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Speaker 1: Mm hmmmm.

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Speaker 2: Mm hmmm.

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Speaker 1: Welcome back all the smoke, Day three, Los Angeles. Jack

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Speaker 1: has been a nice couple of days. I got the

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Speaker 1: opportunity to finish strong with someone who's man been in

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Speaker 1: the game since he was a youngster. Brought us a

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Speaker 1: lot of classics. Welcome to the show, Alan Hughes, We

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Speaker 1: appreciate your time. Man Award Roaming Director, producer. What's new?

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Speaker 1: How's life? We know you just dropped Dear Mama. I'm

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Speaker 1: unemployed right now currently speaking. You know what's funny when

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Speaker 1: you do the it must be the same thing in sports.

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Speaker 1: It's like when the season ends, it's just no more.

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Speaker 1: What was that? Like?

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Speaker 2: Fight or flight? Is the whole time fight and fight

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Speaker 2: and then once it's over, it's like, Yeah, you have

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Speaker 2: to learn what to do with your time.

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Speaker 1: Before we get into Dear Mama, which was absolutely incredible,

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Speaker 1: and we'll get into that. As I told you before,

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Speaker 1: I'm a huge POC fan and obviously have followed your

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Speaker 1: guys's journey together, the ups the downs. Let's get into that.

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Speaker 1: How did you guys originally meet I met him.

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Speaker 2: I keep saying a waffle house, but that's a Southern thing.

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Speaker 2: I met him at a pancake house in San Francisco

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Speaker 2: when my brother and I went up there to do

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Speaker 2: a digital underground Basically a digital underground video was a

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Speaker 2: money be had a group called Raw Fusion. But Digital

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Speaker 2: Underground was so tight that when we met with them,

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Speaker 2: shot g everyone's at the table at the pancake house,

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Speaker 2: you know, and Tupac wasn't famous yet, and I didn't

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Speaker 2: know he had just signed a record deal and juice

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Speaker 2: was in the can, but he still wasn't famous. And

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Speaker 2: it was clear at the end of this kid at

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Speaker 2: the end of the table was the most charismatic, the funniest.

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Speaker 1: He just was.

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Speaker 2: I was drawn to him immediately.

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Speaker 1: And you guys are teenagers this time, nineteen years old.

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Speaker 2: Maybe an eighteen because this is early. And then when

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Speaker 2: we had a private moment, he said, I just signed

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Speaker 2: up record deal. I want you guys to do my

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Speaker 2: first music videos. The next day was our first music video.

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Speaker 2: That's how crazy that was. First, that was our first

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Speaker 2: music video. We were up there for we had these

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Speaker 2: little short films, these little Super eight films. One was

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Speaker 2: called The Drive By, one was called Menace Society, no

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Speaker 2: relation to the film. And he saw those and sure enough.

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Speaker 2: Three weeks later the record label called us and we

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Speaker 2: were off to the races doing all three of his

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Speaker 2: music videos for his first album, debut album. So that

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Speaker 2: was Brenda's Got a Baby, Trap, First Trap, Brenda's Got

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Speaker 2: a Baby. By the time we got to Brenda's Got

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Speaker 2: a Baby, we were having difficulties in a relationship and

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Speaker 2: then we had Then third video was when my Homies

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Speaker 2: called We Just He basically directed it. By that time,

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Speaker 2: the relationship was really rocky.

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Speaker 1: Dear Mama a piece that was based off of Feenie.

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Speaker 1: But I read somewhere that once you kind of decided

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Speaker 1: to take it, you kind of wanted to intertwine the

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Speaker 1: two worlds between him and his mom and obviously his

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Speaker 1: greatness and his mom's activists talk to us about obviously

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Speaker 1: you know, you guys had your ups and downs. You

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Speaker 1: know there's a story where he had his homeboys get

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Speaker 1: at you. How hard was it for you to really

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Speaker 1: kind of say, like, Okay, it's been X amount of years,

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Speaker 1: I want to I want to take this project on.

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Speaker 2: You know what we were I was making the Defiant Ones,

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Speaker 2: which came out in twenty seventeen, and that was a

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Speaker 2: four part series on Doctor Dray and Jimmy Ivan and

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Speaker 2: their partnership. Part three was the whole explosive era of

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Speaker 2: the early nineties and death Row and then ultimately Tupac

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Speaker 2: and I remember while we were editing that Tupac just

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Speaker 2: kept taking over the movie. Literally, like for a whole year,

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Speaker 2: he was taking over the movie. His energy was you

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Speaker 2: can't help but to go where energy, the energy is,

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Speaker 2: and I kept wrestling it back from him because he's

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Speaker 2: just he's just a rock star, you know. It's very

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Speaker 2: difficult not to let that energy take. So that's when

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Speaker 2: I was like, wait a minute. I started dealing with

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Speaker 2: his passing for the first time, I think, and Easy

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Speaker 2: as well, because Easy was my first mentor in the

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Speaker 2: business before I even met Tupac or anymore, you know,

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Speaker 2: and I was dealing with Easy's passing and I was

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Speaker 2: so I was having like an experience on defined ones,

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Speaker 2: and the estate came in and to approve things and

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Speaker 2: disapproved things. So Tupaca state, they're not they're not easy,

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Speaker 2: you know, they look at everything. So that's when it began.

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Speaker 2: And then when they approached me a year later, I

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Speaker 2: was like, nah, I don't think I want to do

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Speaker 2: this because I didn't want to do another documentary. It

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Speaker 2: takes everything out of you too, you know, and it's

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Speaker 2: all it's real people. You guys talk about Glow Tupac's aunt.

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Speaker 2: Now you know you're dealing with a real human being.

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Speaker 2: This ain't the movies, This is not pretend. So it

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Speaker 2: goes in your spirit and soul and you become a

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Speaker 2: family with these people. So when they approached me, I didn't

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Speaker 2: want to do it because of that. But also I'm like,

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Speaker 2: I don't know if his fans, a lot of his

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Speaker 2: fans don't want to like me, and what are they

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Speaker 2: going to think of that? So I was having that

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Speaker 2: that but I went home and I thought about it.

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Speaker 2: I said, wait a minute. I was raised by a

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Speaker 2: single mother who was an activist in the women's rights

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Speaker 2: movement and radical to my mom, was radical like a

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Speaker 2: like a Fenn. He was my mom's Armenian. I said, wait,

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Speaker 2: if I could find out about him through his mother,

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Speaker 2: and that's my experience. And they were with it. They

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Speaker 2: were with it. They were like, yes, I heard, you know.

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Speaker 1: Obviously Pok's ashes were dumped in a beach in Malibu

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Speaker 1: when they all gathered, and I heard there was a

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Speaker 1: piece of paper that was sled to you and you

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Speaker 1: kind of found out the address and expect because I

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Speaker 1: thought that was super fascinating talk to us about that.

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Speaker 2: I forget Matt me doing his homework and shit, that's

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Speaker 2: why you guys, man, you guys are the best in

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Speaker 2: this game. I think, I really like the conversations you

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Speaker 2: guys have are the reallest ones I've ever seen. So

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Speaker 2: I gotta be careful. God damn it. I'm not a

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Speaker 2: big maliboup guy myself, you know, but I had it

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Speaker 2: was least in a place on the beach way up there,

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Speaker 2: and for a couple of years. And in that meeting,

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Speaker 2: the second meeting where I agreed to do it, someone

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Speaker 2: from the estate slid an address to me and I

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Speaker 2: looked at this address and and me, I'm like, why

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Speaker 2: is she? You know, this address is like seemingly right

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Speaker 2: next to where im at my house was, And at

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Speaker 2: the end she said to me, that's where we put

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Speaker 2: his ashes. And I went, whoa, literally like steps away

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Speaker 2: from where my house was. And I was like, all right, well,

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Speaker 2: meant to be that's going. Because I also knew too,

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Speaker 2: like and agreeing to do it, I knew I was

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Speaker 2: not take bullets. You know, there's not be misunderstandings initially,

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Speaker 2: but I know when people get to see it, they'll

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Speaker 2: see my heart was absolutely in the right place because

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Speaker 2: I'm trying to find it understanding and as black men

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Speaker 2: and black women the people of color all over too, like,

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Speaker 2: we can't be having misunderstandings. These two dudes ain't here

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Speaker 2: because of a misunderstanding. They just weren't communicating, you know,

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Speaker 2: they were shutting themselves off. So let me go ahead

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Speaker 2: and take the bullets show people that at fifty I'm

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Speaker 2: willing to look back with Snoop too. You could see

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Speaker 2: Snoop looking back and going, hey, these were boys making

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Speaker 2: silly decisions. Now we're men and we can analyze this

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Speaker 2: and help our children, you know, look at things in

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Speaker 2: the right perspective.

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Speaker 1: I feel, you know, well, we got a chance to.

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Speaker 1: I mean Snoop laid on that count and smoke like

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Speaker 1: ten blunts while we interviewed him.

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Speaker 2: That was one of my other favorite interviews.

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Speaker 1: Yeah, oh my god, you know, but me kind of

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Speaker 1: talking to him off camera and on camera, his kind

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Speaker 1: of before POC left, the odds they were at and

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Speaker 1: obviously read up on you and how hard was it

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Speaker 1: first of all for you to kind of forgive it,

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Speaker 1: But then also when you said you went back and

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Speaker 1: you saw that he had there was recordings of him

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Speaker 1: apologizing that you never knew about. And how hard was

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Speaker 1: it for you to you know? Once he passed, and

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Speaker 1: I guess you said you start reminiscing during the defiant

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Speaker 1: ones to kind of be like, damn, I wish I

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Speaker 1: would have or like when did that kind of kick

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Speaker 1: in for you?

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Speaker 2: I knew a few years ago that I wish I

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Speaker 2: was mad enough to go see him in prison, that

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Speaker 2: I kind of knew him, because in the back of

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Speaker 2: my head, I just felt my spirit that I wish

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Speaker 2: I was maddening because I knew I would have had

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Speaker 2: a captive audience. Quite literally, he would have heard me,

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Speaker 2: and I would have heard him, you know. Uh. It

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Speaker 2: wasn't until I started doing press about six weeks ago

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Speaker 2: that I realized I have a tremendous amount of compassion

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Speaker 2: for him. Now. I never had compassion for him, you know,

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Speaker 2: And that's a big word, you know, when you're talking

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Speaker 2: about like a journey and understanding someone. So I feel

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Speaker 2: him now like we all feel Tupac, we feel his music.

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Speaker 2: But I go, oh, wow when you see the film,

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Speaker 2: and that's the revelation I think in the film as

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Speaker 2: you go, Wow, look at all this shit he came from.

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Speaker 2: Look what he was born into. Look what the expectation was.

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Speaker 2: Look at the trauma he inherited. Look at the PTSD inherited.

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Speaker 2: So there's all that mental health stuff that again in

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Speaker 2: the black community, we never talked about in the nineties,

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Speaker 2: let alone the eighties, seventies, and sixties. So when I

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Speaker 2: saw a year ago, it was only a year ago.

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Speaker 2: I saw the Tabitha Sore and MTV interview where he

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Speaker 2: not only apologized again, but she asked him. I didn't

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Speaker 2: put it in the movie. She asked him, would you

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Speaker 2: ever want to work with them? And he's like, no,

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Speaker 2: they're great filmmakers. I would hope that I can work

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Speaker 2: with them in the future. And that gave me goosebumps.

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Speaker 2: I never knew it existed, right, you know, And I

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Speaker 2: was like, wow, you know when you look at Tupac.

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Speaker 2: I've heard this from a lot of people, women especially,

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Speaker 2: They're like, I want to hug him, I want to

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Speaker 2: save them. I want to you know, like if I

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Speaker 2: could have just he knew he was great, but all

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Speaker 2: that stuff, I don't know if any of us could

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Speaker 2: have sat down and got him to sit down, you know.

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Speaker 2: And so I look back, you go, should it could have?

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Speaker 2: Would have?

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Speaker 1: Yeah? Well, I mean the one thing that I really

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Speaker 1: want to and I was able to watch the doc

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Speaker 1: and found was just his constant workload, how much he

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Speaker 1: was on the move, and how much he would do

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Speaker 1: in a single day. And it almost just seemed like

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Speaker 1: and you guys painted such a great picture of it,

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Speaker 1: seemed like, you know, obviously an untimely death, but he

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Speaker 1: was going to burn out somehow, some way. He was

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Speaker 1: just going too hard as far as just life.

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Speaker 2: Yeah, we call him runners. My mother taught me that

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Speaker 2: my mother's a runner. My mother's a hustler. She went

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Speaker 2: from welfare to millionaire on her own, single mother. But

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Speaker 2: she didn't start doing therapy there later. And you know,

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Speaker 2: a lot of people that build empires are just running,

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Speaker 2: you know. And you see people like they just all

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Speaker 2: their days or they got families and everything, but their

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Speaker 2: days are stacked with all the work. You're running from something,

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Speaker 2: you're not dealing with something, you know. And that's what

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Speaker 2: I felt. And God bless him because he had every

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Speaker 2: right to. When you come from abject poverty too, you

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Speaker 2: have every right to be running towards the mountain of

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Speaker 2: goal for you to. His credit to was always about

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Speaker 2: his family and his people and other people that he

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Speaker 2: wasn't even related to. When I knew him, you would

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Speaker 2: go when he had no money. He lived right off

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Speaker 2: of Lake Merritt in Oakland. He had no money. He

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Speaker 2: was in a bumass apartment. There were always teenagers in

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Speaker 2: there that he was taken care of like orphans. So

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Speaker 2: he was always about the community and whatever. So he

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Speaker 2: was working that hard for everyone. You know, it wasn't

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Speaker 2: just him running from his own demons. You know, I

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Speaker 2: feel you know.

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Speaker 1: The success of Dear Mama, the ratings through the roof overall,

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Speaker 1: I mean, how do you You've done so many great projects.

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Speaker 1: How do you look at a success of a project?

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Speaker 1: Does the outside opinion matter? Or you know that I

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Speaker 1: put everything I had into it and I'm good, I'm

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Speaker 1: at peace. I mean, obviously this rated high, and everything

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Speaker 1: you do rate it high, But how do you look

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Speaker 1: at success?

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Speaker 2: I caught a couple of bricks. I think you measured

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Speaker 2: it like we did a documentary years ago. My brother

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Speaker 2: and I American pimp and it's very hard to find

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Speaker 2: that goddamn thing. Try finding it, right, But it became

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Speaker 2: a cult classic, right, and then the time was really

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Speaker 2: painful because you're like, is anyone But I see people

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Speaker 2: along the way years it really affected them or they

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Speaker 2: they memorized whatever it is. So you know, you gotta

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Speaker 2: with Dear Mama. I know, I put my I put

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Speaker 2: my soul into it. So I knew before we had

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Speaker 2: the ratings record at the network and one hundred percent

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Speaker 2: of Rotten Tomatoes with the critics like everyone the culture

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Speaker 2: digging it. I didn't know what the culture was going

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Speaker 2: to think. I didn't know everything I'd think of me,

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Speaker 2: but I was prepared for it. But in hindsight, before

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Speaker 2: all the good news came in, I was like, you

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Speaker 2: know what I told my partner, I said, you know what,

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Speaker 2: people may get this ten years from now. Don't expect

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Speaker 2: for them to get it now because it's very emotional,

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Speaker 2: it's complex, and I didn't think. I didn't think very

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Speaker 2: many people.

