Episode 474 w/ Jessy Terrero and Ulysses Terrero

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
He is drinks chests, motherfucking podcast. He's a legends every
queens rapper. He ain't agree. That's your boy in eights,
a Miami hip hop pioneer up as d J e
f N.

Speaker 2 (00:22):
Together they drink it up with some of the biggest
players you know me and.

Speaker 3 (00:26):
The most professional unprofessional podcast and your number one source
for drunk drinks.

Speaker 4 (00:32):
Chans for every days New Year's C's It's time for
drink champions.

Speaker 1 (00:37):
Drink up mother, what it could be? Hope?

Speaker 2 (00:44):
He just wanted to be this.

Speaker 1 (00:45):
Your boy and what up is d J e f
N And this.

Speaker 2 (00:48):
Willing type crazy or drink champs here every hour.

Speaker 5 (00:56):
Now.

Speaker 2 (00:56):
When we started this show, we started and we said,
we're gonna give the people play hours, you know, to legends,
to icons, the people who paved the way. Not only
we have not been able to you know, uh, urban directors,
Latino directors.

Speaker 1 (01:10):
It just doesn't it doesn't exist.

Speaker 2 (01:11):
It's a handful that you know, you can count count
on on on on your hand. That's not only dope,
but that's really a part of the culture. When I
tell you these two brothers here they are, I know them.
I feel like I know my whole industry life. They
have been down. They have been sincere They have been
involved with everything quality. I remember at one point, you know,

(01:35):
looking at reggae throne videos and just being me, just
being sade me coming from hip hop and when they.

Speaker 1 (01:41):
Entered that reggae throne culture. Now you look at that
culture now, big more videos.

Speaker 2 (01:48):
Now before they used to holler, I went to film
their videos and they used to be in in the
back of the couple with the count feeding straws. Now
they got real video because these brothers came.

Speaker 1 (02:04):
And they just swiped it. They did what they had
to do. They learned what they did, and.

Speaker 2 (02:09):
Now rigaton is one of the biggest genre of music.

Speaker 1 (02:11):
In the world because of our contributions. I'm taking some
of that too, in case you don't want me talking
about motherfucker.

Speaker 2 (02:23):
I love the humble beginnings of the fact that you know,
your mother gave you.

Speaker 1 (02:27):
Your first camera.

Speaker 2 (02:28):
Yes, he was your Dizel Washington, Yes, and you was
the director.

Speaker 5 (02:32):
He was a Yeah, I was trying to be Denzel too,
that's right.

Speaker 1 (02:39):
So because you was being an actor as well.

Speaker 5 (02:41):
Yes, but you know at that time, and you know
we grew up in Jamaica, Well we grew up in
the South Bronx and then we moved to Jamaica Queens
and at that time, like nobody thought about being an actor.
We were just having fun.

Speaker 1 (02:50):
You know who was famous Latino actors at that time?
Rickie Riccardo, You're going, you're going.

Speaker 4 (03:01):
I mean he revolutionized a lot of stuff in the
industry as a Latino.

Speaker 5 (03:04):
Yeah, but you know, early on, I mean I think
a lot of us at that time looked at Al
Pacino because.

Speaker 1 (03:10):
All the big movies scarfaces.

Speaker 5 (03:13):
Because what I'm saying, he was playing the Latino caters
that we're big in that era.

Speaker 1 (03:18):
Yeah, you had.

Speaker 5 (03:20):
Different different actors coming up at that time, like Jimmy
Smith's and there was a bunch of different guys doing
their thing. Jimmy Smith said, the NYPD Blue Okay, okay,
you know there was a there was a bunch of guys,
but nobody sort of what we had was what we
had New.

Speaker 1 (03:33):
York on the cover. Okay, Yeah, Malia is the partner.
Yeah he's Puerto Rican right.

Speaker 5 (03:39):
Yeah, that was the closest we had like something that
I felt at least that show that felt urban when
we saw Latino characters pop up. But we didn't really
have someone you can hang a movie on at that time.

Speaker 2 (03:51):
I love the fact that two of the most gangster
uh one is a series and one is a movie.
It's like kind of will put your lawnch right Juice,
which is against the movie. You saw Juice and you
switched to your college semester and I saw Juice. I
went to jail difference and Bunch the Sopranos.

Speaker 1 (04:15):
You know, I had.

Speaker 2 (04:17):
Someone told me you was in there, right, but I
had never And every now and then I go back
by Sienfeld and I was just watching the Sopranos, just abranded, like,
oh my god, how the fuck did you get into sopranos?

Speaker 6 (04:28):
Yo?

Speaker 1 (04:29):
You know, he was definitely the typical Latin guy too. Yeah,
you know Cocainet.

Speaker 5 (04:36):
You know, we we at that point we were already
in the industry, right, So when we got into the industry,
doing like internships, my brother interned in casting. I interned
in productions. I was working like the producers, trying to
learn how to make a movie, and he was working
in casting. So as he evolved, he was working. There
was a moment where we were doing a big project
and there was these two casting directors George Ann Walkin

(04:59):
and Shila Jaff Georgia and is Christopher Walkin's.

Speaker 1 (05:01):
Wife, King of New York.

Speaker 5 (05:03):
Yeah, yeah, so they were doing yeah yeah, So they
were doing the big movies in New York. And while
we were working on the project with them, he was
doing extra casting. They were doing principal casting their assistance.
Something happened like they lost their assistant. So my brother
was like, you should go work with them so we
can learn how to do you know, that side of
the business. So then I took that job as the

(05:24):
assistant and I started working with them doing principal casting.

Speaker 1 (05:28):
No, this was another.

Speaker 5 (05:29):
Project, okay, okay, So after this project they were doing
all the big stuff, they started working on the Sopranos.
So I would always you know, we were we were cool,
so I would touch base with them. I was like, yeah,
I love the Sopranos. I was like, sheeling, what season
was this that you was on?

Speaker 1 (05:44):
I don't remember.

Speaker 5 (05:44):
No, it wasn't the first season. Or was it late
in the first No, maybe it was late in the
first They.

Speaker 1 (05:50):
Were already already seen a couple of episodes. I already
saw a couple of episodes.

Speaker 5 (05:54):
It was it was bubbling and I told her, I said, look,
if there's ever an.

Speaker 1 (05:56):
Opportunity, I would love to be part of the show.

Speaker 5 (05:59):
So then she looked told me one day and said, Jesse,
you know there's a character, this Latin character. He comes
back or not, so she told me. So I went
in for the castle. But it was like one line, like.

Speaker 1 (06:09):
Latin dog right, yeah, yeah, he was like one dog.

Speaker 5 (06:13):
Ugner one and basically what before they killed me? I
was supposed to say, like I'll let them know because
the fact the Spanish guys were coming into their area.
So when I went to the audition, it was done
of Spanish dudes and they was taking this ship man serious,
like they weren't even saying hi to me. I was like, yo,
what's up. Everybody's super serious. I was like, I can't
believe they're study this moe. So when I went into

(06:36):
the casting, Shed was the the director. He was like,
this is Jesse or whatever, and I said, look, man,
I don't know how serious these people are taking that outside.
But it's one line, you know, so it's like it's
pretty much gonna be based on how I look and
you know whatever. And he started laughing because we were
joking about how.

Speaker 1 (06:51):
Every serious everybody was, and he was like, you know what,
they came in here too serious. He told I like him,
let's just.

Speaker 5 (06:57):
Go with him because I have a better time with
him on set, and that's how.

Speaker 1 (07:00):
I did it.

Speaker 7 (07:00):
But during the rehearsals, the guy that.

Speaker 5 (07:03):
Places pussy was like, you know what, it'll be better
if I slap him in the face with the tape.

Speaker 1 (07:07):
That's how I would do it. I was like, this
motherfucker just took my life. You're a greed you're green, right, Yeah,
it's good. You don't know, we don't know he's really slapping. Yeah.

Speaker 5 (07:15):
The director was like, that's a good idea. So it
was like, somebody give me some tape. So I was
thinking about, like, I know he's not about to put
in the next seas slap me with the tape, and
then my line became.

Speaker 1 (07:30):
He killed it, but but people still recognize you. Yeah, yeah, yeah.
But it was good to work with them. But it
was cool.

Speaker 5 (07:35):
It was like, it's not as I was a fan
of the show, so it was great. It's iconic to
get killed by them. But you know how, like sometimes
and I work in the film business, you see things
that are like I was getting shot, and you know,
I thought the blood was gonna shoot out the back
of my head. But they just put the makeup ship
out here one take and some dude stitod next to
me with a with a brush and red paint and

(07:55):
he was like gleamed back. I was like, at least
I thought it was gonna dramatic, but it wasn't.

Speaker 2 (08:01):
Okay, So now that's fus forward. How did you go
from was Sopranos first or was Juice first?

Speaker 1 (08:07):
Yeah? Okay, so how did how did we get to Juice?
Because what was it an audition?

Speaker 2 (08:12):
I know you was part of the Rodhams gang, but
how did you guys get there?

Speaker 5 (08:16):
The Juice thing happened because at that time we were
that's when we were making My mother worked nine to five.
My father worked five to one in the morning. So
you know, my father, because he didn't speak the language,
he always had like those Latino kind of jobs that
were like a different hours with super trucks and it
was a super in the Bronx. So he was working

(08:37):
maintenance for CBS and it was a late night shift
and my mother would go nine to five, then he
would he would go to work at four.

