The Real Report - 50 Cent's director Eif Rivera tells WILD 'Power' & Fat Joe beef stories

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Speaker 1: I did the air pun logo for Punk. Back then, I used to do a bunch of logo for Punk. I did the Snowman for j Z. Like back then, I was doing out.

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Speaker 2: Make some Noise for vera man for.

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Speaker 3: Vera movie director, music director.

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Speaker 2: Big time.

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Speaker 1: We got in the building, baby, So.

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Speaker 2: Man, where are you from? B X hold a b X the Bronx Man.

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Speaker 1: Your whole Life's to b X Whole Life one hundred and sixty fourth and Sheridan.

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Speaker 2: Now, okay, and what made you want to pick up a camera?

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Speaker 1: I was always into art man, so it was just went from graffiti and drawing and ship like that too, to just moving in.

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Speaker 2: Just you need a breakdancing and all that.

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Speaker 1: Yeah, I mean, I love movies, so it was the thing for me.

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Speaker 2: Yeah.

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Speaker 4: I remember Kse Slay used to be rested piece to Kse Slay. He was big into the graffiti, used to spray.

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Speaker 2: Paint and all that. Oh yeah, I got a Kse story and I watched Beach Street and all that and all that back in the days.

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Speaker 1: Yeah, class yeah, so that's what is growing up in the Bronx, you know what I mean the seventies and around, you know, all the crews back then. I mean my block was called the Unstoppable Crew, the unstoppable, unstoppable crew.

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Speaker 4: Man.

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Speaker 1: You had everybody out there. The DJs used to go in the corner. There was a little church one hundred sixty fifth, Melly mail. Everybody's DJ up there.

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Speaker 2: Man.

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Speaker 1: So it was it was embedded than us young like grown up hip hop, you know what I mean. So graffiti was just another aspect of it, graffiti, breakdancing.

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Speaker 2: All that. Okay, what's your first stop picking up a camera? Man? The first time? I don't worry about murder.

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Speaker 3: And we're not gonna do this too, right, You're not gonna ask all the questions. Brother, We're not gonna do this.

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Speaker 2: He always tried to take over the whole minute. You gotta you can answer this question. But were you asked the next what's the first time you picked up a camera?

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Speaker 1: Man?

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Speaker 2: I had. I had a.

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Speaker 1: Ship was a one of the camp quarters. A little tape, a little tape doings popping in and I was just around the way. And uh, you know, I grew up with Lord to Reed, Peter Guns and all these dudes from my block. Sell you sound if you know that? And I started working around shooting Lord Tok and ship like that around the way, and then that led to me shooting Fat Joe because he was just right down the block, Fat Joe.

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Speaker 4: You know, I'm so happy that everything was settled. Rest a pece on Chris Lady, because that was that was a crazy one.

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Speaker 2: That was crazy. That was crazy. Told them, and you know what I mean, you want touching that.

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Speaker 1: I mean, Joe had said something in his book, but I could elaborate a little bit more how that whole thing was.

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Speaker 2: I gotta get a shout to Joe, man. I gotta get your book, man.

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Speaker 1: Fat Joe's book. It's Fat Joe, Fat Joe mentioned in the book.

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Speaker 2: But yeah, I could.

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Speaker 1: I could touch on it, like you know, I know from just the music side, when y'all was going through the ship, right, and I had met Fifth by accident, right, it wasn't by accident, but I had did a little project and he saw he wanted to meet me. So then I started working with Fifth, and then I told I think he kind of knew too. I was like down with Tyver Squad and all that, you know what I mean, But we never really touched on it. And then I seen how my relationship with Fifth blossomed, you know what I mean, Like I felt like, yo, like we're cool with each other. It was it was a creative thing, you know what I mean. And we got to the point where I was just like, yo, man, you remind me so much of Fat Joe, Like, yeah, both you know, funny niggas, you know, hard street niggas, you know what I'm saying, like all of that. And I was like, if you got really to me, Joe, y'all would like each other, you know what I mean, because y'at a scene, bro, and I was shooting the video one day in l A Bos when you said that though you know, you know Fifth Fifth fifty time producers, that he don't say nothing. He just look at you and he's processing that well you know, look at yeah, raised out and he just h you know what I'm saying, you kind of walk away. So but I kept beating him over the head with it, you know what I mean, respectfully. You know, I mean, sometimes niggas go on, you know, revisit ship or whatever the case is.

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Speaker 2: Yeah.

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Speaker 1: So I was in l A Man and I was about to shoot the video. It was Fat Joe with Khalifa and Tianna Taylor. I forget the name of the record, but Fifth hit me because by that time, being Fifth already been rocking. We've been doing. Man, we done. Me and Field got probably fifty videos in let's name the fifty videos.

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Speaker 2: Oh man, I can't. I'm trying to remember.

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Speaker 1: I'm a touch so with the fifty videos. When I met Fifth, like he saw how to eye right, so we were just it was just me and him running around with a camera like it was crazy, like we out in the blizzards, you know.

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Speaker 2: Fifth, I remember remember one of them videos like that. It was a blizzard.

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Speaker 1: Yeah, like we in the snowstorm and just me and him because we crazy. So but we rocked out and I taught myself how to edit and do all that shit right. And you know, then I think the first break I got. And when I say break, I mean actually doing something for a label, because by then I was just doing shit with Fifth. And then the first time I seen like I don't want to say real money, like when I when I felt the money from on the Fifth.

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Speaker 2: Side, what you mean you got real money? You said real money.

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Speaker 1: It's real money.

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Speaker 2: So so you're saying when you got Fifth, you got with Fifth it was real money.

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Speaker 1: So yeah, so when I got I mean, we was running around like he was paying me for videos stuff like that. But yeah, but I I knew it was a different when he did a mixtape for one of the websites. I'm not gonna mention, but he did a mixtape and then he told somebody in the office. I think he told Renee or whatever, YO, give Eve or the money for the mixtape.

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Speaker 2: Let him keep that videos. I never knew that one. Yeah.

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Speaker 1: Yeah, So so it was like thirty five forty thousand. That was I was like, oh shit, Like that's when I said this ship is real. You know what I'm saying, Like it was a hobby. I felt like that was your first big boy. I was like, I was like, oh, ship, Like I went home and ship like, yo, got you throwing the ship at my wife like yo u we uh? We made was.

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Speaker 2: Yeah, so.

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Speaker 1: You know, we just kept rocking. And then the next time was remember fifty that record with the Leisha Keys Dre.

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Speaker 2: What was that song? But how do you keep the balance? How do you be friends with fifty and fat?

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Speaker 1: But hold out?

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Speaker 2: You know how you know how the game is? You can't Yeah?

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Speaker 1: Nah, you know, I think my relationship with Fifth Man and the way fifth operates, you know, it's all about loyalty and everything else. Right, you just got to be honest and lawyer and respectful and all that. So I would tell him when I'm about to work with somebody, I'm like, Yo, So and So hit me up to work. And I'm talking about like people. He don't even like, got you, got you you know what I mean. Like, it's just he just did, don't. Yeah, he never blocked my money. He was like, yo, we'll get your money, right. So, but see he saw it differently like I'm seeing it like, you know, like I'm just hungry to work, and I'm like it's another artist. So I'm like, yo, I gotta So and So hit me, and he's like, go get your money. Ain't gonna stop you. But he'll tell you the reason why he didn't stop me was it was one was the money, but also because he wanted me to gain just more experience working with different people. He was like, go with the experience. I'm not gonna stop you. Go work with this person that person, and then you know what I mean, and then you come back. You know, it's time to come back, and so that's how we rocked it. So with Joe, you know what I'm saying, he knew I grew up with Joe, but I remember he called me he was coming back to New York, so he was handing to the airport. No.

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Speaker 4: You know why I said that to you though, because because I remember when Fifth was rocking with Jesse Terrero.

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Speaker 2: With him, Yeah, and they did We'll shout out Jesse. Yeah, yeah, they did did something with somebody that was you know, and I never seen him again.

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Speaker 1: Yeah, I mean, you know, it's a way to go about this man. At the end of the day, it's like yeah, like like and even with Joe though, like when I started working.

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Speaker 2: With Fifth, how did Joe look at you?

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Speaker 1: Joe was he was like, my thing is like where we all come from? Ship like that, right, Like like I ain't no sucker nigga, Like I ain't no punk right. So like with Joe, like because.

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Speaker 2: Industry niggas will act like they're not mad, but they.

