: so brilliant at what it was that he was doing.

490
00:29:20,200 --> 00:29:27,120
Speaker 3: His performance capabilities were astounded, just like W. C. Fields,

491
00:29:27,200 --> 00:29:35,480
Speaker 3: just just like you know any of those great comedians

492
00:29:35,480 --> 00:29:40,760
Speaker 3: of those of that time, you know, Buster Keaton, all

493
00:29:40,840 --> 00:29:46,200
Speaker 3: those guys. But he took it on himself to give

494
00:29:46,240 --> 00:29:52,320
Speaker 3: you an interpretation of what was thought about us. In

495
00:29:52,360 --> 00:29:55,480
Speaker 3: other words, he took the he took the narrative of

496
00:29:56,040 --> 00:30:01,720
Speaker 3: somebody some other cultures describing us and those wasn't true

497
00:30:02,360 --> 00:30:08,560
Speaker 3: he visualized it. It was detrimental, but it was brilliant.

498
00:30:09,080 --> 00:30:14,640
Speaker 9: It was really brilliant, so much so that it it

499
00:30:14,920 --> 00:30:19,680
Speaker 9: harnessed an entire race of people. Before that, he became

500
00:30:19,720 --> 00:30:23,040
Speaker 9: the highest one of the highest paid actors in Hollywood.

501
00:30:24,480 --> 00:30:28,280
Speaker 9: So there's that double edged sword of as a performer

502
00:30:28,320 --> 00:30:30,280
Speaker 9: as an artist, what do we do?

503
00:30:31,480 --> 00:30:34,920
Speaker 3: What are we about? And what do we do? And

504
00:30:34,960 --> 00:30:37,640
Speaker 3: how do we select what do we do? So I

505
00:30:37,720 --> 00:30:40,520
Speaker 3: saw this film as a film that tried to explain

506
00:30:40,760 --> 00:30:45,840
Speaker 3: that what do we do? We're brilliant people, how do

507
00:30:45,960 --> 00:30:52,760
Speaker 3: we make what we have work for us? And what's

508
00:30:53,080 --> 00:30:57,680
Speaker 3: too much? You know, when do we stop? When do

509
00:30:57,800 --> 00:31:01,640
Speaker 3: we stop? When do we not say okay? When do

510
00:31:01,760 --> 00:31:04,880
Speaker 3: we say that's enough? And we still have it to

511
00:31:04,920 --> 00:31:08,080
Speaker 3: this day. It's not like on the way you.

512
00:31:08,040 --> 00:31:10,040
Speaker 2: Think it was different when it was only like one

513
00:31:10,120 --> 00:31:12,920
Speaker 2: or two of us, And now that that's changed a little,

514
00:31:12,920 --> 00:31:17,160
Speaker 2: maybe that space has changed, because when it's only one

515
00:31:17,200 --> 00:31:21,560
Speaker 2: of us representing everybody, then of course we're like no, no.

516
00:31:21,400 --> 00:31:23,480
Speaker 3: There was always a lot. That's why you should see

517
00:31:23,480 --> 00:31:24,600
Speaker 3: the still menstrum.

518
00:31:24,280 --> 00:31:26,240
Speaker 2: Man Okay, okay, I do I wrote it down. I

519
00:31:26,280 --> 00:31:28,400
Speaker 2: am where can I see?

520
00:31:28,480 --> 00:31:30,400
Speaker 3: Where can I?

521
00:31:30,400 --> 00:31:32,280
Speaker 1: I believe it's still on YouTube.

522
00:31:32,440 --> 00:31:33,600
Speaker 3: It might be on YouTube.

523
00:31:34,040 --> 00:31:36,840
Speaker 4: Okay, you know it's funny. It's weird you said that

524
00:31:36,920 --> 00:31:42,240
Speaker 4: because maybe like four years ago, I went on a

525
00:31:42,280 --> 00:31:48,560
Speaker 4: deep dive about the whole menstrual culture and someone had

526
00:31:48,600 --> 00:31:52,640
Speaker 4: a different perspective of step and fetch It in which

527
00:31:53,600 --> 00:31:59,920
Speaker 4: he said that the one weapon that black people could

528
00:32:00,160 --> 00:32:04,920
Speaker 4: use against racism and white supremacy at that time was humor.

529
00:32:05,600 --> 00:32:08,520
Speaker 4: And so he saw step and Fetch It less as

530
00:32:08,600 --> 00:32:11,760
Speaker 4: like a you know, if people were saying like, well,

531
00:32:11,880 --> 00:32:14,280
Speaker 4: he's not a credit to his race or a sellout,

532
00:32:14,320 --> 00:32:18,560
Speaker 4: but more on the terms of he discovered a way

533
00:32:18,600 --> 00:32:24,480
Speaker 4: to disarm powerful white people at the time using humor.

534
00:32:24,560 --> 00:32:27,040
Speaker 4: Because on the other hand, Stepan would also take his

535
00:32:27,160 --> 00:32:31,440
Speaker 4: money and start funding like these black Shakespearean plays, like

536
00:32:31,480 --> 00:32:35,320
Speaker 4: he would use his money that he made for movies

537
00:32:35,560 --> 00:32:39,640
Speaker 4: and then really start a revolution by you know, Paul

538
00:32:39,720 --> 00:32:43,040
Speaker 4: Robins and stuff and that sort of thing. And so

539
00:32:44,520 --> 00:32:47,440
Speaker 4: you know, it's it's kind of a double edged sword

540
00:32:47,560 --> 00:32:50,320
Speaker 4: where I guess now you could just say that's just

541
00:32:50,760 --> 00:32:55,480
Speaker 4: what we call code switching. Whereas you know, Steppen was

542
00:32:55,520 --> 00:32:59,880
Speaker 4: the original code Switcher. But yeah, I wish, you know,

543
00:33:00,120 --> 00:33:02,920
Speaker 4: kind of wish that that film could come out of

544
00:33:03,920 --> 00:33:07,040
Speaker 4: its retirement. I mean at the time, was it at

545
00:33:07,080 --> 00:33:10,240
Speaker 4: the time, at the time where you shocked that well,

546
00:33:10,400 --> 00:33:13,080
Speaker 4: I mean kind of I assume that I wasn't well received,

547
00:33:13,120 --> 00:33:15,360
Speaker 4: so it was thrown like sort of underground.

548
00:33:15,720 --> 00:33:18,280
Speaker 3: It was well received. That was the problem.

549
00:33:19,560 --> 00:33:22,560
Speaker 1: It was too well received, well received for the wrong reasons.

550
00:33:23,840 --> 00:33:30,240
Speaker 3: Reasons. Well, it was you know, it was all of

551
00:33:30,280 --> 00:33:33,200
Speaker 3: a sudden, people got a conscious about what they thought

552
00:33:33,240 --> 00:33:37,400
Speaker 3: we should be showing, you know, and I see it

553
00:33:37,480 --> 00:33:39,680
Speaker 3: suffered the fate that it suffered, you know, and I'm

554
00:33:39,760 --> 00:33:42,840
Speaker 3: very sorry that it did, very sorry that it did well.

555
00:33:42,960 --> 00:33:46,680
Speaker 4: Yeah, I still recommend people see it, you know, because

556
00:33:47,240 --> 00:33:50,640
Speaker 4: it really especially uh. I remember one part in which

557
00:33:51,760 --> 00:33:54,040
Speaker 4: in the very beginning of the film where they explained that,

558
00:33:54,200 --> 00:33:58,560
Speaker 4: you know, when African American actors wanted to act, they

559
00:33:58,640 --> 00:34:02,120
Speaker 4: had to act like the white people imitating black people.

560
00:34:03,320 --> 00:34:05,800
Speaker 4: And then that's when I realized how meta that was.

561
00:34:07,040 --> 00:34:09,520
Speaker 4: That Oh, that that was okay, So that was the

562
00:34:09,560 --> 00:34:13,760
Speaker 4: whole point of minster entertainment, that we were imitating those who.

563
00:34:13,600 --> 00:34:16,600
Speaker 3: Were imitating thoating.

564
00:34:15,840 --> 00:34:24,400
Speaker 4: Us, imitating us, and and terrorizing us. Hey, can you

565
00:34:24,840 --> 00:34:28,560
Speaker 4: settle something? Is it true that I heard that you

566
00:34:28,640 --> 00:34:30,760
Speaker 4: were supposed to be the original Han Solo?

567
00:34:30,920 --> 00:34:31,360
Speaker 1: And start?

568
00:34:32,600 --> 00:34:33,239
Speaker 3: Yeah?

569
00:34:33,680 --> 00:34:36,240
Speaker 1: Yeah, uh what happened?

570
00:34:36,640 --> 00:34:41,640
Speaker 3: So who does who does Hans Solo have a love affair.

571
00:34:41,360 --> 00:34:52,760
Speaker 2: With Leo.

572
00:34:51,400 --> 00:34:54,080
Speaker 5: That's on a white woman?

573
00:34:55,680 --> 00:34:55,840
Speaker 3: I know?

574
00:34:55,960 --> 00:34:57,719
Speaker 2: George Lucas was like, I'm just trying to live out

575
00:34:57,760 --> 00:34:58,440
Speaker 2: my fantasy.

576
00:35:04,480 --> 00:35:09,080
Speaker 3: Yeah, but he says, he says, that's what the problem was.

577
00:35:09,120 --> 00:35:11,640
Speaker 3: He says that that was that was what he didn't

578
00:35:11,680 --> 00:35:14,839
Speaker 3: want to open the canopies in that that area, and

579
00:35:14,880 --> 00:35:19,560
Speaker 3: so that's what stopped him from going, uh down that path,

580
00:35:20,040 --> 00:35:22,560
Speaker 3: you know. And I asked him. I finally I asked,

581
00:35:22,600 --> 00:35:24,359
Speaker 3: I had a chance to. I ran into him at

582
00:35:24,480 --> 00:35:28,200
Speaker 3: ut at Sam Jackson's party a couple of years ago,

583
00:35:29,040 --> 00:35:31,600
Speaker 3: and he and his wife were there, and I hadn't

584
00:35:31,600 --> 00:35:36,240
Speaker 3: seen him since that day, you know those times, and

585
00:35:36,440 --> 00:35:38,759
Speaker 3: uh so I stepped up to him and asked him.

586
00:35:38,760 --> 00:35:41,760
Speaker 3: I said, Man, I'm read that you were thinking about

587
00:35:41,760 --> 00:35:45,160
Speaker 3: me for Hot Solo. He says, yeah, that's right. I said,

588
00:35:45,160 --> 00:35:47,960
Speaker 3: And you didn't do it because he says, yeah, I

589
00:35:47,960 --> 00:35:50,800
Speaker 3: didn't want to go down there. I said, I understand,

590
00:35:51,000 --> 00:35:51,680
Speaker 3: I understand.

591
00:35:52,360 --> 00:35:54,680
Speaker 2: I love that didn't do it because fill a blank.

592
00:35:55,120 --> 00:36:03,000
Speaker 6: Yeah, I won't smoking eighty two now, I wouldn't get it, but.

593
00:36:03,080 --> 00:36:09,080
Speaker 3: Have some thought it was me some money because that

594
00:36:09,239 --> 00:36:13,080
Speaker 3: was cleaned up on on that Star Wars thing. I

595
00:36:13,120 --> 00:36:17,759
Speaker 3: sure would like to get my percentage of of that

596
00:36:17,760 --> 00:36:23,160
Speaker 3: because that was before Jones. It's all, it's all good,

597
00:36:23,880 --> 00:36:25,800
Speaker 3: no problems, I got no regrets.