Speaker 7 (08:44):
She would get home by six.

Speaker 5 (08:45):
It was like a two hour gap in our house
when nobody was home. So my mother had a camera.
She was like, yo, entertain yourselves. I don't care what
y'all do.

Speaker 1 (08:52):
We were young.

Speaker 5 (08:53):
You just don't go into the street right while until
one of us is here. So we started making movies.

Speaker 1 (08:58):
Like Nightmare on l Street.

Speaker 5 (09:00):
Yeah, we started making on them. Every day was Super
on the Street, like he was a s everything. Every
time we had a new concept, he was like, yeah,
you on them.

Speaker 1 (09:08):
Super. You was like, I'm not gonna get my.

Speaker 5 (09:12):
I never got it, So I had to learn how
to direct. So as we were doing that, we we
learned the skill for for like just having fun making movies.
And then we got tired of making movies and video
music Box used to come up all the time, so
we used to watch Video Music Box and we were like,
oh shit, let's do the redo the E P m
D video, Let's do the J videos.

Speaker 1 (09:34):
So we would do it.

Speaker 2 (09:35):
Remember it, Yeah, with us playing E P and D
like spoof like like not spoof like it.

Speaker 1 (09:41):
Was trying to be cool in games at the same time.

Speaker 5 (09:44):
So we would redo these things and one day watching
video music box commercial came on for Juice. They were
looking for people for this movie. We didn't know what
it was. It was like an extra and open casting,
like an open can used to do that back in
the Spike. He would do it and open it up
to like young black kids because there was none in
the Union. So they were like, they're looking for black

(10:06):
and Latino kids a certain age. So I saw it.
So we were like, yo, it's probably get me mad
chicks there, you know what I mean. So we were like, yo,
let's go. So so Julie, I don't think he went
because you know, he was like whatever. So I ended
up going. And when I got there, it was like
a truckload of people. They would bring you in like
fifty people at a time, and then they would give
you a speech and say thank you very much to
take a picture in your gun.

Speaker 7 (10:27):
So when they were kicking.

Speaker 5 (10:28):
Me out, I was like, damn, like you know, something
inside me say yo, this could be a real opportunity.
So I told the person in the front, no, just
in my and our living we were terrible that okay, yeah, okay,
So I told somebody. I was like, yo, I think
I lost my keys in there. So they let me
in before they brought in the next fifty. So when
I went in there, I didn't lose my keys.

Speaker 1 (10:48):
It was alive.

Speaker 5 (10:49):
But I wanted to try to talk to somebody in there,
so I went in and the casting director Wins some
Sinclair rest in peace because Wins passed away. She was
one of the prominent figures at that time in casting
to Spike Lee's movies, a lot of the movies, and
she was doing the casting for Juicing. So I spoke
to her and she told me like she was like, yo,
I like you look blah blah blah. And then she
was like, we didn't have a lot of Latinos coming,

(11:11):
so we were wanting to create this Latino gang. So
she's like, I would love for you to come meet
the director. So that initiative got her to call me.
And when I told you, he was like, oh, I'm
going with you.

Speaker 1 (11:24):
I was like, they like you. They gonna like you
know what I'm saying, Yeah, that's fine.

Speaker 5 (11:28):
And you really had a pimple, you a bandit on
the nose.

Speaker 1 (11:32):
And the director of who I like the guy with
the band.

Speaker 5 (11:36):
What happened was ahead of people. So one of the
band DAIDs.

Speaker 8 (11:39):
When we got cast and I showed him to set
without the bandid director was like, and the reason why
they going into castling because a year before that was
at the moment and lady was like, oh shitty, are
you a superstar? I was like me like yeah, I
was like, man, I really you sure? I was like, nah,

(11:59):
you got to be kidding me. You know, here's my car,
come mean.

Speaker 1 (12:02):
Me tomorrow, right, So I won't meet this lady. They
won't meet I go, I go meet these people.

Speaker 8 (12:09):
And long story short, they were like, oh my god,
we're gonna make your superstar.

Speaker 1 (12:12):
Where's your headshot? I was like, headshot? What's that?

Speaker 2 (12:15):
You know?

Speaker 1 (12:15):
The way we got you come Saturday.

Speaker 8 (12:17):
Pive your credit card, we got you covered, bring your
credit two hundred dollars.

Speaker 1 (12:22):
I still got the picture. I got these terrible.

Speaker 9 (12:26):
They suckered men, and.

Speaker 1 (12:31):
They suckered me.

Speaker 8 (12:33):
That was the so then when they it was just like,
you know, it's an open court front tastic, I.

Speaker 1 (12:41):
Say, But they was like this ship was real.

Speaker 8 (12:44):
There was a lot of people there, cameras got.

Speaker 1 (12:47):
This with the with therect.

Speaker 8 (12:49):
I was like, I'm coming, like you're gonna like me
back in the days they could have tell some part.
I mean to this day, I say a story later
about how they can't tell some part and sometimes they
get computed.

Speaker 1 (13:03):
But so let me ask you. You know, I love
these episodes because.

Speaker 2 (13:10):
Very seldomly we get to speak to people that's behind
the cameras. Right, So many people in our culture their
their objective is to be in front of the camera.
Where there's so many people making more money that's behind
the camera. There's so many people that's making more money
that's not in front of the camera.

Speaker 1 (13:23):
There's so many other jobs that exist.

Speaker 2 (13:25):
So I would like for you to start down with
what exactly is casting, right, Like, like if a person
wants your job, right, what would they have to start doing?

Speaker 1 (13:35):
Because casting, I.

Speaker 8 (13:37):
Mean, you know, I don't know what anyone needs to
be a casting director. What happened to me was, I said,
we started casting. We did Juice, that was our first movie.
Then Trench happened to be one of the roddam Minn's
crew guys. So they did the opp video through us
and that and that, and then it's like, you know,
we had little jobs here and there. But like you said,
it was like you know, Latino, Doug One, you know

(14:00):
Raper two, Like you know, it's just.

Speaker 10 (14:02):
Like I still have my resume one.

Speaker 1 (14:10):
That's it.

Speaker 5 (14:13):
You know, you don't have you know, you didn't have
names said you would literally have like a name like that,
like four fucking Stug three. That guy was there's this
actor named Noel g.

Speaker 1 (14:39):
So that was it.

Speaker 8 (14:39):
But he was he was he was a star, so
he was getting he was a one, two, three four whatever.

Speaker 1 (14:44):
But what was the question? Yeah, so anyway, so so
that was it. That was it. So at some point
were like, is that it? You know?

Speaker 8 (14:54):
So so you know, I was complaining in the morning.
My father was like, you can't get mad. You got
you gotta learn, learn how to do it and fix
it because they don't know they know what Latinos looked
like because at that point it was only Mexican because
all the movies done with was in La So it's
very Mexican driven blood and blood out of American met
so that was kind of the vibe.

Speaker 1 (15:12):
So it's like, who's going to change that.

Speaker 8 (15:15):
So when I came to the cast and like, yo,
that was really good man, but could be more Latino,
I'm like, I'm I saw a white lady with me,
you know, like ol the leg.

Speaker 1 (15:24):
I'm like this. It takes place in the Bronx.

Speaker 8 (15:33):
So anyway, So then I used to always say if
I was a casting director, I would change I was
a cast director. And then me and Jesse we were
involved with Darnel Martin, who did I like it like that?
And when she was developing that, she had us do
a readings.

Speaker 1 (15:47):
Like you know, because that was like a Latino movie somewhat.

Speaker 8 (15:50):
Right, Yeah, that was that was a big attempt at
doing that.

Speaker 1 (15:55):
So so anyway, so.

Speaker 8 (15:57):
We were involved in that, you know, with the readings
and all that stuff up.

Speaker 1 (16:00):
And then me and Jesse we used to be.

Speaker 8 (16:03):
Rappers, right to hear that part, that part we used
to we used to be rappers back in there.

Speaker 1 (16:09):
So we went what was the name of your group?

Speaker 5 (16:11):
Probable cause big just fly, probable cause the probable cause
you know, you know a lot of times when cops
put you over because they got probably.

Speaker 1 (16:24):
I was like a popular term, the big Jester fly.

Speaker 8 (16:28):
Anyway, anyway, you would chase your voice right there, I'm
gonna fly anyway. So long story short, when the movie
got picked up, we were in Canada, so the beepers
didn't work out there, so they tried to beepers and
they couldn't get it, so we missed the opportunity. It
was acted like this, we missed the opportunity, and we
came back and we'll call you for this movie blah

(16:49):
blah blah. So that since we knew the whole team,
they were like, you know what, you used to always
talk ship. If you was a CASM director, you would
do something. Won't you do an internship on this to
learn the process. So that's kind of how I got involved.

Speaker 5 (17:02):
So one thing I would say is do an internship.

Speaker 8 (17:05):
A lot of the positions and entertainment business, you know,
actually do an internship, work for.

Speaker 1 (17:09):
Free, so learn the process. That's what I did.

Speaker 5 (17:11):
I worked for free on on. I like it.

Speaker 1 (17:14):
Like that. There was a Latino filming back then. There
was nobody in the game.

Speaker 8 (17:17):
So my boss at the time, a loan of jermals,
is like, oh shit, how we were casting movie?