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Speaker 1: Be maybe you know what I'm saying, right, So with Yo, I was like Yo, at first, he kind of like laughed, but he wasn't mad. He was like, alright, go ahead, right, let's see what that is, because I think a part of him wanted to squash that beat at some point, being grown man squashed.

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Speaker 2: So right.

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Speaker 1: So so when I was talking about all that, and then Chris Lighty had passed, and I think that made it even stronger, you know what I mean. And then it was like a week before the BT Awards. That was the l a thing I was doing out there the video with with Joe. Fifth hit me's going to airport, So I said, I said, yea, I'm with Joe.

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Speaker 2: So he'said where you are? That was a crazy night too.

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Speaker 1: Yeah, He's like, yo, let's do this.

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Speaker 2: That was a crazy night.

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Speaker 1: Yeah, he was like, let's do it. Oh yeah, the BT boy, Yeah.

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Speaker 2: That was we felt like Jill. They felt like rcaus Allen.

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Speaker 1: Yeah.

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Speaker 2: So I ain't go along. That's when the murder Rick Ross geez it was. It was like a lot of listen. So so I go to my I was staying by the airport.

00:10:02
Speaker 1: So you said you was with Joe and Fifth called you. So Fifth like, yo, to make it happen. I'm not gonna jump on a flight. So I went back to my hotel. I told Joe pull up, I said, leave everybody outside, and Fifth left everybody outside.

00:10:16
Speaker 2: Too, and they came in.

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Speaker 1: Man, I said, yo, y'all need to ho or the chicken tenders and all kinds of shit in the room. I was like that this ship right now. I was like, come on, y'all, both my brothers, I mean like like come on, like stop and and they shook hands. And then like five minutes they they joking talking about it, joking and all that, you know, yet like we just kept on the low, you know what I mean. Then the BT Awards that was big.

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Speaker 2: That was big.

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Speaker 3: But I remember that was some funny ship because people probably still throw fifty and Joe had beef at that time then, correct, But you're.

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Speaker 4: Still right they still yeah sort of yeah at that time because I was there, Yeah they did, yeah, but but it was all good.

00:10:57
Speaker 2: You know. That's when a gunplay situation happened.

00:11:00
Speaker 1: Matter of fact, let me back up. The beach ship happened first, and then we had the meeting the second time. Okay, that's what it was. I remember, So Joe, it was funny, funny ship because I know, like pistol pete in autumn with at the BT Awards, and then Joe would call me.

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Speaker 2: Joe, be like yo.

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Speaker 1: He telling me like we got a hundred niggas in her freaky pull up, like a hundred niggas right, it was.

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Speaker 2: Would have got me out of everybody, so.

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Speaker 1: Said, would have got my brother. First told told, I told Joe. I was like, yo, man, you good like. I spoke to Fifth you good, And he's driving up from Florida, right, Miami whatever. Ten minutes later he called me again and he's like, yo, peaches hit me. He said, Fifth let all the terror squad niggas in because they couldn't get in. And I was like, yeah, y'all good, Yeah.

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Speaker 4: You know, thank god, you know it could it could have got ugly fifty before him and Joe.

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Speaker 1: Okay, okay. I was telling Joe, I'm like, yo, if that's happening, you good, like trust me? Like Fifth not gonna go back on his word.

00:12:10
Speaker 2: So they get there.

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Speaker 1: They performed, but I think when they got on stage, Fifth banned him on the leg. He hit Joe in the lag. He said, Yo, we're good.

00:12:19
Speaker 2: Joe know how to take it, yo, Joe, Yo, let me tell you something that was a serious beef.

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Speaker 4: Remember one time leaving the Diamond District I ran in the peak, right, he said, I ran back then, but I.

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Speaker 2: Shout the pete. That's why we can tell the truth now.

00:12:35
Speaker 4: So I'm with my men and how Lou and I'm with somebody else right, So I'm coming out here going in, but.

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Speaker 2: I ain't gonna front.

00:12:42
Speaker 4: He had two short Spanish niggas with him that look super grimmy like they look like they was with the ship.

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Speaker 2: You know they had something because they wasn't like no, they was like short niggas for but them niggas.

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Speaker 4: Look like you know they gonna start doing that shop. I be talking rainbow now to Machee started word what about what about power?

00:13:05
Speaker 2: Man? Like how do you go?

00:13:06
Speaker 4: How do you feel like going from TV to go into power? And name some of the show other show now.

00:13:12
Speaker 3: So, I mean it was made basically videos from doing all these TV from videos doing all the TV stuff.

00:13:18
Speaker 1: Yeah, you know what's crazy is man like like Hollywood like music video directors got a bad rep when it comes to Hollywood, like crazy bad like. You know, you got music directors that went and did movies that just bomb. Talk about them. Who should bomb? I'm not gonna say bomb.

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Speaker 2: I'm not gonna you know, like we're going to that. Yeah, do that.

00:13:42
Speaker 1: But but you know they go for music videos and they make these films and they bomb like they do bad. I'm talking like Cats who had ten million dollars, Cats who got up to eighty ninety million dollars back then, and the movie just flopped. Y'all know, y'all we're go ahead a few of them.

00:13:58
Speaker 2: Right, And so.

00:14:00
Speaker 1: When you take a shot to h I mean it's like, yeah, yeah, right, they didn't do it? How you did it?

00:14:08
Speaker 2: Nah?

00:14:08
Speaker 1: So I came in late right when I'm saying I can't. I'm much older because you have because you.

00:14:15
Speaker 2: Have the Benny Booms.

00:14:16
Speaker 4: You had a couple of dudes, all these cats, Yeah, shot out. But we can say Belly was a classic though.

00:14:23
Speaker 2: It's a classic.

00:14:25
Speaker 4: But he never did nothing one after that though. That was just Belly was a classic and it was shot in Queen shot.

00:14:32
Speaker 1: But the way Hollywood looks at things and shout out the hype right, the way the way Hollywood looks at things like respect that if we spend this amount of money, we want to see the return and what we want to see.

00:14:42
Speaker 2: Profits how much you think, how much you think they spent on I don't know. I don't know, Just give me a figure out what you would think, Like it wasn't it wasn't that, I don't know. I mean that's back and ship because you could have to make.

00:14:53
Speaker 1: A classic back then, but was getting robbed also, So you don't even know, Like I honestly can't speak on that. But but that's the it's a business, right So when you get a cat like me to come in and all they see is a co trilling you know, fifty cent videos, and then I got videos. I mean, like really, what really started making Hollywood, especially like the agency's calling me up, was when I got to level with the videos a lot crispy and clean. I started telling little stories into the video, like without dialogue. I started adding a little narrative pieces. So I think like I got signed to uh By agents once the CARDI B joint dropped, I like it like that, and shit got like one point six billion views right now, right and so because that was like clean story whatever. But by then I'm already like learning how to how to play with shit, you know what I mean? And so but you know the challenges you go there, you meet these people in Hollywood, and then on some they they'll bring it up. They'll be like, well, you come from music videos and we had this person, that person, this person, you know do a movie and it flopped. So what makes you different, right, Like, how would you gonna be different and make us money? So what I try to do is I try to not mention those names and I go for the names. Like there was this cat who used to do a lot of low kin videos that you would think is hype. It wasn't hype. It was his cat named Francis Lawrence. Francis Lawrence went off. His first movie out the gate was Constantine. They ain't that I am legend.

00:16:27
Speaker 2: Look at that.

00:16:28
Speaker 1: They need did the mocking Bird, the mocking j films, whatever that was. So you're like, I want to be that cat, Like I show you an example of somebody that you don't have to not with the hype name.

00:16:38
Speaker 2: Right.

00:16:38
Speaker 1: And then you also got David Fincher, like a monster director, right, a monster David used to do videos?

00:16:45
Speaker 2: What videos used to do?

00:16:47
Speaker 1: Don a bunch of cat like he used to do music videos.

00:16:49
Speaker 4: That's crazy because I always thought it was just Jesse Terrero Brothers, you Benny Boom, and.

00:16:56
Speaker 2: I didn't even know.

00:16:57
Speaker 1: Du Yeah, but Little X to the movie too. Yeah he did because he just wanted to superfly or I've when the dude had the perm right and he did.

00:17:12
Speaker 2: I think.

00:17:13
Speaker 1: Now he's doing a lot of TV stuff too, so shout out to him but doing that because it ain't easy, definitely, you know what I'm saying. So, but you know that's the thing so with power with Fifth, Like for two years, Lionsgate and Stars they just saw me as the dude next to Fifth all the time, like they couldn't figure it out right, And they would call me in for meetings and I sit in the meeting and they just be looking at me. I'll be looking at them wow, like so what do you do?