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Speaker 1: Now we got it now, trust me, we got that

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Speaker 1: shit right. That was incredible. I mean, obviously with the

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Speaker 1: v and Dear Mama, but I think you know, you're

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Speaker 1: early vision to obviously intertwined and look at him through

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Speaker 1: his mom's eyes. I've never seen I'm a huge Pok fan.

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Speaker 1: I've never seen anyone just being able to break down

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Speaker 1: and talk and then show so many different sides of him.

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Speaker 1: You know, Like you say, you think you've seen everything

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Speaker 1: out there on him because he's been gone for so long,

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Speaker 1: But you guys had shit that no one had seen. Instrumentals,

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Speaker 1: you know, putting different beats behind his music. Just the

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Speaker 1: creativity of the project overall was just like I was

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Speaker 1: blowing toy Binge watched me and my girl got in

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Speaker 1: a fight because I just waught that shit straight. I'm like, baby,

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Speaker 1: I got to interview him, Well can you do that?

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Speaker 1: I was just like, now I'm watching this shit straight.

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Speaker 1: This is what it is.

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Speaker 2: That's an emotional five hours shit. Yeah, it was a

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Speaker 2: lot of people talking about I didn't expect a lot

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Speaker 2: of people talking about crying. A lot they're crying when

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Speaker 2: they've seen this thing, and I'm.

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Speaker 1: Like, wow, you know, I help my tears. I held

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Speaker 1: my thug tears back. But yeah, you could definitely I

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Speaker 1: can see where people can get it, though.

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Speaker 2: Now it's a it's with him. The number one thing

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Speaker 2: is I wanted to understand him, and I'm also gonna

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Speaker 2: want to be DJ, so I wanted to make sure

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Speaker 2: that you know, we we felt him, we heard the words.

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Speaker 2: I have a rule in the editing room. If Grandma

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Speaker 2: don't understand, it's got to go. And that's a lot

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Speaker 2: of reason why we took the beats out sometimes and

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Speaker 2: just had the words the compositions so that Grandma can understand.

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Speaker 2: Are people that aren't necessarily Tupac fans can be brought

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Speaker 2: into the poetry because I was never a poetry fan.

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Speaker 2: I don't understand poetry. I'll just be real. And it

295
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Speaker 2: wasn't to this journey, I'm like, wow, this dude really

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Speaker 2: was a poet, Like, oh, I get it now, you know,

297
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Speaker 2: reading this stuff and hearing this stuff, and also keeping

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Speaker 2: in mind, move hip hop out of the way, move

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Speaker 2: acting out of the way. Tupac first is an artist,

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Speaker 2: like a pure artist a poet. And when you're a

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Speaker 2: pure artist, when you see his journey and he painted

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Speaker 2: in life with his life, right. I talk a lot

303
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Speaker 2: about the delusions of artists. Artists live in a fantasy world.

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Speaker 2: They don't see what normal people see. So a lot

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Speaker 2: of that stuff with Tupac when people have this misunderstandings

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Speaker 2: about him, even that night in at where he shot

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Speaker 2: the two dudes, two cops in the ass, right, he's

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Speaker 2: not seeing what we're all seeing. He's seen another movie.

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Speaker 2: And you have to add that in there too, not

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Speaker 2: just the activism, not just the way he was raised,

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Speaker 2: not just his emotional state, you know, not just the

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Speaker 2: fact that he's a method actor. But you have to

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Speaker 2: add in there that there's these dreams and hopes and

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Speaker 2: fantasies of a pure artist, and it's a it's a

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Speaker 2: different world.

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Speaker 1: Born in Detroit, youngest brother by nine minutes. Does that count, right?

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Speaker 1: I got twins too, they're six minutes apart. Anything early days,

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Speaker 1: you remember, before you guys migrated to California.

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Speaker 2: Big ass rats like Ben remember that movie Ben Mike

320
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Speaker 2: made a song about this shit. It was real sweet.

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Speaker 2: There ain't nothing sweet about them, big ass rats without

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Speaker 2: the tale. We got a cat one time Detroit. We

323
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Speaker 2: were living in this tenement building. We got a cat.

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Speaker 2: Dive fuck off the rats, right, and and the rat

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Speaker 2: I'm sorry the cat, I'm the cat went missing. Like

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Speaker 2: we hired this motherfucker to, you know, to get the neutrints.

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Speaker 2: Check this out. Two weeks later we got a little

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Speaker 2: slid and snow. That's it without the tail. Two weeks

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Speaker 2: later we had a slid and we're going through the snow.

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Speaker 2: That motherfucker was laid over there. Whole cavity opened up

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Speaker 2: them ratually eating his ass a lot. That's Detroit, that's

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Speaker 2: all I remember. Fuck a cat.

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Speaker 1: Uh you guys move out to Claremont, California.

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Speaker 2: Pomona first, that's what difference.

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Speaker 1: Yeah, different, shout out, shout out, Damian Roderick, sugar Free,

336
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Speaker 1: that's the sugar freezer. Yeah, no, no, my home, but

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Speaker 1: snoop some way personally, that's that's froma But yeah, sugar

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Speaker 1: Free was out there. Sugar Free was actually born in

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Speaker 1: the Bay, wasn't he.

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Speaker 2: All that makes sense now.

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Speaker 1: And then Alna right, yeah, yeah, but then moved to Pomona.

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Speaker 1: But yeah, the ie so to speak from Detroit, what

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Speaker 1: was that like for you? You know, Armenian and black correct.

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Speaker 2: Yep. When we got out here in nineteen eighty, Reagan

345
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Speaker 2: had just been voted in the office and things changed

346
00:17:24,280 --> 00:17:27,320
Speaker 2: were changing, you know, and being from Detroit then too,

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Speaker 2: there's there were always jokes, like you say, you from Detroit,

348
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Speaker 2: everyone goes. It was a it was a badge of

349
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Speaker 2: street honor back then, even though we were little, little kids,

350
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Speaker 2: but it was a culture shock to seeing palm trees

351
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Speaker 2: and not going through the four seasons. I think it's

352
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Speaker 2: important for kids to go through the fourth seasons, the fall,

353
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Speaker 2: the you know, all the leaves and all that stuff

354
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Speaker 2: that happens outside of California. But to see to be

355
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Speaker 2: there and be eight, nine, ten, eleven years old when

356
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Speaker 2: all the programs were taking away we know now after

357
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Speaker 2: school programming programs, you know, all that stuff that we

358
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Speaker 2: were relying on not to fall prey to gangs and drugs.

359
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Speaker 2: We were at the epicenter of that at that age

360
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Speaker 2: and that era, you know, and I know Detroit got

361
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Speaker 2: eviscerated by crap, you know. So it was happening in

362
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Speaker 2: all communities, you know, of color and obviously throughout the states.

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Speaker 2: So it didn't it looked sexier out here, but it

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Speaker 2: wasn't much more.

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Speaker 1: You know, you spoke to your mom, I mean her

366
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Speaker 1: raising both of you guys, putting herself through school, and

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Speaker 1: you spoke to her hustle speak a little more about

368
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Speaker 1: how that shaped you, in which your mom was about.

369
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Speaker 2: I think that's why we we never like succumb to

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Speaker 2: any of that trappings of like excess. When she started

371
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Speaker 2: making her money, she still would only buy us three pants,

372
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Speaker 2: one pair of payless shoes, three shirts, and just payless shoes.

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Speaker 1: I remember that because you can get three for like forts.

374
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Speaker 1: They used to make it. At one point they were

375
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Speaker 1: making them look like the Jordan replicas too, so you

376
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Speaker 1: can away with that for like the first thirty minutes

377
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Speaker 1: of school. Then they look at them, motherfuckers, like real

378
00:19:04,720 --> 00:19:05,800
Speaker 1: good look at them joints.

379
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Speaker 2: But she was all about like she would always pay

380
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Speaker 2: for the arts, like all our friends had Adida suits, suits,

381
00:19:11,920 --> 00:19:15,159
Speaker 2: track suits, the shelters, the gold. She would not indulge

382
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Speaker 2: any of that. If I wanted to play guitar, she'd

383
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Speaker 2: buy any guitar I wanted. My brother wanted to do

384
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Speaker 2: art any So when we got into filmmaking, she would

385
00:19:23,600 --> 00:19:26,160
Speaker 2: invest in the cameras and stuff like that, but never

386
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Speaker 2: into like bullshit, like a material thing craft.

387
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Speaker 1: She wanted you to invest in the craft. Yeah, yep.

388
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Speaker 2: So once we got in high school and started really

389
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Speaker 2: doing film and stuff and making little movies, and then

390
00:19:37,160 --> 00:19:39,320
Speaker 2: getting out of high school, we never got caught up

391
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Speaker 2: in the party life. We never got caught up in

392
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Speaker 2: the shit that wasn't important so our career. That's why

393
00:19:46,080 --> 00:19:48,280
Speaker 2: we made minutes at twenty, I think because we were

394
00:19:48,320 --> 00:19:51,960
Speaker 2: focused on the thing, not the hanging out part, you know,

395
00:19:52,040 --> 00:19:54,360
Speaker 2: the excess of hanging out part. We got that from

396
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Speaker 2: my mother. She's a no bullshit, like what am I

397
00:19:57,400 --> 00:19:59,520
Speaker 2: here for? But in the fun way you come to

398
00:20:00,119 --> 00:20:02,399
Speaker 2: If I show up to a party, I'm not just

399
00:20:02,440 --> 00:20:04,200
Speaker 2: there to hang out. I'm like, I'm coming to see man,

400
00:20:04,200 --> 00:20:06,879
Speaker 2: I'm coming to see Stephen. I'm coming to see someone

401
00:20:07,440 --> 00:20:09,399
Speaker 2: that I know I'm gonna connect to. But I'm not

402
00:20:09,440 --> 00:20:11,800
Speaker 2: going to just go to a party just to kick it,

403
00:20:11,960 --> 00:20:14,040
Speaker 2: kick it or get my name out there, you know.

404
00:20:14,359 --> 00:20:16,200
Speaker 2: So she taught us that that type of stuff where

405
00:20:16,200 --> 00:20:18,560
Speaker 2: it's just to focus, like what is your what's your path?

406
00:20:18,680 --> 00:20:21,680
Speaker 2: She's all about, like what was the saying she got

407
00:20:21,680 --> 00:20:25,840
Speaker 2: from my man, follow your bliss, like finding your bliss

408
00:20:26,000 --> 00:20:28,800
Speaker 2: and find a thing that turns you on. And she

409
00:20:28,840 --> 00:20:31,359
Speaker 2: got us these shirts when we were young. I can't remember,

410
00:20:31,359 --> 00:20:34,879
Speaker 2: I remember now. They made a huge impact. It was

411
00:20:34,920 --> 00:20:37,960
Speaker 2: five penguins walking in the line and the four were

412
00:20:38,000 --> 00:20:41,320
Speaker 2: behind this one the four penguins were normal and the

413
00:20:41,400 --> 00:20:45,240
Speaker 2: one out front had a cigar, had Hawaiian shirt and said,

414
00:20:45,280 --> 00:20:48,919
Speaker 2: be unique that she got us those shirts. I go,

415
00:20:48,960 --> 00:20:51,239
Speaker 2: why those penguins are those? Now? I look, I go

416
00:20:51,280 --> 00:20:53,320
Speaker 2: by racial on. I don't know what she was doing,

417
00:20:53,680 --> 00:20:56,720
Speaker 2: but she was telling us like, stay out front, be yourself,

418
00:20:57,280 --> 00:21:01,679
Speaker 2: don't fall into like uh, you know, everyone wants to

419
00:21:01,720 --> 00:21:04,360
Speaker 2: be cool and and like that.

420
00:21:04,840 --> 00:21:09,000
Speaker 1: Yeah, authentic self. Question as someone who had twins, when

421
00:21:09,000 --> 00:21:11,600
Speaker 1: did you guys finally get to start dressing in your

422
00:21:11,600 --> 00:21:14,080
Speaker 1: own kind of your own personality. I know your mind

423
00:21:14,080 --> 00:21:15,960
Speaker 1: probably had y'all matching and ship. And I know that

424
00:21:16,040 --> 00:21:17,120
Speaker 1: my twins used to hate.

425
00:21:16,920 --> 00:21:20,359
Speaker 2: It man past five that she was not hot right

426
00:21:21,480 --> 00:21:24,280
Speaker 2: past five, that ship is cute. For five the first

427
00:21:24,320 --> 00:21:26,960
Speaker 2: five years I hated being a twin. I still hate

428
00:21:27,000 --> 00:21:32,280
Speaker 2: being really yeah, because that motherfucker right there in school

429
00:21:32,480 --> 00:21:34,840
Speaker 2: if he catches a beef for someone, now, I gotta.

430
00:21:34,680 --> 00:21:37,439
Speaker 1: Deal with that definitely. What would you guys relate? Were

431
00:21:37,440 --> 00:21:39,520
Speaker 1: your best friends beef? What was your guys like?

432
00:21:39,800 --> 00:21:43,840
Speaker 2: We were best friends and at me all kinds of ship.

433
00:21:44,320 --> 00:21:47,840
Speaker 2: My brother would get vicious for fights. He throws ship TVs.

434
00:21:48,280 --> 00:21:51,800
Speaker 1: So it was.

435
00:21:57,600 --> 00:21:59,080
Speaker 2: That's funny. Yeah, where is it?

436
00:21:59,440 --> 00:22:03,560
Speaker 1: Huh? Where he lives in Prague? Really, brother lives in Prague? Interesting?

437
00:22:03,600 --> 00:22:05,920
Speaker 1: How long has here he's been? Over like twenty twenty

438
00:22:05,920 --> 00:22:07,840
Speaker 1: something years. Because we did this film with Johnny Depp,

439
00:22:07,840 --> 00:22:10,680
Speaker 1: Call from Hell, about Jack Ripper. We shot that over there,

440
00:22:10,960 --> 00:22:14,119
Speaker 1: and that over I encourage more people in America, more whatever,

441
00:22:14,160 --> 00:22:16,879
Speaker 1: get outside, go see Europe.

442
00:22:16,960 --> 00:22:19,600
Speaker 2: That shit opens your mind up, you know. And his

443
00:22:19,680 --> 00:22:21,160
Speaker 2: mind got opened and he stayed there.

444
00:22:21,560 --> 00:22:22,280
Speaker 1: Yeah, damn.

