Twenty Four Hours discussed on Black Men Can't Jump


In in a way like like the black church van where that's the oh yes the van arguing over his biggie biggie smalls better than is e brothers versa we actually shot that scene it was only day of shooting twenty four hours and it was the last thing we did was seven in the morning and going to the stage i'm thinking like it was going to be a total mess because they're going to be totally grumpy and kyrie's been in in this makeup three and a half hour problem so they came in and killed and you know this two versions of that seeing version of wu tang version where he's playing us uncle playing assam by the sharmila which has a great sample from cream and and he and rail rifts on that it's very funny but they were amazing and that's a perfect example of that and i just nerd out another example that was in forty over showing romney mount hard that is one of the most like the most hilarious of goal time we he he was on the podcast who kevin romney romney good we my god like when they when they butthead i mean it's fun black on just the culture the black rate lag shit is my really heavy and they did it so well on so good it gives me goosebumps it's such a that's exactly that like we're it has that judd appeti rave like improvisational just build or even beyond judd is just like in feeder jill you know like like in a rehearsal you're just you're just building on it and capturing that so yeah there was a little bit of that in in making the movie so james any final thoughts or yeah i just have one question okay what's that and you end charles you talked about how you know black panther and black lightning and those those movies or those those those moving entitled show but those those comic books they were very black right they came out they had to be very black movie black panther right is pan african and like meteor man he's like in the hood right and he's like you know he's trying to save the neighbor handcock signal that's what did you what did you say hey hancock is a that i bring up a lot on the show and they don't talk about his blackness in that james i'll let me tell you what's happening right now the phone is breaking up and it's breaking up because you're talking about handcock okay maybe you're right maybe we don't ask the question literally don't even ask literally our reception is is shutting you down i don't know if you know this james talked about hancock every single episode he wants what's the question yes even give out if we can get it i can answer the question is the question is if you were directing black superhero movie a superhero movie with a black superhero right which direction would you go would you would you lean into the african the black or would you try to dance between both worlds or not mentioned at all why i could say have you all answer it based on everything that i've just expressed y'all about my work in sort of how i see things it's curious to see what what your reaction is i personally think you should direct hancock to they need to make thank you thank you for james at third and and really lead into the fact that he's just this order to who has you prepares but you know he has this alcohol problem he has to get over his alcoholism he has an anger management problem it's just like real banal stuff and then he can take a train and throw it like halfway across the world i think that it would be for me i know we'll be the character will it's like devon in drumline it's like forgot the characters name how they're in mr three thousand or dax in in drew is that he or she the character will pursue his or her dreams and the struggles that come for like it's like the great heroes tail and and that's what it will be and his or her blackness will be part of one's wardrobe figuratively speaking and it will it will sing at times were people notice it and other times it'll be invisible like it'll be just like how it is because again drumline is is in.

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