00:17:38
Speaker 2: Like you see the Fifth?

00:17:41
Speaker 1: Because Fifth used to have me come into uh they sat meetings with exacts and the actors and be like come on. I'd be like, nah, I don't I shouldn't be in there, right.

00:17:52
Speaker 2: I was like that ain't like you.

00:17:54
Speaker 1: I mean, and my mom thinking like I'm not.

00:17:55
Speaker 2: Even Fifth the soaking up the game. So he was there.

00:17:58
Speaker 1: So Fifth was like, listen, you see anybody bringing anybody else in here? He was like no, he was like, I'm the boss. You come through because I want them to see when they see you, they see me. When they don't see me around, they still see me through you.

00:18:11
Speaker 2: It's crazy.

00:18:11
Speaker 1: So he was like, I want you to get that power right, and even to the point where he had me dealing with the CEO of Stars, like I'd be like, yo, here, yo, go go chill with them, Go go chill with them, and go get your ship. If they're gonna give you money, go get it. But it took a while to get there because, like you know, like I said, they don't like the first one was was was ghost right power ghosts.

00:18:34
Speaker 2: And they was mad.

00:18:35
Speaker 1: They was like really trying to fuck with me, you know what I mean when I came on set, like the crew said to me and they told me private the next day. But the first day I was there, they was all acting funny style and then the crew, the actors meant, some of the producers, the crew like you know.

00:18:52
Speaker 2: The camera crack.

00:18:54
Speaker 1: So the word was one day I needed I was getting driven home and somebody needed a rock who lived next to me. So I was like, yeah, come on, like you can hop in the van with me. And he starts telling me like, yo, you know this is how they how they pitched you to us. So he was like they was like fifty camera man, it's gonna shoot the next episode. Oh right, So it was that fifties camera guy like like I was just like camera anything else. So then when they saw like I knew everything because what I was doing was when they were shooting power, I would go to set and watch how to do it. Then I started taking acting classes. I can understand actors because I was like, yo, this is they bugged out. So I started doing that and I started.

00:19:39
Speaker 3: Asking took acting classes. Yeah yeah, but like a couple of days crazy okay something yeah. So then but that helped me when I was ready.

00:19:49
Speaker 1: Then I went in and they so the crew saw it was like yo, they portrayed you to be this and you not that, like you really know your ship.

00:19:56
Speaker 4: Because they because they felt you didn't have the resume yet. Now you have to if everybody got everybody. But that just go to show you, like how they look at.

00:20:03
Speaker 2: Hip hop, you keep keep hustling, keep grinding, so you know what I mean.

00:20:07
Speaker 1: I did that and then after that was for Life, right yeah, for Life and even that ABC ABC owned by right there man. That was a good move man, right, we check it. So ABC and Disney was like, hell no, it was like what what he what he done? He was like one episode of GHOS and it wasn't even out yet. It was like we got none, this is not.

00:20:31
Speaker 2: So who is who is he?

00:20:33
Speaker 1: So they was like no, They kept pushing back. The producers are like, nah, I let him do it. We believe in him. And then Fifth made a call too, like yo, y'all telling us it's the number one show. If if if y'all letting us do our things, let us do our thing. We're telling you this dude is ready, like he already did want he knows what he's doing.

00:20:53
Speaker 2: I go off, I do that.

00:20:56
Speaker 1: And it's the only episode that got put in at the end of the season for an Emmy and best I reckon it was the best episode, right, And from that point on, like every time I do something, it gets put in for Emmys, you know, I mean like they know, like and the actors will tell you, They'll be like, nah, this dude, you know how to talk to actors and he know how to work the camera.

00:21:14
Speaker 4: Like how to do people want to know? Like you know a lot of people in the hood want to be actors now because the fifty everybody run up to me. Everybody got scripts. They want to know, like what it takes to be a good actor, not just acting, but how do you portray yourself on set?

00:21:32
Speaker 2: Like being on time and stuff like that, not smoking on set or getting drunk or.

00:21:37
Speaker 1: It's all a regiment right, Like it's crazy because I show up, Like how does your day start? Like I will come to set and Fifth will be there before me. Like Fifth is a different type of animal, Like I don't bro We don't start the seven fifty there five five in the morning, right because we got to show we there four or five hours before the show. So you look at that and you go, man, I gotta like I gotta be if you want it, you gotta really really really right. So so so the point is in talking to like the younger cats that want to come in and want to act and all that, like just keep doing it, man, take acting classes, you know, I mean sharpening the skills and if you ain't got money, just keep acting and do with family and friends. Acted out like you ever seen the videos like the thew African kids when they be acting and replicating and then they start they get there, they get busy. I want to get busy. So if you start acting and just doing scenes, do small scenes, you know what I'm saying. Like somebody just gave me something the other day and it was like they made it short. It was like twenty minute whatever. Fifth went crazy. He were about to do the deal. I wanted to do the same thing.

00:22:52
Speaker 3: He said that something a little related to New York with some like you, I gotta I gotta, uh what's going on kind of right now?

00:23:00
Speaker 2: Yeah, exactly y or whatever?

00:23:02
Speaker 3: Yes, yes, yeah, yeah, yeah, So that's themselves, dope, But.

00:23:08
Speaker 2: It's casts that took it upon themselves, right.

00:23:10
Speaker 1: They shot, they put their own shot together. Theyself for it, right, nothing crazy to put them on bread and they went and they did it.

00:23:17
Speaker 2: Man.

00:23:17
Speaker 1: So it's like and there's so many outlets, right, so like if you if you really want to do it, man, put your shit on YouTube, put it on Vimeo, whatever, all these little sites like for example Vimeo, even YouTube, you get subscriber base, right, just put it out there. But like, yo, just subscribe. It's ninety nine cents or whatever. Now you're making money off of it too, right, or you could do the other way.

00:23:38
Speaker 2: Was.

00:23:38
Speaker 1: It's like, if people believe in you, you do the whatever that thing is called, like a crowd crowd crowd participation. Yeah, like so you you can put the money.

00:23:48
Speaker 4: Then you gotta tell these y ends if you come on set, don't drink, don't smoke. Just because you're playing against right, don't mean you gotta be gangster on set.

00:23:57
Speaker 2: I don't see.

00:23:58
Speaker 1: I don't see actors who gangsters. But then when they turn off the cameras, they super nerds look at that regular and I think you get the dude to our nerds that become actors, and all of a sudden, now they think they that.

00:24:16
Speaker 4: Yeah, because you because you gotta understand when you're outside, they they you know they're gonna we're gonna.

00:24:22
Speaker 1: See you as that.

00:24:22
Speaker 3: Give us one of give us, give us one of the wireless moments you've seen like behind scenes on the video video movie because I'm mad my videos. Shoot one time you saw with me in future use actually about the us about the poppy shop these.

00:24:38
Speaker 1: I forgot you know about that. It was actually a popular on all this too.

00:24:43
Speaker 2: You need to know about.

00:24:44
Speaker 3: I didn't know who they was, and I guess they wasn't really familiar with who he was, but it was about to get left. They got mad.

00:24:51
Speaker 2: This dancing.

00:24:54
Speaker 1: It was popular, but I didn't know because you know, sometimes you see that's the thing. Sometimes you kind of you black out because all you see like you get tunnel vision, right, and you just did the work. So like the first time I did power, I came on the block. We was outside. Yo, When I tell you, I was in a van driving down. I seen block after block with all the trucks, like all the equipment. And I got to set and it's like two hundred people looking at you, and the actors is staring at you right what we're doing. The producer look at you. What we're doing. I saw to God that first moment I shipped myself. I was like, Yo, this is crazy. So you was nervous, super nervous, right, And then what I think God had seen was inside the car, so I was like, yo, guys, just get in the car. But I was really show to me myself. And then I spoke to them just to get it out of my system. And then once I did that, then it was a go. After that, it was you know, I.

00:25:52
Speaker 2: Mean, but I think, but I think that's a real story right there.

00:25:55
Speaker 1: Yeah, no, it's crazy, yo.

00:25:57
Speaker 2: Man.

00:25:57
Speaker 1: We talked about the movie. I tell another story with that one. But you know, the for these young cats man, you know, and the wild this ship is like the ship that sucked is when you get the opportunity and you fuck it up.

00:26:10
Speaker 2: It up.