445
00:22:22,800 --> 00:22:25,360
Speaker 3: Directing as your brother, as the Hughes Brothers, I did

446
00:22:25,359 --> 00:22:30,040
Speaker 3: a lot of legendary movies, especially in our culture. Let's

447
00:22:30,080 --> 00:22:34,000
Speaker 3: talk about three of those movies. Ministers Society one. The

448
00:22:34,080 --> 00:22:36,760
Speaker 3: process of doing that, I mean, I come from it

449
00:22:36,920 --> 00:22:41,640
Speaker 3: just that whole movie was just it wasn't just exciting

450
00:22:41,680 --> 00:22:44,480
Speaker 3: to our culture, but it told so many people's stories,

451
00:22:44,560 --> 00:22:46,280
Speaker 3: the way a lot of people was living, you know

452
00:22:46,320 --> 00:22:48,200
Speaker 3: what I mean. To see that on the big screen,

453
00:22:48,359 --> 00:22:50,359
Speaker 3: to see it played out like in real time, like

454
00:22:50,359 --> 00:22:52,760
Speaker 3: how ri shit really gone? Like that really did a

455
00:22:52,760 --> 00:22:55,199
Speaker 3: lot for our culture. Talk about that, the process of

456
00:22:55,200 --> 00:22:55,719
Speaker 3: that movie.

457
00:22:55,840 --> 00:22:57,640
Speaker 2: I think the important thing I remember at the time

458
00:22:57,640 --> 00:23:00,800
Speaker 2: we were selling that is you remember the cops. That's

459
00:23:00,840 --> 00:23:03,640
Speaker 2: what we saw. We saw on the news every night,

460
00:23:04,640 --> 00:23:08,480
Speaker 2: young black males running from the cops. The helicopter point

461
00:23:08,480 --> 00:23:11,960
Speaker 2: of view. I remember at the time Spike Lee talking

462
00:23:12,000 --> 00:23:14,800
Speaker 2: about and he was right when Ciskel and Ebert didn't

463
00:23:14,840 --> 00:23:16,199
Speaker 2: like one of his films, he said, I don't make

464
00:23:16,200 --> 00:23:18,800
Speaker 2: my films for you, I make it for my community, right,

465
00:23:19,280 --> 00:23:22,440
Speaker 2: and he was correcting that Menas was different. I felt

466
00:23:22,480 --> 00:23:25,760
Speaker 2: we needed to make it for white people. I felt

467
00:23:25,760 --> 00:23:28,520
Speaker 2: black people would appreciate it and know it. But again,

468
00:23:28,600 --> 00:23:30,879
Speaker 2: that word understanding, I think we made that so you

469
00:23:30,880 --> 00:23:33,919
Speaker 2: can see how that kid became that one of the

470
00:23:33,920 --> 00:23:37,000
Speaker 2: news you're looking at, and humanize them as hardcore as

471
00:23:37,040 --> 00:23:40,960
Speaker 2: Menace is. You got to humanize, you know, these these

472
00:23:41,000 --> 00:23:43,800
Speaker 2: these children, their children, you know. And that was the

473
00:23:43,920 --> 00:23:45,879
Speaker 2: number one reason we made that film was just to

474
00:23:45,880 --> 00:23:49,119
Speaker 2: get an understanding, so we all weren't looked at like

475
00:23:49,200 --> 00:23:53,119
Speaker 2: animals and as brutal as the film was. Also, like

476
00:23:53,160 --> 00:23:57,280
Speaker 2: people were in the culture, like if you were lucky

477
00:23:57,359 --> 00:23:59,399
Speaker 2: enough to make up a black film back then, it

478
00:23:59,480 --> 00:24:01,840
Speaker 2: had to have a message. It had to be kind

479
00:24:01,880 --> 00:24:04,840
Speaker 2: of sweet and have this good ending. You know, you

480
00:24:04,840 --> 00:24:08,520
Speaker 2: didn't really have much control over your material. And we

481
00:24:08,560 --> 00:24:11,439
Speaker 2: grew up on noir film. We grew up on Scorsese

482
00:24:11,600 --> 00:24:13,919
Speaker 2: and de Palm and all that hard core shit, so

483
00:24:13,960 --> 00:24:16,440
Speaker 2: we wanted to make a statement. It wasn't a message film.

484
00:24:16,440 --> 00:24:19,199
Speaker 2: It was making a statement and it was a cautionary

485
00:24:19,240 --> 00:24:21,119
Speaker 2: tale as well, and we knew we didn't want it

486
00:24:21,160 --> 00:24:23,399
Speaker 2: to end pretty. It's part of the reason too. And

487
00:24:23,480 --> 00:24:26,800
Speaker 2: dear Mama, I grapple with like, we have to be

488
00:24:26,800 --> 00:24:31,040
Speaker 2: careful about not making Tupac's death sexy because there's nothing

489
00:24:31,080 --> 00:24:34,720
Speaker 2: sexy about getting shot. There's nothing sexy about dying prematurely.

490
00:24:35,040 --> 00:24:37,320
Speaker 2: So that was what Menace was about. And now it's

491
00:24:37,320 --> 00:24:40,520
Speaker 2: a full circle moment with dealing with the Tupac thing,

492
00:24:40,600 --> 00:24:47,280
Speaker 2: because eily enough, he kind of became that, for better

493
00:24:47,400 --> 00:24:51,560
Speaker 2: or worse. He embodied it for a reason and he

494
00:24:51,680 --> 00:24:52,920
Speaker 2: went out like that, you know.

495
00:24:53,640 --> 00:24:57,680
Speaker 1: Can you speak to real quick? I was fortunate enough

496
00:24:57,720 --> 00:25:00,199
Speaker 1: to before John Singleton pass got a chance to go

497
00:25:00,240 --> 00:25:03,159
Speaker 1: to the Poetic Justice twenty five year anniversary and we

498
00:25:03,240 --> 00:25:04,919
Speaker 1: watched it with him and everything. But I thought what

499
00:25:05,119 --> 00:25:08,000
Speaker 1: was really dope was after he told us who possibly

500
00:25:08,000 --> 00:25:09,840
Speaker 1: could have played the other characters and who are there

501
00:25:09,840 --> 00:25:11,200
Speaker 1: looking at? Can you talk to us and in a

502
00:25:11,280 --> 00:25:13,680
Speaker 1: society about who possibly could have played other roles or

503
00:25:13,680 --> 00:25:15,000
Speaker 1: who you guys are thinking roles were for.

504
00:25:15,840 --> 00:25:17,159
Speaker 2: First of all, I gotta give a shout out to

505
00:25:17,160 --> 00:25:20,199
Speaker 2: Tyron Turner because he's mad at him and I don't Tyron.

506
00:25:20,480 --> 00:25:23,720
Speaker 2: I'm acknowledging it right now. He was a raw talent.

507
00:25:23,760 --> 00:25:26,840
Speaker 2: I saw in a Jennet Jackson video, Rhythm Nation video.

508
00:25:27,080 --> 00:25:29,080
Speaker 2: I saw him on an episode of America's Most Wanted.

509
00:25:29,119 --> 00:25:31,280
Speaker 2: He played a blood even though he's from a crip neighborhood.

510
00:25:31,560 --> 00:25:34,639
Speaker 2: So who is this? This dude was going bananas. I

511
00:25:34,680 --> 00:25:37,959
Speaker 2: find out he's from that, so he knows that. So

512
00:25:38,000 --> 00:25:40,919
Speaker 2: we fought real hard to get him. That was the

513
00:25:40,960 --> 00:25:42,960
Speaker 2: only right I start with Tyrann because we didn't have

514
00:25:43,000 --> 00:25:45,280
Speaker 2: anyone in mind for that role but him. We were

515
00:25:45,320 --> 00:25:48,560
Speaker 2: just obsessed with him. Old Dog was written for easy

516
00:25:49,640 --> 00:25:53,280
Speaker 2: And I gotta carefully say this because Ice cubas stated

517
00:25:53,320 --> 00:25:56,119
Speaker 2: a few times that we offered him that role. I

518
00:25:56,119 --> 00:25:59,760
Speaker 2: don't know who offered him that role. God bless him because.

519
00:26:00,200 --> 00:26:01,800
Speaker 1: They were going off a Boys in the Hood, right.

520
00:26:01,880 --> 00:26:04,800
Speaker 2: Yeah, we never We never considered Ice Cube because because

521
00:26:04,880 --> 00:26:07,920
Speaker 2: boys in the Hood and we had this easy thing

522
00:26:08,040 --> 00:26:10,840
Speaker 2: at the time. But that doesn't mean he didn't get

523
00:26:10,880 --> 00:26:14,520
Speaker 2: contacted by our casting agents, but in our minds we

524
00:26:14,560 --> 00:26:17,160
Speaker 2: wrote that for Easy because we were with Easy while

525
00:26:17,200 --> 00:26:20,159
Speaker 2: we were putting that script together, and that's who we

526
00:26:20,160 --> 00:26:20,880
Speaker 2: were looking for.

527
00:26:21,560 --> 00:26:22,600
Speaker 1: Easy.

528
00:26:23,000 --> 00:26:27,440
Speaker 2: That's another story. You know, Cube had had been gone

529
00:26:27,480 --> 00:26:29,960
Speaker 2: for a year, Dre was leaving when this was happening,

530
00:26:30,520 --> 00:26:33,080
Speaker 2: and him and Jerry were very controlling. So that's I

531
00:26:33,119 --> 00:26:35,359
Speaker 2: had to get kind of get out from underneath that.

532
00:26:36,119 --> 00:26:38,840
Speaker 2: And so now we have to find a new guy,

533
00:26:40,040 --> 00:26:45,480
Speaker 2: and we're looking for the Easy look, you know, bulky typical,

534
00:26:46,280 --> 00:26:50,680
Speaker 2: and we can't find Odoll. And then the casting director says,

535
00:26:50,680 --> 00:26:52,919
Speaker 2: I'll bring you I'll bring in the guys that that

536
00:26:53,000 --> 00:26:54,880
Speaker 2: I didn't want you guys to see. And that's when

537
00:26:54,920 --> 00:26:57,760
Speaker 2: lorenezs Tate walked in and and he didn't looked He

538
00:26:57,800 --> 00:26:59,960
Speaker 2: looked like a Disney kid at the time, but once

539
00:27:00,080 --> 00:27:02,399
Speaker 2: I said action, he he was right there. He was

540
00:27:03,200 --> 00:27:04,240
Speaker 2: what you saw in the film.

541
00:27:04,280 --> 00:27:04,520
Speaker 1: He was.

542
00:27:04,600 --> 00:27:06,680
Speaker 2: He came with that. I can't act like we gave

543
00:27:06,760 --> 00:27:08,720
Speaker 2: that to him or you know, he came with that

544
00:27:10,200 --> 00:27:15,240
Speaker 2: h A wax which was m c A that was

545
00:27:15,240 --> 00:27:18,359
Speaker 2: supposed to be m c ran first met with him

546
00:27:18,400 --> 00:27:22,320
Speaker 2: several times, but Easy and Jerry were blocking that, you know,

547
00:27:23,760 --> 00:27:30,080
Speaker 2: so thank god because uh and Tupac was meant to

548
00:27:30,080 --> 00:27:34,160
Speaker 2: play Sharif the Muslim, which became the challenge for him.

549
00:27:34,280 --> 00:27:38,320
Speaker 2: You know, he didn't he signed none because he was

550
00:27:38,320 --> 00:27:41,560
Speaker 2: our homeboy and he got the movie Greenley. They said,

551
00:27:41,720 --> 00:27:43,760
Speaker 2: if we're not going to green light the movie unless

552
00:27:43,800 --> 00:27:46,359
Speaker 2: you get a platinum recording artist, I go fly up

553
00:27:46,359 --> 00:27:48,479
Speaker 2: to Oakland and he agrees to do it. But at

554
00:27:48,480 --> 00:27:50,400
Speaker 2: the time that people have to understand too, like we

555
00:27:50,400 --> 00:27:54,040
Speaker 2: were so close. The thing, the real misunderstanding where we're

556
00:27:54,080 --> 00:28:00,280
Speaker 2: all like accountable, is we were meant to be making

557
00:28:00,320 --> 00:28:03,160
Speaker 2: movies with Tupac. So you can imagine when he tells

558
00:28:03,200 --> 00:28:06,400
Speaker 2: me one day he's in pre production on Poetic Justice.

559
00:28:06,400 --> 00:28:09,200
Speaker 2: He goes me and John Singleton agreed, I'm only starring

560
00:28:09,200 --> 00:28:11,800
Speaker 2: in John Singleton movies. We're gonna be like Scorsese and

561
00:28:11,840 --> 00:28:14,880
Speaker 2: de Niro. He gets like that. He gets really once

562
00:28:14,920 --> 00:28:18,560
Speaker 2: he starts a relationship with you, he gets he's fire.

563
00:28:18,600 --> 00:28:21,360
Speaker 2: It's all passion. So I'm sitting there kind of hurt too,

564
00:28:21,480 --> 00:28:24,159
Speaker 2: like damn right, and he goes, no, I'll still do

565
00:28:24,240 --> 00:28:26,320
Speaker 2: I'll do the supporting role. I'll still do that. But

566
00:28:26,320 --> 00:28:30,240
Speaker 2: I'm only starring in John Singleton movies. So that's what

567
00:28:30,320 --> 00:28:38,720
Speaker 2: happened there. Dead President's Dead Presidents. Shoh, too young to

568
00:28:38,760 --> 00:28:40,040
Speaker 2: make that movie, that's all. I think.

569
00:28:40,600 --> 00:28:42,000
Speaker 1: That's all like how old were you at that time?

570
00:28:42,440 --> 00:28:42,960
Speaker 2: Twenty two?

571
00:28:43,520 --> 00:28:47,320
Speaker 1: Say you did what you did minutes at twenty yep,

572
00:28:47,560 --> 00:28:49,880
Speaker 1: and then Dead President's twenty twit you feel like you're too.

573
00:28:49,840 --> 00:28:53,040
Speaker 2: Young because when you look at the story, I just

574
00:28:53,080 --> 00:28:56,280
Speaker 2: think that there's some really cool stuff in it. But

575
00:28:56,400 --> 00:28:58,760
Speaker 2: the thing that's glaring is when he gets back from Vietnam,

576
00:28:58,800 --> 00:29:02,120
Speaker 2: You're like, I don't think he struggled enough to go

577
00:29:02,560 --> 00:29:05,000
Speaker 2: pull that caper off and get that violent Like there's

578
00:29:05,000 --> 00:29:07,239
Speaker 2: some beats missing it, you know, Like me now as

579
00:29:07,280 --> 00:29:10,320
Speaker 2: a storyteller going he needed more job rejection, He needed

580
00:29:10,320 --> 00:29:14,120
Speaker 2: more like real life strife and fucked up shit happening

581
00:29:14,160 --> 00:29:16,479
Speaker 2: to him, and it just wasn't there was beats missing,

582
00:29:16,560 --> 00:29:19,720
Speaker 2: you know. And then there's something that Denzel taught taught me.

583
00:29:20,920 --> 00:29:22,840
Speaker 2: How do I say this? You can't have your hero

584
00:29:23,120 --> 00:29:27,880
Speaker 2: compromised and him not go get the dude that compromised him.