598
00:36:26,560 --> 00:36:28,480
Speaker 6: One of your films I wanted to ask you about

599
00:36:28,600 --> 00:36:30,719
Speaker 6: that is like a classic and hip hop and I

600
00:36:30,719 --> 00:36:33,040
Speaker 6: don't even know if you're aware you maybe but JD's

601
00:36:33,080 --> 00:36:38,520
Speaker 6: Revenge Man, JD's Revenge. I didn't see the movie. I

602
00:36:38,520 --> 00:36:41,719
Speaker 6: didn't see it until I mean maybe around like yeah,

603
00:36:41,840 --> 00:36:44,920
Speaker 6: like two thousand or so around. I bought the DVD,

604
00:36:45,360 --> 00:36:49,080
Speaker 6: but it was sample in a ghost Face Killer Wu

605
00:36:49,120 --> 00:36:53,799
Speaker 6: Tang Clan album. And so when we figured out that's

606
00:36:53,800 --> 00:36:55,200
Speaker 6: what it was like a lot of me and a

607
00:36:55,200 --> 00:36:57,440
Speaker 6: lot of my homies, a lot of hip hop cats.

608
00:36:57,480 --> 00:36:59,960
Speaker 6: We ended up getting that movie and watching it, and

609
00:37:00,880 --> 00:37:03,040
Speaker 6: I actually still have it on DVD right now.

610
00:37:04,000 --> 00:37:07,160
Speaker 5: But what do you remember, if anything.

611
00:37:07,480 --> 00:37:10,879
Speaker 3: Snoop's favorite movie? Really? Yeah?

612
00:37:11,120 --> 00:37:20,520
Speaker 6: Yeah, Four of Us classic, classic, yeah, those that period

613
00:37:20,560 --> 00:37:23,960
Speaker 6: of your career. What do you remember about shooting like

614
00:37:24,239 --> 00:37:27,359
Speaker 6: movies like that, like you know, JD's Revenge, these movies

615
00:37:27,360 --> 00:37:29,400
Speaker 6: that were, you know, kind of low budget and but

616
00:37:29,480 --> 00:37:32,360
Speaker 6: they were entertaining. I mean, you know, Joe JD's Revenge

617
00:37:32,400 --> 00:37:36,360
Speaker 6: and also uh, Penitentiary to the movie I had no

618
00:37:36,480 --> 00:37:39,600
Speaker 6: business seeing as like a six year old, but I

619
00:37:39,640 --> 00:37:40,439
Speaker 6: was afraid.

620
00:37:40,160 --> 00:37:50,759
Speaker 10: That sweet Come on, well, what was it like?

621
00:37:50,920 --> 00:37:53,359
Speaker 5: Because that movie was insane and like but what was it?

622
00:37:53,520 --> 00:37:53,799
Speaker 3: Was it like?

623
00:37:53,800 --> 00:37:55,439
Speaker 5: Working on it?

624
00:37:55,440 --> 00:38:00,319
Speaker 3: It was insane working on it, you know. You know,

625
00:38:00,400 --> 00:38:02,360
Speaker 3: first of all, you know, we shot it in the Orleans.

626
00:38:02,600 --> 00:38:05,960
Speaker 11: You know, Oh wow, that was the first time I

627
00:38:05,960 --> 00:38:09,839
Speaker 11: had been to New Orleans. Oh and you know, I'm

628
00:38:09,880 --> 00:38:12,800
Speaker 11: shooting a movie where as a character, I've got to

629
00:38:13,040 --> 00:38:15,759
Speaker 11: be possessed, you know, So I'm coming in and out

630
00:38:15,800 --> 00:38:18,800
Speaker 11: of these possessions and you know, anything about the Orleans

631
00:38:18,920 --> 00:38:20,080
Speaker 11: that's real now.

632
00:38:20,000 --> 00:38:23,759
Speaker 3: Man, you know, indeed, that's the way that goes down there.

633
00:38:24,680 --> 00:38:27,200
Speaker 3: And being a young actor at the time, I was,

634
00:38:27,520 --> 00:38:30,400
Speaker 3: you know, as I still am, but especially back then,

635
00:38:30,719 --> 00:38:33,920
Speaker 3: I was all about going for the reality of things,

636
00:38:34,080 --> 00:38:37,080
Speaker 3: you know, and going because I had to go to deliver,

637
00:38:37,520 --> 00:38:42,680
Speaker 3: you know, and without any filters, you know, so I

638
00:38:42,960 --> 00:38:46,719
Speaker 3: uh went on quite on, quite a ride down there,

639
00:38:46,760 --> 00:38:47,760
Speaker 3: you know, and doing.

640
00:38:47,560 --> 00:38:57,640
Speaker 12: That how much of a ride, white boy?

641
00:38:58,120 --> 00:39:00,920
Speaker 3: It was a hell of a ride, it was, you know,

642
00:39:01,200 --> 00:39:06,240
Speaker 3: because the city itself was such a character in the film.

643
00:39:06,320 --> 00:39:09,359
Speaker 3: You know, they're gargoyles and all of the architecture, you know,

644
00:39:09,400 --> 00:39:12,680
Speaker 3: so there's always something looking at you, you know, and

645
00:39:13,760 --> 00:39:15,640
Speaker 3: it was a hell of It was a hell of

646
00:39:15,120 --> 00:39:17,759
Speaker 3: an experience. Hey.

647
00:39:18,040 --> 00:39:23,240
Speaker 4: You know of the what I call the the seventy

648
00:39:23,320 --> 00:39:28,920
Speaker 4: squad of young black actors who later in the eighties

649
00:39:29,360 --> 00:39:34,840
Speaker 4: sort of elevated themselves to directors and producers, I know

650
00:39:35,840 --> 00:39:38,480
Speaker 4: that it was. It was a big deal when like

651
00:39:39,000 --> 00:39:42,080
Speaker 4: Kevin Hooks sort of like left the white shadow and

652
00:39:42,120 --> 00:39:46,680
Speaker 4: became a director. I know that in nineteen eighty three

653
00:39:47,960 --> 00:39:53,920
Speaker 4: you directed like Dynasty was a religion in my grandmother's.

654
00:39:53,320 --> 00:39:58,319
Speaker 1: Household, like all my aunts. Wow, everyone watch.

655
00:40:00,080 --> 00:40:01,319
Speaker 3: Congress And.

656
00:40:06,520 --> 00:40:11,920
Speaker 1: How how was that your first foray into directing.

657
00:40:13,360 --> 00:40:15,520
Speaker 3: Television? Yes, it was, Yes, it was.

658
00:40:16,520 --> 00:40:21,560
Speaker 4: So what what prompted uh that, particularly as far as

659
00:40:21,640 --> 00:40:22,960
Speaker 4: you getting into directing.

660
00:40:23,719 --> 00:40:30,640
Speaker 3: Show Biz is an interesting multi headed beast. The movie

661
00:40:30,640 --> 00:40:34,839
Speaker 3: we spoke about menstrul Man mm hmm ran into all

662
00:40:34,880 --> 00:40:37,920
Speaker 3: sort of stumbling blocks, as as you noted, of course,

663
00:40:39,120 --> 00:40:41,040
Speaker 3: but one of the one of the wonderful things that

664
00:40:41,080 --> 00:40:44,200
Speaker 3: came out of it was a relationship that I formed

665
00:40:44,800 --> 00:40:51,319
Speaker 3: with the authors of that piece, the Shapiro's, Richard and

666
00:40:51,480 --> 00:40:56,439
Speaker 3: Esther Shapiro, wonderful, wonderful, talented, talented people. They wrote menstrul Man,

667
00:40:57,400 --> 00:41:01,840
Speaker 3: and they cast me in menstrul Man, and during a

668
00:41:02,200 --> 00:41:08,560
Speaker 3: course of our knowing one another, they developed dynasty.

669
00:41:09,440 --> 00:41:18,520
Speaker 1: Oh nasty.

670
00:41:18,760 --> 00:41:21,719
Speaker 3: And then talking with the conversation, Glenn was next on

671
00:41:21,760 --> 00:41:24,239
Speaker 3: your agenda, what do you see yourself? I said, I

672
00:41:24,280 --> 00:41:27,120
Speaker 3: see myself directing. I had to have been directing some

673
00:41:27,200 --> 00:41:29,720
Speaker 3: plays at the Inner City Cultural Center that I spoke

674
00:41:29,719 --> 00:41:33,120
Speaker 3: of earlier, and they said really, I said, yeah, you know.

675
00:41:33,320 --> 00:41:36,239
Speaker 3: She said, well, we're putting in a program for directors.

676
00:41:36,280 --> 00:41:40,040
Speaker 3: We want more that minority directors to come and be

677
00:41:40,080 --> 00:41:43,680
Speaker 3: a part of this. I said, count me in. And

678
00:41:43,760 --> 00:41:47,120
Speaker 3: so I shadowed one of the directors for months and

679
00:41:47,160 --> 00:41:50,160
Speaker 3: months and months, and finally gave me my shot.

680
00:41:50,600 --> 00:41:53,360
Speaker 2: Oh, I'm so glad you mentioned that, because more people

681
00:41:53,360 --> 00:41:57,120
Speaker 2: don't talk about all these programs that are available, especially

682
00:41:57,160 --> 00:41:59,160
Speaker 2: for minorities, that they're able to do that. It's a

683
00:41:59,160 --> 00:42:01,200
Speaker 2: lot of networks and in places to do that. I'm

684
00:42:01,239 --> 00:42:02,840
Speaker 2: just as people to listen to us. I want you

685
00:42:02,880 --> 00:42:04,719
Speaker 2: to know you should look into that because that's still

686
00:42:04,760 --> 00:42:09,120
Speaker 2: something really popular. Do you still audition?

687
00:42:10,280 --> 00:42:12,280
Speaker 3: No, ma'am, So when's the last.

688
00:42:12,040 --> 00:42:12,680
Speaker 2: Time you did?

689
00:42:13,719 --> 00:42:14,000
Speaker 3: I just.

690
00:42:15,760 --> 00:42:19,120
Speaker 2: Okay, then I'm I'm getting myself together my question when

691
00:42:19,160 --> 00:42:20,640
Speaker 2: I'm just curious, when it is the last time that

692
00:42:20,680 --> 00:42:21,040
Speaker 2: you did?

693
00:42:22,280 --> 00:42:22,440
Speaker 3: Oh?

694
00:42:22,800 --> 00:42:23,920
Speaker 2: Yeah, okay, don't.

695
00:42:23,800 --> 00:42:27,200
Speaker 1: Roll yea talk.

696
00:42:29,200 --> 00:42:32,600
Speaker 3: Ship. Last time I auditioned.

697
00:42:33,760 --> 00:42:35,439
Speaker 5: Last time that I checked.

698
00:42:37,360 --> 00:42:43,600
Speaker 3: It was for a Tom Cruise movie. And maybe you know,

699
00:42:44,400 --> 00:42:47,480
Speaker 3: I don't know how many years ago I knew that

700
00:42:47,640 --> 00:42:50,800
Speaker 3: after I came out of that audition that I would

701
00:42:50,840 --> 00:42:52,600
Speaker 3: never audition again.

702
00:42:53,680 --> 00:42:55,200
Speaker 1: M speak.

703
00:42:55,360 --> 00:42:58,239
Speaker 3: And I told that to my to my agents, I said,

704
00:42:58,280 --> 00:42:59,480
Speaker 3: I'll never auditioned again.

705
00:43:00,040 --> 00:43:01,440
Speaker 2: I'm trying to do the math on this. Do you

706
00:43:01,480 --> 00:43:03,400
Speaker 2: remember if this was in the nineties the two thousands,

707
00:43:03,440 --> 00:43:05,399
Speaker 2: because that just means that I just don't know how many

708
00:43:05,400 --> 00:43:06,920
Speaker 2: people just called you and said I got a role.

709
00:43:07,000 --> 00:43:09,439
Speaker 2: Let's go like that's just it.

710
00:43:09,360 --> 00:43:10,320
Speaker 3: Was in the nineties.

711
00:43:10,719 --> 00:43:13,040
Speaker 1: Wow, What made you?

712
00:43:13,280 --> 00:43:13,400
Speaker 3: Man?

713
00:43:13,480 --> 00:43:16,040
Speaker 5: What about that process made you make that decision?