00:26:11
Speaker 1: That's the biggest thing, right because us as as black and brown people, we don't get a lot of opportunity, of course, you know what I mean. And you got especially in Hollywood. In Hollywood you got brother like fifth you know what I mean. Like like I've gotten those things where it's like, yo, are you sure you didn't want to do these type of shows? And I'm like, I'm cool over here because I'm building with my people of course, so I don't need to go through those other shows that like just for the awards, I don't. I'm good, right, you know what I'm saying. So, but again it's like you if you get that opportunity, man, don't fuck it up by taking your money, and you're gonna be sleeping with a thousand strippers and getting high right and whatever coming is set drunk and smoking and all that. Like you just come on, man, nobody want that you had to work. You know what I mean, do your ten hours or whatever, now hours work, do your thing, go do that shit afterwards. I mean, but you got to be on point, man, Like this shit is so hard.

00:27:10
Speaker 3: You know what I wanted to ask you, how do you think directing changed from like two thousand and five to twenty twenty five?

00:27:16
Speaker 2: Like, now, how do you think it changed? When you say change like that a ship niga, what you do?

00:27:23
Speaker 1: No, No, when you're saying like like like what we've see now versus like, I mean, I think I think it's changing because there's there's more of us getting involved. Right when I say us, you know again black and brown people, right, you know we're really taking a series of really trying to learn the craft. Ryan Cooler and all these other catch right, Like man, you see them and that inspires you.

00:27:47
Speaker 2: Right, You're like, what's my man? At this sentence? They like Ryan Cooler? Yeah, what else he did?

00:27:51
Speaker 1: Because they say he did the creed, he did create one two that's did Fruitville Station with his first joint. He worked with Michael b Joing the lot.

00:27:59
Speaker 4: I guess they yeah, crying, Yeah, I've seen him crying when because Centers did real good first week, they a lot of millions, and yeah, I've seen he was like tearing up like yo now because because because what it is, I mean the deal he worked on with that movie where because he did Black, Panther, Creed and all that, so he made he made them billions.

00:28:22
Speaker 1: Now he's doing centers.

00:28:23
Speaker 2: He owns it.

00:28:24
Speaker 1: After twenty five years his deal. He owns the movie. So now that's a legacy, that's for his kids.

00:28:31
Speaker 2: He owned all of the movies.

00:28:33
Speaker 1: He ow'n he owned Sinners after Black.

00:28:38
Speaker 2: I was just confused.

00:28:38
Speaker 1: So now hew, it's like a record deal. So now he owned it. So after twenty five years and then his deal, I think he get like first dollar once they make their gross whatever their budget was, boom, he gets the first.

00:28:51
Speaker 2: Dollar right so to him, whichange normal, you know what I mean. So so, but that's what I'm saying.

00:28:56
Speaker 1: You do ship like that. That's power, right, So now you start like, okay, how do I that helps me help the next guy?

00:29:05
Speaker 4: You feel like that that's what drives your creativity because that's what I was going to ask Murders Truck question for me, what drives your creativity?

00:29:14
Speaker 2: Now?

00:29:14
Speaker 1: I think listening, I think for me, the creativities. I went to art school, right, I went to on design, and like I said, I was always graffiti and ship like that, comic books and all that, and so I could draw like I could draw like a motherfucker like I could, you know what I mean. You know, I did the air Punk logo for Punk.

00:29:31
Speaker 2: Back then.

00:29:31
Speaker 1: I used to do a bunch of logo for Punk. I did the Snowman for JZ. Like back then, I was doing.

00:29:41
Speaker 2: Snow like.

00:29:44
Speaker 1: Yeah, and I did a bunch of other ones like if you if you GZ mentioned in his book when I made the Storeman, Joe mentioned like, yeah, like that's what I was doing back then, album covers logos.

00:29:56
Speaker 2: That's crazy look at that. So I was always into the So you made the snow Man, you said with Jez, and it's your sets in Jez. But it made this happen to Shelter j you know, Team out Shelter, Team out man, not you, you know what I mean.

00:30:17
Speaker 1: But but the creativity, man, I think it just comes from like just being out seeing everything, living life. Were talking about that you got something that you're working on that that that castro oh yeah yeah yeah we just finished that. We're about to It's finished. Yeah, it's about ninety eight percent done. Like it's just a lot of the v factors.

00:30:38
Speaker 2: Like you know, DJ Caller got as soon to do with that. I've seen him posted on the ground. Yeah, yeah, you know, I know.

00:30:47
Speaker 1: Everything. Why do you want to bring that.

00:30:50
Speaker 4: Because I was talking another day and I'm like, I could never be mad at Caller because his loyalty was to Joe and my loyalty was to fifty at the same time.

00:31:00
Speaker 2: Uh, you know what I'm saying.

00:31:01
Speaker 1: So even if we still gonna have to sit down and talk about not even if.

00:31:04
Speaker 4: We don't talk, because you know, it's cool, it's Joe. Everything is cools piece. Nobody got hurt, no bullets fly, nothing happened. So that's the best part of it. Yeah, you know what I'm saying.

00:31:14
Speaker 2: It's just little old war stories.

00:31:16
Speaker 3: That you know, if I think you need to make that happen, we're gonna my brother man, Like you know, so he did play a part with the cast.

00:31:26
Speaker 1: So I started this movie right before I got it. It was to Romins Entertainment. Before I got it was another director attached. Wasn't the right person right, Like it was just it wasn't working out. So I came in and I cast you know, like the movie like within two weeks, like we already had all the actors, you know what I mean, and one of them being Appucino, so not everybody could get Appatino. Not the first time, just yview was I think it was scored. Somebody said it took him years, him and our years to finally do something together, and I was like, damn, I did it first. It was crazy, I mean. But yeah, So like we wrote this part, you know, the writer of Time and a couple of the cats, and you know, we kind of tweaked it to be like how I would do it, and so we sent it to the agents and he was interested, right, So he was like, Yo, this is the first time I'm saying it.

00:32:27
Speaker 2: Like, appreciate that, but yo.

00:32:29
Speaker 1: So so he read it and he wanted to meet with me, right, so like a half hour, you know, to meet him and see what he's about. So, nigga, I'm shipping for like a week straight, nervous to meet app Yeah.

00:32:45
Speaker 2: Yeah, I'm like, you know, I'm.

00:32:46
Speaker 4: Glad when you say you nervous because it's like, you know, that's the humbling part about it. It's like you said, you were scared on your first shoot man, people outside, This is way different than a fucking yadeo.

00:32:56
Speaker 2: You know what I'm saying. Yeah, I was, it was.

00:32:58
Speaker 1: I mean, you know, the funny thing is when you eat these different artists, even back then, like the fifth you know, I was nervous, like you know, I mean, like the big dogs, you know what I mean. Like, but with him, you know what I mean, Like, this is life changing. So I went to the restaurant where he wanted to meet, and I get there like a half hour early because I'm like, let me just chill out. When I drank like, you know, forty cups of coffee by now hours And I go to sit down and I put my bag down first.

00:33:28
Speaker 2: I go in and I'm like that who you hear? Like reservations.

00:33:31
Speaker 1: I was like Alfred Pacino, like literally under his name.

00:33:34
Speaker 2: Wow.

00:33:34
Speaker 1: So I go in the back and I put my bag down and ship and all of a sudden, I heard there is and I turned around his fucking hour behind me, like he's right there, like he's coming in, And I was like, oh shit, like nah, this is like come on, bro, you know we'd be starstruck. Yeah, Like I was like, yo, but you know, you gotta be cool. So so we sat down and I remember I'm texting the producer under the table like where you at? Because I was like, I'm here, Dolover with this cat.

00:34:03
Speaker 2: Where you at?

00:34:03
Speaker 1: He trying to get there. But we were talking and.

00:34:09
Speaker 2: Yo.

00:34:09
Speaker 1: It was crazy because he started naming all the directors he ever worked with, like he was throwing it in my face. He's like, yo, so you heard of Mars Scot Safecy, you heard of you know, Michael Man. He just kept name dropping and I'm like, yeah, but I know what he was doing. And so he started telling me stories. So he started off a surproco. So he's like, you know when I been surproco, you know back then? You know he was saucy whatever he was doing. And see, you know, he woke up and he had a joint next to him and he was like, I know, I do not because she was still dressed or whatever, right, and then his phone was ringing and he had to go to Premier and he's like, yo, So it was crazy. It was for me and I'm like, I'm he was saucy, and while he's trying to say, yeah, I'm saucy this and that, and then so Seene forty nine, when I'm walking down the hallway, could you explain that to me? I said, Oh shit, he's doing the vet actor ship like actors do that, like they be man cool with you, joking and all that, and then all of a sudden, they that's crazy.

00:35:20
Speaker 2: No Fifth done that to me?