585
00:29:28,000 --> 00:29:30,280
Speaker 2: So when the pimp did that thing to him, at

586
00:29:30,360 --> 00:29:35,320
Speaker 2: the very least Large's character should have gone back towards

587
00:29:35,320 --> 00:29:36,520
Speaker 2: the end of the movie and throw him out of

588
00:29:36,560 --> 00:29:39,640
Speaker 2: a building something, you know, got him and that so

589
00:29:39,720 --> 00:29:42,240
Speaker 2: the audience at the time, Menace wasn't a hit. It

590
00:29:42,280 --> 00:29:45,640
Speaker 2: was a mild success. And I think a mena I'm sorry,

591
00:29:45,680 --> 00:29:47,920
Speaker 2: Debt Presidence was a mild success. I think it was

592
00:29:47,960 --> 00:29:51,800
Speaker 2: a mild success because it's so nealistic, nihilistic, whatever the

593
00:29:51,840 --> 00:29:53,600
Speaker 2: word is. Towards the end, you're like, damn, this dude

594
00:29:53,680 --> 00:29:54,280
Speaker 2: just got shit on.

595
00:29:55,000 --> 00:29:57,720
Speaker 1: Wasn't the pimp a Wall from Mustling Flow.

596
00:29:58,120 --> 00:30:02,040
Speaker 2: No, that's a Clifton Power was.

597
00:30:02,040 --> 00:30:04,840
Speaker 3: The pimp Cutty Cutty Cuddy.

598
00:30:06,320 --> 00:30:08,920
Speaker 2: But as a as a I look at a movie

599
00:30:08,960 --> 00:30:11,720
Speaker 2: sometimes like a record it had, you know, if there's

600
00:30:11,920 --> 00:30:18,560
Speaker 2: twelve eighteen tracks in there, he had like five tracks.

601
00:30:18,760 --> 00:30:21,280
Speaker 2: What As a as a storyteller, now I know, I go, damn,

602
00:30:21,560 --> 00:30:23,760
Speaker 2: I wish I could tell that story now because now

603
00:30:23,800 --> 00:30:26,320
Speaker 2: I would know how to you got seen Deer Hunter

604
00:30:26,360 --> 00:30:26,920
Speaker 2: and all that ship.

605
00:30:27,400 --> 00:30:33,040
Speaker 1: I haven't who, but who who was the no, no,

606
00:30:33,040 --> 00:30:36,640
Speaker 1: no Tower.

607
00:30:36,680 --> 00:30:38,680
Speaker 2: That's not thinking about Tara Tower was in the movie.

608
00:30:38,760 --> 00:30:40,120
Speaker 1: Yeah, yeah, terrencewer that's some thing.

609
00:30:40,840 --> 00:30:44,959
Speaker 2: Terrence Howard. That was one of his first roles. I

610
00:30:45,080 --> 00:30:46,640
Speaker 2: was taking with him when he came in, he came

611
00:30:46,680 --> 00:30:50,160
Speaker 2: in from Lorenze's role Anthony, and he came in as

612
00:30:50,200 --> 00:30:53,280
Speaker 2: we know him, and I'm like, dude, you're not getting

613
00:30:53,320 --> 00:30:54,080
Speaker 2: the starring.

614
00:30:53,840 --> 00:30:55,719
Speaker 1: Roll butt, you know.

615
00:30:55,880 --> 00:30:58,160
Speaker 2: And it was his first movie or because he did

616
00:30:58,280 --> 00:31:03,240
Speaker 2: Mister Holland's Opus with Richard Dreyfus and Dead Presence was

617
00:31:03,280 --> 00:31:06,160
Speaker 2: his first movie. Yeah, Chris Tucker. I was it working

618
00:31:06,160 --> 00:31:11,640
Speaker 2: with him. Man, Chris. He was awesome. He is awesome.

619
00:31:14,120 --> 00:31:17,800
Speaker 2: I went and saw there's the Comedy act Theater down there.

620
00:31:18,600 --> 00:31:20,120
Speaker 2: We were looking for some we were going to see

621
00:31:20,160 --> 00:31:23,240
Speaker 2: someone else and I saw Chris and Chris had one

622
00:31:23,280 --> 00:31:25,920
Speaker 2: movie in the can and it was Friday. It hadn't

623
00:31:25,920 --> 00:31:27,760
Speaker 2: come out yet. I didn't know that. So this is

624
00:31:27,840 --> 00:31:31,680
Speaker 2: essentially one of his second movie as well. He was extraordinary.

625
00:31:31,880 --> 00:31:34,360
Speaker 2: A lot of that stuff in the film was ad lite.

626
00:31:35,080 --> 00:31:36,600
Speaker 2: Some of it we did in rehearsals and put it

627
00:31:36,640 --> 00:31:38,520
Speaker 2: in the script. All this stuff was and I wish

628
00:31:38,560 --> 00:31:41,560
Speaker 2: again you talked about like youth being wasted on the youth.

629
00:31:42,360 --> 00:31:44,560
Speaker 2: If I had to do it all over again, I'd

630
00:31:44,600 --> 00:31:47,120
Speaker 2: put more Chris Tucker through the whole movie. He kind

631
00:31:47,120 --> 00:31:49,440
Speaker 2: of drops out for a while and then comes back

632
00:31:49,440 --> 00:31:52,480
Speaker 2: for the heist, and when we test screened the movie,

633
00:31:52,520 --> 00:31:55,200
Speaker 2: like not only just the humor, but people really felt

634
00:31:55,200 --> 00:31:58,280
Speaker 2: his dramatic chops in that way when he sold all

635
00:31:58,360 --> 00:32:00,640
Speaker 2: big time, he was good, he went all in. I

636
00:32:00,640 --> 00:32:03,600
Speaker 2: would make I would make these mixtapes because there were

637
00:32:03,600 --> 00:32:07,480
Speaker 2: no playlists back then for Lorenz and all the guys

638
00:32:07,520 --> 00:32:10,960
Speaker 2: with you know, Curtis Mayfield, Isaac Hayes, all the stuff

639
00:32:11,000 --> 00:32:12,719
Speaker 2: from back then. Just get them in the vibe, you know,

640
00:32:13,360 --> 00:32:16,840
Speaker 2: and we will watch old movies, whether it's surging lyone

641
00:32:16,880 --> 00:32:22,120
Speaker 2: movies or like Once My Time in America obviously good Fellas,

642
00:32:22,200 --> 00:32:26,680
Speaker 2: not good Fellas, I'm sorry, Apocalypse now. Like we just

643
00:32:26,720 --> 00:32:29,520
Speaker 2: sit down all his like you know, twenty one twenty

644
00:32:29,520 --> 00:32:32,120
Speaker 2: two year olds and just have sessions where we were

645
00:32:32,160 --> 00:32:35,800
Speaker 2: studying the Godfathers, all that stuff just together with all

646
00:32:35,840 --> 00:32:38,440
Speaker 2: this old music and getting getting him into the lingo

647
00:32:38,800 --> 00:32:42,120
Speaker 2: because there's the movie the mac Richard Pryor is in

648
00:32:42,240 --> 00:32:46,040
Speaker 2: it and Nate Chris and Lorenz studied that a lot

649
00:32:46,040 --> 00:32:48,400
Speaker 2: for the rhythms and the linguistics.

650
00:32:48,480 --> 00:32:53,080
Speaker 1: Motherfucker, can't you buy that straight? Twenty? I get him

651
00:32:53,080 --> 00:32:54,880
Speaker 1: twenty right, getting twenty ready? You cant you get into

652
00:32:55,600 --> 00:32:58,360
Speaker 1: five from you? Right, five plus seven, five plus seven

653
00:32:58,360 --> 00:32:59,560
Speaker 1: plus two from you? Motherfucker?

654
00:32:59,560 --> 00:33:04,640
Speaker 2: Can't you a rest taper for home, a rest for hose?

655
00:33:06,640 --> 00:33:07,440
Speaker 1: Look look.

656
00:33:08,840 --> 00:33:10,800
Speaker 4: Right now, say Johnny, you know the name of the game,

657
00:33:12,200 --> 00:33:14,760
Speaker 4: me seek win. We can have this like some gentlemen. Oh,

658
00:33:14,800 --> 00:33:18,800
Speaker 4: we can get to some gangster ship. Oh you how

659
00:33:18,840 --> 00:33:21,840
Speaker 4: cortable is that movie? The whole movie? That movie class?

660
00:33:21,920 --> 00:33:24,360
Speaker 1: Also, in case you didn't know, Alan, this dude's ready

661
00:33:24,360 --> 00:33:26,600
Speaker 1: to jump on anything you got. Hey, before you even

662
00:33:26,600 --> 00:33:26,960
Speaker 1: go there.

663
00:33:27,080 --> 00:33:29,200
Speaker 3: A famous line from that movie is on the Chronic

664
00:33:29,240 --> 00:33:31,840
Speaker 3: album straight up. Hey, you really don't understand, do you?

665
00:33:32,160 --> 00:33:32,320
Speaker 2: Hey?

666
00:33:32,360 --> 00:33:33,560
Speaker 1: You know how to make this thing work.

667
00:33:33,640 --> 00:33:36,000
Speaker 3: We got to get rid of the pimps, prostitute hustlers,

668
00:33:36,160 --> 00:33:37,400
Speaker 3: then start all over again.

669
00:33:37,480 --> 00:33:44,080
Speaker 1: Clean niggas, you crazy, Come on, let's go, let's go.

670
00:33:44,360 --> 00:33:46,000
Speaker 2: By the way. How dope was Richard Pryor in that

671
00:33:46,040 --> 00:33:48,680
Speaker 2: movie Classic? He's really speaking that.

672
00:33:48,680 --> 00:33:51,440
Speaker 1: Ship speak talking that ship. Yeah, he was in his

673
00:33:51,520 --> 00:33:55,800
Speaker 1: own too. Oh man, ninety nine, you released American Pimp.

674
00:33:56,200 --> 00:34:00,440
Speaker 1: Uh where did just that mindset and felt like the

675
00:34:00,480 --> 00:34:02,000
Speaker 1: need for that film coming from.

676
00:34:02,000 --> 00:34:03,800
Speaker 2: I gotta be careful with this one because we got

677
00:34:03,840 --> 00:34:04,400
Speaker 2: sued for this.

678
00:34:06,720 --> 00:34:08,080
Speaker 1: We didn't have to talk about if you don't want to.

679
00:34:08,120 --> 00:34:11,440
Speaker 2: No, no, no, it just it just it comes from my father,

680
00:34:12,160 --> 00:34:15,560
Speaker 2: you know, and just wanted to understand him. And and

681
00:34:15,920 --> 00:34:18,600
Speaker 2: you know, my mother and father went two different directions.

682
00:34:19,120 --> 00:34:23,720
Speaker 2: She became a feminist radical. He got off in that culture,

683
00:34:23,800 --> 00:34:26,880
Speaker 2: you know, and and we lived in that culture in Detroit.

684
00:34:26,920 --> 00:34:28,560
Speaker 2: That's the part of Detroit I remember the most is

685
00:34:28,600 --> 00:34:32,399
Speaker 2: being around women of the night, teaching him to read

686
00:34:33,480 --> 00:34:37,120
Speaker 2: at seven years old. It's funny, but it's it's you know,

687
00:34:37,360 --> 00:34:39,480
Speaker 2: I've had to deal with that as an adult now

688
00:34:39,520 --> 00:34:42,200
Speaker 2: and go whow. I was waking up with with prostitutes,

689
00:34:42,280 --> 00:34:48,279
Speaker 2: you know, in my house and and recently having to go,

690
00:34:48,320 --> 00:34:50,960
Speaker 2: oh wait, that's not normal, you know. So that was

691
00:34:51,840 --> 00:34:55,759
Speaker 2: me and my brothers trying to reconcile. My father was

692
00:34:55,800 --> 00:34:59,919
Speaker 2: an American pimp, so and my mother taught us to put women,

693
00:35:00,560 --> 00:35:03,000
Speaker 2: no matter what, on pedestals. So we were always in

694
00:35:03,040 --> 00:35:08,000
Speaker 2: your and our hearts broken, so I said, back then,

695
00:35:08,040 --> 00:35:10,759
Speaker 2: we always did. At the time, we thought we did

696
00:35:10,800 --> 00:35:14,440
Speaker 2: an American pimp as a reaction to our mother's feminism, not

697
00:35:14,560 --> 00:35:18,719
Speaker 2: the de gray women at all. But to go, hey, man,

698
00:35:18,800 --> 00:35:20,560
Speaker 2: let's balance the shit out and go hang out with

699
00:35:20,600 --> 00:35:23,799
Speaker 2: these guys not knowing the father thing whatever, but it

700
00:35:23,880 --> 00:35:27,200
Speaker 2: was amazing. I remember about six months into shooting, American

701
00:35:27,239 --> 00:35:31,239
Speaker 2: pimp Rosebud asked us, He said, how are you guys

702
00:35:31,320 --> 00:35:34,120
Speaker 2: doing in your relationships right now? I said, why is

703
00:35:34,160 --> 00:35:37,120
Speaker 2: he asking this question? And we were like fucked up.

704
00:35:37,239 --> 00:35:39,360
Speaker 2: He's like, yes's what happens with squares hang out with pimps.

705
00:35:39,640 --> 00:35:42,279
Speaker 2: You guys can't do it. You know, you come home

706
00:35:42,360 --> 00:35:44,279
Speaker 2: being all empowered and shit like, no, no, I ain't

707
00:35:44,320 --> 00:35:45,080
Speaker 2: taking a trash out.

708
00:35:45,160 --> 00:35:49,000
Speaker 1: You take a trash was like, ain't flying.

709
00:35:52,400 --> 00:35:54,319
Speaker 2: I got pimp friends for life, now, you know.

710
00:35:54,320 --> 00:35:58,920
Speaker 1: Come on, man, bucket Eli twenty ten. You got to say,

711
00:35:58,920 --> 00:36:00,600
Speaker 1: you say you learn from Denzel, but what was it

712
00:36:00,640 --> 00:36:02,560
Speaker 1: like initially working with him.

713
00:36:03,120 --> 00:36:05,160
Speaker 2: I think you're working with Denzel outside of Johnny Depp,

714
00:36:05,200 --> 00:36:07,120
Speaker 2: who was a star as well. But when we work

715
00:36:07,160 --> 00:36:10,439
Speaker 2: with Johnny Depp, he hadn't become the Pirates guy yet.