714
00:43:16,239 --> 00:43:19,439
Speaker 3: Because I realized I knew who I knew, they knew

715
00:43:19,480 --> 00:43:22,200
Speaker 3: who they wanted for the roles. So I was going

716
00:43:22,239 --> 00:43:25,239
Speaker 3: through an exercise that I didn't tend to go through

717
00:43:25,239 --> 00:43:28,640
Speaker 3: anymore in my career. At that time, I had paid

718
00:43:28,680 --> 00:43:32,799
Speaker 3: my dues and so it came a time for me

719
00:43:32,880 --> 00:43:37,680
Speaker 3: to stand on that principle. And luckily it's turned how well,

720
00:43:38,960 --> 00:43:41,920
Speaker 3: you know, and I have nothing against auditioning. You know,

721
00:43:42,239 --> 00:43:46,120
Speaker 3: if audition, if you feel that that's what's going to

722
00:43:46,200 --> 00:43:50,080
Speaker 3: help you get the role as a as an actor actress,

723
00:43:51,120 --> 00:43:55,920
Speaker 3: go for the audition. But after but if it gets

724
00:43:55,920 --> 00:44:01,319
Speaker 3: to a point where it's it's sours what you're in

725
00:44:01,360 --> 00:44:05,120
Speaker 3: this for, it starts taking away any of the joy

726
00:44:06,080 --> 00:44:11,640
Speaker 3: that you're doing this, then it's it's contaminating your process,

727
00:44:13,239 --> 00:44:16,960
Speaker 3: and you have to make a decision because then the

728
00:44:17,120 --> 00:44:20,799
Speaker 3: joy and the fun is being taken out of And

729
00:44:21,040 --> 00:44:24,800
Speaker 3: that's what I got in this for. As you see,

730
00:44:25,040 --> 00:44:27,360
Speaker 3: it just kept coming to me. So I wasn't in

731
00:44:27,440 --> 00:44:30,800
Speaker 3: it for money, you know. I was in it because

732
00:44:31,840 --> 00:44:35,040
Speaker 3: it was afforded to me and I found that I

733
00:44:35,080 --> 00:44:38,720
Speaker 3: could do something that I ended up loving doing.

734
00:44:38,920 --> 00:44:39,760
Speaker 2: What a blessing.

735
00:44:40,080 --> 00:44:45,480
Speaker 3: So why subject myself to something that at that stage

736
00:44:45,520 --> 00:44:49,840
Speaker 3: of the game was making it was ruining the love affair.

737
00:44:50,920 --> 00:44:53,080
Speaker 3: I refused to have them ruin the love affair.

738
00:44:53,680 --> 00:44:55,399
Speaker 2: You're already thirty years in by that.

739
00:44:55,400 --> 00:44:56,879
Speaker 3: Anyway, you arned.

740
00:44:57,960 --> 00:45:01,719
Speaker 6: Yeah, Keith David, I've read this piece with him a

741
00:45:01,760 --> 00:45:04,160
Speaker 6: couple of years ago. He was saying something very similar

742
00:45:04,160 --> 00:45:06,239
Speaker 6: to what you were saying, and that he said, I

743
00:45:06,280 --> 00:45:08,080
Speaker 6: don't sell myself at this one of my career. I

744
00:45:08,080 --> 00:45:11,320
Speaker 6: don't sell myself. I just present myself at this point.

745
00:45:11,400 --> 00:45:12,879
Speaker 6: You know what it is. You know what I'm saying.

746
00:45:13,080 --> 00:45:14,920
Speaker 6: You know, if you're coming to me, Yeah, if you're

747
00:45:14,920 --> 00:45:17,200
Speaker 6: coming to me, you want me, and and that's.

748
00:45:17,040 --> 00:45:17,799
Speaker 1: What it is.

749
00:45:18,960 --> 00:45:21,440
Speaker 3: Don't get me wrong. I love and I respect. I

750
00:45:21,640 --> 00:45:25,000
Speaker 3: love and I respect the business. Like he said, I

751
00:45:25,520 --> 00:45:28,600
Speaker 3: present myself and I've got a track record. I feel

752
00:45:28,640 --> 00:45:29,760
Speaker 3: that speaks for myself.

753
00:45:30,680 --> 00:45:36,200
Speaker 1: Okay, okay, so let's jump into it, all right, doctor warr.

754
00:45:38,080 --> 00:45:39,319
Speaker 3: One of y'all got a job for me.

755
00:45:43,120 --> 00:45:45,800
Speaker 2: I'm like, I'm looking at this thing and I'm like,

756
00:45:45,840 --> 00:45:47,919
Speaker 2: ain't no spike moving ahead? How many times he says

757
00:45:47,920 --> 00:45:49,799
Speaker 2: no to people, I'm sorry, I just.

758
00:45:51,440 --> 00:45:52,600
Speaker 3: Go ahead, mayor got okay?

759
00:45:52,680 --> 00:45:58,440
Speaker 4: So, of course, as as as lovingly dubbed doctor war

760
00:45:58,680 --> 00:46:02,080
Speaker 4: because of your you're a rep for being a hard math.

761
00:46:02,360 --> 00:46:06,280
Speaker 4: Uh Professor a majority of our audience, of course, connects

762
00:46:06,320 --> 00:46:10,360
Speaker 4: with you as Colonel Bradford Taylor or a different world.

763
00:46:11,160 --> 00:46:16,040
Speaker 4: I have to say that probably in Quarantine. I've revisited

764
00:46:16,719 --> 00:46:21,239
Speaker 4: that entire series and didn't realize how ahead of its

765
00:46:21,280 --> 00:46:28,239
Speaker 4: time it was, especially with what we're dealing with now.

766
00:46:28,600 --> 00:46:31,120
Speaker 6: Like I went to a black college because of that,

767
00:46:31,200 --> 00:46:33,680
Speaker 6: because of the different world that I went to graduating

768
00:46:33,719 --> 00:46:36,279
Speaker 6: from hbc U Facts.

769
00:46:36,800 --> 00:46:39,279
Speaker 3: And now we've got a vice president that went.

770
00:46:42,840 --> 00:46:49,280
Speaker 2: Yeah, probably because of you too, that's right.

771
00:46:49,160 --> 00:46:54,320
Speaker 3: Here in general?

772
00:46:54,440 --> 00:46:57,200
Speaker 4: Did you I mean, at the time, did you see

773
00:46:57,239 --> 00:47:00,279
Speaker 4: this as a well, I guess nothing's revolutionary as you're

774
00:47:00,360 --> 00:47:03,799
Speaker 4: you're doing it, uh when you're in the vacuum, and

775
00:47:03,840 --> 00:47:07,560
Speaker 4: it's only with perspective that you see how important it is.

776
00:47:07,600 --> 00:47:10,440
Speaker 4: But at the time, like, what were your thoughts on

777
00:47:10,520 --> 00:47:13,279
Speaker 4: a different world? Did you think that, wow, this is

778
00:47:13,280 --> 00:47:18,440
Speaker 4: really historically significant or it's just a very good, steady job,

779
00:47:18,600 --> 00:47:21,400
Speaker 4: or like what what was the process?

780
00:47:22,160 --> 00:47:25,839
Speaker 3: Well, all that, you know, I came to find out

781
00:47:26,160 --> 00:47:34,280
Speaker 3: that Susan Fails, the team of Susan Fails and Debbie

782
00:47:34,360 --> 00:47:39,960
Speaker 3: Allen was an unstoppable force. I had been in enough

783
00:47:40,200 --> 00:47:44,360
Speaker 3: in the business enough and had been uh in the

784
00:47:44,400 --> 00:47:48,880
Speaker 3: world long enough to know to get a whiff of

785
00:47:48,920 --> 00:47:53,640
Speaker 3: what revolutions sounds like or smells like, looks like. So

786
00:47:55,480 --> 00:47:58,160
Speaker 3: when I saw the scripts coming across the desk, scripts

787
00:47:58,160 --> 00:48:01,360
Speaker 3: that dealt with you know, aides, or the scripts that

788
00:48:01,480 --> 00:48:07,719
Speaker 3: dealt with abuse, uh, you know, scripts that dealt with

789
00:48:07,760 --> 00:48:11,200
Speaker 3: some of the issues, you know, with the war. You know,

790
00:48:12,400 --> 00:48:18,759
Speaker 3: these were scripts and stories that were revolutionary. And the

791
00:48:18,800 --> 00:48:21,560
Speaker 3: revolutionary fact was from the top down it was all

792
00:48:21,600 --> 00:48:22,560
Speaker 3: black people.

793
00:48:22,880 --> 00:48:29,319
Speaker 2: Except for your first wife that we never saw right right, Oh,

794
00:48:29,440 --> 00:48:30,960
Speaker 2: you forgot that about different.

795
00:48:30,640 --> 00:48:35,040
Speaker 3: World, but even revolutionary, right exactly. And it was and

796
00:48:35,120 --> 00:48:40,319
Speaker 3: it was even that was revolutionary. And so I was

797
00:48:40,520 --> 00:48:44,920
Speaker 3: I was one of those who who who realized that

798
00:48:44,920 --> 00:48:49,839
Speaker 3: that's what was taking place, and my head went off

799
00:48:49,880 --> 00:48:55,480
Speaker 3: to the Cosbys were taking that stance and fighting those

800
00:48:55,560 --> 00:48:59,279
Speaker 3: that were, you know, opposed to some of the positions

801
00:48:59,320 --> 00:49:01,120
Speaker 3: that we were talking about, some of the things we

802
00:49:01,160 --> 00:49:05,800
Speaker 3: were talking about, you know, and keeping us never less

803
00:49:06,200 --> 00:49:11,840
Speaker 3: than number five in the ratings for seven years. The

804
00:49:11,920 --> 00:49:16,680
Speaker 3: kudos that usually goes with that kind of uh, sustainability

805
00:49:16,760 --> 00:49:21,560
Speaker 3: and that kind of uh, you know, stewardship, we got

806
00:49:21,600 --> 00:49:23,560
Speaker 3: none of the We got none of those kudos.

807
00:49:23,800 --> 00:49:24,279
Speaker 1: I don't know.

808
00:49:24,360 --> 00:49:30,359
Speaker 4: I feel that people are slowly rediscovering it now that

809
00:49:30,400 --> 00:49:34,479
Speaker 4: it's on Amazon, so so yeah, I feel as though

810
00:49:34,520 --> 00:49:39,000
Speaker 4: that people are rediscovering that that series in a different

811
00:49:39,080 --> 00:49:42,719
Speaker 4: way and sort of under a different lens than when

812
00:49:42,719 --> 00:49:47,560
Speaker 4: it was previously on thirty years ago. Definitely with how

813
00:49:47,560 --> 00:49:50,120
Speaker 4: they handled subjects, Like there were some episodes I didn't

814
00:49:50,160 --> 00:49:52,839
Speaker 4: even remember them covering.

815
00:49:53,320 --> 00:49:57,440
Speaker 6: You're like the Freddy episode, the like which shot the

816
00:49:57,480 --> 00:50:00,879
Speaker 6: date rate, the shaza was it that there was one with.

817
00:50:01,520 --> 00:50:03,080
Speaker 1: Well no no where a time act?

818
00:50:04,880 --> 00:50:07,600
Speaker 2: Yeah, the first one of the first season when Dwayne

819
00:50:07,840 --> 00:50:08,560
Speaker 2: all that one.

820
00:50:08,680 --> 00:50:11,080
Speaker 5: Oh yeah, okay, yeah, yeah, yeah, yeah yeah.

821
00:50:11,160 --> 00:50:13,080
Speaker 2: I was gonna ask him what his favorite was there

822
00:50:13,080 --> 00:50:17,040
Speaker 2: a favorite storyline for your for your character, for Colonel Taylor.

823
00:50:16,920 --> 00:50:20,200
Speaker 3: For Colonel Taylor. I love the one that Blair Underwood

824
00:50:20,200 --> 00:50:27,799
Speaker 3: and I did when he was golf war and when

825
00:50:27,840 --> 00:50:32,000
Speaker 3: he came to Colonel Taylor to ask to let him

826
00:50:32,040 --> 00:50:34,959
Speaker 3: know that he was afraid, you know, going into war.