Speaker 1 (17:21):
We don't have anybody here, Like, what do you need
to on? Fifty Latinos? Got it yo yo yo?

Speaker 8 (17:25):
So I will you know, had access to it. So
then she was like, wow, this guy's an asset. You
got access see Latinos in African Americans and it didn't
exists in the Union or the agencies back then like this.
When she hired me, then we did New Jersey Drive
above the Rims sous Bog, you know, and we did
a lot of the urban joints.

Speaker 5 (17:43):
You know what I'm saying.

Speaker 2 (17:43):
So, so basically, a person writes the script, they get
their main characters, right, yeah, and then they come to
you and they have you cast the rest of the characters.

Speaker 1 (17:53):
Yeah.

Speaker 5 (17:53):
Well there's two levels of casting. Principal casting, which would
be the stars and all the speaking roles in this
extra cast. Like sometimes you're just casting like the background.

Speaker 1 (18:02):
Cats that don't spak number one man number.

Speaker 5 (18:05):
One, the guy that gets seen but he you know, he.

Speaker 1 (18:07):
Doesn't have no lines and raight for three Yeah.

Speaker 5 (18:10):
Basic raw, it's a financial thing. It's a financial thing.
Once they open their mouth. If it's a Union movie,
they got to get paid X amount of dollars. They
don't speak the xt amount of dollars.

Speaker 1 (18:20):
Wow.

Speaker 5 (18:20):
So like let's say if I was here and I
was like podcasting too, but I didn't speak and the
scene was just him. I would be here and every
once in a while I would laugh and do ship,
but they would put somebody else's voice in my voice.

Speaker 1 (18:33):
How to pay you?

Speaker 2 (18:36):
So what he teach us, because it's it's it's.

Speaker 1 (18:40):
You all know. He said that there's a there's a
work around the union. Fortunately I forgot the term he
used court. Yeah that's core. Yeah yeah, yeah.

Speaker 8 (18:50):
Yeah, So that doesn't really exist though. Something happened years
ago where where urban where you can work for.

Speaker 1 (18:56):
Union and union. Yeah. Yeah, that's so.

Speaker 8 (18:59):
It was like a you know, a long time ago
where they were like, it's not fair. There's not enough
roads for us in the big space.

Speaker 1 (19:04):
So we're dying right now. So we had to be able.
So they created thing called five corps.

Speaker 8 (19:09):
But if you call the union, they tell you five
cord it doesn't exist.

Speaker 1 (19:13):
But people do it.

Speaker 5 (19:14):
So I don't know how real it is.

Speaker 1 (19:16):
I mean he swore by it. I get it, and
I used I use your union people in nine of
your movies.

Speaker 8 (19:21):
All the time that five cord in there on their picture.

Speaker 1 (19:24):
But you call the union thing that does not exist.

Speaker 5 (19:27):
So the problem is when you go wait, when you
go back to that era of like the Juice era,
that was like the explosion of all the black films, Jews, men's,
the society boys in the hood, all these urban movies
were being done.

Speaker 1 (19:38):
Were they considered indie at the time those films or no.

Speaker 7 (19:40):
There was studio finance. It was studio finance.

Speaker 5 (19:42):
But you know, like Friday, those movies are still no budget.
Friday was like hilf a million dollars six hundred thousand.
It might have been a budget that had like two
three million, but that was the music, that was other
stuff that was costs on top. So so that was
like the explosion when you saw like Hollywood say, you
know what, hip hop was getting so big. They needed
things simrrored to the culture. So they started making these
movies that were like.

Speaker 1 (20:03):
Geared with urban people.

Speaker 5 (20:04):
And then when they started casting those movies, they weren't
enough people in the Union, so they were like, you know,
there's no black extras in the Union, there's no Latino
extras in the Union. So when people were trying to
do authentic projects, they couldn't find the people. That's where
casting directors like my brothers started to grow because they
had the access and the authenticity to say.

Speaker 7 (20:23):
You know what, I know people.

Speaker 5 (20:25):
When people were making music videos, Dan Martell, you know
recipe exactly, Dane. That's how he started working with Dane
because the Anne like the raw videos and she didn't
find those kind of casting.

Speaker 2 (20:36):
And she just started working with Diane Martel because you
WoT money power respect.

Speaker 5 (20:41):
Yeah, but we were working with her before because he
started working.

Speaker 1 (20:44):
With the casting.

Speaker 5 (20:44):
That's how I meant everything. Yeah, yeah, yeah, no, Diane
you know best way recently too. Yeah, she's you know,
she was sort of my first mentor in the in
the in the music video.

Speaker 7 (20:57):
Space, and he was working with cast.

Speaker 5 (21:00):
I mean, you know, Dane's videos were rass, like I
was a crackhead and then he'll bring somebody. He was like,
I don was an actor crack and I was a
real crackhead, Like I want you to go.

Speaker 1 (21:09):
Performing for the fire and I was like, not fake fire.
I was. I did Like, I was like, I don't
want you, don't want to take ship? Like no, keep it?

Speaker 3 (21:20):
Yeah.

Speaker 1 (21:20):
I was sweat and everything.

Speaker 5 (21:22):
So she was you're super raw. So what happened was
that somewhere along the lines there was a moment where
I was like around her and people that worked with her,
and she had an assistant at that time where I
found out that they were writers and music videos. I
didn't know that like that there were other people that

(21:42):
wrote concepts right for directors.

Speaker 1 (21:45):
Like the Treatment, so you could write the contract with them.

Speaker 5 (21:49):
So so one time I was like, oh, ship, there's
like people involved. So like one time we were somewhere
and she was on the phone and I think it
might have been puffed and she like the treatment, like
the treatment.

Speaker 1 (21:59):
That's you know, it was like Diane, it was hype.

Speaker 5 (22:02):
It was like all the big directors well for those
kind of jobs, Like I wasn't directed, and you know,
like I even hustled this.

Speaker 7 (22:09):
So I heard like the convoy a little bit.

Speaker 5 (22:11):
So I tried to jump in and I was like,
you know, I think I like she was hard course,
and she was like what fuck you know, fuck you
know you're so small. Don't you write this ship? And
I was like, uh, you know, I saw I wrote
the concept. So she submitted it and then she got
the video. So the production company she was signed to,
she's like, oh, maybe the Dominican kid knows something. And

(22:32):
then after she did money Power respect, I started getting
music right, like yeah, herself, the production color which I
just signed, we started sending me music. So then I
saw write this concept. Yeah, and you know, I would
talk to her first, so she wasn't like just letting
me work right blind, and she was like, study this movie,
study this movie, look at these scenes in this movie.
She would give me references. I would look at the movie,

(22:53):
come up with a concept. She might hate fifty percent
of it. I rewrite it. And then she was big.
Then when I started to work with Dance, she was
already here. So you know, everything we was doing was
like big ship Wu Tang Mariah. It was like all
big Christina Agro. It was all big stuff. And then
at some point I got approached by some reps and

(23:15):
they were like, yo, we just signed this kid out
of Baltimore named Chris Robinson exactly, and that sort of
got me in the world with Chris, and I started
writing with him, but he was at a different stage
because Chris was on the come up, which sometimes people
feel the impact more in the come up, not on
the top. So with Chris, when I started working with him,
Chris didn't let me write solo.

Speaker 1 (23:36):
So they would fly together and we were sitting there we.

Speaker 7 (23:40):
Would rock out a bunch of treatments.

Speaker 5 (23:41):
And then Chris's career started going and I was like
part of that wave. And then Ultimately, Chris signed me
and the rest is history, you know, right.

Speaker 2 (23:50):
So, by the way, this face a noise that so
I'm bounce around a little bit.

Speaker 5 (23:58):
Yeah yeah, So you know Lena with I know who
she is.

Speaker 2 (24:04):
Well, she has the Syrians called the shot right yes
on the showtime. I absolutely love it. I absolutely I
hate giving any critique to anybody, especially people I love.
But I had to tell her one day. I said,
it's one thing about the shot that I just can't

(24:25):
get with. I said, you showed, you know, the streets,
you showed the police, show, the political thing, you showed everything.

Speaker 1 (24:34):
The one thing that I didn't see in the shot
that bothers me.

Speaker 2 (24:40):
There's no Latino, especially Chicago, Like I'm like from Puerto Rican.

Speaker 1 (24:45):
First off, a Puerto Rican should have.

Speaker 2 (24:46):
Been there, Like I'm sorry, I'm sorry. You look at
so many Mexicans in Chicago and I'm like, you know
this is my homegirl too. By the way, So I
just was my only critique other than that, I I
believe that series is like it's up there. I believe
that inventially it would be a labeled a classic.

Speaker 1 (25:06):
But my only thing is there's no Latinos.

Speaker 5 (25:10):
And that's always been the tough struggles that like we
never had a unified voice in Hollywood. You know, the
African Americans got unified and was like, Yo, we don't
see ourselves winning Oscars, we don't see ourselves doing this,
We don't see ourselves at the awartions. We don't see
enough in Hollywood answered, But with us, they have never answered,
you know, like for us to make up you know,

(25:31):
twenty percent of the population. You know, we're one in
five people, but we're one in twenty on the acting side,
you know, in terms of roles like and the writers, directors,
it's like we're minuscule, and Hollywood has never opened the
doors to say, hey, it's on their mandates, Like we're
supposed to make Latino projects because the Latino movement is there,
but they don't really make them, you know. And if

(25:52):
I was like a director, i was complaining and then
I'm out here on your show. But then you can
point out to six directors that got mad, the Latino wire.