716
00:36:10,760 --> 00:36:15,880
Speaker 2: You know, Denzel, you know, you got to give him

717
00:36:15,920 --> 00:36:18,719
Speaker 2: credit because I think he's the greatest movie star of

718
00:36:18,760 --> 00:36:22,439
Speaker 2: all time. When you look at the stat sheet. He's

719
00:36:22,480 --> 00:36:27,160
Speaker 2: a real theatrical actor, meaning he can do Broadway. He's

720
00:36:27,160 --> 00:36:30,520
Speaker 2: done Broadway. He comes from that. He's a twenty million

721
00:36:30,600 --> 00:36:36,279
Speaker 2: dollar plus movie movie star. He's got that thing that

722
00:36:37,440 --> 00:36:41,399
Speaker 2: first that tupadcasts, that thing, that that charisma, that it thing,

723
00:36:42,440 --> 00:36:45,480
Speaker 2: and he can do and he's black. So you got

724
00:36:45,520 --> 00:36:48,280
Speaker 2: to give him more credit than Mel Gibson or anyone

725
00:36:48,280 --> 00:36:50,319
Speaker 2: you want to give credit to, right because he's got

726
00:36:50,360 --> 00:36:54,880
Speaker 2: all those things and despite being a black man in

727
00:36:54,880 --> 00:36:58,279
Speaker 2: the business, he has all that that. How do you

728
00:36:58,320 --> 00:37:03,600
Speaker 2: say he just became He's everything. He's everything, So to

729
00:37:03,680 --> 00:37:07,120
Speaker 2: be around him and to collaborate with him, he would

730
00:37:07,239 --> 00:37:10,360
Speaker 2: you learn more through osmosis with someone like that. Although

731
00:37:10,680 --> 00:37:14,000
Speaker 2: Denzel does have sayings and stuff. What's one of his

732
00:37:14,320 --> 00:37:17,120
Speaker 2: famous ones. We do what we have to do so

733
00:37:17,160 --> 00:37:19,239
Speaker 2: we can do what we want to do. I butchered it.

734
00:37:19,320 --> 00:37:21,040
Speaker 2: We do what we have to so we do what

735
00:37:21,080 --> 00:37:23,560
Speaker 2: we want to something like that. He has a lot

736
00:37:23,560 --> 00:37:28,160
Speaker 2: of those. But he teaches you. He taught me about

737
00:37:28,200 --> 00:37:32,319
Speaker 2: like when he shows up on the set, that's the

738
00:37:32,360 --> 00:37:34,359
Speaker 2: money right there, like everything you just got to get

739
00:37:34,360 --> 00:37:39,840
Speaker 2: focused and and it's intangibles. I don't know how to

740
00:37:39,840 --> 00:37:41,799
Speaker 2: describe the things. He taught me a lot about, like

741
00:37:44,600 --> 00:37:46,759
Speaker 2: when you're doing a project too, like what company is

742
00:37:46,760 --> 00:37:49,520
Speaker 2: to set. Do they really believe in it, How they're

743
00:37:49,560 --> 00:37:51,880
Speaker 2: marketing this, how they plan on rolling this out, the

744
00:37:51,920 --> 00:37:54,319
Speaker 2: whole process, the whole process of because we do a

745
00:37:54,320 --> 00:37:56,319
Speaker 2: lot of stuff that's great, but no one sees it,

746
00:37:56,400 --> 00:37:58,880
Speaker 2: and you learn as you get older, like well is

747
00:37:58,920 --> 00:38:02,920
Speaker 2: that worth it? So he's very strategic and intelligent about like,

748
00:38:03,080 --> 00:38:06,120
Speaker 2: all right, what's the project. Who's my fan base? We

749
00:38:06,160 --> 00:38:08,239
Speaker 2: can't offend them. We got to build off of that.

750
00:38:08,360 --> 00:38:11,239
Speaker 2: How we marketing positioning this, When is it coming out?

751
00:38:11,560 --> 00:38:14,520
Speaker 2: So he understands the whole business of it, and I'm

752
00:38:14,560 --> 00:38:16,520
Speaker 2: just learning that through him. Was extraordinary.

753
00:38:16,520 --> 00:38:21,120
Speaker 1: You know, the talk to us about the creative process

754
00:38:21,160 --> 00:38:24,880
Speaker 1: for the soundtracks, particularly to a Minister Society, Dead President's

755
00:38:25,000 --> 00:38:28,480
Speaker 1: obviously Dear Mama, which he just dropped. Obviously, how important

756
00:38:28,520 --> 00:38:31,560
Speaker 1: is that to the piece that you're putting together.

757
00:38:31,920 --> 00:38:34,759
Speaker 2: I think music is everything. I think it starts with

758
00:38:34,840 --> 00:38:38,640
Speaker 2: music with me first. I think music is a superpower,

759
00:38:38,960 --> 00:38:40,960
Speaker 2: you know, and these things too. If you don't have

760
00:38:40,960 --> 00:38:43,680
Speaker 2: the right music, like with Dead Presidents, it started with

761
00:38:43,800 --> 00:38:46,759
Speaker 2: walk On by Isaac Hayes. Like that sound, that's what

762
00:38:46,880 --> 00:38:49,279
Speaker 2: made that, that's at the tone. So we had that

763
00:38:49,320 --> 00:38:52,040
Speaker 2: before the movie and we tend to cut me and

764
00:38:52,080 --> 00:38:55,600
Speaker 2: my brother get the music first and cut our design

765
00:38:55,680 --> 00:38:57,759
Speaker 2: scenes around the music. And I still do that, and

766
00:38:57,800 --> 00:39:00,239
Speaker 2: I was more the musical guy in the soundtrack guy,

767
00:39:00,280 --> 00:39:03,839
Speaker 2: and my brother obviously was collaborated in that as well,

768
00:39:03,880 --> 00:39:06,279
Speaker 2: but I'm more of the music guys. So I would

769
00:39:06,280 --> 00:39:08,359
Speaker 2: put the soundtracks together, and we did a lot of

770
00:39:09,000 --> 00:39:14,440
Speaker 2: successful soundtracks Menace, Platinum, Dead Presidence, American Pimp. So now

771
00:39:14,520 --> 00:39:18,520
Speaker 2: unfortunately there are no soundtracks, so FX and was like, hey,

772
00:39:18,560 --> 00:39:22,160
Speaker 2: put the director's playlist together, put the put the We're

773
00:39:22,160 --> 00:39:24,879
Speaker 2: gonna do a TUPAC playlist. So it's it's I don't

774
00:39:24,880 --> 00:39:27,759
Speaker 2: think it's sexy anymore. You don't have the tangible soundtrack

775
00:39:28,040 --> 00:39:30,319
Speaker 2: and the artwork, but I still design it like all

776
00:39:30,320 --> 00:39:32,280
Speaker 2: that stuff, and dear Mama, all the way the music's

777
00:39:32,320 --> 00:39:34,960
Speaker 2: moving is something I'm obsessed with. Again, I'm gonna want

778
00:39:34,960 --> 00:39:38,600
Speaker 2: to be DJ. And there's TUPAC tracks that like hardcore

779
00:39:38,719 --> 00:39:43,399
Speaker 2: fans love that are like to me, maybe the beat

780
00:39:43,520 --> 00:39:46,719
Speaker 2: is a little not well produced or whatever. I'm a

781
00:39:46,760 --> 00:39:50,480
Speaker 2: fidelity guy, so like my favorite TUPAC track of all

782
00:39:50,520 --> 00:39:52,760
Speaker 2: time is shed so many tears because of the whole

783
00:39:53,120 --> 00:39:57,239
Speaker 2: it's the whole package in one right, and then you

784
00:39:57,280 --> 00:40:00,239
Speaker 2: go all the way to me and my girlfriend, which

785
00:40:01,600 --> 00:40:04,520
Speaker 2: isn't which is incredible, like how do you say it?

786
00:40:04,560 --> 00:40:08,640
Speaker 2: Like musically and what he's doing, but it's raw. You

787
00:40:08,719 --> 00:40:12,239
Speaker 2: can hear the rawness and blasphemy, hail Mary. These things

788
00:40:12,239 --> 00:40:15,279
Speaker 2: are like really raw and primal tracks then as well

789
00:40:15,320 --> 00:40:19,680
Speaker 2: mixed as set so many tales tears. He's not as polished,

790
00:40:20,040 --> 00:40:22,319
Speaker 2: which I like that later that he becomes more raw

791
00:40:22,400 --> 00:40:25,440
Speaker 2: like that, So then you go, hey, later and dear mama,

792
00:40:27,800 --> 00:40:29,440
Speaker 2: maybe we need to strip away some of these tracks,

793
00:40:29,480 --> 00:40:31,400
Speaker 2: Maybe we need I like to get the multi tracks

794
00:40:31,400 --> 00:40:33,799
Speaker 2: and score with the multi track, so you bring in

795
00:40:33,840 --> 00:40:38,280
Speaker 2: the drum or the strings, and and then you apex

796
00:40:38,320 --> 00:40:41,040
Speaker 2: out with the actual track and then you start deconstructing

797
00:40:41,040 --> 00:40:44,120
Speaker 2: the track again. I did that a lot and defining one,

798
00:40:44,160 --> 00:40:48,040
Speaker 2: so I like that had never been done before, where

799
00:40:48,040 --> 00:40:51,320
Speaker 2: you pull all the multi tracks and you start scoring

800
00:40:51,360 --> 00:40:53,440
Speaker 2: the movie and playing with that with the audience, and

801
00:40:53,480 --> 00:40:55,080
Speaker 2: I think fans get a lot more on that. They

802
00:40:55,080 --> 00:40:56,920
Speaker 2: get a whole new experience out of that. So I

803
00:40:56,960 --> 00:40:57,760
Speaker 2: love that process.

804
00:40:57,840 --> 00:41:01,880
Speaker 3: We loved Mass for the soundtrack reasons too, because I

805
00:41:01,920 --> 00:41:03,160
Speaker 3: had ugk on on this.

806
00:41:03,120 --> 00:41:06,520
Speaker 2: Pocket that's right. I always forget that, but because that

807
00:41:06,600 --> 00:41:09,240
Speaker 2: was when they first came out. Yeah, yeah, in fact,

808
00:41:09,600 --> 00:41:12,719
Speaker 2: and here's a trivia. No, that's the right word for it.

809
00:41:12,800 --> 00:41:17,000
Speaker 2: In Japan, minister Society is called pocket full of stones.

810
00:41:17,800 --> 00:41:22,480
Speaker 2: Really because they minister to society. There's no word for

811
00:41:22,560 --> 00:41:25,600
Speaker 2: that in Japanese, at least then there wasn't. So I

812
00:41:25,640 --> 00:41:28,520
Speaker 2: got off the plane and that's the name of the movie,

813
00:41:28,560 --> 00:41:31,960
Speaker 2: pocket full of Stones. And I'm sure in Japan the

814
00:41:32,000 --> 00:41:34,560
Speaker 2: stones weren't the kind of stones we were not.

815
00:41:34,719 --> 00:41:40,560
Speaker 1: Damn uh uh the finant ones. You've you've talked about

816
00:41:40,560 --> 00:41:42,719
Speaker 1: that a few times. What was it like working with

817
00:41:42,840 --> 00:41:45,799
Speaker 1: Jimmy and and and Dre and and and just both

818
00:41:45,800 --> 00:41:50,480
Speaker 1: of their greatness and and and again inheriting everything that

819
00:41:50,560 --> 00:41:52,279
Speaker 1: kind of comes along with the process.

820
00:41:52,560 --> 00:41:55,239
Speaker 2: Again, you're working with two guys that you're learning a

821
00:41:55,280 --> 00:42:00,319
Speaker 2: lot about the game and the business. And uh Ray

822
00:42:00,360 --> 00:42:02,759
Speaker 2: always was kind of like a mentor to me back

823
00:42:02,800 --> 00:42:04,839
Speaker 2: in the day, back in the day, because I'm a

824
00:42:04,880 --> 00:42:07,040
Speaker 2: sonic guy, and I'd always go over and ask him

825
00:42:07,080 --> 00:42:12,280
Speaker 2: questions about recording and mixing and sonics. And then eventually

826
00:42:12,360 --> 00:42:14,400
Speaker 2: he became like a big brother when it came to

827
00:42:14,440 --> 00:42:17,960
Speaker 2: the business of what to do, what not to do,

828
00:42:18,239 --> 00:42:20,680
Speaker 2: and Jimmy's a juggernaut in that respect. You know, Jimmy's

829
00:42:20,680 --> 00:42:25,200
Speaker 2: also like a marketing genius. And just as I learned

830
00:42:25,239 --> 00:42:27,799
Speaker 2: a lot, I learned, I dropped a lot of bad

831
00:42:27,840 --> 00:42:30,800
Speaker 2: habits because of those guys, I would get hung up Jimmy.

832
00:42:30,840 --> 00:42:34,040
Speaker 2: The number one thing I learned from Jimmy, because I've

833
00:42:34,080 --> 00:42:39,640
Speaker 2: learned so much, is when Jimmy's on something, he doesn't

834
00:42:39,680 --> 00:42:44,480
Speaker 2: when he's like into something, he doesn't get offended. He's

835
00:42:44,560 --> 00:42:47,600
Speaker 2: tracking that thing. So sometimes Jimmy be all over me

836
00:42:47,640 --> 00:42:49,000
Speaker 2: and I'm like, Jimmy, you're in my head.

837
00:42:49,040 --> 00:42:49,399
Speaker 1: I can't.

838
00:42:50,200 --> 00:42:52,120
Speaker 2: I got to go make this movie. And I would

839
00:42:52,160 --> 00:42:56,359
Speaker 2: avoid his calls for like two days. And the average person,

840
00:42:56,400 --> 00:42:59,120
Speaker 2: if you avoid their calls, especially a powerful person, when

841
00:42:59,160 --> 00:43:01,160
Speaker 2: they're getting the phone and go listen, motherfucker like this,

842
00:43:01,239 --> 00:43:03,319
Speaker 2: then Jimmy would pick up right where he left off,

843
00:43:03,719 --> 00:43:06,400
Speaker 2: like it wasn't even two days, like because there's no

844
00:43:06,440 --> 00:43:09,680
Speaker 2: time for that. Like he's and he understands, like it's

845
00:43:09,680 --> 00:43:13,439
Speaker 2: the thing, it's the thing, it's the thing. Jimmy also

846
00:43:13,480 --> 00:43:15,799
Speaker 2: does everything in real time. I'm used to, like if

847
00:43:15,840 --> 00:43:18,800
Speaker 2: we're all sitting here talking about business and Steve and

848
00:43:18,880 --> 00:43:22,160
Speaker 2: you're like, man, Charlie owes me like five thousand dollars.

849
00:43:22,200 --> 00:43:23,920
Speaker 2: We can't do this deal right now until I get

850
00:43:23,920 --> 00:43:26,279
Speaker 2: that five thousand dollars. The old me would be like,

851
00:43:26,320 --> 00:43:28,440
Speaker 2: all right, I'll call him later, then i'll call you.

852
00:43:28,840 --> 00:43:31,719
Speaker 2: Jimmy calls him right now. Hey, hey, Charlie, like get him.

853
00:43:31,760 --> 00:43:34,040
Speaker 2: Its five thousand. We're trying to make this everything's happening

854
00:43:34,120 --> 00:43:36,799
Speaker 2: right now. I go, oh shit, I didn't know that.

855
00:43:36,920 --> 00:43:39,560
Speaker 2: Like that's how you close that gap. You know all this,

856
00:43:39,760 --> 00:43:41,640
Speaker 2: I'll call you later, I'll email you later. None of

857
00:43:41,640 --> 00:43:44,760
Speaker 2: that shit exists with Jimmy. Everything's going down in the moment.