827
00:50:35,160 --> 00:50:37,920
Speaker 3: You know, I thought that that was so powerful and

828
00:50:38,000 --> 00:50:41,080
Speaker 3: what that whole thing was about. It was so it

829
00:50:41,120 --> 00:50:43,920
Speaker 3: was it was the essence of patriot you know, we

830
00:50:43,920 --> 00:50:46,200
Speaker 3: we do as a black people don't think in terms

831
00:50:46,239 --> 00:50:49,600
Speaker 3: of being patriotic. We don't think we're patriotic because no

832
00:50:49,640 --> 00:50:52,319
Speaker 3: one else looks at us as patriotic. But we're very

833
00:50:52,360 --> 00:50:55,000
Speaker 3: patriotic as a people.

834
00:50:55,880 --> 00:50:57,520
Speaker 2: We were part of every fight they let us be

835
00:50:57,600 --> 00:51:00,400
Speaker 2: in huh said, we were a part of every battle.

836
00:51:00,400 --> 00:51:03,920
Speaker 3: They let us be every battle, every battle from the

837
00:51:04,040 --> 00:51:08,719
Speaker 3: very first gun shot from the revolution from the Revolutionary War.

838
00:51:09,400 --> 00:51:13,520
Speaker 3: Don't look at ourselves that way. And uh so we're

839
00:51:13,760 --> 00:51:19,520
Speaker 3: always clamoring to be thought of as that, and all

840
00:51:19,560 --> 00:51:24,360
Speaker 3: the evidence points to everything otherwise. And this was a wonderful,

841
00:51:24,520 --> 00:51:34,080
Speaker 3: wonderful expose of disenfranchised people doing what was patriotic. And

842
00:51:34,120 --> 00:51:36,319
Speaker 3: it was right during the war, I mean, the war

843
00:51:36,400 --> 00:51:39,279
Speaker 3: was going to what was going on right at that time.

844
00:51:39,719 --> 00:51:41,520
Speaker 2: It gave us a perspective on TV we never get

845
00:51:41,520 --> 00:51:43,080
Speaker 2: to see. We don't like you said, we don't see

846
00:51:43,160 --> 00:51:45,480
Speaker 2: us in it and how we're thinking and stuff.

847
00:51:45,520 --> 00:51:48,480
Speaker 3: That was how we're thinking about it. So it's it

848
00:51:48,520 --> 00:51:51,319
Speaker 3: was wonderful, you know, And and the show was just

849
00:51:52,440 --> 00:51:53,600
Speaker 3: a fantastic show.

850
00:51:54,480 --> 00:51:54,760
Speaker 5: Misster.

851
00:51:54,840 --> 00:51:58,440
Speaker 6: I wanted to ask you about your time the time

852
00:51:58,480 --> 00:52:01,360
Speaker 6: with Areta, when you guys would together, y'all would like

853
00:52:01,400 --> 00:52:07,520
Speaker 6: the first Instagram Cob, Yeah.

854
00:52:05,360 --> 00:52:08,640
Speaker 2: Yeah, yeah, I was thinking the same thing. Yeah, they were, y'all.

855
00:52:08,520 --> 00:52:12,800
Speaker 1: Were like spread with them.

856
00:52:13,040 --> 00:52:20,840
Speaker 2: Yeah, jet ebony jets jet ya the jet yet Yeah yeah,

857
00:52:21,040 --> 00:52:22,399
Speaker 2: what was that period in your life?

858
00:52:22,480 --> 00:52:23,680
Speaker 5: Like, man, what was it like?

859
00:52:24,760 --> 00:52:27,080
Speaker 3: Well, when it was good, it was the very best

860
00:52:27,120 --> 00:52:31,200
Speaker 3: of times, you know, it was the very best of times.

861
00:52:31,239 --> 00:52:34,400
Speaker 3: We remain friends for all those years, thirty five years

862
00:52:35,520 --> 00:52:40,040
Speaker 3: after we were married. Uh so we had a wonderful,

863
00:52:40,040 --> 00:52:46,279
Speaker 3: wonderful relationship, and it was some points that was just unbelievable.

864
00:52:46,360 --> 00:52:48,560
Speaker 3: You know, some things you can't you can't be relieve,

865
00:52:49,360 --> 00:52:52,680
Speaker 3: you can't really even imagine. You know, there's some some

866
00:52:52,680 --> 00:52:56,840
Speaker 3: some directions your life takes and you really have to

867
00:52:56,840 --> 00:53:00,920
Speaker 3: sometimes step outside yourself and say what, how what am

868
00:53:01,000 --> 00:53:06,640
Speaker 3: I doing here? You know, I feel like that right now.

869
00:53:08,960 --> 00:53:10,640
Speaker 2: It had to be good because I know it. In

870
00:53:10,680 --> 00:53:13,880
Speaker 2: your filmography, those are the years that you took a break,

871
00:53:14,440 --> 00:53:17,240
Speaker 2: like you was just like, I'm well.

872
00:53:17,120 --> 00:53:20,600
Speaker 3: No, because no, there were tough that that that you know,

873
00:53:20,680 --> 00:53:24,000
Speaker 3: there were tough times. Okay, there were tough times, not

874
00:53:24,120 --> 00:53:26,319
Speaker 3: that we had the option to take a break. You

875
00:53:26,320 --> 00:53:29,480
Speaker 3: have to remember that disco came on the scene at

876
00:53:29,480 --> 00:53:34,200
Speaker 3: that time as well, all of the soul singers were

877
00:53:34,239 --> 00:53:36,239
Speaker 3: in dire straits as well.

878
00:53:36,040 --> 00:53:38,040
Speaker 5: Because, uh, they were struggling.

879
00:53:38,719 --> 00:53:41,640
Speaker 3: Yeah, they were struggling. There was a struggling time. There

880
00:53:41,680 --> 00:53:45,360
Speaker 3: was a paradigm shift in the whole music uh world,

881
00:53:45,440 --> 00:53:50,360
Speaker 3: as well as the black explortation movies were trying to

882
00:53:50,360 --> 00:53:53,960
Speaker 3: be replaced. I was at an age where I was

883
00:53:54,000 --> 00:53:56,400
Speaker 3: coming out of a young man and now into a

884
00:53:56,480 --> 00:54:02,200
Speaker 3: leading man area, you know. So there was a struggle

885
00:54:02,560 --> 00:54:06,160
Speaker 3: in that aspect, which all actors go through if they're

886
00:54:06,200 --> 00:54:10,360
Speaker 3: in the game long enough and start young enough, you know. So,

887
00:54:11,120 --> 00:54:24,520
Speaker 3: I'm not in a business where you take a break.

888
00:54:16,880 --> 00:54:21,040
Speaker 6: You Now, you don't take a break. The business takes

889
00:54:21,040 --> 00:54:22,840
Speaker 6: a break from you from you, right.

890
00:54:24,560 --> 00:54:24,799
Speaker 5: Man?

891
00:54:25,440 --> 00:54:27,600
Speaker 6: What do you think I watched you and your you

892
00:54:27,640 --> 00:54:31,520
Speaker 6: and your your current wife on on Black Love and Interview.

893
00:54:33,000 --> 00:54:35,160
Speaker 5: Yeah, say, now that was a beautiful interview.

894
00:54:35,480 --> 00:54:38,680
Speaker 6: What do you think you learned from from you know,

895
00:54:38,719 --> 00:54:41,320
Speaker 6: from the marriage within then just you know, other marriage.

896
00:54:41,640 --> 00:54:43,560
Speaker 6: What were you think some of the key lessons you

897
00:54:43,680 --> 00:54:46,560
Speaker 6: learned in those early marriages that prepared you for your

898
00:54:46,600 --> 00:54:47,640
Speaker 6: current marriage with your wife.

899
00:54:47,640 --> 00:54:52,400
Speaker 3: Now, one of the key ingredients to a relationship is

900
00:54:52,640 --> 00:54:57,839
Speaker 3: liking the person that you're in a relationship with.

901
00:54:59,840 --> 00:55:05,839
Speaker 5: You eight told us that, yeah, house with somebody your

902
00:55:05,840 --> 00:55:06,320
Speaker 5: own life.

903
00:55:06,440 --> 00:55:08,960
Speaker 3: Yeah, you could be locked up in this twenty twenty

904
00:55:09,000 --> 00:55:12,200
Speaker 3: situation with somebody you don't like, you know. I think

905
00:55:12,239 --> 00:55:14,480
Speaker 3: that that's what over the years that I've learned out

906
00:55:14,480 --> 00:55:19,439
Speaker 3: of three marriages, is that liking the person makes it

907
00:55:19,520 --> 00:55:24,120
Speaker 3: is a key ingredient. So you know, I like this

908
00:55:24,120 --> 00:55:28,640
Speaker 3: person that I'm with here, you know, and we build

909
00:55:28,680 --> 00:55:30,080
Speaker 3: on that. Well.

910
00:55:30,120 --> 00:55:33,000
Speaker 2: Since he mentioned that he hasn't been auditioning since the nineties,

911
00:55:33,040 --> 00:55:35,800
Speaker 2: this has changed my way of thought totally, since you

912
00:55:35,920 --> 00:55:39,040
Speaker 2: totally pick out what you want to do. So before

913
00:55:39,160 --> 00:55:41,520
Speaker 2: Bill gets we get to the wire questions. I just

914
00:55:41,560 --> 00:55:47,839
Speaker 2: got to know the role House sublies. Don Cheeto's daddy, just.

915
00:55:47,800 --> 00:55:49,319
Speaker 1: Tell me a little later.

916
00:55:50,280 --> 00:55:52,239
Speaker 2: I know it came later, but you've taken too long

917
00:55:52,280 --> 00:55:53,880
Speaker 2: to get to the wire. So I just got to

918
00:55:53,920 --> 00:55:56,759
Speaker 2: know why, Why did you decide that that was a

919
00:55:56,840 --> 00:55:59,080
Speaker 2: role for you? And what was it about the role

920
00:55:59,160 --> 00:56:00,600
Speaker 2: that made you go, oh, yeah, I'm an I want

921
00:56:00,600 --> 00:56:01,080
Speaker 2: to do that.

922
00:56:01,480 --> 00:56:04,960
Speaker 3: Very simple, don Chu said, I want Glenn Turman to

923
00:56:04,960 --> 00:56:05,800
Speaker 3: play my daddy.

924
00:56:07,480 --> 00:56:10,799
Speaker 2: I mean you daddy. I feel like, in an acting.

925
00:56:10,520 --> 00:56:15,160
Speaker 3: Sense, wasn't a hard choice at all, you know, I

926
00:56:15,200 --> 00:56:18,680
Speaker 3: love John. I'm a fan of his work. That at

927
00:56:18,719 --> 00:56:21,560
Speaker 3: this stage in the game, the young people and saying

928
00:56:21,560 --> 00:56:23,360
Speaker 3: that they want Glenn Turman to be a part of

929
00:56:23,400 --> 00:56:27,480
Speaker 3: the show. I'm flatted on it, and so I brought it.

930
00:56:32,160 --> 00:56:38,319
Speaker 1: All right, So let's talk about the Wild roy Sir,

931
00:56:38,440 --> 00:56:38,960
Speaker 1: I would like.

932
00:56:38,920 --> 00:56:41,320
Speaker 3: To say that talk.

933
00:56:41,160 --> 00:56:46,280
Speaker 6: To me about donated to your campaign.

934
00:56:47,200 --> 00:56:48,640
Speaker 3: I don't believe one of you.

935
00:56:49,000 --> 00:56:49,719
Speaker 2: I didn't.