Speaker 1 (25:59):
Got Latina power, but it ain't there. It don't exist.

Speaker 2 (26:03):
But I'm gonna give you all your props because again,
I just want to say.

Speaker 8 (26:11):
One thing, and the reason behind that is because we
don't support like the Mexican's rule because the Mexicans support Mexicans.
There's a Puerto Rican film or Dominican film or Columbian film,
you don't support the Latinos all got together and support
great content.

Speaker 1 (26:26):
Then then there's too much infighting within and that's the problem,
so much hate against each other.

Speaker 8 (26:30):
But it's like if the if the studios saw hints
after hints after hits, it's a no brainer. That's why
right now we're putting all our ships and so I'm
just I'm sure you heard about it. We're doing the
Fat Joe series next year.

Speaker 1 (26:45):
Oh ship, you know that?

Speaker 2 (26:53):
No, like like some more time because you get me,
you got got goosebumps. Okay, because I'm gonna be honest
with you. When y'all just said the wire, the closest
thing that I saw that I compared like a Latin
wire was the Nikki Jam Shit Like that ship is
so good, yo, Like I watched that.

Speaker 1 (27:13):
It's like three tired. I don't even know how I
know was bothering you. I called you mad. I was like, yo,
I was asking questions.

Speaker 2 (27:18):
I was like because it was just so like God
blessed me. I heard it young brother, not not. I
don't credit Nikki Jam, obviously, I credit Nigga Jam is
his story. But what I'm saying is what made me
fall in love with it was the cinem photography. You
know what I'm saying. That's how it was shot because
you can just shoot anywhere. But like it's fucked up
for me because I've been in this game twenty five years,

(27:40):
so I could tell I know where you put on
the camera at. I know where that dude right there.
He didn't belong in the film. He was walking his door,
but you know it look good. So they kept feeling
like I can see that, you know what I mean.
So when I'm watching it, like I went through the
whole thing, this is how good the series is. I
watch it three times, let's fit it goss. I kept

(28:00):
going and I kept I was like I missed something right,
and I kept this is how good this series is.

Speaker 1 (28:06):
You know, Nikki Jam makes it out of it.

Speaker 2 (28:09):
You know that he becomes successful, but as you watch
it you go through it you like you're hoping, hoping yesterday.
But that's how good the series was. Like you know
like in real life, you know he's okay. But watching
the series, you're like so into it. You're like, man,
what does he do next?

Speaker 1 (28:30):
Like what is it? Like? How? How? How? How?

Speaker 2 (28:34):
How was that first off? How did he even get
How did you all get even approach to do this project?
Was it Netflix? Or wasn't Nikki James?

Speaker 5 (28:41):
Uh? What really happened was that for years, as when
I pivoted from hip hop videos to start doing reggae
tho videos, I was looking at what happened in hip
hop and what happened that Regato seeing if I can
repeat right, So, like we said, when that era of

(29:02):
hip hop was so big, Jews learning his boys in hood,
there was a moment where like all these TV shows
were coming out. So I was like, okay, get thought
was about to be America's new hip hop. So if
I follow the same trend, that means we need the
same movies, we need the same content.

Speaker 7 (29:18):
But I couldn't get anything sold.

Speaker 1 (29:20):
I was trying. I was trying. I was trying. I
was trying.

Speaker 5 (29:22):
I couldn't get everything sold. So even at that time
Daddy Yankee had signed to in the scope.

Speaker 1 (29:27):
He was at first Yeah yeah, three three inch was
the one that got me working with Daddy Yankee.

Speaker 7 (29:36):
So when Daddy Yankee came and signed the Gangsters.

Speaker 1 (29:41):
With snow Dogg in Puerto rican Yes, we're.

Speaker 5 (29:44):
Three h right, come on yeah yeah yeah yeah. So
so he brought me into that fold. So it's like
when Yankee had did a movie called Talento Barrio, right.

Speaker 7 (29:55):
That was his movie. So they did eight Mile, right, they.

Speaker 5 (29:58):
Did Get Rich of I Try and and then they
were gonna do Talento, then Bodia, and they were trying
to figure out something with that movie, but they just
never got behind it the same.

Speaker 1 (30:07):
And it never came out. He came out. It was
the top grossing movie in Puerto Rico at that time. Okay,
I mean it was a huge hit.

Speaker 5 (30:14):
Okay, so there was a so to me, it's like
when and this is a story that that I'm not.

Speaker 1 (30:20):
Sure it is true, but it helped me get Nikki Jay. Okay.

Speaker 5 (30:25):
Right at the time I did Wangston fifty right, And
what happened with Wangster was that I was already working
the enniscope. So dj who was Jimmy's nephew that worked
the enniscope when fifty got signed. You know, I'm from Jamaica, Queens,
so he was on fire in Jamaica Queens. So when
he got signed, I told I told DJ, I said, yo,

(30:45):
I think I was doing styles P or something, and
I was like, yo, I want to I want to
work on the fifty project. It was a guy's coming
down the line. I said, y'all, I want to work
on the fifty project.

Speaker 1 (30:53):
So he kept his words.

Speaker 5 (30:54):
So when the fifty project came out, he he reached
out to me to write on Wangston. And when he
reached out for me to write on Wangster, all the
big directors, because the budget was lowered, didn't jump in.
So I had like an opportunity to do Wangster.

Speaker 1 (31:10):
Right, so it was right on it. But actually director.

Speaker 5 (31:13):
Direct the video right, So so I you know, because
at that time I was directing video, so I got
to do that.

Speaker 7 (31:18):
So I did Wangster. A lot of people don't.

Speaker 5 (31:21):
Know that doctor Dre is a director too. No, doctor
Dre's a director in videos, okay, right him and he
had a partner fill out Well you know guys, yeah,
you know, I love Phil and Dre. So Wangster was
like the low budget video. It was the warm one
because fifty had that song out for a while. So
I did Wangster. Then twenty one questions came, No in

(31:43):
the club came and Dre was like, oh I got
this one because was like five times. And then the
next one was twenty one questions. He was like, sit
this without my friend Phil got this here, don't catch
the big And when the budgets came back down on
a little bit, they reached out to me again and
they said, we got.

Speaker 1 (32:03):
This other record menument that's the movie style you did.

Speaker 5 (32:08):
Yeah.

Speaker 2 (32:08):
So then when take the intro to get Richard trying,
I'm sorry, I'm doing your interview for you.

Speaker 1 (32:13):
I'm sorry.

Speaker 7 (32:20):
Yeah. So when when.

Speaker 5 (32:24):
I spoke to fifty about get rich and I trying,
I mean maybe man, he was like.

Speaker 1 (32:30):
Oh, that's fifty making sure he's saying something good about him.

Speaker 5 (32:36):
So so anyway, so I ended up writing a concept
that was like loosely telling his story how he got shot,
how other casts kind of came up his shooting where
they involved blah blah blah. And I wrote this thing,
and at that time I had relationships with a lot
of actors, So I hacked this from YPD Blue people
from Cside Miami, and I really cast my Kai Fifer.
We really cast This was like a little short film

(32:59):
and this is where it's So someone told me that
they took that to Paramount and said, hey, this is
the next movie. Get Richard. I trying.

Speaker 7 (33:07):
But the thing was is that they didn't see any.

Speaker 5 (33:09):
Directors of color at that time, right, So like there
was nobody on the list of the directors that they
went on. And I'm not knocking the director that did it,
but he was a director that did a movie called
My Left Foot that was a huge movie, was nominated
for an Oscar. So they felt like, you know, marrying
like urban with an art director, yes, but you know

(33:30):
with them. And then they went with a really artie
director for eight miles. So they were like, you know what,
maybe that's the move. But I would have assumed if
I never thought it was going to be me, but
I would have assumed there was John singletony f Gary Greg,
guys that were like in that moment, happy a moment
when someone told me that they showed that there was
to sell the movie. That's what they told me, don't

(33:50):
I wasn't there, so that's why I said, But that
always stuck in my mind. So for years I was
trying to figure out a story where we see Ndell
figure out a story with this person trying to sell stories.
But I couldn't tell a story. And I was doing
the video with Nikki jam and I asked him. There
was like a gap where Nikki was hot and they disappeared,
and then he was hot again, and I was like,
what happened? He was telling me about the drugs and

(34:11):
this and that, and I was like, I didn't even
know none of that story.

Speaker 7 (34:14):
And I was like, wow, that story is amazing.

Speaker 5 (34:16):
And he had a song called Ganda Door that was
similar to many Men. So I said, you know what, Nikki,
let's shoot a music video with that Ganador. I'm gonna
put you in the in the suit, put the hair
back on you. I'm gonna do this ship. We're gonna
shoot it like I did many man. I feel like
I'm having deja vu. I lived this morning and we're
gonna take that to the studios. And I shot the video,

(34:36):
sat with the Netflix exexpress Play pitched him the show,
and that's how I sold it. Evon Diesel was in there.
Oh Diesel the cameo.

Speaker 1 (34:49):
No, but that series? So how true to that series?
Is it?