858
00:43:44,920 --> 00:43:46,879
Speaker 1: You know. I'm similar to that. But can you speak

859
00:43:46,920 --> 00:43:50,279
Speaker 1: to just uh Dre and Jimmy's compatibility, almless, peanut butter

860
00:43:50,280 --> 00:43:52,160
Speaker 1: and jelly, how they just work well together?

861
00:43:52,400 --> 00:43:56,040
Speaker 2: Ten s feet and brown shoe, Yeah whatever, you know

862
00:43:56,080 --> 00:43:58,080
Speaker 2: what it is. I've never seen in the partnership like

863
00:44:00,120 --> 00:44:02,520
Speaker 2: the one doesn't want to be the other one. They

864
00:44:02,560 --> 00:44:08,319
Speaker 2: appreciate each other. Yeah, they appreciate you do this, I

865
00:44:08,400 --> 00:44:12,000
Speaker 2: do that. And I've never seen ego with him, where

866
00:44:12,120 --> 00:44:14,120
Speaker 2: like the ones kind of on the load there's always

867
00:44:14,120 --> 00:44:19,719
Speaker 2: that jealous of the one and no and Jimmy. Dre

868
00:44:19,960 --> 00:44:24,960
Speaker 2: is the synthesizer, So Jimmy's always got all these ideas

869
00:44:24,960 --> 00:44:28,520
Speaker 2: and Dre's like nope, nope, no, oh hold on yep.

870
00:44:29,160 --> 00:44:31,400
Speaker 2: So that that works too, because Jimmy's a mile a

871
00:44:31,440 --> 00:44:35,279
Speaker 2: minute and Dre synthesizes it, you know. And and Dre

872
00:44:35,680 --> 00:44:39,759
Speaker 2: Andre's laid. Drey's as I told him years ago, You're

873
00:44:40,120 --> 00:44:42,319
Speaker 2: the shay Day of hip hop. So he's not. He's

874
00:44:42,360 --> 00:44:45,200
Speaker 2: never horn himself out there. He's very selective, and I

875
00:44:45,239 --> 00:44:47,880
Speaker 2: think that that's worked to his advantage and his mystique,

876
00:44:48,040 --> 00:44:50,239
Speaker 2: and Jimmy knows how to operate that as well. That

877
00:44:50,320 --> 00:44:53,359
Speaker 2: old beach thing doesn't work with any other artists, one

878
00:44:53,400 --> 00:44:56,399
Speaker 2: because of the sonic genius that Drey is, but also

879
00:44:56,440 --> 00:44:59,160
Speaker 2: he doesn't do everything, so you know, like, hey, this is.

880
00:45:00,040 --> 00:45:04,480
Speaker 1: If he's touching it. It's real. Thoughts on the writer's strike.

881
00:45:04,800 --> 00:45:12,719
Speaker 2: The writers strike. You guys got writers on this show. Shit,

882
00:45:12,800 --> 00:45:15,480
Speaker 2: give them their money, man. Writers are like the bedrock

883
00:45:15,520 --> 00:45:19,240
Speaker 2: of everything. I never understood that in even the music business,

884
00:45:19,280 --> 00:45:22,759
Speaker 2: like people's getting it publishing jack. This guy really wrote

885
00:45:22,800 --> 00:45:26,279
Speaker 2: the track, but everyone's jacking him and saying that, you know, like,

886
00:45:27,200 --> 00:45:29,800
Speaker 2: how do you not respect the foundation of everything? Writing

887
00:45:29,840 --> 00:45:33,600
Speaker 2: is the foundation of the whole business. How do you

888
00:45:33,680 --> 00:45:39,880
Speaker 2: not overpay a writer and underpay some directors, underpay some

889
00:45:39,960 --> 00:45:42,840
Speaker 2: other talent. I don't. I just don't. I never got that.

890
00:45:43,000 --> 00:45:45,400
Speaker 2: So they when it comes to the streaming and everything

891
00:45:45,440 --> 00:45:48,080
Speaker 2: like that, and it's hard to quantify when something's a hit,

892
00:45:48,239 --> 00:45:49,560
Speaker 2: or if it is a hit, they can hide it

893
00:45:49,560 --> 00:45:52,719
Speaker 2: from you. That's all bullshit. So hopefully they, you know,

894
00:45:52,800 --> 00:45:56,960
Speaker 2: we get to a point where writers are not only compensated,

895
00:45:57,600 --> 00:45:59,120
Speaker 2: but first in line to be well.

896
00:45:59,000 --> 00:46:10,359
Speaker 1: Care and care of. You've worked with a long list

897
00:46:10,360 --> 00:46:13,160
Speaker 1: of greatness. Any actors or actresses you've yet to work

898
00:46:13,160 --> 00:46:14,640
Speaker 1: with the g'd be interested in working with?

899
00:46:16,719 --> 00:46:25,759
Speaker 2: That's a good question. Uh would you say, who is it?

900
00:46:25,800 --> 00:46:27,040
Speaker 2: Who is it out there? That?

901
00:46:27,760 --> 00:46:28,000
Speaker 1: No?

902
00:46:28,960 --> 00:46:30,840
Speaker 2: No, you know it's funny because I could see someone

903
00:46:30,880 --> 00:46:35,160
Speaker 2: on a TV show, an unknown actor or talent, and

904
00:46:35,160 --> 00:46:37,440
Speaker 2: that really turned I go, who is that? You know

905
00:46:37,960 --> 00:46:40,880
Speaker 2: when you think of like, obviously, yeah, it would be

906
00:46:40,920 --> 00:46:43,640
Speaker 2: great to work with de Niro and you know, but

907
00:46:44,880 --> 00:46:47,920
Speaker 2: I don't think those guys are all like in their

908
00:46:47,920 --> 00:46:49,759
Speaker 2: eighties now, they don't give a fuck you know. I

909
00:46:49,760 --> 00:46:51,400
Speaker 2: mean not that they wouldn't work with me, but like

910
00:46:51,600 --> 00:46:53,760
Speaker 2: this ain't like we're all like in the same sandbox

911
00:46:53,800 --> 00:46:58,520
Speaker 2: at the same age, at the same time. In today's generation,

912
00:46:58,600 --> 00:47:00,719
Speaker 2: there's some talented people out there, don't get me wrong,

913
00:47:01,000 --> 00:47:03,839
Speaker 2: but it ain't what it was as far as where

914
00:47:03,840 --> 00:47:05,920
Speaker 2: there's a lot of people you can point towards and go,

915
00:47:06,400 --> 00:47:08,799
Speaker 2: you know, it's becoming it's becoming a fame game now.

916
00:47:09,320 --> 00:47:09,440
Speaker 1: Uh.

917
00:47:09,560 --> 00:47:12,479
Speaker 2: And again there are some talent, really talented actors out there,

918
00:47:12,920 --> 00:47:16,640
Speaker 2: but none that In fact, I'll tell you this, I

919
00:47:16,680 --> 00:47:18,640
Speaker 2: never wanted to work with Denzel till I saw a

920
00:47:18,640 --> 00:47:22,920
Speaker 2: man on fire now training date, Like my eye went up.

921
00:47:22,960 --> 00:47:25,439
Speaker 2: I'm like, wait a minute, like something going on here.

922
00:47:25,719 --> 00:47:27,440
Speaker 2: But when I saw a man on fire, then I

923
00:47:27,480 --> 00:47:29,520
Speaker 2: was like, I got a wave man on fire. Yeah,

924
00:47:30,120 --> 00:47:32,680
Speaker 2: So that's that's how I'm wired. I'm like, looking at

925
00:47:32,920 --> 00:47:35,160
Speaker 2: you can feel the energy, no matter if they're unknown

926
00:47:35,239 --> 00:47:37,200
Speaker 2: or known, you go, oh shit, what's this? You know?

927
00:47:38,080 --> 00:47:39,000
Speaker 2: Does that make sense?

928
00:47:39,360 --> 00:47:43,279
Speaker 1: Absolutely? I'm gonna throw a few names at you in

929
00:47:43,360 --> 00:47:45,400
Speaker 1: the black director space and just give me your thoughts.

930
00:47:46,360 --> 00:47:49,840
Speaker 1: Rest in case to the late great John Singleton.

931
00:47:50,200 --> 00:47:54,080
Speaker 2: Man, the only thing that makes me sad about John's

932
00:47:54,120 --> 00:47:55,759
Speaker 2: journey is that he wasn't here to see his show

933
00:47:55,800 --> 00:47:58,400
Speaker 2: become the success that became. God bless him for that

934
00:47:58,480 --> 00:48:01,360
Speaker 2: because it was a full circle moment. And if it

935
00:48:01,400 --> 00:48:02,719
Speaker 2: wasn't for him, we wouldn't have schee.

936
00:48:02,719 --> 00:48:06,040
Speaker 1: You a fan of Snowfall, Yeah, yeah, late too, like

937
00:48:06,080 --> 00:48:08,200
Speaker 1: a lot of people. Yeah, Jack l Jack. Jack put

938
00:48:08,280 --> 00:48:10,040
Speaker 1: me on he was on and early put me on

939
00:48:10,160 --> 00:48:13,440
Speaker 1: Light and I fell in love with it. Ryan Coogler,

940
00:48:13,880 --> 00:48:15,840
Speaker 1: I even made my own character. Oh I g.

941
00:48:19,160 --> 00:48:22,319
Speaker 2: Ryan, like, Wow, here's a guy that not only did

942
00:48:22,360 --> 00:48:25,560
Speaker 2: his thing in the independent world, but in the Marvel

943
00:48:25,640 --> 00:48:28,839
Speaker 2: space with the Black Panther. For so many years people

944
00:48:28,920 --> 00:48:32,280
Speaker 2: say in this business, black doesn't travel. Black doesn't travel,

945
00:48:32,280 --> 00:48:36,000
Speaker 2: meaning black doesn't make money international. African American films don't

946
00:48:36,000 --> 00:48:38,560
Speaker 2: make money international. And for many years I always said, well,

947
00:48:38,560 --> 00:48:41,000
Speaker 2: put him at the same table, with the same resources,

948
00:48:41,040 --> 00:48:43,680
Speaker 2: the same marketing, and it will make the same And

949
00:48:43,760 --> 00:48:46,480
Speaker 2: Ryan proved that with Black Panther. That's a billion dollar franchise.

950
00:48:47,120 --> 00:48:51,840
Speaker 2: And they didn't treat him or that character any different

951
00:48:51,880 --> 00:48:54,600
Speaker 2: than any other Marvel character. And you see what happened.

952
00:48:54,280 --> 00:48:56,640
Speaker 1: In Success, I got a quick store. So Ryan used

953
00:48:56,680 --> 00:48:59,440
Speaker 1: to play junior college football with my little brother. So

954
00:48:59,480 --> 00:49:01,200
Speaker 1: when I was in the league playing for the Warriors,

955
00:49:01,200 --> 00:49:02,719
Speaker 1: like he would be spending the night in my house

956
00:49:02,760 --> 00:49:05,200
Speaker 1: on the couch with my brother and his homeboys. So

957
00:49:05,320 --> 00:49:08,600
Speaker 1: when uh Fruitville Station came out and I was into it,

958
00:49:08,600 --> 00:49:11,239
Speaker 1: he's like, you know my homeboy made that. Yeah right,

959
00:49:11,280 --> 00:49:12,719
Speaker 1: He's like, no, you remember, dude, you to sleep on

960
00:49:12,719 --> 00:49:15,239
Speaker 1: the couch with the dreads. I'm like that's him. I'm

961
00:49:15,239 --> 00:49:17,719
Speaker 1: like what, it's crazy. So then from there we became

962
00:49:17,840 --> 00:49:19,439
Speaker 1: cool and I went to set when he was first

963
00:49:19,440 --> 00:49:21,479
Speaker 1: doing the First Black Panther. I went on Disney Wow,

964
00:49:21,800 --> 00:49:24,000
Speaker 1: and we went and he's like, look around. He's like,

965
00:49:24,000 --> 00:49:25,520
Speaker 1: you don't see no one that looks like me here,

966
00:49:25,960 --> 00:49:27,640
Speaker 1: And we walked all over. He showed me all over

967
00:49:27,680 --> 00:49:29,799
Speaker 1: the Disney campus and he was like on the very

968
00:49:29,800 --> 00:49:32,759
Speaker 1: first Black Panther and s was dope. You know what.

969
00:49:32,840 --> 00:49:35,719
Speaker 2: There was another thing with him that I really love

970
00:49:35,880 --> 00:49:39,080
Speaker 2: is he's not out there just no.

971
00:49:39,239 --> 00:49:43,120
Speaker 1: He's wave but rarely speaks, doesn't like doesn't even like this.

972
00:49:43,239 --> 00:49:44,440
Speaker 2: He lets his work speak for him.

973
00:49:44,480 --> 00:49:46,480
Speaker 1: So Antoine Fuqua.

974
00:49:46,680 --> 00:49:48,960
Speaker 2: Antoy was like one of the greatest shooters of the bunch,

975
00:49:49,160 --> 00:49:52,120
Speaker 2: Like the way the way his ship looks, the way

976
00:49:52,120 --> 00:49:55,040
Speaker 2: it feels. Obviously training day, but you know he's a

977
00:49:55,080 --> 00:49:59,480
Speaker 2: he's a world class shooter like Tony Scott. So he

978
00:49:59,680 --> 00:50:05,080
Speaker 2: takes black cinema to another level because of the way

979
00:50:05,120 --> 00:50:08,640
Speaker 2: it's moving and sounding, and it's like on some rock

980
00:50:08,680 --> 00:50:10,360
Speaker 2: star shit. So I really appreciate it.

981
00:50:10,400 --> 00:50:13,120
Speaker 1: And you get a chance to see emancipation, I haven't.

982
00:50:13,200 --> 00:50:14,840
Speaker 1: Oh that was good, I have it.

983
00:50:15,840 --> 00:50:19,160
Speaker 2: Spike Lee, Spike is the you know, Spike likes to

984
00:50:19,160 --> 00:50:23,600
Speaker 2: think of himself as the godfather and he's he's the

985
00:50:23,680 --> 00:50:26,480
Speaker 2: uncle of black cinema. And you got to give him

986
00:50:26,480 --> 00:50:29,920
Speaker 2: credit because there are there are gentlemen in the seventies,

987
00:50:30,520 --> 00:50:32,759
Speaker 2: Melvin ban People's being the one that comes to mind

988
00:50:33,040 --> 00:50:35,759
Speaker 2: that are like the godfathers of black cinema, right, But

989
00:50:35,840 --> 00:50:40,319
Speaker 2: Spike is the great uncle of modern black cinema. And

990
00:50:40,360 --> 00:50:45,120
Speaker 2: without him, all this stuff that's happening right now wouldn't

991
00:50:45,120 --> 00:50:47,000
Speaker 2: be happening right now. He had to go take all

992
00:50:47,000 --> 00:50:50,759
Speaker 2: the bullets in the eighties when there were none. There

993
00:50:50,800 --> 00:50:53,840
Speaker 2: weren't none of us around directing and writing films, and

994
00:50:53,880 --> 00:50:56,080
Speaker 2: if they were, we didn't know of them. So Spike

995
00:50:56,239 --> 00:50:58,920
Speaker 2: was a trailblazer and obviously, you know, and they're now

996
00:50:58,960 --> 00:51:01,919
Speaker 2: giving him as flowers later, you know, with the Black

997
00:51:01,960 --> 00:51:04,919
Speaker 2: Clansman in the Academy. He won for that that ward,

998
00:51:04,960 --> 00:51:08,160
Speaker 2: he went for that, and I'm glad he's here. And

999
00:51:08,200 --> 00:51:12,400
Speaker 2: we've had our our complex relationship with Spike as well.