936
00:56:52,800 --> 00:56:55,719
Speaker 13: Think other than being a fascinating character, what is it

937
00:56:55,800 --> 00:56:59,440
Speaker 13: like coming into a pre existing series way like a

938
00:56:59,480 --> 00:57:02,640
Speaker 13: few seasons, a few seasons into it in a particular

939
00:57:02,719 --> 00:57:06,000
Speaker 13: series like that where every season changes, it doesn't change,

940
00:57:06,040 --> 00:57:08,560
Speaker 13: you know, but has a different plot line and making

941
00:57:08,560 --> 00:57:11,760
Speaker 13: an impact. Because Mayor Royce was a super impactful character,

942
00:57:12,120 --> 00:57:14,440
Speaker 13: even though it was many seasons into the thing, and

943
00:57:14,560 --> 00:57:16,800
Speaker 13: all of these characters had already been established and then

944
00:57:16,800 --> 00:57:18,880
Speaker 13: all of a sudden you come along and you have

945
00:57:18,960 --> 00:57:19,720
Speaker 13: an impact as well.

946
00:57:19,760 --> 00:57:20,600
Speaker 5: What was the what was.

947
00:57:20,520 --> 00:57:23,160
Speaker 13: That process like? That was a very actory question. It

948
00:57:23,240 --> 00:57:24,960
Speaker 13: sounded like an actor. I'm not an actor. That was

949
00:57:24,960 --> 00:57:25,880
Speaker 13: a rectory question.

950
00:57:26,000 --> 00:57:29,200
Speaker 3: There you go, all right. David Simon is a genius

951
00:57:29,920 --> 00:57:33,280
Speaker 3: the producer of the Why oh yeah, yeah, yeah, yeah,

952
00:57:33,280 --> 00:57:39,080
Speaker 3: we know, And he's got such insight into his characters.

953
00:57:39,080 --> 00:57:44,080
Speaker 3: He knows all of his characters inside and out. I

954
00:57:44,120 --> 00:57:49,800
Speaker 3: had a conversation with him. He was he was wonderful

955
00:57:49,880 --> 00:57:53,960
Speaker 3: in the way he cared for the characters. That that

956
00:57:53,960 --> 00:57:57,360
Speaker 3: that he was pointing out to me, and how he

957
00:57:57,400 --> 00:58:00,720
Speaker 3: got there, and what he thought about Mayor Royce, that

958
00:58:00,800 --> 00:58:04,200
Speaker 3: it was actually the mayor that was the mayor at

959
00:58:04,200 --> 00:58:10,440
Speaker 3: the time in Baltimore, and that I was playing actually him.

960
00:58:10,800 --> 00:58:15,400
Speaker 3: To give you an idea of how precise David Simon is.

961
00:58:16,720 --> 00:58:20,960
Speaker 3: I came to that show while doing another show, a

962
00:58:21,000 --> 00:58:25,000
Speaker 3: motion picture. I was doing a motion picture in Morocco,

963
00:58:25,920 --> 00:58:33,400
Speaker 3: and it was one with Penelope Cruz and scl Sahara

964
00:58:34,160 --> 00:58:40,600
Speaker 3: and Matthew McConaughey. And during a break in that filming,

965
00:58:41,560 --> 00:58:46,000
Speaker 3: I booked the wire. But in that filming I had

966
00:58:46,040 --> 00:58:49,560
Speaker 3: a go tee And so the first day of shooting,

967
00:58:50,400 --> 00:58:53,720
Speaker 3: the directors saying, well, Glenn, we need you to shave

968
00:58:53,800 --> 00:58:58,200
Speaker 3: your go tee. I said, I can't because I have

969
00:58:58,320 --> 00:59:02,240
Speaker 3: to go back and finish this motion picture that I'm doing.

970
00:59:03,360 --> 00:59:06,320
Speaker 3: So Hearah and they've got first first digs on me.

971
00:59:06,480 --> 00:59:08,600
Speaker 3: So I've got to I've got to do. You know,

972
00:59:08,880 --> 00:59:13,240
Speaker 3: Look the way I've looked in that show. On the spot,

973
00:59:13,480 --> 00:59:20,680
Speaker 3: Simon says, Okay, tell you what. Next season, there's going

974
00:59:20,800 --> 00:59:25,400
Speaker 3: to be an election runoff, a big election with a

975
00:59:25,480 --> 00:59:26,120
Speaker 3: younger guy.

976
00:59:27,000 --> 00:59:29,280
Speaker 5: I know where you yes, yes.

977
00:59:29,240 --> 00:59:33,360
Speaker 3: With a younger character, Carsetti.

978
00:59:33,040 --> 00:59:33,280
Speaker 5: You go.

979
00:59:37,800 --> 00:59:41,880
Speaker 3: Into the script that because he's younger, you're trying to

980
00:59:41,920 --> 00:59:45,160
Speaker 3: look younger with with the with the for the for

981
00:59:45,200 --> 00:59:52,120
Speaker 3: your constituents, shave off your your your yes. And that's

982
00:59:52,120 --> 00:59:54,680
Speaker 3: what he did. But he saw that on the spot

983
00:59:55,200 --> 01:00:02,440
Speaker 3: a year before it happened. Yeah, yeah, I mean he

984
01:00:02,640 --> 01:00:05,720
Speaker 3: solved that just like that on the spot. That's how

985
01:00:05,760 --> 01:00:11,320
Speaker 3: I hit That's how telescopic his vision is. You know, so,

986
01:00:12,160 --> 01:00:14,400
Speaker 3: how do you not be a part of somebody who's

987
01:00:14,480 --> 01:00:16,680
Speaker 3: leading the charge like that? You want to be a

988
01:00:16,720 --> 01:00:18,320
Speaker 3: part of something like that? Wait?

989
01:00:18,360 --> 01:00:20,360
Speaker 13: I got a question along those lines, like, what's the

990
01:00:20,400 --> 01:00:24,160
Speaker 13: difference between a script that's super specific, clearly, like one

991
01:00:24,160 --> 01:00:26,720
Speaker 13: that's like a David Simon one versus one that's not

992
01:00:27,280 --> 01:00:29,600
Speaker 13: versus one where where the actors ask to put way

993
01:00:29,640 --> 01:00:32,760
Speaker 13: more into it versus just reading what's on the page

994
01:00:32,840 --> 01:00:34,240
Speaker 13: or just responding to what's.

995
01:00:34,040 --> 01:00:34,560
Speaker 3: On the page.

996
01:00:34,600 --> 01:00:37,400
Speaker 13: Is there a how do you how do you do

997
01:00:37,400 --> 01:00:39,320
Speaker 13: you favor scripts that go one way or the other,

998
01:00:39,440 --> 01:00:40,720
Speaker 13: or how do you react to each of them?

999
01:00:41,280 --> 01:00:44,480
Speaker 3: With the Wire? Now, you have to understand actors are

1000
01:00:44,480 --> 01:00:45,880
Speaker 3: the vainous people in the world.

1001
01:00:46,040 --> 01:00:48,240
Speaker 13: No, No, I know that they're most of my friends.

1002
01:00:50,880 --> 01:00:53,840
Speaker 3: But you also know that when actors get scripts, the

1003
01:00:53,880 --> 01:00:56,080
Speaker 3: first thing they do is some through it to get

1004
01:00:56,080 --> 01:00:56,680
Speaker 3: to their part.

1005
01:00:57,000 --> 01:01:02,200
Speaker 6: Yeah, my life, my line bullshite.

1006
01:01:03,760 --> 01:01:09,720
Speaker 3: With every script of the Wire. I read every script

1007
01:01:10,000 --> 01:01:12,600
Speaker 3: from beginning to whether I was in it or not,

1008
01:01:13,080 --> 01:01:16,200
Speaker 3: because it was like reading a book. That's your difference.

1009
01:01:16,480 --> 01:01:18,960
Speaker 1: Have you kept off of your scripts or are you?

1010
01:01:19,040 --> 01:01:20,160
Speaker 1: Do you have to give them all back?

1011
01:01:20,600 --> 01:01:22,440
Speaker 3: Yeah, I've got I've got him here in my office

1012
01:01:22,680 --> 01:01:25,760
Speaker 3: from the Wire. Yeah, a lot of them.

1013
01:01:26,240 --> 01:01:29,360
Speaker 4: Do you find that the Wires the I think for

1014
01:01:29,480 --> 01:01:32,160
Speaker 4: black people it's still for black people at a certain

1015
01:01:32,200 --> 01:01:36,480
Speaker 4: age it's coolly high. But do you are you shocked

1016
01:01:36,560 --> 01:01:40,280
Speaker 4: at the amount of white people that love the Wire

1017
01:01:41,080 --> 01:01:41,680
Speaker 4: as much?

1018
01:01:44,280 --> 01:01:46,960
Speaker 5: Well, I don't know what you're talking about, is.

1019
01:01:47,000 --> 01:01:48,760
Speaker 2: That white people show.

1020
01:01:49,440 --> 01:01:54,520
Speaker 3: No, I'll go if I go into uh to office

1021
01:01:55,760 --> 01:01:58,800
Speaker 3: to talk about a script with producers or whoever, the

1022
01:01:58,840 --> 01:02:04,040
Speaker 3: director will zoom through what we're there to talk about.

1023
01:02:04,640 --> 01:02:05,880
Speaker 1: Mm hmm, and then.

1024
01:02:05,760 --> 01:02:08,760
Speaker 3: The first question after that is, so tell me about

1025
01:02:08,800 --> 01:02:13,800
Speaker 3: the wire. And I'm there. I'm there for another half

1026
01:02:13,800 --> 01:02:16,640
Speaker 3: an hour, asking questions like you just asked me brother,

1027
01:02:17,040 --> 01:02:20,360
Speaker 3: you know wow, still just ask and we go into

1028
01:02:20,440 --> 01:02:23,760
Speaker 3: the wire and that's black, white or anything, it doesn't matter.

1029
01:02:23,920 --> 01:02:24,840
Speaker 3: That's the way that's been.

1030
01:02:24,960 --> 01:02:26,720
Speaker 2: I was gonna say, can you predict, depending on what

1031
01:02:26,800 --> 01:02:28,600
Speaker 2: situation you're in, who's going to come up to you

1032
01:02:28,640 --> 01:02:31,000
Speaker 2: and ask you which character? Like I'm in the grocery store,

1033
01:02:31,080 --> 01:02:34,680
Speaker 2: so I know you know it's going, you know, the

1034
01:02:35,000 --> 01:02:37,720
Speaker 2: conversation about Omar, right right?

1035
01:02:37,120 --> 01:02:39,760
Speaker 3: Right? Yeah?

1036
01:02:40,000 --> 01:02:43,320
Speaker 6: Do you remember the day if you remember what you

1037
01:02:43,320 --> 01:02:46,040
Speaker 6: can tell us the day of you shot the scene

1038
01:02:46,080 --> 01:02:52,360
Speaker 6: where you're caught in an uncompromising position, a position in

1039
01:02:52,400 --> 01:02:53,000
Speaker 6: the office.

1040
01:02:55,120 --> 01:03:05,920
Speaker 3: I don't know what you're talking about, pay, I don't

1041
01:03:05,960 --> 01:03:07,920
Speaker 3: know what you're talking about.

1042
01:03:09,720 --> 01:03:11,840
Speaker 1: The rules was a savage, he was.

1043
01:03:14,760 --> 01:03:14,920
Speaker 2: Mean.

1044
01:03:15,120 --> 01:03:17,760
Speaker 5: So h man, that was like a great role.

1045
01:03:17,800 --> 01:03:20,400
Speaker 6: I think that just spoke the so many for me

1046
01:03:20,560 --> 01:03:22,760
Speaker 6: in particular, it spoke to me seeing you in that

1047
01:03:22,920 --> 01:03:26,920
Speaker 6: role because up until that time, uh, you know, I

1048
01:03:26,920 --> 01:03:29,200
Speaker 6: had only seen you in you know kind of I guess,

1049
01:03:29,200 --> 01:03:31,000
Speaker 6: would you consider good guy Rose like Colonel Taylor?

1050
01:03:31,040 --> 01:03:34,880
Speaker 5: That was a great role. But yeah, he was very dignified.

1051
01:03:35,120 --> 01:03:37,840
Speaker 6: But you know in the wire that was just somebody

1052
01:03:38,880 --> 01:03:41,040
Speaker 6: you were so conflicted, you know what I'm saying. It's

1053
01:03:41,080 --> 01:03:44,400
Speaker 6: like he wasn't just a straight good guy, but you know,

1054
01:03:44,440 --> 01:03:46,720
Speaker 6: he wasn't a bad guy, like he just had like all.