00:35:23
Speaker 1: Like Fifth will be like, yo, we were talking the night before, like what we're doing the next morning, he's dead seriously, what we're doing? Why the fuck we doing that? Like and I'd be like, yo, my man, that was going on here, but it's different. You know, we're working now, right, and so what I'm about, your man? No more man, your man. So he went into like the scene. I was like, oh shit, But I knew the script inside out, so I was like, yeah, this is what happens.

00:35:51
Speaker 2: Boom boom.

00:35:52
Speaker 1: Then he started talking about Scarface.

00:35:55
Speaker 2: Yo.

00:35:55
Speaker 1: You know when I did Scarface. You know, they killed me for that, like the critics people.

00:36:03
Speaker 2: Calling me, and that's my favorite. I watched it.

00:36:05
Speaker 1: Listen get that get to that. So look, he says it almost destroyed his career. They killed him for that, meaning who his peans and things people Hollywood that was like, what you're doing? He leaned then and he grabbed my forearm right, put your on form like this to me, grab my arm.

00:36:29
Speaker 2: He said.

00:36:30
Speaker 1: Now the first time y'all heard, the first time I'm saying it publicly. He said, you know who saved my life?

00:36:36
Speaker 2: I said who the rappers?

00:36:41
Speaker 1: The rappers saved my life.

00:36:42
Speaker 2: Wow.

00:36:43
Speaker 1: Wow Joe and I looked at him like they're like, wow, look at that. So I think a piece of that. I was like, he had to see my work. He knew I'll come from video. I could only imagine his people with the agency whatever you talking about the Cat Reward winner, Yo, don't like don't poll said this come.

00:37:03
Speaker 2: Out like who? Like who?

00:37:06
Speaker 1: I don't think you need to be working with him. But his experiences I think he said, no, no, no, I gotta give I'm gonna do this. I'm gonna give him a shot. I'm gonna give him a shot. And bro he said that, and I was like, oh, ship right, and but we and then we just kept talking about the movie and ship like that. I always had a vision. I was telling him. The producer Brad. I was like, Yo, when al come on set, we got a scene outside, is what we're doing during the summertime, it's gonna be hot. So for whatever reason, like because I'm sort of spiritual, for whatever reason, I say, yo, I'm gonna get them beach chairs like that jay Z photo when he's in the projects on the beach chair. I said him to get to those chairs, and I'm gonna sit.

00:37:51
Speaker 2: Down with al Ice Crean.

00:37:54
Speaker 1: I don't know why I was thinking about that ice cream. It was like, Yo, you're crazy, Like, what the fuck is wrong?

00:38:00
Speaker 2: Right? Yo?

00:38:02
Speaker 1: The story shitting now. At the restaurant after we talk about work, he said, you hungry, Let's get some fries. Man saying he's order man food that we eat. I ain't even realize. You know how when you go to catch or whatever and they bring you to play the ice cream and everybody just take this spoon. Bro, That's what we was doing. So it's the end we eating ice cream. I didn't realize you said. My visit came to life, yo. I know you know the producer. We go outside, we walk out to his car and he's that, congratulations you had your ice cream with al.

00:38:39
Speaker 4: Them two right there. It's just classic ship for everybody. Scar Face Carlito's way. He the list goes on and on.

00:38:49
Speaker 1: So just to be sitting there with al Pacino, broo, that's come on, bro now listen, he's gonna be ad. So we hit it off crazy, were telling him iknew definitely.

00:39:00
Speaker 2: She was from Brooklyn though he'st Brooklyn.

00:39:04
Speaker 1: But he's gonna be at So we talked a lot about that, and he would say to me like, yo, I'm doing his book, like you and me should just go drive on the BRONX. I can reminisce and I'm like, yo, whenever you're ready, like we clicked like we clicked to that's dope. He like, Yo, if I'm not shooting, can I come to set just to hang out? I was like yeah. So he I had him for like ten days or something like that, and we were prepping the office. He's a funny dude, and he would looking like yo, you know, you know, you know, bad bunny, And I was like, yeah, well, man, I worked at him.

00:39:37
Speaker 2: He said, Oh, he's dope.

00:39:38
Speaker 1: What about the weekend? You know weekend? Like he's yo.

00:39:41
Speaker 2: He was like into that, you think.

00:39:44
Speaker 4: The first thing I would ask al Pacino was like, how the fuck do you just act like that?

00:39:48
Speaker 2: Like Scarface?

00:39:49
Speaker 4: When a covey of real nice like bro that was like classic ship yo, like you. I would ask him first of all, all about scar face because that's.

00:39:59
Speaker 2: My but love.

00:40:00
Speaker 1: I shot him out when I wrapped him out because I think he was eighty two, eighty three, just had a baby. They just had a baby. I was just about saying that he just shut out the opportunity he still had that baby. Yeah, had a lot going on, right, and he came to work every day. Man, I think people going to really bug out when they see his performance, like he kilt it. And we had this thing man, like we had a language. So like he was doing one scene and we were always talking about stickball. So in the BX stickball, So every Bronx, every neighborhood in New York has two sewers. So when you playing the one end of the sewer and you hit it to the next block, then you hitting the third and fourth sewer. So he'd be like, you ever hit three sewers? I was like yeah, sometimes the ball would go on the roof right building. So when we was doing the scene, I was like I would yell across the room and he was doing a scene like he when he was against robber than they were now at the table, and I yelled, I said, I'll give me three sewers, and he'd be like three sewers coming up baby like.

00:41:08
Speaker 2: He was a hot So.

00:41:11
Speaker 1: The last time, the last day I had him, we wrapped him out. We wrapped I got home like at midnight.

00:41:18
Speaker 3: Just so y'all clear, we're talking about my guy, East Faveri's movie cash killing, Cappaccino killing, starting a Placino.

00:41:28
Speaker 1: We I got home at midnight after I wrapped him out, mm hmm yo. And I just sat on my workout bench and I cried for two hours. God, bless you man, two hours. Be I'm gonna tell you why. I'm gonna tell you why.

00:41:44
Speaker 2: Thank you.

00:41:44
Speaker 1: I'm gonna tell you why though what I was saying before, by Hollywood. Now the meetings are different, you understand. Now when I sit there, I can't look at.

00:41:56
Speaker 2: Me like who you work with.

00:41:58
Speaker 1: Yeah, it's a little different now. So you sit there and it's the confidence because now you go, look, y'all only got two Robert den erro and the opportunity living legends. I mean you got a few others, but no, you got play.

00:42:13
Speaker 2: But you know it's still Schwarz and a whole bunch of other names. Right.

00:42:18
Speaker 1: So that's so now you sit there and you go, y'all threw the one at me, like the universe threw the one at me. Dealt with it. He loves me. Hit him up, hit up his whole team. They're gonna tell you, right what you gonna tell me?

00:42:33
Speaker 2: Now?

00:42:33
Speaker 1: Now what you know what I'm saying. But but it's it's always a challenge. It is always something new, you know what I mean, even like for you to get the next thing that what we got to see what you did right?

00:42:45
Speaker 2: Resume it? Don't it?

00:42:47
Speaker 1: Don't is you know it's hard you did that? Man, that's dope was a tricky business.

00:42:53
Speaker 3: What would you tell the next the next young director coming out of New York, Well, what advice would you have for them?

00:43:04
Speaker 1: Learn as much as you can. It's okay to look at everybody else's work and try to copy it and try to figure out how they did it, you know what I mean? So like you could learn how the camera work, get at the angles, look at the lighting and all that, right, but also like just keep shooting, bro like, keep shooting, like and even if you want to get into TV, or something like that, or commercials right or eat music videos. Like I tell people all the time, you're gonna get into commercials. To a Pepsi commercial, how I don't have no agent, I have nothing.

00:43:34
Speaker 2: How do you do that?

00:43:36
Speaker 1: You go get a Pepsi bottle, you go write a scene out and you shoot it. Wow, and it's suspect. That's what you call a spec commercial. So now you shot it and they're like, oh you did this. It's this never aired like nah, but it's it's suspect.

00:43:50
Speaker 2: How much and how much is my check for that? For the for the commercial? Thinking about it, I'm just.