Speaker 5 (34:54):
Like?

Speaker 1 (34:55):
Because one thing that I didn't know this whole time,
is that you write.

Speaker 2 (35:00):
I always thought you just directed, and I always thought
you just cast it. I had no idea that you
guys were actually writing.

Speaker 5 (35:06):
The show was sold with my vision. What happens in
television is that you build a writer's room. Okay, So
I had people a writer in Puerto Rico, ne Marii
that was an incredible writer. And Netflix had wanted a
showrunner with experience, and they brought a.

Speaker 7 (35:24):
Mexican show running.

Speaker 5 (35:25):
Now.

Speaker 1 (35:25):
Showrunner for people that don't know, can you break that down?

Speaker 5 (35:27):
Yeah, showrunner is typically a writer who has experienced in
television that can run the entire show right where he
can see the vision. Because usually television shows are done
with a writer's room where there's like six writers. There's
one person that controls the vision of what the show
could be. He's the one that can track the story
and tell you, you know what, we could do five seasons.

Speaker 1 (35:49):
We could do four seasons because.

Speaker 5 (35:50):
When you saw the TV show, they asked you for
what's called the bible, and then that TV Bible it
tells you what five seasons look like. Okay, and everything
budget but just like story because like a lot of
people don't want to buy a show that's going to
die in one season, so you need to show them
whether they make the five seasons. Typically you're dealing televisions
for five seasons. Yeah, so so the show runner can

(36:13):
help shape that and control so like it's just not
random stories that don't make sense. He's seen a bigger vision, right.
So Netflix was like, we need a guy that can
show run the show. You know, like I was considered
a non writing show runner. They were buying into my vision,
but they were like, we need somebody with experience on
the writing side. So I brought this writer from Puerto
Rico and they were like, he doesn't have experience, and

(36:35):
I was like, nobody's.

Speaker 1 (36:37):
Born with experience.

Speaker 5 (36:40):
You get somebody the chance and they fucking prove themself.
But they weren't going for that. So they wanted this
writer in Mexico named Jorge Dudante. But Jorge had a
vision too, So I went to Mexico. I told the
right idea, said let's go to Mexico. And then Jorge
he had a vision, he understood and he gave us

(37:00):
a respect to say, you know why, I know this
is your show.

Speaker 7 (37:02):
I know you got a specific vision.

Speaker 1 (37:04):
But he helped us crafted that's why you see created
by me and him. Okay, and then we designed the
show and then one week in Coach in Mexican Coaches
is not the same. People don't know that I shot
the show in Mexico. I did not know that no
I lived in Mexico seven months.

Speaker 5 (37:20):
I shot out Nika Jam.

Speaker 1 (37:22):
I only went to week for two weeks. How about
how about how about the.

Speaker 5 (37:28):
People went to Columbia. We went to Columbia for about
a month. We shot all the Boston scenes, Lawrence, and
in Mexico City.

Speaker 2 (37:36):
You said, the Boston scenes in Mexico to fuck up,
it's crazy.

Speaker 1 (37:39):
Then you got me yea. And then we came to
New York for a week. Wow, So is that saving
the budget?

Speaker 5 (37:46):
Because a production company I did to deal with, they
were they had a great relationships in Mexico. They were
in Mexico, they had studios in Mexico, and financially, you know,
you gotta know what people don't understand is that, like
you look at Netflix today and it's Netflix. Right at
that time, Netflix hasn't didn't break into Latin America, right,
so they were the Netflix that they are today. So Tessaranas,

(38:09):
when we were shooting prepping Nikki jam. He had a
huge party in Mexico to announce that they were bringing
all this content to Mexico.

Speaker 1 (38:17):
Wow.

Speaker 5 (38:17):
The only thing outside of content they were just buying.
They did the Luise Miguel story, right, So, I don't
know if you know Louis Miguel is a huge iconic
Mexican singer, but they did his story.

Speaker 7 (38:32):
So when I went to.

Speaker 5 (38:32):
Netflix, they were like, look, the way we're doing these
deals is that Netflix takes the rest of the world
and we need somebody else to take the US. So
they wanted me to make a deal with Telemundo because
they were in my mind, I was like, I don't
know if I want to do a deal with Telemundo
because you know, no knock to Telemunda, but I.

Speaker 1 (38:48):
Felt like this wasn't the right show for that.

Speaker 2 (38:50):
Wait, Netflix wanted you to deal a separate deal with Telemuno.
I'm not understand. So Telemundo will have.

Speaker 1 (38:54):
A some of the broadcast he rights in the US.

Speaker 5 (38:56):
Yes. So, so basically the way they wanted to design
it was that Telemundo we're released first in the US. Right. Well,
people don't understand when you do a deal with Amazon Netflix,
they only could buy one territory sometimes, so you do
a deal with Netflix, they would only buy the US
if you if you had a meeting in the US.
That doesn't mean it'll be on Netflix in the entire world.

(39:16):
You could block out the rest of the world. You
can say, yo, you're not giving me enough money. I'm
only giving you US rights, and then you go to
Amazon and.

Speaker 1 (39:22):
Sell the rest of the world. So genius.

Speaker 5 (39:27):
A lot of people don't know that, So sometimes don't
make the deal like Netflix and they give them the
world and they don't have to you know what I mean,
because they can they can block out.

Speaker 2 (39:34):
So Netflix was like the actually say Netflix, I'm making
a deal with you for for said said cup, and
but this set cup.

Speaker 1 (39:42):
Can only be on the East coast for instence, right.

Speaker 2 (39:44):
And then Netflix says, yes, so you can sell this
whole other cup on the West coast and it's and
it's no conflict.

Speaker 1 (39:50):
Like places like cam Finfields. So they do a lot
of those deals like that. Yes.

Speaker 7 (39:54):
So so the thing is when you go to car and.

Speaker 5 (39:56):
Those are sale markets, right, so they sell they sell
foreign so and they come to buy they're saying, you know, France,
Italy everybody's biddy, So everybody has their own version of
some channels. So you can be on Hulu here, you
can be on Amazon here, you can be on Apple here.
You don't have to be in one platform across the world.
So at that moment, Netflix, in the conversations I had,

(40:19):
they didn't have the power in the US with latinos,
so they were like, hey, can you make the same
deal Luise Miguel made where Telemundo takes the US first,
So in the first six months it lives on Telemundo
and then Netflix will play it in the rest of
the world six months after that they would come back
into the US because they felt like Telemundo had ten

(40:39):
million homes that they pumped content to latinos, they can pump.

Speaker 1 (40:43):
It like introducing it now.

Speaker 5 (40:44):
I wasn't sure that was the right deal.

Speaker 2 (40:47):
And would have commercials right, it wouldn't wait a little
bit different, it won't have no curses.

Speaker 5 (40:55):
But you know, I mean, that's a big story. If
you want to hear it, it's a good one. That's
a tough one because what happened is that sometimes people
make a generic deal. When I say a generic deal,
is that Luis Miguel is like a.

Speaker 7 (41:13):
Iconic pop star.

Speaker 5 (41:15):
Right, he dated Mariah Carry like he was in that
was out there. He was out there, but you know
he's like he's singing love songs. He's you know, he's
an iconic figure and he's Mexican.

Speaker 1 (41:26):
Non Doug.

Speaker 5 (41:28):
Yeah. Right. So they say, because it's another Latino project,
similar music artists, music artists, they say, hey, do the
same deal.

Speaker 1 (41:37):
Yea.

Speaker 5 (41:38):
So my partner is Alejandro Rinco, you know, Sergio piece Olante.
They were like, okay, we can make a deal with Netflix.

Speaker 1 (41:46):
So when I mean with Telemundo.

Speaker 5 (41:48):
When Netflix told us they wanted us to make this,
they were like, we'll put up half the money. Can
you go get a deal with Telemundo? Sergio Alejandro was like, oh,
we can make that deal.

Speaker 1 (41:56):
Happen.

Speaker 5 (41:56):
My partner's on the show. And they made the deal
happen like that. So to Mexico and there was all
of a sudden we had this deal with Telemunda. I
was like, Okay, these guys is moving this stuff. We
started in production and I started working in Mexico. I
didn't see any Puerto Ricans. So I had like all
these actors come in and they were like playing Daddy
Yankee was like, no, Mama is way and I was

(42:18):
like and it was like, do you sound like you know,
no mama is and I'm not, you know, I love
the Mexican culture. I'm just saying well.

Speaker 1 (42:25):
I was like, yo, he can't play that yet. I
was like, he can't play daddy Yankee and they were like, Jesse,
don't worry. These are really good actors.

Speaker 5 (42:35):
We're gonna get them a voice coach or like an
accent coach.

Speaker 7 (42:37):
I'm like all the coaches in the world.

Speaker 5 (42:40):
I ain't gonna make this dude.

Speaker 7 (42:43):
So I told him.

Speaker 5 (42:44):
I said, look, honestly, I don't care where they come from.
I don't care the Mexican Ecuadorian but I don't care.
But when they come to the casting they should just
sound Puerto Rican.

Speaker 1 (42:55):
Now, if I.

Speaker 5 (42:56):
Believe it, they got the park, but they weren't coming
in like that.

Speaker 1 (43:00):
They weren't method acting.

Speaker 5 (43:02):
I was like, yeah, great, look on the older around
artists from the UK they come in and kill.