1055
01:03:46,680 --> 01:03:50,440
Speaker 5: Them showing he was a politician. He's a politician in

1056
01:03:50,480 --> 01:03:51,400
Speaker 5: every sense of the word.

1057
01:03:51,480 --> 01:03:54,720
Speaker 6: Like when my favorite scene, you know, you when they

1058
01:03:54,760 --> 01:03:58,000
Speaker 6: were when Bunny Covin they find out that, you know

1059
01:03:58,440 --> 01:04:02,120
Speaker 6: that what he's been doing with Amsterdam, and everyone is

1060
01:04:02,160 --> 01:04:04,640
Speaker 6: in the office and they just everybody talking shit, everybody's

1061
01:04:04,720 --> 01:04:06,840
Speaker 6: raising hell and the mayor is just sitting back and

1062
01:04:06,880 --> 01:04:12,360
Speaker 6: you just looking at the numbers, like h like that's

1063
01:04:12,400 --> 01:04:17,000
Speaker 6: all he cares about, you know what.

1064
01:04:17,000 --> 01:04:20,959
Speaker 3: What was what was interesting about that was, like I said,

1065
01:04:21,000 --> 01:04:23,720
Speaker 3: I got to meet the mayor god I can't remember

1066
01:04:23,720 --> 01:04:26,800
Speaker 3: his name right now, who was the mayor at that time,

1067
01:04:26,840 --> 01:04:30,920
Speaker 3: and he was actually in that scene so well he

1068
01:04:31,000 --> 01:04:34,720
Speaker 3: what I asked him about that the whole incident with

1069
01:04:34,840 --> 01:04:40,520
Speaker 3: the legalizing uh that district for for the drugs, and

1070
01:04:40,560 --> 01:04:43,360
Speaker 3: he said, I made a horrible mistake. I said, what

1071
01:04:43,400 --> 01:04:47,320
Speaker 3: was that? He says, I framed that whole thing as

1072
01:04:47,480 --> 01:04:51,960
Speaker 3: a drug zone, and I should have framed it as

1073
01:04:52,480 --> 01:05:01,840
Speaker 3: a as a medical epidemic. Urt Hurt Smoke right right,

1074
01:05:02,440 --> 01:05:06,840
Speaker 3: you got it, You got it, You got it, Smoke said,

1075
01:05:07,280 --> 01:05:09,919
Speaker 3: I should have framed the whole thing as a as

1076
01:05:09,920 --> 01:05:13,920
Speaker 3: a medical problem. If I got use it as a

1077
01:05:13,920 --> 01:05:16,000
Speaker 3: medical problem, I would have been able to get away

1078
01:05:16,040 --> 01:05:16,439
Speaker 3: with it.

1079
01:05:17,560 --> 01:05:20,640
Speaker 4: I want to know if you know, because of the

1080
01:05:20,680 --> 01:05:24,200
Speaker 4: critical claim that the show had and the fact that

1081
01:05:24,280 --> 01:05:29,120
Speaker 4: it just completely got snubbed during the Emmys, did you

1082
01:05:29,120 --> 01:05:30,960
Speaker 4: guys ever feel a certain way about that?

1083
01:05:33,200 --> 01:05:36,280
Speaker 3: Yeah, that's miss Joanne. She's been asking about you.

1084
01:05:36,480 --> 01:05:41,080
Speaker 5: What's up, missne What we loved your black Love Love?

1085
01:05:46,000 --> 01:05:47,840
Speaker 3: Thank you?

1086
01:05:48,200 --> 01:05:52,280
Speaker 1: Okay, fun, Yes, ma'am.

1087
01:05:52,560 --> 01:05:54,479
Speaker 4: Now, I was saying that the fact that the show

1088
01:05:54,560 --> 01:05:59,120
Speaker 4: was so critically acclaimed and so well loved, were you

1089
01:05:59,120 --> 01:06:01,640
Speaker 4: guys at all disp pointed that you you know you,

1090
01:06:02,440 --> 01:06:06,040
Speaker 4: I wouldn't say blackballing, but the fact that the Emmy's

1091
01:06:06,120 --> 01:06:08,720
Speaker 4: refused to recognize you guys as the powerhouse that you

1092
01:06:08,800 --> 01:06:11,920
Speaker 4: were as far as the Emmys were concerned with the wire.

1093
01:06:12,520 --> 01:06:17,280
Speaker 3: Yeah, I never understood that it was other than that

1094
01:06:17,280 --> 01:06:22,080
Speaker 3: there was like twenty six black major players on this show.

1095
01:06:22,360 --> 01:06:25,760
Speaker 3: You know that had never happened before. But they just

1096
01:06:25,800 --> 01:06:28,120
Speaker 3: would not give the propers. They would not give the

1097
01:06:28,160 --> 01:06:29,919
Speaker 3: propers and I don't know why.

1098
01:06:30,440 --> 01:06:35,040
Speaker 4: Well, speaking of which, your role as in How to

1099
01:06:35,040 --> 01:06:39,040
Speaker 4: Get Away with Murder, you were nominated this year for yeah,

1100
01:06:40,160 --> 01:06:40,680
Speaker 4: an Emmy.

1101
01:06:40,840 --> 01:06:42,240
Speaker 1: What did that feel like?

1102
01:06:42,240 --> 01:06:45,680
Speaker 4: Like, is that important to you at all to get

1103
01:06:45,720 --> 01:06:47,840
Speaker 4: recognized by your peers or uh.

1104
01:06:48,000 --> 01:06:51,200
Speaker 3: Sure, absolutely, absolutely that's important. I don't take that for

1105
01:06:51,280 --> 01:06:55,200
Speaker 3: granted at all. You know, I've been blessed to have

1106
01:06:55,280 --> 01:07:00,080
Speaker 3: been the recipient of several wonderful awards, you know, I

1107
01:07:00,160 --> 01:07:02,880
Speaker 3: mean being a being a crown jewel, so to speak,

1108
01:07:03,240 --> 01:07:04,840
Speaker 3: you know, the one that I won, the one that

1109
01:07:04,880 --> 01:07:09,160
Speaker 3: I'm was nominated for. So no, I don't you know

1110
01:07:09,200 --> 01:07:13,040
Speaker 3: when your peers hold you up like that, you know,

1111
01:07:14,040 --> 01:07:17,120
Speaker 3: that's that's just something as a young actor, as a kid,

1112
01:07:17,200 --> 01:07:19,080
Speaker 3: you know, you're looking in the mirror and you're practicing,

1113
01:07:19,120 --> 01:07:23,080
Speaker 3: you're accepting speeches. You know, that's all that's real, you know,

1114
01:07:23,800 --> 01:07:25,960
Speaker 3: So then all of a sudden, there it is for real,

1115
01:07:26,040 --> 01:07:27,920
Speaker 3: and it's like you get up there and you're like

1116
01:07:28,000 --> 01:07:31,680
Speaker 3: tongue tied, you know, nervous.

1117
01:07:31,680 --> 01:07:35,680
Speaker 6: And I thought about like JD's Revenge it made me think,

1118
01:07:36,320 --> 01:07:38,520
Speaker 6: have you and Luca said Java worked together again?

1119
01:07:38,800 --> 01:07:41,439
Speaker 5: After that, we worked you know, Lou.

1120
01:07:42,120 --> 01:07:44,160
Speaker 3: The first time Lou and I worked together was in

1121
01:07:44,840 --> 01:07:45,680
Speaker 3: Raisin in the Sun.

1122
01:07:46,440 --> 01:07:49,520
Speaker 5: Ah right, yeah, because he was one of.

1123
01:07:49,440 --> 01:07:52,520
Speaker 3: The characters in the Raisin in the Sun. So I've

1124
01:07:52,560 --> 01:07:54,640
Speaker 3: known Lou. He's been a big brother of mine since

1125
01:07:54,640 --> 01:07:57,919
Speaker 3: I was twelve years old. So then again we did

1126
01:07:58,200 --> 01:08:00,200
Speaker 3: the River Niger with.

1127
01:08:03,040 --> 01:08:05,560
Speaker 2: Niger, which is a country.

1128
01:08:08,480 --> 01:08:15,160
Speaker 3: Yeah, okay, thank you, with James L. Jones and Sicily Tyson.

1129
01:08:15,600 --> 01:08:16,800
Speaker 2: Putting on my watch list.

1130
01:08:18,520 --> 01:08:24,599
Speaker 3: And then we did uh uh j D's Revenge uh

1131
01:08:24,680 --> 01:08:27,680
Speaker 3: after that, and we've been you know, he's always been

1132
01:08:27,720 --> 01:08:29,479
Speaker 3: a big brother kind of figure for me.

1133
01:08:30,640 --> 01:08:34,599
Speaker 4: Who who is your? Who's your You're starting five? You're

1134
01:08:34,760 --> 01:08:38,400
Speaker 4: You're inner circle? Like besides Ben Vereen, like, do you

1135
01:08:38,600 --> 01:08:42,439
Speaker 4: have a circle of peers that you're tight with it.

1136
01:08:42,840 --> 01:08:47,640
Speaker 10: We've got a road Dog road dog crew, like black Is,

1137
01:08:49,320 --> 01:08:50,480
Speaker 10: I say, like black.

1138
01:08:50,280 --> 01:08:53,880
Speaker 3: Is yeah, yeah, right right, yeah, we got a road

1139
01:08:53,920 --> 01:08:58,519
Speaker 3: dog crew that we we we all stay in touch

1140
01:08:58,560 --> 01:09:02,120
Speaker 3: and even through this pandemic, we talk every Sunday, you know,

1141
01:09:02,400 --> 01:09:06,320
Speaker 3: and some you know and some you wouldn't. Maybe not

1142
01:09:06,400 --> 01:09:09,639
Speaker 3: necessarily no, although most the crew.

1143
01:09:10,000 --> 01:09:11,240
Speaker 5: Who's who's the crew?

1144
01:09:12,080 --> 01:09:16,680
Speaker 3: Well, gosh, I don't want to go into before leave

1145
01:09:16,760 --> 01:09:17,879
Speaker 3: somebody out.

1146
01:09:19,720 --> 01:09:20,120
Speaker 5: Listening.

1147
01:09:26,040 --> 01:09:27,640
Speaker 1: Okay, well, well let's just flip in that.

1148
01:09:28,120 --> 01:09:34,559
Speaker 7: I have a question, Sugar, Steve here, Steve, you were

1149
01:09:34,560 --> 01:09:37,640
Speaker 7: in Gremlins, which nobody brought up yet.

1150
01:09:37,880 --> 01:09:41,920
Speaker 1: Yes, you were actually four, Yes you were. What are

1151
01:09:41,960 --> 01:09:44,640
Speaker 1: your memories of that? Was that a fun movie to

1152
01:09:44,680 --> 01:09:45,280
Speaker 1: be involved in.

1153
01:09:45,600 --> 01:09:53,120
Speaker 3: Gremlins was great to be involved in because, Sugar, that

1154
01:09:53,320 --> 01:09:57,519
Speaker 3: was the first time that that kind of puppet was

1155
01:09:57,600 --> 01:10:03,120
Speaker 3: made for the screen, So the eyes rolling and everything.