00:43:56
Speaker 1: Not yeah experience right, because like now you get picked up by an agency or whatever and then he PEPSI really want you to do it. I think that a going rate for a director to do a commercial. It's it's usually like twenty five thousand a day. Oh shit, yeah, so like ready you know what I'm saying. But it's the same thing. You go shoot a short, go shoot the homies, Go shoot a scene like somebody got cancer age or whatever. Shoot that and show the emotions and that, right, you know, I mean what happens. Just make it up whatever, Just write and make it up real life. Yeah, and then just send it out, you know what I mean, Like you're not just standing around with a camera. I ain't gonna do nothing like waiting for work. No, that's a good idea. I never knew that was easy to just do a special commercial back. You know what I'm saying, get your money up, you know what I'm saying. But like, but for me, I started like with the camera, like I said, shooting cats and I loved it. Man. I just kept going and kept going and kept going until you know what I mean. I think the first my first video going back to Fifth was when he did the Alisha Keys and dre joined and he said to me, I'm gonna tell you right now.

00:45:16
Speaker 2: He kept it real.

00:45:17
Speaker 1: I'm gonna tell you right now. You ain't gonna get this. They don't know you, and the Scope don't know you. They're not gonna give you the money. But I'm gonna give you these records off my album. You're gonna do these for real. And I was like, oh shit, And that was my gateway through Fifth. I got into in the Scope and then we started doing videos.

00:45:37
Speaker 2: That's crazy because fifty don't like too many people.

00:45:40
Speaker 1: So yeah, but one week in one week, in one week, so everybody started calling like, yo, who the fuck is e fa Vera? And one week I dropped two videos. And when I say everybody me like video commissioners and video reps, They was like, who the fuck is this? I dropped two videos in one week? It was fifty Drake can't be you remember? Remember up?

00:46:03
Speaker 2: I think?

00:46:04
Speaker 1: And then I dropped French Montana and Nicki Minaj Freaks. Okay, So when I dropped those two, it was just like name some more, man, name some more.

00:46:14
Speaker 2: We want to know some more videos you do? Now? You big time movie?

00:46:18
Speaker 1: Don't you know what the thing is that I don't follow up? Like I don't. I don't. I don't like look at the hits and all that, like you know I did one right couple with you. Yeah we did a couple of course. Yeah we did that future. Yeah yeah, the Future was like when he had that mixtape. But I think videos with.

00:46:41
Speaker 2: I'm just like, you know, we did some gunit videos and trying to remember you did so we did so many so you know.

00:46:51
Speaker 1: I mean I worked with you know Drake, like I said, can drag?

00:46:54
Speaker 2: What drink? What Drake video? You did him? The Future.

00:46:57
Speaker 1: We did the Mexican Joint, which one I think used to it or something like that, one of those five.

00:47:05
Speaker 2: And then what you did with Kendrick Him, Oh yeah, okay.

00:47:09
Speaker 1: Then Nicki Minajen did a bunch of her, you know what I mean, I was, I became one of her, like she was regulars. Like and how I got into.

00:47:18
Speaker 2: Latin the south side, you know queens? But I said, you.

00:47:25
Speaker 1: Because the Nikki, I got into the Latin market.

00:47:28
Speaker 2: Okay.

00:47:29
Speaker 1: So that's when I met Bad Bunny. So it was a record called Creepy because of her. Say that because it was a Latin record, Ruko Bad Bunny and I forgot who else? And then they put Nikki as a feature, and they put Travis too as a feature. So Nicky was like, I don't know none of the DI records. It gotta be ef Loo and they brought me in and I did that, and then from there then I started working with Bad Bunny. We did a couple yeah, and a couple of jibing, and like we started working.

00:48:01
Speaker 2: So damn you blessed man, you're real pleas Nah.

00:48:03
Speaker 1: I think, man, I appreciate that, but I think, really it's more like put the work in man. Yeah, put the work to the new directors out there that want to do videos or whatever. Like, Bro, you can't be scared man, right, you can't be scared to talk to the artists. Like that's the whole thing. Like, find that one artist that want to rock out with you, right, rock out with him with me? And Fifth for example. But I was never scared of Fifth, like to the point of being like yo, because you know physical, he's like a road.

00:48:31
Speaker 2: Yeah, he's intimidating.

00:48:33
Speaker 3: Scared to have a conversation with him. Yeah, explain you. I think this should go like this or.

00:48:37
Speaker 2: Something like this.

00:48:38
Speaker 1: One director who was like, Yo, I'm hungry. So I left him there and he would call me. I'm like, nigga, go talk fIF you hungry, go get something to eat.

00:48:48
Speaker 2: Oh.

00:48:48
Speaker 4: So you see he said he hungry, youtubet eat and he never came scared.

00:48:54
Speaker 2: You never came Wow. He probably why some Mickey D's or something like.

00:48:58
Speaker 1: Bro, he never came back. That's how tim dating Fifth was. Fifth was like, yo, never bring that catta again. And that kid sucked the ship up. Been doing power right now. Look at But that's my point. It's like, but you bugging out you could have just went yeah, you could got a big Max and.

00:49:16
Speaker 2: Y.

00:49:17
Speaker 1: It was Nas like everybody like they I think they were what you're doing because you know, I'm queens. I did a couple of joints with ours, but I remember the one we did that was I think before his time was French Kanye Nas the one day jumping over a big ass jumbo.

00:49:33
Speaker 2: Yeah, I remember that. I remember, so I remember the dirt bikes.

00:49:39
Speaker 1: Yeah, he was like I tied everybody taking these videos and just regular sitting on the wing of Definitely he's like the biggest plane can yet. So we went to the Mohave Desert and we went to the airplane graveyard and it.

00:49:51
Speaker 2: Was just that it was a video French that was I think that was on French album. Yeah, I got it.

00:49:56
Speaker 1: I got a video back then of Kanye told me this is the best bet time I ever had on set. But I think it's because like I said before, man like you can't you got to like be there and tell the artists like that's the whole thing about directing. You got to be able to take charge because sometimes the artists don't know what they want, you know what I mean, Like they don't know.

00:50:16
Speaker 2: I was working with this artist, high.

00:50:19
Speaker 1: Profile, going to some shit right now where he kept asking me how does it look? My first time working with him, I was like, you look good. He would run down, look at the monitor, go back up through the ship, come back down like it was getting annoying. So the third time he came down, I put my hand on his shoulder. I said, Yo, you good, bro, And he looked at my hand, looked at me.

00:50:46
Speaker 2: We was good.

00:50:47
Speaker 1: After that, everything was like, yo, whatever eve want to do, because I know videos.

00:50:52
Speaker 4: Could shooting the videos. What do you think gets annoying sometimes? You know, you got people in your way, you got women everywhere. Yeah, yeah, I mean, man, it's it's a lot of work. People think it's a lot of work.

00:51:05
Speaker 1: The thing is like the artists want to come, be in and be out then, so you got to make sure this ship is ready, right, because you don't waste no time. That's the first thing.

00:51:13
Speaker 2: So say, if artists come late, how the fuck you feel you gotta already.

00:51:16
Speaker 1: Be shooting other ship. Definitely shoot the b roll, shoot the model, shoot the cars, whatever it is. Start shooting, you know what I mean. So when they get here and then you move over, shoot them out, get them out of it, and then keep shooting.

00:51:31
Speaker 2: You know what I mean.

00:51:32
Speaker 1: And then I always tell for the new cast. I always say this like an artist is always gonna want one thing, right, Yo, I need I need to be on a boat for this scene, whatever it is, Joe, I need to be sitting on a flamingo. It's a hit, Yo, Get the fucking flamingo because you can get them that and then you got them after that. They happy, Nah, this one fuck out.

00:51:58
Speaker 2: Need a flamingo.

00:51:59
Speaker 1: I did him for the next Joe. Yeah, listen to me. I want to flaming an elephant and you have that ship, then yeah, gonna tell the crazy ship.

00:52:09
Speaker 2: Mary j.

00:52:10
Speaker 1: Blige, we know a lot of the same people, right Angie Joe definitely. And so I never worked with her, and I've been at parties with and all that. I said what's up and never really spoke. We go to shoot Ghosts and I said to Yo, it's crazy me and you never worked on a video, And she said, hell, we go shoot the movie. Then she said to me that because you were meant to do bigger things with me here.

00:52:33
Speaker 2: Wow. I was like wow, shoutut to Mary j shot.

00:52:37
Speaker 1: Now since that we done shot like four videos, four or five videos like.

00:52:42
Speaker 2: Video. That's right, but.

00:52:45
Speaker 1: It's like again, it's like artists want to be in and out. You're telling them what you're gonna do. You're showing what you're gonna do. They get that they expected, but they're gone. And then I edited on my own ship, so I already know what I need. Same thing with TV. I know what I'm shooting, I know what I want.

00:53:02
Speaker 4: But that's just smart because another director will probably be beefing, like why the same head.

00:53:07
Speaker 2: I don't work like this and you you you said you shoot never should then it ain't for you. That's what.

