A new story from Black Men Can't Jump

Automatic TRANSCRIPT

Of of of negro artists were not must be for all were up in arms because she was getting like the macarthur genius grant she got that she was getting all this praise from the quote unquote white power structure the art world and impairs people off the older black folks and great person interviews thelma golden who's curator runs the studio museum in harlem she is she can tell you all about that but again it's that's sort of like the todd sahlins of storytelling within the black community or or therapy that you know we don't wanna talk about you know what i'm saying so it's seen more of that i think is important and charles burnett you know bless his heart man he he was doing that and you know he didn't get the props you know to sleep with anger when when you asked me to think of a film that was one of the things i thought about as well like this talk about banal but yet totally light culturally fertile and even in terms of blacks turn black spirituality like the danny glover character had sort of spirit trickster guy kinda fan you could almost dip into the europe thing but it's like so to me had like flavors of blackness for sure but it was like house in the suburbs right you know what the kid is playing trumpet badly like remember that like in the opening stand thing little kid is playing like trumpet and is really sounds horrible because he's just he's practicing just that gesture law and i was like oh great yeah it's not that shit that you know we got to open up right now yeah so okay we have to i mean i wanna talk about paid in full too but we can't talk about every single i know okay so yeah i know this is this is squeezed by so because i do wanna to drew here i will say this we because you you know with drumline paid in full in even mr three thousand you haven't stuck in one john you've kind of been collected in that in that sense and i guess i was interested to know is that was that like something that you set out to like i just wanna make sure that i'm not beholden to one type of thing or you know how much how much control do you feel like you've had over the types of movies you you get to direct and and do you like being able to direct these these different kinds and it's a really tricky question right complicated question but you said use the word control at one point i i chose to yes i chose the movies that that i end up doing but it's also me being sensitive to the commercial realm of what i'm doing meaning that i'm working with somebody else's money so i had agents and when i did paid in full i was really taken by the story when when when it was expressed to me from damon dash but and i also my thought was if i can do that film in a way that one addresses sort of the banality a little bit in terms of how i shot it cinematography wise but then also the surrey he'll order hyper real element choose that world meeting seeing through the eyes of ace when he's stairs outside of the cleaners and he sees money raining down and stuff i actually wanted a lot more of that of seeing his inner mind what he was thinking i wanted that to be more surreal which connects to my love of fantasy and science fiction and stuff so so i thought okay if i can do that in this movie i'll do it because otherwise because this is right right on the tail of minister society that kind of new jack city yanks film film phenomena which i grew up in a very diverse we'll probably eclectic household with art on the walls different kinds of music so i was i was very much exposed to a variety so i knew my reaction to pay them full was first cautionary of i'm not trying to do another one of those films so that was the agenda there drumline when it was first presented to me is a script it was about a black going to sort of predominantly white school and he's got rhythm fungus up the school times white like get on beat.

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