1156
01:10:03,160 --> 01:10:05,920
Speaker 3: There were about five or six people underneath the table

1157
01:10:06,200 --> 01:10:08,760
Speaker 3: with a hole in the table for the cables and

1158
01:10:08,800 --> 01:10:12,280
Speaker 3: everything to go to the puppet for the magua and

1159
01:10:12,320 --> 01:10:15,200
Speaker 3: all of them to operate my eyes and to operate

1160
01:10:15,280 --> 01:10:17,840
Speaker 3: their ears and all that kind of stuff. So it

1161
01:10:17,960 --> 01:10:22,360
Speaker 3: was fascinating. Now, then you cut forward to a movie

1162
01:10:22,400 --> 01:10:25,280
Speaker 3: I just did last year. It's just come out as

1163
01:10:25,439 --> 01:10:28,840
Speaker 3: it's only been out maybe a year. A Bumblebee is

1164
01:10:28,880 --> 01:10:33,719
Speaker 3: another Stephen Spielberg movie. My second thing is my second

1165
01:10:33,760 --> 01:10:38,920
Speaker 3: Steven Spielberg movie. And the technology has changed so much

1166
01:10:39,960 --> 01:10:45,080
Speaker 3: now we're doing giants, right, big big bumble Bee. Those

1167
01:10:46,320 --> 01:10:49,000
Speaker 3: those robots, you know, those big robots that change into

1168
01:10:49,080 --> 01:10:55,800
Speaker 3: cars and change into this and changingto that transform. They're gigantic, right,

1169
01:10:56,680 --> 01:11:02,000
Speaker 3: but they're really just for Eyeline, for the actor. A

1170
01:11:02,080 --> 01:11:08,639
Speaker 3: tennis ball on the end of a tall stick. That's

1171
01:11:08,680 --> 01:11:11,200
Speaker 3: all you're looking at, and that's up in the air,

1172
01:11:11,240 --> 01:11:14,519
Speaker 3: and you're acting to this thing. And then they put

1173
01:11:14,640 --> 01:11:19,160
Speaker 3: all of it together in post. But when we did

1174
01:11:19,920 --> 01:11:23,760
Speaker 3: the Grimlins, those little gadgets were right there, you know,

1175
01:11:23,920 --> 01:11:28,519
Speaker 3: and table there's six six dudes under there working some

1176
01:11:28,640 --> 01:11:32,200
Speaker 3: facet of the gadget, you know. So I said, wow,

1177
01:11:32,360 --> 01:11:35,320
Speaker 3: you know, I said, what a what a change in times?

1178
01:11:35,400 --> 01:11:38,080
Speaker 3: You know, it was really interesting. It was really fascinating

1179
01:11:38,080 --> 01:11:38,800
Speaker 3: to be a part of that.

1180
01:11:39,280 --> 01:11:42,360
Speaker 7: You are, and they're still using puppets over at Sesame

1181
01:11:42,400 --> 01:11:45,720
Speaker 7: Street Bill. I mean, what's going on with you guys?

1182
01:11:45,920 --> 01:11:46,920
Speaker 3: The old school stugger?

1183
01:11:47,000 --> 01:11:47,800
Speaker 1: I don't tell you.

1184
01:11:49,040 --> 01:11:50,120
Speaker 3: I have one more question.

1185
01:11:51,360 --> 01:11:55,840
Speaker 7: What can you tell me about Honky your first movie

1186
01:11:55,840 --> 01:11:57,559
Speaker 7: from nineteen seventy was waiting for.

1187
01:11:59,080 --> 01:11:59,240
Speaker 3: It?

1188
01:12:01,640 --> 01:12:03,479
Speaker 2: I feel like was first waiting for you to be

1189
01:12:03,479 --> 01:12:05,280
Speaker 2: specific on which one, but then he was all the

1190
01:12:05,400 --> 01:12:05,880
Speaker 2: move bait.

1191
01:12:09,520 --> 01:12:11,680
Speaker 3: I can't tell you much, man, I can't tell you.

1192
01:12:11,760 --> 01:12:14,800
Speaker 3: I can't sh sugar. That was a long.

1193
01:12:18,640 --> 01:12:18,840
Speaker 5: Man.

1194
01:12:19,160 --> 01:12:21,439
Speaker 6: I was just gonna ask you about, you know, because

1195
01:12:21,479 --> 01:12:25,320
Speaker 6: we were able to see uh, you know, my Rainey's

1196
01:12:25,960 --> 01:12:30,679
Speaker 6: and man like your performance in that, like you know great,

1197
01:12:30,840 --> 01:12:34,240
Speaker 6: you know what I'm saying, just as everything, but you know,

1198
01:12:34,400 --> 01:12:37,360
Speaker 6: just your you with with Chad with I mean, you

1199
01:12:37,400 --> 01:12:40,559
Speaker 6: know that being his last film, man, what was that like,

1200
01:12:40,720 --> 01:12:42,679
Speaker 6: you know, working with the last time?

1201
01:12:43,320 --> 01:12:43,479
Speaker 5: Yes?

1202
01:12:44,439 --> 01:12:48,200
Speaker 3: Really, And here's what you got to understand. All those

1203
01:12:48,240 --> 01:12:51,439
Speaker 3: fight scenes and tussling and him lifting me after after

1204
01:12:51,439 --> 01:12:53,800
Speaker 3: the end of that whole thing. We did that maybe

1205
01:12:53,840 --> 01:12:54,639
Speaker 3: twenty times.

1206
01:12:55,560 --> 01:12:57,680
Speaker 5: Wow, what was in it?

1207
01:12:57,800 --> 01:12:59,679
Speaker 2: Yeah? He was magic. I don't even want to use magic.

1208
01:12:59,680 --> 01:13:02,120
Speaker 2: That's just I don't know.

1209
01:13:03,520 --> 01:13:06,760
Speaker 3: Because and I was as dead weight as I could be,

1210
01:13:08,240 --> 01:13:11,479
Speaker 3: and he was literally holding me up and picking me up.

1211
01:13:11,520 --> 01:13:15,759
Speaker 3: And we did several different takes, several different angles, several

1212
01:13:15,800 --> 01:13:21,880
Speaker 3: different moments, and he just went for it every single time.

1213
01:13:22,360 --> 01:13:25,000
Speaker 3: And we had no idea that he was sick. I

1214
01:13:25,040 --> 01:13:29,439
Speaker 3: just kept saying to myself, Damn, this is strong, you know,

1215
01:13:35,040 --> 01:13:40,000
Speaker 3: And he was. He was just strong, strong, willed, you know,

1216
01:13:40,120 --> 01:13:42,519
Speaker 3: he willed himself to do all of that. So I

1217
01:13:42,680 --> 01:13:45,640
Speaker 3: just I miss him already. You know. He was wonderful.

1218
01:13:46,000 --> 01:13:48,200
Speaker 3: We had a great, great time. He had a great

1219
01:13:48,240 --> 01:13:51,080
Speaker 3: sense of humor. I used to tease him and Simon

1220
01:13:51,280 --> 01:13:56,040
Speaker 3: his wife when I first he first introduced me to her.

1221
01:13:56,200 --> 01:13:58,880
Speaker 3: You know, they were such a cute couple and uh

1222
01:13:59,320 --> 01:14:03,200
Speaker 3: so I had a great with them, and uh and

1223
01:14:03,280 --> 01:14:07,360
Speaker 3: his work ethic was just it reminded me of me

1224
01:14:07,560 --> 01:14:08,280
Speaker 3: back in the day.

1225
01:14:08,400 --> 01:14:10,799
Speaker 2: You know, I was gonna say you not for nothing.

1226
01:14:11,200 --> 01:14:13,400
Speaker 2: It's so eerie to me. And looking back at his

1227
01:14:13,439 --> 01:14:17,240
Speaker 2: filmography that it seems like he was very purposeful and

1228
01:14:17,280 --> 01:14:19,640
Speaker 2: the roles and the projects that he chose and was

1229
01:14:19,680 --> 01:14:21,479
Speaker 2: a part of, and especially in the sense of his

1230
01:14:21,560 --> 01:14:24,559
Speaker 2: commitment to his people, And it just made me think

1231
01:14:24,600 --> 01:14:27,880
Speaker 2: of you as well as how you became very purposeful

1232
01:14:27,920 --> 01:14:30,439
Speaker 2: in your roles. And I was curious if y'all had

1233
01:14:30,439 --> 01:14:33,160
Speaker 2: a conversation between the two of you guys about that.

1234
01:14:34,240 --> 01:14:37,000
Speaker 3: No, he was a coolie, big coolie HI fan, you know,

1235
01:14:37,720 --> 01:14:39,679
Speaker 3: and so he wanted to know a lot of questions

1236
01:14:39,720 --> 01:14:44,680
Speaker 3: about Coolie high. But he was just he was just

1237
01:14:44,720 --> 01:14:46,479
Speaker 3: a dedicated performer. You know.

1238
01:14:47,520 --> 01:14:50,280
Speaker 6: Do you have a lot of the younger guys like

1239
01:14:50,320 --> 01:14:52,880
Speaker 6: coming to you for advice, like like young black actors

1240
01:14:52,960 --> 01:14:54,840
Speaker 6: or you because you seem very much, kind of just

1241
01:14:54,880 --> 01:14:56,320
Speaker 6: you know, a og in the game. Do you have

1242
01:14:56,400 --> 01:14:59,639
Speaker 6: the people, you know, the younger actors come just.

1243
01:15:01,160 --> 01:15:04,320
Speaker 3: That happens quite a bit. That happens quite a bit,

1244
01:15:04,439 --> 01:15:07,640
Speaker 3: you know. I try to try to feed the you know,

1245
01:15:07,840 --> 01:15:10,680
Speaker 3: I was lucky I had the James Earl Joneses or

1246
01:15:10,680 --> 01:15:13,200
Speaker 3: the Sydney Poitiers who I could always call, you know,

1247
01:15:13,800 --> 01:15:18,120
Speaker 3: and go to wow. And you know, so I tried

1248
01:15:18,160 --> 01:15:19,839
Speaker 3: to reciprocate that same spirit.

1249
01:15:20,479 --> 01:15:22,200
Speaker 6: What were some of the biggest lessons you learned from

1250
01:15:22,280 --> 01:15:23,479
Speaker 6: James and Sydney.

1251
01:15:24,600 --> 01:15:26,400
Speaker 3: Well, I told her I ran into Sydney Poitier. I

1252
01:15:26,520 --> 01:15:29,840
Speaker 3: was a struggling actor. We had done and raising in

1253
01:15:29,880 --> 01:15:32,880
Speaker 3: the sun. And now I've graduated high school. I'm about

1254
01:15:32,960 --> 01:15:36,479
Speaker 3: nineteen years old. I'm struggling, trying to get the next job,

1255
01:15:36,760 --> 01:15:40,879
Speaker 3: trying to find a job. Nothing's happening. I'm going uptown.

1256
01:15:40,920 --> 01:15:43,720
Speaker 3: I was a truck dripper in New York and I'm

1257
01:15:43,720 --> 01:15:48,679
Speaker 3: taking a load of furniture uptown and I see Sydney

1258
01:15:48,720 --> 01:15:51,559
Speaker 3: coming out of a out of a restaurant on Seventh

1259
01:15:51,560 --> 01:15:57,879
Speaker 3: Avenue in the fifties, and I immediately say, oh my god, Sydney,

1260
01:15:58,360 --> 01:16:00,479
Speaker 3: I pull over, you know, and I got it all

1261
01:16:00,520 --> 01:16:02,880
Speaker 3: this furniture and everything that is big at this truck,

1262
01:16:02,960 --> 01:16:05,680
Speaker 3: you know, and I pull it over and I jump out,

1263
01:16:05,720 --> 01:16:08,240
Speaker 3: and I'm all dirty and grammy, I've been lifting furniture

1264
01:16:08,280 --> 01:16:10,679
Speaker 3: all day. And he comes out and he's all clean

1265
01:16:10,840 --> 01:16:14,840
Speaker 3: and shop and everything. You know, he coming out of there,

1266
01:16:14,920 --> 01:16:19,160
Speaker 3: going restaurants, you know. And I said, it's Glenn, and

1267
01:16:19,240 --> 01:16:22,599
Speaker 3: he kind of looks Glynn. Remember Travis, I'm raising him. Son.

1268
01:16:22,720 --> 01:16:23,759
Speaker 3: Oh how are you?

1269
01:16:24,320 --> 01:16:28,600
Speaker 1: I said, spot On?