00:53:13
Speaker 1: Let me ask you one thing. Who's your top three favorite rappers to work with?

00:53:19
Speaker 2: Put me on the spot. First of all, hold on murder your Russian ship first. I want to.

00:53:26
Speaker 1: I don't want.

00:53:27
Speaker 4: It's queens oryce Brooklyn. It's a quick fire segment. And he want to know who's the top three rappers you considered.

00:53:34
Speaker 2: You work with?

00:53:35
Speaker 1: But he worked with so many, so that's a political Yeah, don't I'm asking him.

00:53:39
Speaker 2: I want to. I want.

00:53:40
Speaker 1: I'm gonna tell you this. I'm gonna tell you this like I never had beef for no Rappers, meaning like I've never been on set to a point where it's just so out of control You're like, Man, fuck this person. I don't never want with this person again. So I don't have none of those experiences. Man, I think everybody was was for me fun and the look.

00:54:04
Speaker 3: Besides Fifth, let's keep Fifth out of it. The top of your top three favorite to work with?

00:54:09
Speaker 2: He worked with so many.

00:54:10
Speaker 1: I want to know sometimes vibes with people, So I just want to know that your vibes. I mean Future was one of them, Okay, right, Future? You know because he come with creative ship.

00:54:25
Speaker 2: Man. Who else?

00:54:28
Speaker 1: I used to love working with Nikki too, and people used to be scared of she moved with an iron fist. We've been around a couple of.

00:54:39
Speaker 2: Everybody you worked with, he worked with. It's a big name.

00:54:43
Speaker 4: I'm gonna ask you a director question, camera wise, lench wise, sony versus canny?

00:54:50
Speaker 2: Which one do you pick? Man?

00:54:52
Speaker 1: There's so many different lenses though, Like it's hard to say because it all camera Would you use the son trying to break it a lot of the time, look for TV and film the Alexa like the Venice. That's what everybody's using, right, sometimes they use the sony and other stuff. But I feel like, for me, the venice is what's the venice, That's what is venice?

00:55:20
Speaker 2: Sony, no, what's but the lenses it all.

00:55:27
Speaker 1: It all depends on what you want to see, right, So, like what I mean by that is the look. So when I did the movie, we did lens tests, so we got a whole bunch of different lenses coming in and look for the right look the texture of the film, because every glass is different. You know, the ship is more expensive than the camera.

00:55:46
Speaker 2: No, I know, I know, I know that.

00:55:48
Speaker 1: Like if you're gonna gange, let me, let me just gotta get the lenses before anything, you had a dope lens package any camera, So you do lens tests, and what's the process with that? How long does that take? You know that you you coming home and and like for example, if I have the camera head, we're gonna swap out a bunch of different lens and see what the room looks like before, and then you know that's what you're gonna get and that's what you're gonna shoot the movie with. My cameras is good?

00:56:18
Speaker 2: Right? Yeah? All right?

00:56:20
Speaker 1: Cool? Come on, everything.

00:56:28
Speaker 3: You know what's going on to this is always so we're still on a quick fire segment. Jay Z or Nas, that's always a question with quirements with Queens.

00:56:41
Speaker 1: You know you for the Bronx. You can just answer it and be just treat to yourself jay Z and Nas. You know what I put into that is also relationship. I know them, man, is your personal relationships.

00:56:58
Speaker 2: He's from the Bronx, so this is the foot question. He's not from Brooklyn.

00:57:01
Speaker 1: It's okay, d It's so hard, right, every time I think about Noads, I think of like Ether and everything Nads.

00:57:11
Speaker 2: Man, I'm gonna go with Nas.

00:57:12
Speaker 1: I love Jay, but Queens Nods. I feel like Nas is like he's at the I mean they both man, but like Nas is like a secret weapon like that dude just sit there, he like locking, he gonna They wasn't inviting you to the Rock Nation Brothers anyway.

00:57:30
Speaker 2: I wasn't.

00:57:34
Speaker 1: Somebody said to me. Somebody says to me, well, I ain't think you know you that type of person that want to come out to that, And I was like, thanks, Leney, Yes, a question, sement.

00:57:46
Speaker 2: It's a long spend, a long day on set.

00:57:49
Speaker 4: You've been working with all these actors and you know, you know you want to wind down, you're gonna do dark.

00:57:53
Speaker 2: Look up white liquor like swine or like what do you cigar?

00:58:00
Speaker 1: Nah, I don't drink too after I wrap hm, because this what happens that when you're done with the d That's what I mean.

00:58:06
Speaker 2: After after Yeah, I.

00:58:07
Speaker 1: Mean, I'm somebody's trying to put me onto tequila because I'm a vodka dude.

00:58:13
Speaker 2: You know what I mean.

00:58:13
Speaker 1: I drink vodka, but they trying to put me school into tequila. And I had a bad experience in tequila. So that's why I kind of stay away from Nah I should fuck me up.

00:58:21
Speaker 2: I mixed. I mixed them. You can't mix.

00:58:23
Speaker 1: Yeah, I was drinking vodka and then somebody's like, nah, I gotta try this, and then out tripping man.

00:58:28
Speaker 2: I was tripping up.

00:58:30
Speaker 3: I had one of those dream collab dead or alive that you never worked with, Like your dream collab meaning what music, videos, music, whatever, it was live or an actor somebody you thought about working with that you just didn't work with your prior somebody would like to work with.

00:58:50
Speaker 1: You know what I think of the era right, Like I would love to work with somebody like Michael back then, or like I think of like Christopher Walking and King of New York right, like he Matt Old right now, so like in that era, right, or even like Denzel, Like come on, Zel, like.

00:59:08
Speaker 4: We need you, you know, we need you to name at least five of your favorite movies from all times, because you know, I watch a lot of movies. Like I told people they didn't even know there was a Superman three and Richard Pride was in that and that was like his breakaway movie.

00:59:24
Speaker 2: You know what I'm saying, because because Superman was like the biggest thing in the eighties.

00:59:28
Speaker 1: Now, you know, I did some movies that I watched over and over Man too, like like Uncle Buck is another one for me. You know, I watch a lot of sci fi too, Like I'm into sci fi, I Aliens and all that ship. Let me too, come on talking about movies like case I'm a name for example, one of my favorite his choices, one of my.

00:59:53
Speaker 2: No like one of them is, for example, a Rival. You might think it's.

00:59:57
Speaker 1: Boring about about on the Earth.

01:00:02
Speaker 2: Yeah yeah, but you got that you got training day right? Training sound like that New York. I love New York, you.

01:00:10
Speaker 1: Know, what I'm saying, heat another one of course, okay, right, yeah, one of them. I mean the best performances was Malcolm Max Denzel.

01:00:20
Speaker 2: Was that was a classic. Yeah, what else I'm trying to spike He's doing another one with that man.

01:00:30
Speaker 1: You know, it's another movie I love. I could watch over and over and over because I just think, what if that should really happened? Is the Brad Pitt Joint World war Z? Oh yeah, that was a cool one.

01:00:41
Speaker 2: Everywhere like Smith, I like to, Okay, thanks the movie.

01:00:47
Speaker 1: Some of them games, the movies dope, like you know, the Sugar Hills and all that, like back then, right like it's I mean I kind of wish and it's I try to but there's a classic, yeah, in the classic, but but I just kind of wish we could still do some of those, right New Jack City, the you know, I mean, you got the power, you can recreate some of these, but.

01:01:12
Speaker 4: Just that ever, right like Clockers, Your Clockers was about come on New Jersey Drive, like.

01:01:19
Speaker 1: Like you know, just telling our stories, you know what I'm saying, Like you could do the Fantasy Ship or whatever, but of course about telling those stories like because.

01:01:29
Speaker 2: That was I guess for us like that was our era.

01:01:32
Speaker 1: I mean, I don't know, I don't know.

01:01:34
Speaker 2: What do you watch? Do you watch the old old movies like The Mac?

01:01:38
Speaker 4: And like, you know, what was a classic for me that's old, like seventies movie was Bad Boy with Sean Penn when he beat the dude with the soda.

01:01:46
Speaker 2: Bottles back the soda cans?

01:01:48
Speaker 1: Was that in the Bronx too?

01:01:50
Speaker 2: Was No, it wasn't Chicago, That's what that was it?

01:01:53
Speaker 1: Yeah, but like you know, I'll go back and watch the old Ship.

01:01:56
Speaker 2: I know you watched The Mac.

01:01:58
Speaker 1: Yeah, I can't remember, but yeah, Goldie, come on Color America. You like Uncle Buck?