Speaker 2 (43:07):
The access yea, the West coast, Yeah, they killed.

Speaker 1 (43:13):
Yeah, so what do you do? And you can so.

Speaker 5 (43:16):
So what happened was what do you do in can't fire?
I was like, I call my brother.

Speaker 1 (43:19):
You got guy, yes in Mexico. Okay, I found some
Puerto Ricans.

Speaker 5 (43:25):
So one of the writers, he was like, yo, you
knew mad Puerto Rican actors that were in Mexico.

Speaker 1 (43:29):
But they were like living as Mexicans.

Speaker 5 (43:31):
You know, because they changed their accent because if they're
not going to work with their Puerto Rican. So he
started calling a bunch of them like, yo, there's a
Puerto Rican project. So they started showing up. So the
girl that plays one of the lead characters that he ned,
she's a huge star in Mexico Colombia, but they don't know.
She came like she was like I could be Puerto Rican.
She was like killed it, wow, you know. And there
was a lot of cats and it was interesting. There

(43:52):
was one cat that played the one of the Nikki's
friends in Lawrence's Dad and he was a black Puerto
Rican and we called him because he was working he
had did to sell a cruise doc the show. We
called him and he was like his agent said that
there's nobody his type in our project. I was like, yo,
who the hell are these agents?

Speaker 1 (44:14):
So so it was a fight. It was a fight.
I kept fighting.

Speaker 5 (44:17):
I kept fighting, and I would get these calls where
people like on the Telemundo side were like, well, I
know you're not casting a bunch of Puerto Ricans in
this state. And I was like, what are you talking
about something Puerto Rican story? But they were like, yeah,
you gotta understand, Like, you know, Telemunda has a thing
where they do like a neutral accent, you know. So

(44:37):
they were like, you know, we have to like open
it up, like and they were showing me characters from
Spain or different countries to play like the cat. I
was like yo. I was like, Nikki, jam daddy, ain't
they're still alive. I can't do a show and look
these guys in the faces.

Speaker 7 (44:53):
This ship ain't authentic. So it was a lifetime story.
It was a huge fight. It got to a point
where I.

Speaker 1 (44:58):
Quit the show to get out of here.

Speaker 5 (45:01):
There was a Mexican female producer like that they have
put on the project and she was fighting with me,
and then I was like yo, I'm out of here.
And then she was like, well you should go because
you're damaging the whole project.

Speaker 1 (45:11):
And I was like I'm gone.

Speaker 5 (45:13):
Left Mexico went home, and then she was like good ridding.
She called the right I d my boy and she
was like, if you want to direct this thing, and
he was like, you know, Jesse, he was calling me.
I'm like I was already in La. I'm like, I'm good.
And then a week later some lawyers called him were like,
I think you forgot that Jesse owns the rights to Nikka.
So it's like, Jesse has the rights to the life story.

Speaker 1 (45:35):
He was not the guy you should fire.

Speaker 5 (45:38):
Well.

Speaker 1 (45:38):
They were like okay.

Speaker 5 (45:39):
So I was like, told my lawyers. I was like, yeah,
we got to fix this. And I was like, I'm
not coming back to Mexico unless I see Puerto Rican actists.
And then they were like okay. They started lining up
people and then I started calling. I called my brother.
I brought him in. I said, we need to find somebody.

Speaker 1 (45:52):
He found the kid that play Daddy Yankee in Philadelphia. Wow,
get placed to us. He didn't need that hair.

Speaker 5 (46:01):
He was a young kid losing his hair. It was
like thirty something and you just showed me. I was like,
he looked like the Yankee, but no hair like the
wig guy him. Got him a fucking wi. I put
him in acting class and we started doing that. Yeah,
we started doing all that stuff. But it was tough
because when I was getting ready to release the show.

(46:22):
If anybody knows about the show, the show never came
out the way it was supposed to. It was supposed
to come out like the same day on Telemundo, same
day on Netflix. But because I didn't listen and I
made an authentic show, the Netflix guys came down and
they were like, Jesse, what's up, what's going on?

Speaker 1 (46:40):
We're hearing all this What did you eventually do it
on Netflix?

Speaker 5 (46:43):
First? I mean I didn't control that deal. It had
to release on both. But when I showed the first cut,
then the mundo responded.

Speaker 1 (46:50):
First all the producers that were like, Yo, this shit sucks,
It's not gonna.

Speaker 5 (46:54):
Work, blah blah blah blah blah. So for like a week,
I was like the worst direct in the planet. So
like all my part, it was like this mother, he
knew he was crazy because they never saw the episodes
because I was shooting episode thirteen eight seven.

Speaker 1 (47:06):
They were all blended. They were like they didn't know
what I was doing.

Speaker 5 (47:09):
So they were like, yo, this is a disaster, right
because Telemundo says a disaster. Then a week two weeks later,
Netflix called and they said, oh, this ship's gonna be
ahead right.

Speaker 1 (47:20):
Okay, the exact opposite.

Speaker 5 (47:22):
So there was a huge fight and it was funny
because I'll never forget this and shout out to my
boy and young Go Flow. But Yanngo Flow did a
scene in the prison. So Telemundo one of the calls
was that they didn't understand the language.

Speaker 1 (47:38):
They were like, what are they speaking? And they speaking.

Speaker 5 (47:40):
Spanish, because you know what is wrong with yes, so
they would he might have to subtitle Spanish for real Spanish.

Speaker 7 (47:47):
I'm like, and I was like, you can't do that.

Speaker 5 (47:50):
If Nikki talks or somebody talked, you can't put like
fucking Spanish subtitle. So I was fighting against that and
I remember going to the edit and I slammed the
fucking door and they were like, they don't the standing
and I put play on the Nango Flow seem in
prison and he was talking. I was like, damn, I
don't mistake. But I told him, I said that's what.

Speaker 1 (48:14):
And I thought that. I thought, so Mundo never released it.

Speaker 5 (48:17):
They said, fuck it, they never released a show, okay,
So when we came out, it only came out in
the world, was not available in Puerto Rico or the
United States.

Speaker 1 (48:27):
So when it came out only on Netflix in other territories,
not six months but six went out.

Speaker 5 (48:34):
He came out of Netflix six months later in the US,
so people will watch it. Why come out at first
Netflix in the world.

Speaker 1 (48:42):
In the world Puerto Rico, US, So I had to
have the.

Speaker 5 (48:47):
First kind of Puerto Rican show. But it wasn't available
in Puerto Rico. So everybody was watching it on YouTube,
stolen versions of it, so we would get like a
million views and then they would drop it off a copyright.

Speaker 1 (49:00):
But that would helped the hype too.

Speaker 5 (49:02):
It helped the hype and it helped it hurt us
because it didn't have the boom at the same time
the six months later on like eight months later during
the pandemic. It came out during the pandemic. A lot
of people started during the pandemic.

Speaker 8 (49:14):
One of the word combined, so it was like these
us here, these use here.

Speaker 5 (49:19):
It wasn't like when you combined the views, it would
have been a huge hit.

Speaker 1 (49:22):
The TELEMORI will wind up, they come back.

Speaker 5 (49:25):
They they released it late at night as like it's gotta.

Speaker 2 (49:31):
Throw away like a video like.

Speaker 5 (49:39):
So what happens is that you have to understand that
universal old Mundo's like one big.

Speaker 1 (49:44):
Things and and Nikki signed the Universal correct no.

Speaker 7 (49:47):
No, he signed to Soldi.

Speaker 5 (49:48):
But OK, when it talks about corporate in Hollywood, Mundo
has a show that for them didn't work right, and
for Netflix it was a hit.

Speaker 7 (49:58):
But Hollywood Netflix doesn't.

Speaker 5 (50:01):
Show numbers, so Hollywood haves like you know you conversals, Telemundo,
fucking NBC. You know, it's all the same thing. So
I would go to meetings where someone would tell me, y'all,
I heard you did a show called Nikki James. I'm
like yeah, man, And somebody like maybe a nine person
in the Moom's like, y'all, the show was great, it
was ahead. And then I tell the other guy, yeah,
you know, it was a huge boon blah blah blah.

(50:21):
Then he will make a call the next day the
Teimundo Andundo will.

Speaker 1 (50:25):
Say it was a disaster. Did it work there?

Speaker 5 (50:28):
So then they would call my agents and be like, yeah,
Jesse's a liar.

Speaker 1 (50:32):
They sabotaged it. Man, well in Telemundo, okay, yeah.

Speaker 5 (50:37):
But moons the US though, so you'd have to understand
that it doesn't matter, like what We feel like when
we understand the streets of culture, then they understand corporate.
So if they're if the biggest Latino distributor in the
US is telling you a show to Latino.

Speaker 1 (50:52):
Did it work, you don't You're not listening to it.

Speaker 4 (50:53):
Like they're one of the big credit unions, and that
credit union was scoring.

Speaker 5 (50:56):
Said equal fact says credit is good.

Speaker 1 (51:00):
Yeah. I like love, I can't hate at the same time.

Speaker 5 (51:04):
So I couldn't get the rested in Hollywood because how
it saying I didn't show that didn't work? And then
I'm going out and the coach is like, yeah, the fucking.

Speaker 1 (51:12):
Chose to both.

Speaker 5 (51:12):
So it was it was crazy, you know.