1270
01:16:29,080 --> 01:16:32,800
Speaker 3: I said fine, bye, I said, s fine. I said, man,

1271
01:16:32,840 --> 01:16:35,840
Speaker 3: I'm you know, I graduated performing arts high school. You know,

1272
01:16:36,000 --> 01:16:39,080
Speaker 3: I'm trying to do my thing. You know, I'm just

1273
01:16:39,200 --> 01:16:43,720
Speaker 3: driving the truck right now. I'm auditioning and blah blah blah.

1274
01:16:43,840 --> 01:16:45,840
Speaker 3: What can you tell me about the business man? What

1275
01:16:46,160 --> 01:16:53,840
Speaker 3: do I need to know? He said, study math on

1276
01:16:54,400 --> 01:16:55,960
Speaker 3: all the way back to math.

1277
01:16:55,920 --> 01:16:58,360
Speaker 2: Right, yes, I said, we suck it.

1278
01:17:01,760 --> 01:17:07,280
Speaker 3: My yeah right right, studying man, Yeah, yeah, I got that.

1279
01:17:07,680 --> 01:17:11,040
Speaker 3: I got that, you know. And he took off, you know,

1280
01:17:11,360 --> 01:17:14,360
Speaker 3: down the street, and he's gone. He's wishing like disappears,

1281
01:17:14,760 --> 01:17:21,200
Speaker 3: you know, and I'm like, studying man, study What the

1282
01:17:21,720 --> 01:17:25,360
Speaker 3: is he talking about? Studying man? Study? Man? That's ship

1283
01:17:25,400 --> 01:17:33,000
Speaker 3: studying man drive. You just don't want to tell me. Well,

1284
01:17:34,280 --> 01:17:38,800
Speaker 3: this is a business. It's called show business.

1285
01:17:39,360 --> 01:17:47,320
Speaker 6: Count your paper, paper, I see.

1286
01:17:46,080 --> 01:17:46,400
Speaker 5: That's it.

1287
01:17:47,680 --> 01:17:48,880
Speaker 1: Wait before we close.

1288
01:17:50,600 --> 01:17:52,680
Speaker 4: You know, as I mentioned, you're you're dropping us with

1289
01:17:52,720 --> 01:17:55,160
Speaker 4: the two for of course my Rainy being one of them,

1290
01:17:55,160 --> 01:18:03,960
Speaker 4: but fogs your work on Fargo Doctor Senator, which which

1291
01:18:03,960 --> 01:18:07,759
Speaker 4: hopefully will be sending you back to vm me's next.

1292
01:18:07,640 --> 01:18:10,400
Speaker 3: Year from your list.

1293
01:18:11,680 --> 01:18:12,640
Speaker 2: Say it again, you.

1294
01:18:12,720 --> 01:18:16,599
Speaker 4: Know it's it's it's I already see it happen. I'm

1295
01:18:16,640 --> 01:18:22,000
Speaker 4: I'm putting it out there. Yeah, just in the fact

1296
01:18:22,000 --> 01:18:24,400
Speaker 4: that they're telling a black storyline, like no one was

1297
01:18:24,439 --> 01:18:28,240
Speaker 4: more shocked than I was. So how did this come

1298
01:18:28,280 --> 01:18:28,439
Speaker 4: to be?

1299
01:18:28,560 --> 01:18:28,720
Speaker 3: How?

1300
01:18:28,880 --> 01:18:30,000
Speaker 1: How did this come to fruition?

1301
01:18:31,400 --> 01:18:34,120
Speaker 3: I picked up the phone and running rang. My agent said,

1302
01:18:34,120 --> 01:18:35,960
Speaker 3: we've got an offer for you to do a Fargo.

1303
01:18:37,320 --> 01:18:41,080
Speaker 3: I said, send me, and they sent me the script

1304
01:18:41,920 --> 01:18:42,680
Speaker 3: and I said, I'm in.

1305
01:18:44,080 --> 01:18:46,200
Speaker 1: Were you familiar with the series at all before?

1306
01:18:46,240 --> 01:18:49,760
Speaker 3: It's a movie and I'd watched an episode here, in

1307
01:18:49,800 --> 01:18:53,280
Speaker 3: an episode there, but not really into it, you know.

1308
01:18:53,960 --> 01:18:57,320
Speaker 3: But once I signed on, you know, I got all

1309
01:18:57,320 --> 01:19:01,200
Speaker 3: of the episodes and binge Binge watched all of When

1310
01:19:01,200 --> 01:19:04,400
Speaker 3: I got there, I met Noah Howley, who was brilliant

1311
01:19:04,439 --> 01:19:08,280
Speaker 3: young man, and uh, he just you know, he and

1312
01:19:08,320 --> 01:19:11,200
Speaker 3: I just talked. I loved what he was saying. I

1313
01:19:11,200 --> 01:19:14,080
Speaker 3: loved what he was talking about in terms of and

1314
01:19:14,360 --> 01:19:17,559
Speaker 3: it was not deep. Everything was really rather rather simple.

1315
01:19:18,400 --> 01:19:24,400
Speaker 3: But he obviously to give you an idea of how

1316
01:19:24,479 --> 01:19:27,880
Speaker 3: his mind works in terms of details. Just I just

1317
01:19:27,880 --> 01:19:30,960
Speaker 3: watched this last episode. You know, I'm deadn't going about

1318
01:19:30,960 --> 01:19:36,040
Speaker 3: I'm still uh, you know, he had a thing in

1319
01:19:36,080 --> 01:19:39,720
Speaker 3: every way he said. I'm paraphrasing now, but one of

1320
01:19:39,760 --> 01:19:43,000
Speaker 3: the one of the black characters says, I don't think

1321
01:19:43,000 --> 01:19:45,400
Speaker 3: it was Chris, something about I got to get out

1322
01:19:45,400 --> 01:19:48,160
Speaker 3: of here and I'm going to go get some greens. Now,

1323
01:19:48,200 --> 01:19:51,120
Speaker 3: that's that's that's a white guy, right, Oh, no.

1324
01:19:53,120 --> 01:19:54,200
Speaker 2: Scars on their head like.

1325
01:19:57,920 --> 01:20:03,720
Speaker 3: You know. So he's he's so to the nuances. It's

1326
01:20:03,760 --> 01:20:08,519
Speaker 3: about the nuances of his scripts and his characters. It's

1327
01:20:08,520 --> 01:20:13,960
Speaker 3: the nuances that make that make the characters so interesting,

1328
01:20:14,560 --> 01:20:18,320
Speaker 3: you know. And he's brilliant at that, you know, and

1329
01:20:18,360 --> 01:20:21,920
Speaker 3: that those are what's so fun to play Doctor Sennerstor's nuances.

1330
01:20:21,960 --> 01:20:24,679
Speaker 3: We're just so much fun.

1331
01:20:24,800 --> 01:20:28,000
Speaker 2: So, but answer this question, Glenn. In the beginning of

1332
01:20:28,120 --> 01:20:31,320
Speaker 2: far Ago, it says, this is true, some of the

1333
01:20:31,400 --> 01:20:34,479
Speaker 2: things have been changed. But please, can you please tell

1334
01:20:34,560 --> 01:20:36,320
Speaker 2: me if any it is true that the black Man

1335
01:20:36,439 --> 01:20:37,519
Speaker 2: create the credit card.

1336
01:20:37,720 --> 01:20:47,080
Speaker 3: Come on, it's been a pleasure.

1337
01:20:50,920 --> 01:20:51,519
Speaker 1: Where you go?

1338
01:20:51,760 --> 01:20:53,720
Speaker 2: Before you go, can I just say, how poetic does

1339
01:20:53,760 --> 01:20:56,000
Speaker 2: it feel that you started out and raising in the

1340
01:20:56,080 --> 01:20:59,439
Speaker 2: sun with Lorraine and you now brought Uh. I was

1341
01:20:59,439 --> 01:21:02,960
Speaker 2: going August Wilson second, like a second play to the

1342
01:21:03,000 --> 01:21:06,720
Speaker 2: film to film, like what does that feel like? Like?

1343
01:21:06,840 --> 01:21:10,840
Speaker 2: I said that really nice in articulate.

1344
01:21:10,960 --> 01:21:14,559
Speaker 3: Yeah, it feels great. It feels great. Well, it just

1345
01:21:14,720 --> 01:21:18,400
Speaker 3: it just feels great. And you know, it's all so great.

1346
01:21:18,680 --> 01:21:22,200
Speaker 3: But to be here with you guys, to see you

1347
01:21:22,280 --> 01:21:26,280
Speaker 3: guys doing your thing, all of you together, doing your thing,

1348
01:21:26,479 --> 01:21:30,000
Speaker 3: asking great questions, got it, got your own thing going on?

1349
01:21:30,920 --> 01:21:34,599
Speaker 3: I love seeing this. You have to understand that it

1350
01:21:34,680 --> 01:21:39,200
Speaker 3: wasn't always like this. So you guys are real. You

1351
01:21:39,280 --> 01:21:40,320
Speaker 3: guys are my heroes.

1352
01:21:40,600 --> 01:21:45,879
Speaker 2: We stand on your shoulders, sir, thank you question like supreme,

1353
01:21:45,960 --> 01:21:46,759
Speaker 2: We are heroes.

1354
01:21:47,439 --> 01:21:53,880
Speaker 4: Well, we thank you very much, uh for sharing your

1355
01:21:53,880 --> 01:21:58,440
Speaker 4: stories and and and your creativity and and thank you always.

1356
01:21:58,080 --> 01:21:59,160
Speaker 5: Making us look good man.

1357
01:21:59,439 --> 01:22:01,800
Speaker 3: Yeah, yes, like.

1358
01:22:03,400 --> 01:22:04,280
Speaker 1: We appreciate that.

1359
01:22:04,800 --> 01:22:08,160
Speaker 4: Yeah, so on behalf of Sugar Steve on pay Bill fan,

1360
01:22:08,200 --> 01:22:11,920
Speaker 4: Tickeolo and la yea. This is Quest Love signing off

1361
01:22:11,920 --> 01:22:15,799
Speaker 4: from Quest Love Supreme. The Great Glenn Terman. Definitely see

1362
01:22:16,439 --> 01:22:18,200
Speaker 4: my rainees black.

1363
01:22:21,000 --> 01:22:23,800
Speaker 1: Black bottom.

1364
01:22:23,840 --> 01:22:27,320
Speaker 2: It's not nasty. Well it is though it is.

1365
01:22:27,560 --> 01:22:29,120
Speaker 1: I had a momentary lapse of reasons.

1366
01:22:29,200 --> 01:22:32,160
Speaker 4: Yes, and also yes, mom, Rainey's black bottom definitely must

1367
01:22:32,200 --> 01:22:34,759
Speaker 4: see and uh yeah support him in Fargo.

1368
01:22:34,920 --> 01:22:38,559
Speaker 1: And yeah we I'm calling it now this Yeah, it's

1369
01:22:38,680 --> 01:22:40,840
Speaker 1: it's it's in me time for this entire season.

1370
01:22:40,880 --> 01:22:44,759
Speaker 4: Yeah, I'm calling it right, the Great Glen termin Ladies, gentlemen,

1371
01:22:44,800 --> 01:22:45,479
Speaker 4: thank you very much.

1372
01:22:45,680 --> 01:22:47,240
Speaker 1: This question of Supreme signing off.

1373
01:22:49,400 --> 01:22:50,639
Speaker 3: Hey, this is Sugar Steve.

1374
01:22:51,760 --> 01:22:53,920
Speaker 14: Make sure you keep up with us on Instagram at

1375
01:22:54,040 --> 01:22:56,800
Speaker 14: qu l s and let us know what you think

1376
01:22:57,400 --> 01:22:59,280
Speaker 14: and you should be next to sit down with us.

1377
01:23:00,120 --> 01:23:03,040
Speaker 14: Don't forget to subscribe to our podcast.

1378
01:23:05,320 --> 01:23:08,439
Speaker 1: What's Love Supreme is a production of iHeartRadio.

1379
01:23:10,640 --> 01:23:15,120
Speaker 4: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1380
01:23:15,520 --> 01:23:17,520
Speaker 4: or wherever you listen to your favorite shows.