1000
00:51:12,719 --> 00:51:15,120
Speaker 2: But I'm real thankful because without Spike, I remember when

1001
00:51:15,160 --> 00:51:17,520
Speaker 2: She's Got to Have It came out that fucking opened

1002
00:51:17,600 --> 00:51:19,680
Speaker 2: us all the way up, you know, like and how

1003
00:51:19,760 --> 00:51:23,000
Speaker 2: artistic it was because Spike started as like a real

1004
00:51:23,200 --> 00:51:29,880
Speaker 2: crafty art artist, independent filmmaker, you know, and that challenges

1005
00:51:29,920 --> 00:51:31,760
Speaker 2: he had to even bringing Malcolm X to the screen,

1006
00:51:32,560 --> 00:51:34,319
Speaker 2: by the way you were think in ninety one, that

1007
00:51:34,360 --> 00:51:37,000
Speaker 2: wouldn't be that much of a challenge. He suffered a

1008
00:51:37,000 --> 00:51:37,560
Speaker 2: lot for that.

1009
00:51:37,600 --> 00:51:40,920
Speaker 1: Wow. F Gary Gray. F Gary Gray.

1010
00:51:41,040 --> 00:51:42,560
Speaker 2: Got to give a lot of props to I came

1011
00:51:42,640 --> 00:51:45,719
Speaker 2: up with all time. The same time. We're shooting music

1012
00:51:45,800 --> 00:51:47,920
Speaker 2: videos at the same time, and when you look at

1013
00:51:48,239 --> 00:51:52,000
Speaker 2: I mean there's ones in between, but we look at Friday,

1014
00:51:52,320 --> 00:51:55,160
Speaker 2: one of the most original comedies ever done. Forget black

1015
00:51:55,160 --> 00:51:58,359
Speaker 2: comedies period, very original on his shout out the DJ

1016
00:51:58,440 --> 00:52:01,600
Speaker 2: Pooh and ice Cube and whatever. But what Gary showing

1017
00:52:01,680 --> 00:52:03,200
Speaker 2: up and doing his things. Same thing with Straight out

1018
00:52:03,200 --> 00:52:05,399
Speaker 2: of Compton, you know, like all the way over there,

1019
00:52:05,440 --> 00:52:09,040
Speaker 2: like to understand that that that needed to be seen

1020
00:52:09,120 --> 00:52:11,600
Speaker 2: by the masses. He didn't water it down, but he

1021
00:52:11,640 --> 00:52:16,279
Speaker 2: made it accessible. He made Straight out of Compton that ole,

1022
00:52:17,600 --> 00:52:20,120
Speaker 2: that whole movement is hard to make it so people

1023
00:52:20,640 --> 00:52:22,680
Speaker 2: can get into it outside of the people that love

1024
00:52:22,760 --> 00:52:25,279
Speaker 2: the music. And I think that was the brilliance he

1025
00:52:25,320 --> 00:52:26,280
Speaker 2: brought to that project.

1026
00:52:27,000 --> 00:52:30,640
Speaker 1: Any projects that you can speak on that you're working.

1027
00:52:30,320 --> 00:52:33,040
Speaker 2: On, I'm working on Snoop, Spile Picnics.

1028
00:52:34,000 --> 00:52:36,600
Speaker 1: Yeah, that's work. Yeah, talk to us about that. I

1029
00:52:36,640 --> 00:52:37,520
Speaker 1: don't need to hear about that.

1030
00:52:37,560 --> 00:52:39,520
Speaker 2: You know. I was been developing things with Snoop for

1031
00:52:39,640 --> 00:52:41,560
Speaker 2: years and then all of a sudden he drops this

1032
00:52:41,719 --> 00:52:44,880
Speaker 2: idea that Universal Pictures is all over it, and they

1033
00:52:45,120 --> 00:52:47,719
Speaker 2: fast tracking and he brings it to me and I'm like,

1034
00:52:47,840 --> 00:52:50,520
Speaker 2: how did I not even think of this as a film,

1035
00:52:50,560 --> 00:52:54,520
Speaker 2: a scriptive film? And I said, you know what, over

1036
00:52:54,560 --> 00:52:56,200
Speaker 2: the years, a lot of people have been wanting me

1037
00:52:56,200 --> 00:52:57,920
Speaker 2: and my brother to go back and do a hood film.

1038
00:52:58,200 --> 00:53:01,040
Speaker 2: I said, I don't want or do menace. I said,

1039
00:53:01,040 --> 00:53:03,040
Speaker 2: this is the way to do a hood film, but

1040
00:53:03,160 --> 00:53:06,400
Speaker 2: make it inspiring and transcendent, and I think I always

1041
00:53:06,440 --> 00:53:08,360
Speaker 2: tell Snoop, I go, You've got the same energy that

1042
00:53:08,440 --> 00:53:12,879
Speaker 2: Muhammad Ali had. It's like this world wide international love,

1043
00:53:13,239 --> 00:53:15,720
Speaker 2: this energy that if you're eight or your eighty, don't

1044
00:53:16,080 --> 00:53:18,440
Speaker 2: doesn't matter what country you're from. People smile when they

1045
00:53:18,480 --> 00:53:22,080
Speaker 2: see Snoop. So he's a success story. And he's also

1046
00:53:22,160 --> 00:53:24,920
Speaker 2: he uses that word understanding a lot, trying to get

1047
00:53:24,920 --> 00:53:28,520
Speaker 2: an understanding. He is always trying to broker some kind

1048
00:53:28,560 --> 00:53:32,239
Speaker 2: of peace or understanding. And I'm like, we almost lost him.

1049
00:53:32,880 --> 00:53:34,640
Speaker 2: I mean, he was that close to going to prison,

1050
00:53:34,760 --> 00:53:38,719
Speaker 2: this close for life for that murder trial, and look

1051
00:53:38,760 --> 00:53:40,440
Speaker 2: what we gained from it. You know, look at what

1052
00:53:40,520 --> 00:53:45,279
Speaker 2: an international icon he's become. And he's heavy in his

1053
00:53:45,320 --> 00:53:49,960
Speaker 2: community and doing great things in the community. And I

1054
00:53:50,080 --> 00:53:52,680
Speaker 2: just every time I sit with Snoop, my tank fills up.

1055
00:53:52,719 --> 00:53:55,800
Speaker 2: I'm inspired. He's a great listener too. It's rare you're

1056
00:53:55,800 --> 00:53:58,120
Speaker 2: sitting around a real rock star that you know, a

1057
00:53:58,160 --> 00:54:03,359
Speaker 2: Snoop listens. He goes hm hmm. He feels it. If

1058
00:54:03,400 --> 00:54:05,000
Speaker 2: you ask my long question, I don't know if you've

1059
00:54:05,000 --> 00:54:07,680
Speaker 2: ever noticed this. You ask him like a long winded question,

1060
00:54:07,680 --> 00:54:11,520
Speaker 2: he goes hmm. He'll answer it chronologically the way you

1061
00:54:12,000 --> 00:54:13,040
Speaker 2: asked it interesting.

1062
00:54:13,480 --> 00:54:15,239
Speaker 1: I think I think it's interesting you you spoke to

1063
00:54:15,320 --> 00:54:17,600
Speaker 1: communication and understanding with him, because that's what you see

1064
00:54:17,600 --> 00:54:20,480
Speaker 1: when you talk to him, just communication and once understanding

1065
00:54:20,520 --> 00:54:22,560
Speaker 1: and and he listens.

1066
00:54:22,560 --> 00:54:25,759
Speaker 2: He's also taught me I'm gonna embarrass myself with him

1067
00:54:25,840 --> 00:54:29,439
Speaker 2: right now. Snoop listens with his heart. He doesn't listen

1068
00:54:29,520 --> 00:54:32,719
Speaker 2: with his ego, you know, And that's rare for someone

1069
00:54:32,760 --> 00:54:36,480
Speaker 2: who's been through what he's been through, and it's just famous.

1070
00:54:35,080 --> 00:54:39,680
Speaker 2: He goes in there and he's like really taking it

1071
00:54:39,719 --> 00:54:43,800
Speaker 2: into his spirit, and he's such a sage. Now maybe

1072
00:54:43,800 --> 00:54:46,759
Speaker 2: he always was, but the should he be saying, You're like, God, damn,

1073
00:54:46,800 --> 00:54:47,480
Speaker 2: that's deep.

1074
00:54:48,960 --> 00:54:51,600
Speaker 1: Any of the movies you've made, you've ever do a

1075
00:54:51,719 --> 00:54:53,239
Speaker 1: part two? Tope?

1076
00:54:53,800 --> 00:54:59,040
Speaker 2: Oh, we're doing a prequel series to book ELI Really?

1077
00:54:59,160 --> 00:54:59,399
Speaker 1: Yeah?

1078
00:54:59,600 --> 00:55:01,759
Speaker 2: Because that makes sense, like how did this?

1079
00:55:01,840 --> 00:55:02,560
Speaker 1: How you get there?

1080
00:55:03,440 --> 00:55:06,959
Speaker 2: When did he learn these skills? Was he blind? When

1081
00:55:07,040 --> 00:55:08,439
Speaker 2: was he blind? How do he go? You know when

1082
00:55:08,480 --> 00:55:08,920
Speaker 2: he learned it?

1083
00:55:09,040 --> 00:55:11,960
Speaker 1: You know, any advice you'd give up and coming young

1084
00:55:12,120 --> 00:55:14,360
Speaker 1: aspiring filmmakers.

1085
00:55:14,440 --> 00:55:18,040
Speaker 2: Man, that's a tough one. It goes back to what

1086
00:55:18,160 --> 00:55:20,480
Speaker 2: my mother said and easy e taught me this, like

1087
00:55:21,400 --> 00:55:24,279
Speaker 2: again through osmosis, like be yourself, find out who you

1088
00:55:24,320 --> 00:55:29,040
Speaker 2: are and stay true to who you are. No one

1089
00:55:29,040 --> 00:55:32,279
Speaker 2: can be you, but you right find out what your voice.

1090
00:55:32,280 --> 00:55:34,520
Speaker 2: A lot of people don't realize they haven't even discovered

1091
00:55:34,520 --> 00:55:37,640
Speaker 2: with their voices. That's a big deal, Like, like what

1092
00:55:37,719 --> 00:55:40,160
Speaker 2: is it you're here to say and do even if

1093
00:55:40,200 --> 00:55:42,520
Speaker 2: you're not a talker, because some people think you gotta

1094
00:55:42,560 --> 00:55:45,440
Speaker 2: be talking to have a voice. Sometimes it's a guitar

1095
00:55:45,560 --> 00:55:49,000
Speaker 2: that's your voice. Sometimes that basketball that's your voice. But

1096
00:55:49,080 --> 00:55:52,000
Speaker 2: find out what your what your particular brand of That's

1097
00:55:52,040 --> 00:55:54,960
Speaker 2: what Easy taught me is like what is it that

1098
00:55:55,160 --> 00:55:57,160
Speaker 2: he never said this? I just saw it? What is

1099
00:55:57,200 --> 00:55:59,760
Speaker 2: it that makes you unique? And how do you leverage

1100
00:55:59,800 --> 00:56:04,480
Speaker 2: that into the thing where people can You're taking moving

1101
00:56:04,480 --> 00:56:07,399
Speaker 2: the medium too. I'm a big believer in studying your

1102
00:56:07,440 --> 00:56:11,040
Speaker 2: history too, because you know what they say, past is prologue,

1103
00:56:11,440 --> 00:56:13,560
Speaker 2: So like study your history so you know where you

1104
00:56:13,640 --> 00:56:15,799
Speaker 2: are and your place is and what you're doing to

1105
00:56:15,840 --> 00:56:18,080
Speaker 2: move the game forward. And because you got to keep

1106
00:56:18,120 --> 00:56:20,719
Speaker 2: pushing the medium, pushing the game. And even when I

1107
00:56:20,760 --> 00:56:25,560
Speaker 2: was studying a Fanny's Journey, Tupac's mother I'm like, Okay,

1108
00:56:26,000 --> 00:56:29,120
Speaker 2: where was she in the timeline of civil rights? What

1109
00:56:29,239 --> 00:56:32,160
Speaker 2: happened before her and what was happening during her? And

1110
00:56:32,520 --> 00:56:34,960
Speaker 2: any great is going to study the game and study

1111
00:56:35,040 --> 00:56:37,959
Speaker 2: like the ogs and like and what made them great?

1112
00:56:38,000 --> 00:56:40,239
Speaker 2: And what do you what are you taking from them

1113
00:56:40,520 --> 00:56:43,719
Speaker 2: into your game? But you can't be Michael Jordan. You

1114
00:56:43,719 --> 00:56:46,160
Speaker 2: can't be Lebron. You can only be the You can

1115
00:56:46,200 --> 00:56:48,640
Speaker 2: only adopt the things that work for you right and

1116
00:56:48,680 --> 00:56:51,319
Speaker 2: make them yours. So study, study, study, study, study. People

1117
00:56:51,360 --> 00:56:53,440
Speaker 2: don't study enough. I don't think it's south boring. I

1118
00:56:53,480 --> 00:56:56,000
Speaker 2: think it comes like that before we get you out

1119
00:56:56,000 --> 00:56:58,839
Speaker 2: of here. I mean, you've had the opportunity to be

1120
00:56:58,880 --> 00:57:02,320
Speaker 2: friends and work with so many great people in this industry.

1121
00:57:02,719 --> 00:57:05,640
Speaker 2: You spoke to EASYE being someone who you was a mentor.

1122
00:57:05,680 --> 00:57:07,879
Speaker 2: Can you speak to to Easy and what your guys

1123
00:57:07,960 --> 00:57:12,360
Speaker 2: relationship was like? Easy was his name was Easy for

1124
00:57:12,400 --> 00:57:16,960
Speaker 2: a reason. He was so laid back. And I think

1125
00:57:17,040 --> 00:57:20,400
Speaker 2: Easy taught me a lot about theme too, Like what's

1126
00:57:20,440 --> 00:57:22,880
Speaker 2: the what's the theme of this thing we're doing? What's

1127
00:57:22,880 --> 00:57:24,919
Speaker 2: the theme of the first n w A album, Fuck

1128
00:57:25,000 --> 00:57:25,960
Speaker 2: the Police, that's the thing?

1129
00:57:26,640 --> 00:57:26,840
Speaker 1: Right?