Speaker 2 (51:14):
So let me ask you, right, because one of my
favorite shows that ever in life is the show called
Kenny Powers right, uh, East Bounding down right, And one
of my friends that I know who worked on the set,
they said it was too dangerous for them to film
in Mexico, so they they swapped Mexico for Puerto Rico.
What made you swap Puerto Rico for Mexico.

Speaker 5 (51:36):
Uh, it was really a cost. I love Mexico. Mexico
City is one.

Speaker 1 (51:39):
Of the best cities. It didn't appair dangerous to you
at all.

Speaker 5 (51:42):
No, Okay, you know, I think honestly, you know, a
lot of that is hyped. You know, a lot of
Latino countries when it comes to certain things are dangerous.

Speaker 7 (51:52):
So you can't take that for granted.

Speaker 1 (51:55):
Just got to respect where you go.

Speaker 5 (51:56):
If I if I'm in Puerto Rico and I got
love in Puerto Rico, I like I might be more
concerned in Puerto Rico than I would be in Mexico. Really,
at least in Mexico City, Like you know, maybe there's
other parts of Mexico, but you know, Puerto Rico is
like the South.

Speaker 2 (52:10):
In Mexico City with the little girl got kidnapped, the
Dinzel winning gotta.

Speaker 1 (52:16):
Hell man, you know.

Speaker 5 (52:21):
You know, look, I think Mexico gets a bad rap.
Now there's real stuff, Like Mexico's real. Like you know,
the thing is when you look at most land artists
and some of them that grew up in the ghetto
and grew up in the streets, like they're not singing
about the streets in the ghetto because like if they
sing about that violence, the violence is right there. Like
they can't like have like this fake image and then
do a tour through Mexico and promote themselves like they're

(52:43):
super gangster, because Mexico's real people will come knocking on
your door. But what I'm saying is just not a
random thing. If I'm shooting in Mexico, you know, we're
not worried about equipment getting stolen. Women are not worried
about It's not people like.

Speaker 2 (52:56):
You gotta go through the cartels or something like that
to get permission.

Speaker 5 (52:59):
No, you know, maybe not at my level. Maybe if
you're an artist and you're moving through I think you
got to worry about stuff. It's like people talk about
all the cartoons involved in the music and the noncoddos
in the Mexican music, and it was like, okay, what's
not the streets involved in hip hop?

Speaker 1 (53:13):
Like you know, reality is like it's like people hearing
about the US outside of the US town. This is
crazy to people in other country.

Speaker 8 (53:21):
Like I'm saying, in the beginning of the music videos
face before there was agencies and that stuff, they would
send me first to the to that city to look
for the cast agencies, so.

Speaker 1 (53:32):
Cast locations as well, you know what I mean, look
at social media. Okay, that's like people in st Louis.

Speaker 5 (53:41):
We would saying, Yuli, like go to Saint Louis like
two days earlier while.

Speaker 1 (53:45):
The tick video, Yeah you go exactly.

Speaker 8 (53:49):
So they would always send me because the agencies, why
would they be agencies in Saint Louis who's doing videos
and he's.

Speaker 1 (53:54):
Doing recom from real.

Speaker 8 (53:56):
Yes, what I'm saying, we did Tennessee cash and every
city I would go to it was the same ship.
Like a matter of fact, we shot a hire lea
you know video something years ago, right and we shooting
and seeing these drug dealers come like, yo, we're losing money.
You can't shoot hit them. I'm like, yes, because we
got a permanent go yeah. Like you know what I'm

(54:17):
saying that this movement, Oh ship, what do we do?

Speaker 1 (54:22):
So the great story, you know, he'll be a whole ship,
you know know what I'm saying.

Speaker 8 (54:31):
So so you know, got shut down in l A
like that, so don't matter. So so that's what people say. Mexico,
it's the same ship that around the world anywhere.

Speaker 1 (54:44):

Speaker 8 (54:44):
If the outside has come, if you go to the Bronx,
you can shoot the man.

Speaker 1 (54:48):
Matter.

Speaker 5 (54:49):
Remember the thing is in Mexico Colombia mad a year.
I ain't never anywhere it's the same ship. I never
felt that energy that you would feel here. Like we
were shooting on the block something with Romeo side and the.

Speaker 1 (55:00):
Dudes were like, yo, you sometimes.

Speaker 5 (55:07):
But what I'm saying is that in New York is
more aggressive Atlanta, Texas, you know, La, like it's more aggressive,
Like I never felt that in Mexico, right, But in
La I got shut down with people are like yo.
And I had cops on set where the cops walked
on set the dude that I was telling them, I said, Yo,
why are you trying to shut us down? He said, yo, man,

(55:27):
this is my block. And I'm like, yo, this group
is from here too, you know. They were like a
nice kind of like you know, R and B soul
kind of group. And I was like, yo, they're from
here too, and he was like, I don't give a fuck.
And every time I was trying to shoot like.

Speaker 1 (55:39):
The girls close ups, he was like in the back throwing.

Speaker 5 (55:41):
Up gangs and I was like, yo, why you go
do that? And he's like, yo, you're a ben cousin.
I was like, yo, chill, I said, Yo, I'm just
trying to shoot a video, and then the cops walked up.
You know in LA you don't have real cops, you
have retired cops. So the old cop walked up and
the dude and the duo just turned into the old
copy said what the fuck you do? We got ghost

(56:02):
to wow And then he was like nothing, we're.

Speaker 1 (56:06):
Sets closed and I have to leave myself.

Speaker 7 (56:09):
And I was like, what kind of ship in that
in New York would have happened?

Speaker 1 (56:12):
Said, wrap it up, wrap it up? No bro, in
New York, you got it's like, get the funk out
of here. It's hard core.

Speaker 5 (56:21):
But you deal with that here, You deal with that
in other cities. You deal with that in Atlanta, like
you know, I don't in Mexico. You don't see that.
You gotta think that, Like, it's not corner drugs in Mexico.
It's not corner gangsters, not guys that on blocks. It's
guys on cities, you know, coming out, you know what
I mean, Like they're different.

Speaker 8 (56:44):
We only had shootouts in New York, right yeah, yeah,
nowhere else.

Speaker 5 (56:53):
I'm trying to think now because I'm looking.

Speaker 1 (56:54):
At that play with that. Tell me bust the rhyme, said.

Speaker 5 (57:04):
D j K slay.

Speaker 1 (57:06):
Oh I heard about this was.

Speaker 2 (57:08):
Uptown in the projects and and okay, what happened?

Speaker 1 (57:12):
Tell us you don't know, I think I was that video.
Let you but what what what?

Speaker 5 (57:24):
What?

Speaker 1 (57:24):
What? What? What? What?

Speaker 2 (57:25):
What does that happen? Because obviously I know the artist
point of view.

Speaker 1 (57:28):
I had nothing to do with us.

Speaker 5 (57:30):
Okay, they had nothing to do with us, and that's
that's that's the problem. But this is where the city
kind of puts you in the bad situation.

Speaker 7 (57:37):
You know, and you know better than me.

Speaker 5 (57:40):
Kase slave had his apartment and where you had to
go mistake, so he would throw.

Speaker 1 (57:46):
You the keys out the window. You grabbed keys out
the window and you go upstairs and you recording.

Speaker 5 (57:52):
Okay, so it was him, it was case It was
Nas Piece, Yes, yes it was Nas. It was I
think Baby from Cash Money. There was a bunch of
people on the song. So when we put in the
permit for the city, they denied the permit on case
Lay's block because basically, like some of the precincts, they

(58:14):
have to approve. So like when the permit they call
the preescinct like, hey, then we get a permit. They
want to shoot it and people that might hate that
a lot of rappers come to his house.

Speaker 1 (58:23):
Said no.

Speaker 5 (58:24):
He was like, we don't want to deal with that headache.
So they canceled our permit and the video was like
two days later.

Speaker 1 (58:29):
Wow.

Speaker 7 (58:30):
So we're like, shit, what do you do?

Speaker 5 (58:31):
So then somebody was like, then I hired a location
scout that got us a project in Yonkers. Wasn't his neighborhood.
So we go to Yonkers to shoot the video. So
we're shooting the video and you have all these artists
coming up in case. They had a bunch of people
coming up because I remember he bangs this that like
people got weren't on the song right, well, like people

(58:52):
were just showing up, nor repotential, but all these people,
all these people were showing up. So it drew out
the whole projects when it happened, it drew out other problems.

Speaker 1 (59:04):
But that wasn't probably getting love exactly.

Speaker 5 (59:07):
So it started getting hectic in terms of crowd and
and and I remember my boy Dana, who was a
you know, a kid that grew up in my neighborhood.
When he came out, when he came home, I gave
him an opportunity to start working on sets and security
or no.

Speaker 1 (59:22):
He was working one.

Speaker 5 (59:23):
He ended up starting to work as a grip, like
dealing with like the you know, the electricity and the
sort of function the functionality of the set because you know,
he couldn't interact with the people. And that's another story.

Speaker 1 (59:35):
He was a gangster dude. Okay, I get it, you know.

Speaker 7 (59:37):
So, but he came up to me.