01:02:06
Speaker 4: Though, Uncle Buck is a classic for me, John Candy, I don't remember because about talking about that's the classic I'm talking about over here, bro, So you remember you feel Uncle Buck?

01:02:20
Speaker 1: Man, John Candy, you don't know.

01:02:23
Speaker 2: Yeah, that's what Uncle John Candy? Come on, bro, he was funny. Yeah yeah, I.

01:02:30
Speaker 1: Mean you know, I just for me, I just want to make ship that.

01:02:39
Speaker 2: Is is.

01:02:42
Speaker 1: That we could relate to as the people mean, like like you know, it's funny man. You see these movies, these war movies and ship like that, but you don't never see it from.

01:02:50
Speaker 2: Our perspective, you know what I mean. And that's that's my thing.

01:02:54
Speaker 1: I'm like, I want to do this, so I want to do this, and why can't I have? Every time we see like a military movie or whatever is in special laps and and a bunch of white dudes running.

01:03:04
Speaker 4: The fifties appreciated because I always say, I say, I never knew what about stars. Yeah, not to sound cocky or nothing, but I never knew about stars two fifty started doing everything nowhere. Yeah, So I mean the reaction y'all got from power Power was what eight years, seven year runs ten years right now?

01:03:25
Speaker 1: Yeah, got raised Kanaan out right now killing it.

01:03:29
Speaker 2: Yeah, No, it's gonna keep going.

01:03:30
Speaker 4: It's crazy, man, It's something to me like it's upthing with like classes like the y Suprianos one.

01:03:36
Speaker 1: But that's the thing, right, Like the reason why that works so well because you got a guy like fifty who's gonna tell you nah, like I forgot. There was a scene with somebody jigger syrup they had to cough medicine of the coup and all that and the sprite.

01:03:52
Speaker 2: Yeah, and fifth was the.

01:03:54
Speaker 1: One that told him that's how you do it right. And then like I was we was doing we did be in math. They were trying to figure out how to how to cook coke. And I was like, come on, like we show y'all whatever you I mean, like the war in the pot.

01:04:10
Speaker 2: Yeah, you know what I'm saying.

01:04:11
Speaker 1: So I think that's the thing. A lot of these TV shows that they go off and they try to do these like Gangster or try to tell all stuff. When you see the people that's really behind it, You're like, you don't know our story like that to tell it. Yeah, Tommy Denzel said that he was like what he is he the interview he was talking about like somebody asked him like we have made a movie like Shindles this versus the fact that the movie he was talking about. But he was like, you know, as a black director, whatever he goes. You know, we know what a hot cone was small? Like like you know, and I say that, like you're gonna do something Latin, like you understand like how to rights and beans, how the mom's going to be cooking it? How you mean like all that stuff, Like you lot to understand what that what that is? So you got to hire to write people Sometimes they just you don't have the authenticity that you don't have authentic people. They just they slap ship together and then you're like, oh yeah, they're gonna go out. You don't how many scripts that I got that I'm like.

01:05:11
Speaker 4: This ain't no understand because you've ever seen the documentary I think it's called first One on.

01:05:15
Speaker 2: The Cast called Denzel Washington. A lot of it's great.

01:05:19
Speaker 4: I watched it and and it had like black making good, black actresses and black actors.

01:05:25
Speaker 2: Then that call first one on the cash, number one, number one on the call something like that like that, and it was talking.

01:05:32
Speaker 4: About like Jamie Fox's first time, you know, you know with d jan and old and certain movies, they.

01:05:37
Speaker 2: The first one. That's when you're the priority, like com the property.

01:05:40
Speaker 1: Here, you know, you like she's the priority, right Like it's macay is you know Betina Miller or you know, going back to Ghosts, this is Tariq, Like he's the number one, Like he's he's it's really who's perspective are you watching? And this movie or this show through? Okay, that's the number one of the show. You know what I'm saying. But it takes, I mean, it takes a lot to be that number one. Yeah, that's what that show was about.

01:06:12
Speaker 2: Yeah, so watching that show.

01:06:13
Speaker 4: And the women on the show was saying like sometimes when they Vivoicat was talking about how she was on Independence Day, she didn't like the way her hair looks. She looked crazy picture of hair. But when she's on set of maybe something, Tyler Perry's doing something that you know black people is directing that they got the right people doing their hair and they makeup because these people might not do your hair make up the way these people do. So it was an interesting documentary man.

01:06:38
Speaker 1: Right, it's about the people behind the camera, behind the scenes, hair makeup, wardrobe, like you got to have the right people understand that, you know what I mean, how to comb the hair, how to get it straight. You know, I mean all that stuff make up. You know, same thing with lighting and everything else. It's it's certain way you got to light a dark person, brown skin, whatever. You got to know how to like them. Because I would never use like a green light for like a highlight, because what happens you put green or say you look at the skin look like a zombie, Like the skin look bad, and it's like, yo, you can't use green like you know, or you not even blue like you could like I think there's certain shows that do that. But but reality the dark skin, like when it's brown, you gotta use warm temperature like the yellows and you know what I mean, like the cool warm and it compliments the skins.

01:07:34
Speaker 2: Hear that shooting me? Yeah? Right, like no fucking zombie on learned a lot today, man.

01:07:44
Speaker 3: Telling people what you got coming up next? You got coming up trying to the s down. Brother, I'm gonna let you first of all, got we got the mics clip.

01:07:59
Speaker 1: It's like we're going.

01:08:04
Speaker 2: Everybody, We just you just gotta have a distance, of course.

01:08:09
Speaker 1: But now so so the Cashow movie Killing cash Show. We're going the festival with y'all, look forward to big time. The cast is crazy, like you. Laye was in Bill Street. She was the leading now she was also the Old Guard. She was coming to America. That's right. Then I got the kid from the Blue Beetles Sholo, who was also in uh Copra Kai.

01:08:40
Speaker 2: Right.

01:08:41
Speaker 1: We got man Ron Levingston. You got Jiggle Bonetta like he's a huge Mexican star.

01:08:48
Speaker 2: Bro.

01:08:48
Speaker 1: We got Frankie faz On, Kendrick Sampson.

01:08:51
Speaker 2: From from.

01:08:55
Speaker 1: Man What was that show on HBO the name of the show.

01:08:57
Speaker 3: But you got Kendrick, I heard you her, I heard you mentioned the film because some people think it's easy.

01:09:02
Speaker 1: So look, the film is shot. So now you still got to go down to the festivals. Sometimes you go there with a distributor of they've seen the movie beforehand. They'll buy it and you go there, or you go there to sell it. Okay, So we go to for example, Toronto Film Festival. That's international, so you're gonna get a lot of buyers. So like you get like Amazon, Netflix or whatever, we won't buy it. We won't run international. And then we also want to do the States because it's all about distribution. Distribute the movie.

01:09:27
Speaker 2: You know what's the main question of the show.

01:09:29
Speaker 4: Though, before we close out Murder, we're going to get in something you ain't.

01:09:36
Speaker 2: We all right, here we go.

01:09:38
Speaker 1: So right now I'm working on another film project, okay, and I'm gonna let your I know. But but the story is gonna be the bio pic. Okay, throw back you ready, Kimbo.

01:09:54
Speaker 2: Slice make Murder Kimbo.

01:10:02
Speaker 1: That's gonna be Miami. That's gonna be like m M A U.

01:10:08
Speaker 2: S C.

01:10:11
Speaker 1: People think you're gonna get over that backyard and ship like, yeah, you're gonna see that, but you're gonna really see the journey, like when he punched that one guy I always had that was so you know, originally I had it and then fifth was gonna play that role, and so I'm gonna have to act again.

01:10:27
Speaker 2: You could have well that murder fight both.

01:10:30
Speaker 1: I'm good on that role.

01:10:31
Speaker 2: Get another rock.

01:10:34
Speaker 1: You know it's gonna be It's gonna be a bunch of ship man. So you keep us in mind, You.

01:10:38
Speaker 2: Keep us in.

01:10:43
Speaker 1: Good luck surviving the off season football fans.

01:10:47
Speaker 2: At first, that was afraid. I was petrified football is over.

01:10:52
Speaker 1: It's like a part of me just died inside two hundred. But tonight I won't just cry because I've got a waste to play and that's the place with hard rock bed I we survive. Offered by the Seminal Tribe of Florida.

01:11:07
Speaker 3: Must be twenty one plus and physically president in Florida to wag your Terms of conditions apply.

01:11:10
Speaker 1: If you or someone you know as a family problem, please call one eight three three play wise