1130
00:57:27,400 --> 00:57:30,440
Speaker 2: The second in w A album, His whole thing was

1131
00:57:30,480 --> 00:57:36,959
Speaker 2: like where we're like, uh, they wanted to be guns

1132
00:57:36,960 --> 00:57:40,120
Speaker 2: and roses and and the whole theme of it was

1133
00:57:40,160 --> 00:57:44,360
Speaker 2: like excess and like punk rock beyond punk rock where

1134
00:57:44,360 --> 00:57:48,280
Speaker 2: it was where man that Niggas for Life album is

1135
00:57:48,520 --> 00:57:51,680
Speaker 2: ill like they they he knew that that. I don't

1136
00:57:51,680 --> 00:57:53,560
Speaker 2: know if the word is theme because it wasn't like

1137
00:57:53,600 --> 00:57:56,880
Speaker 2: this overarching theme, but it was a concept easy, wasn't

1138
00:57:56,880 --> 00:57:59,400
Speaker 2: the concept like And he taught me a lot about

1139
00:57:59,440 --> 00:58:02,919
Speaker 2: like what is there's that whole thing? What are we doing?

1140
00:58:04,720 --> 00:58:07,919
Speaker 2: Why are we doing it? Those two things come with right,

1141
00:58:08,280 --> 00:58:11,320
Speaker 2: but the how is the thing most people forget, like

1142
00:58:11,400 --> 00:58:14,560
Speaker 2: how are we executing this? What's different about how we're

1143
00:58:14,560 --> 00:58:17,120
Speaker 2: doing this? Because they've all said it before, like all

1144
00:58:17,200 --> 00:58:20,560
Speaker 2: stories have been told. I don't really believe that, but

1145
00:58:20,600 --> 00:58:23,080
Speaker 2: I get it, like the you know, the beats of stories.

1146
00:58:24,160 --> 00:58:26,280
Speaker 2: We've heard them all. So now it's how are you

1147
00:58:26,360 --> 00:58:28,960
Speaker 2: executing that story? That makes it different? And I'll, oh,

1148
00:58:29,920 --> 00:58:33,000
Speaker 2: dear Mama, like, let's make it a duel story. Let's

1149
00:58:33,040 --> 00:58:36,760
Speaker 2: make the timelines blend, let's innovate this so people understand

1150
00:58:36,760 --> 00:58:39,840
Speaker 2: Tupac more through his mother's journey, kind of like the

1151
00:58:39,880 --> 00:58:43,840
Speaker 2: Godfather too veto and Michael back and forth right, So

1152
00:58:44,480 --> 00:58:48,680
Speaker 2: I think that's what Easy taught me, the what, the why?

1153
00:58:49,360 --> 00:58:54,280
Speaker 1: And now all right, quick hitters. First thing to come

1154
00:58:54,320 --> 00:58:57,920
Speaker 1: to mind. Top five most impactful films in your opinion?

1155
00:58:58,480 --> 00:59:00,680
Speaker 2: God damn you. This is some tough ship. You guys

1156
00:59:00,720 --> 00:59:02,120
Speaker 2: gonna be editing this shit so I can take a

1157
00:59:02,120 --> 00:59:02,680
Speaker 2: break right now.

1158
00:59:04,720 --> 00:59:04,880
Speaker 1: Now.

1159
00:59:04,880 --> 00:59:07,280
Speaker 2: When you say top five most impactful films, you mean

1160
00:59:07,320 --> 00:59:10,600
Speaker 2: to me, to the culture, to you, I mean this

1161
00:59:10,720 --> 00:59:13,000
Speaker 2: is so I mean I sound like a cliche now,

1162
00:59:13,400 --> 00:59:19,800
Speaker 2: Scarface the Godfather for me, uh, personally Raging Bull. That's

1163
00:59:19,880 --> 00:59:31,800
Speaker 2: my personal favorite. Uh impactful films feature films to you?

1164
00:59:32,240 --> 00:59:35,160
Speaker 2: Whatever got you going? Good fellas got us going? Am

1165
00:59:35,200 --> 00:59:39,880
Speaker 2: I four? Now it's funny because IM gonna regret this

1166
00:59:39,880 --> 00:59:43,960
Speaker 2: because I forget the one? What was the one? What

1167
00:59:44,040 --> 00:59:45,800
Speaker 2: was the one? You know what? I gotta give American

1168
00:59:45,840 --> 00:59:50,160
Speaker 2: meat credit American me James Edward James almost directed to

1169
00:59:50,880 --> 00:59:52,760
Speaker 2: one about the Mexican gangs.

1170
00:59:52,800 --> 00:59:54,520
Speaker 3: Come on, man, you gotta you know. If you haven't

1171
00:59:54,520 --> 00:59:57,400
Speaker 3: seen that, go check it out. Man, you haven't seen American.

1172
00:59:58,200 --> 01:00:00,400
Speaker 2: That changed us because we had wrote the script minutes

1173
01:00:01,000 --> 01:00:02,480
Speaker 2: and we thought we had it and we would and

1174
01:00:02,520 --> 01:00:06,200
Speaker 2: saw that movie with Tiger Williams or writer. We went

1175
01:00:06,200 --> 01:00:07,760
Speaker 2: back to the drawing board after.

1176
01:00:07,600 --> 01:00:09,680
Speaker 1: That and blood in, Blood Out. That's right, they on

1177
01:00:09,680 --> 01:00:12,680
Speaker 1: the same thing. First thing you do in the morning,

1178
01:00:12,760 --> 01:00:13,840
Speaker 1: last thing you do at night.

1179
01:00:15,160 --> 01:00:19,240
Speaker 2: Shit showering shape. The first thing I do in the

1180
01:00:19,280 --> 01:00:22,760
Speaker 2: morning when I'm home is jumping the cold punch. Ooh,

1181
01:00:23,040 --> 01:00:24,040
Speaker 2: jumping that ice water.

1182
01:00:24,440 --> 01:00:24,720
Speaker 1: Fuck.

1183
01:00:25,160 --> 01:00:26,760
Speaker 2: Yep, that's better than coffee.

1184
01:00:27,560 --> 01:00:29,440
Speaker 1: That was the worst part about being an athlete was

1185
01:00:29,440 --> 01:00:31,360
Speaker 1: getting that ice in the cold punch.

1186
01:00:31,520 --> 01:00:32,080
Speaker 2: Did it work?

1187
01:00:32,440 --> 01:00:32,680
Speaker 1: Yeah?

1188
01:00:32,680 --> 01:00:35,680
Speaker 2: Hell yeah, great, It brought that inflammation lowly.

1189
01:00:36,160 --> 01:00:37,000
Speaker 1: It's just good for you.

1190
01:00:37,120 --> 01:00:38,920
Speaker 2: You guys came up with that. We're just now getting

1191
01:00:38,960 --> 01:00:42,120
Speaker 2: that science right. Didn't getting the sauna and at night?

1192
01:00:42,160 --> 01:00:44,000
Speaker 2: I like to do the same thing cold plunch.

1193
01:00:43,680 --> 01:00:47,640
Speaker 1: Son, Okay, yeah, I like that soundtrack to Your Life.

1194
01:00:47,640 --> 01:00:51,520
Speaker 1: Give me three songs. Damn you said three songs.

1195
01:00:52,040 --> 01:01:01,640
Speaker 2: Goddamn Jimmy Hendrick's machine Gun, twelve minutes anything, Curtis Mayfield, Uh,

1196
01:01:02,280 --> 01:01:09,840
Speaker 2: after seventy one and before seventy five, I'll just say

1197
01:01:09,840 --> 01:01:13,840
Speaker 2: give me your love. Let's just say that in the

1198
01:01:14,000 --> 01:01:20,400
Speaker 2: third song. Damn, I'm gonna be pissed about not remembering

1199
01:01:20,400 --> 01:01:23,080
Speaker 2: this one either. Minnie Rippleton loving you.

1200
01:01:25,520 --> 01:01:26,960
Speaker 1: Five dinner guests that are alive.

1201
01:01:28,920 --> 01:01:30,080
Speaker 2: Five dinner guests U.

1202
01:01:30,040 --> 01:01:35,160
Speaker 1: Plus five talking about anything at the table, cigars, weed, alcohol,

1203
01:01:36,000 --> 01:01:36,880
Speaker 1: good food.

1204
01:01:38,120 --> 01:01:44,320
Speaker 2: Mark Twain, that's the first. George Carlin, that's the first.

1205
01:01:45,760 --> 01:01:53,640
Speaker 2: Richard Pryor Muhammad Ali is that? Four?

1206
01:01:55,600 --> 01:01:55,840
Speaker 1: Uh?

1207
01:01:57,280 --> 01:01:58,280
Speaker 2: And boom Maley?

1208
01:01:59,440 --> 01:02:01,920
Speaker 1: Who Bob Marley? Mother?

1209
01:02:04,160 --> 01:02:06,440
Speaker 2: I should have put more conflicting motherfuckers in there.

1210
01:02:06,280 --> 01:02:11,640
Speaker 1: Though, No, you gotta you've had enough confliction. Just enjoy

1211
01:02:11,680 --> 01:02:12,360
Speaker 1: your dinner.

1212
01:02:12,200 --> 01:02:14,520
Speaker 2: Being biracials or conflict in itself.

1213
01:02:14,160 --> 01:02:15,920
Speaker 1: And talk to him. And if people don't understand, you

1214
01:02:16,000 --> 01:02:17,760
Speaker 1: never black enough, you're never white enough, so you just

1215
01:02:17,760 --> 01:02:20,640
Speaker 1: gotta fight. Hence all the scars on my knuckles.

1216
01:02:21,000 --> 01:02:25,880
Speaker 2: There you go. Barack synthesized it, though, right, he decided that.

1217
01:02:25,880 --> 01:02:28,240
Speaker 2: She's like, wait a minute, hey, I got it, I

1218
01:02:28,280 --> 01:02:29,160
Speaker 2: got it, I got it.

1219
01:02:29,920 --> 01:02:32,080
Speaker 1: But even him, he's not the first biracial president. He's

1220
01:02:32,080 --> 01:02:33,000
Speaker 1: the first black president.

1221
01:02:33,320 --> 01:02:36,240
Speaker 2: It's crazy, yeah, right, it wasn't one one?

1222
01:02:36,520 --> 01:02:39,520
Speaker 1: What was the rule? One? One? Yeah?

1223
01:02:39,760 --> 01:02:40,240
Speaker 2: Some bulls?

1224
01:02:40,360 --> 01:02:43,240
Speaker 1: One drop of blood and you're black? Go ahead, sta,

1225
01:02:43,720 --> 01:02:44,640
Speaker 1: could you actually black?

1226
01:02:48,280 --> 01:02:50,360
Speaker 2: I like laid back. You just to be sitting there

1227
01:02:50,480 --> 01:02:52,160
Speaker 2: like some wrong.

1228
01:02:54,280 --> 01:02:55,960
Speaker 1: Who would you like to see on all the smoke.

1229
01:02:56,080 --> 01:02:58,760
Speaker 1: But but you have to help us get your answer

1230
01:02:58,760 --> 01:02:59,840
Speaker 1: on this. It's gotta be someone in that.

1231
01:03:01,320 --> 01:03:04,360
Speaker 2: In my rolodex. Yes, sir, I just work with him.

1232
01:03:04,400 --> 01:03:07,240
Speaker 2: I just work with him. I want to see Arnold

1233
01:03:07,320 --> 01:03:09,840
Speaker 2: the Governator Schwartzenegg. I want to see him.

1234
01:03:10,160 --> 01:03:10,919
Speaker 1: Just did something with him.

1235
01:03:11,200 --> 01:03:13,520
Speaker 2: I just did a three part documentary with him. Uh,

1236
01:03:13,640 --> 01:03:19,120
Speaker 2: I produced and put it together. And yeah, he loves cigars,

1237
01:03:19,160 --> 01:03:21,720
Speaker 2: so there's smoking ball. But to see him with you guys,

1238
01:03:21,760 --> 01:03:22,680
Speaker 2: that would be amazing.

1239
01:03:23,360 --> 01:03:24,920
Speaker 1: Anything you mean before we get out of it, you

1240
01:03:25,000 --> 01:03:26,920
Speaker 1: have that anything else you have coming out currently that

1241
01:03:27,000 --> 01:03:29,160
Speaker 1: we need to stay tuned for, obviously, dear mama, right now,

1242
01:03:29,200 --> 01:03:31,200
Speaker 1: make sure you check that out. Incredible.

1243
01:03:32,000 --> 01:03:34,600
Speaker 2: Arnold Schwarzenegger is coming out. He say that name.

1244
01:03:34,440 --> 01:03:36,240
Speaker 1: Said that last name, Arnold Schwarzenegger.

1245
01:03:36,480 --> 01:03:37,320
Speaker 2: I always have a hard time.

1246
01:03:37,440 --> 01:03:39,240
Speaker 1: I'm Schwartzenegger, Schwartzenegger.

1247
01:03:39,600 --> 01:03:40,200
Speaker 2: June seventh.

1248
01:03:40,240 --> 01:03:42,120
Speaker 1: That drops, Okay, where you know?

1249
01:03:42,640 --> 01:03:44,520
Speaker 2: Netflix, look at me fucking up already?

1250
01:03:44,560 --> 01:03:48,760
Speaker 1: There you go, Well man, Alan, we appreciate your time.

1251
01:03:49,640 --> 01:03:50,640
Speaker 2: How random was that one?

1252
01:03:50,680 --> 01:03:52,960
Speaker 1: Though? That was a good one. Though I wasn't expecting that.

1253
01:03:53,360 --> 01:03:54,680
Speaker 1: I was expected a different pigment.

1254
01:03:56,240 --> 01:03:58,520
Speaker 2: See That's what I say. Like mix it up.

1255
01:03:59,080 --> 01:04:02,080
Speaker 1: We got some some gear for you that store, you

1256
01:04:02,080 --> 01:04:04,560
Speaker 1: can catch that. But we really just want to, you know,

1257
01:04:04,600 --> 01:04:07,400
Speaker 1: give your flowers, your greatness, what you've meant to the culture,

1258
01:04:07,480 --> 01:04:10,640
Speaker 1: the lines and dots you've connected for us, and and

1259
01:04:10,640 --> 01:04:13,760
Speaker 1: and the greatness you've given all of us. Continue success

1260
01:04:13,760 --> 01:04:16,200
Speaker 1: to not only you, but your other half, your brother,

1261
01:04:16,560 --> 01:04:18,840
Speaker 1: Give him, give him our best and man, thank you

1262
01:04:18,840 --> 01:04:19,320
Speaker 1: for your time.

1263
01:04:19,400 --> 01:04:20,680
Speaker 2: Thank you so much, appreciate it.

1264
01:04:20,720 --> 01:04:23,760
Speaker 1: Man, Thank you. Man. That's a wrap. Alan Hughes all

1265
01:04:23,800 --> 01:04:26,200
Speaker 1: the smoke. Catch us on Showtime Basketball, YouTube and the

1266
01:04:26,240 --> 01:04:30,240
Speaker 1: iHeart platform Black Effects. We'll see y'all next week.