Speaker 5 (59:39):
He was like, yo, jess man, it's about to be
a problem. And I was like, what are you talking about.
He was like, look at the playground and like everybody's
grabbing the kids and like bringing them inside. And I
was I was like, yeah, what kind of problems is
this sounded like they started let off. She just cleared
out and I just remember because my boy Dana like

(01:00:00):
he dunk me under a bench. He was like, she
was crazy. Somebody got shot. They put him in the car,
they took off. We had cops on set. They didn't
do nothing but be on the floor like us. Yo,
shoe was over. They were like sets over. And Foxy
had got there late. I'm not saying that she shows
him labor. She got there later this time. So I

(01:00:24):
remember going in the trailer and she had wanted me
to shoot her before I was shooting A Marie and
she got there later and I was shooting a Marie.
So I was like, yo, let me finish your a marine.
And you know, I was like, Yo, don't worry about it, man,
We're gonna get to your part.

Speaker 7 (01:00:38):
And then the shoot I happened, So then I had.

Speaker 1 (01:00:40):
To go in there.

Speaker 5 (01:00:41):
Her brother, pretty boy or whatever, he.

Speaker 1 (01:00:42):
Was like yo, and she was like this is what
mother Like, she started.

Speaker 5 (01:00:46):
Going off on me.

Speaker 1 (01:00:47):
This video was fucking.

Speaker 5 (01:00:49):
Over and I was like looking at her brother, like, yo,
I got a man of doing this. And then she
was like, he got shot in the leg.

Speaker 1 (01:00:55):
This is him. Hop's keep it going.

Speaker 2 (01:01:09):
Our show is about giving people their flowers or they
could smell them. It drinks while they could drink them,
they thoughts while they could think them. We wanted to
give y'all y'all flowers face to face man, man, because
we don't have a lot of people in this field.

(01:01:30):
Uh do what you're doing again. You know, I'll let
this promote to these kids or to these people that's
following the culture. There's people that want to be involved
with the culture that it's not always you know, to
be behind the camera.

Speaker 1 (01:01:41):
You know what I mean? There's so many other jobs.

Speaker 2 (01:01:43):
That's why I definitely we know about the director call,
but I'm sure there's a lot of people that don't
know about even a casting thing even exists like that.
I don't even think that you know what I'm saying.
So there's so many people. So that's the reason why
we which we just really wanted to give your flowers, man,
and let y'all know, man, how much.

Speaker 1 (01:01:59):
We are shiates y'all, man, and let's keep it going.

Speaker 5 (01:02:05):
Thank you.

Speaker 1 (01:02:07):
What do you How do y'all feel about AI?

Speaker 5 (01:02:10):
No?

Speaker 1 (01:02:10):
Dealing with one of my boys in my crew, Michael Garcia.

Speaker 4 (01:02:14):
He's a big music video director as well, and I
talked to him all the time about this, and he's
conflicted about the technology and what it's going to do.

Speaker 5 (01:02:23):
You know, I would say that I'm conflicted too. But
it's like if you see a tsunami coming at some point,
you got to leave the beach, you know what I mean.
So it's like you don't want to be on the
other side of the bridge when it's the wrong time, right, so.

Speaker 1 (01:02:38):
You have to adapt.

Speaker 5 (01:02:40):
Is it going to change the way we see cinema
to a certain extent? Right? I think the consumption of
content is different, you know, you see like the younger
kids consuming streamers or there's consuming different type of content.
But it's like there's a certain bracket of people that
still consume content the way we can some content. So

(01:03:01):
I don't think it's going to eliminate talent, you know,
So like I think AI, you want to use it
as a tool to enhance what you're already doing now
in some in some regards, if you're whack or you're mediocre, yeah,
it's gonna replace you, right because it's like if you're whacking,
your mediocre is going to replace you. But at some
point it's like people are going to look at who

(01:03:22):
can take the AI and do better stuff.

Speaker 1 (01:03:26):
Unfortunately, what that also means is that.

Speaker 5 (01:03:30):
If they used to pay one hundred dollars for something,
they want to pay twenty because the technology you could
do feel the eighty. And that's hard because as a filmmaker,
as a person that has a team, how do you
eliminate people from your team? You know? How do you
eliminate the value of certain things? You know? So, does
AI do great stuff? Yes? Is it there where sometimes

(01:03:53):
you watch on the internet the commercial of AI. So
we all work in the business and commercial didn't have
it yesterday. They did six months with this campaign. So
when they roll out the campaign, they make everybody think
that you can do that. Then everybody pays the twenty
nine ninety nine, the thirty nine ninety nine, and then
they're there and they realize they're not editors and they

(01:04:14):
can't fucking.

Speaker 1 (01:04:14):
Do it, and shit looks weird. And then they just.

Speaker 5 (01:04:16):
Already got the money, they already got the thirty nine
ninety nine, they got the membership, and then maybe six
months from now it'll do something that you really wanted
it to do. It's an amazing tool and it is
going to shift the game. So you have to really
figure out how to implement it into your lifestyle.

Speaker 7 (01:04:33):
You cannot push it away.

Speaker 4 (01:04:35):
You don't think that the big studios, though, would eventually
phase out the traditional filmmakers for just people who.

Speaker 1 (01:04:44):
Got TPT, people directors that know how to use the
AI systems potentially.

Speaker 5 (01:04:48):
But today there was a thing that I saw about Lionsgate,
who did a deal with Runway early, and there's an
issue with copyright.

Speaker 7 (01:04:57):
So there's an issue, a.

Speaker 1 (01:04:58):
Huge issue with covering right.

Speaker 5 (01:05:00):
It still hasn't been figured out So I was uploading
a song, you know, I have my own record label,
to our own music group, let me shout it out.
But we were onboarding a song with Symphonic and they
were like, what parts of this have been AI driven?

Speaker 1 (01:05:17):
Right?

Speaker 5 (01:05:17):
Like what part of this song is AI? And I
was like, what is that about? I asked them and
they were like, it's not about anything. But we wanted
to get ahead of it because what could happen in
six months is that if your song is AI driven,
they might ask what was your prompt? And if your
prompt was like I want something that sounds like Timberland's record,

(01:05:41):
then Timblan's going to get paid off your ship because
you use this, you.

Speaker 4 (01:05:44):
Know, as what the AI actual model was was mining from.

Speaker 1 (01:05:49):
Because that's the other problem exactly. So I want to
say one thing. This is when I hated.

Speaker 2 (01:05:57):
And loved AI for the first time. Sopranos. I remember
the mom died, yes, and you can tell that she
didn't finish her script, so they do you remember that
when the mom died and they used her, but they
used her where you could tell it was AI.

Speaker 1 (01:06:17):
No, no, no, you don't remember that was visual effects.
It wasn't touch it.

Speaker 2 (01:06:21):
Wasn't a vial effects because remember she died in real life, Yes,
and they had.

Speaker 5 (01:06:26):
These visual effects like see there's a there's a big difference.

Speaker 1 (01:06:28):
AI.

Speaker 5 (01:06:29):
Visual effects is somebody controlling the atmosphere.

Speaker 2 (01:06:32):
And that's what they had Tupac doing on stage right,
that was visual effects, and they had.

Speaker 5 (01:06:37):
They created AI is something like where if we're here
and I want to I took a picture and I
wanted to change the environment, I just pressed one button
and it does it on its own without the huge
the use of another completely Wow. So so look, the
I is incredible. It's about consistency. But you know what
happens sometimes too, is like who owns it? So imagine

(01:06:59):
I do an AI and I say, yo, I want
to make an AI about this, and you know, and
then I created something that's cool, starts going viral, and
then you say, I want to make the AI about that.

Speaker 1 (01:07:10):
AI is gonna make you the same thing.

Speaker 7 (01:07:11):
You can sell T shirts and the same thing.

Speaker 1 (01:07:13):
That I just created, but I don't own it because AI.
So none of us isn't copy infringement if we do
it like that.

Speaker 7 (01:07:20):
That's what I'm saying.

Speaker 5 (01:07:20):
It's like who owns the I P that's the big thing. Okay, Right,
So that's why the studios are suing mid Journey because
they're like, you're telling people. People are typing in I
want a show that looks like Pixar, and they're creating
characters in the style that they created. So it's like,
how do you own it if you're copying this?

Speaker 1 (01:07:39):
You remember, think about the sample of analysis done. He
goes no, mine is dun. That's little different than trying
to say no. It's not the same.

Speaker 2 (01:07:48):
It's like somebody like pulling up a beat and saying
I want so on to sound like, oh, you're makando right.

Speaker 1 (01:07:55):
I told the the other guys I want I want
what what what? I didn't want that, and they came
in your voice.

Speaker 8 (01:08:07):
I know somewhere now that they're in London. I mean,
I gotta say London. They're somewhere now, and they have
the actors. They're talking to AI because they're doing the
whole movie AI generated, so the actors are licensing.

Speaker 5 (01:08:23):
They like this.

Speaker 1 (01:08:24):
For the movie. They like this, So it's all you
gotta do is basically go to the studio.

Speaker 8 (01:08:28):
And they're talking, they're drinking, they're hanging out, they're chilling
so AI. And then and then the AI is gonna
do the movie with the images in it, So the
whole entire movie time movie is gonna be a I the.

Speaker 2 (01:08:41):
Whole time time are these actors acting when they're talking
to AAR.

Speaker 1 (01:08:45):
They're just chilling sounds. They pick up that man reference.

Speaker 8 (01:08:50):
So they're getting paid right now, a lot of money
to hang out, chill, drink, fight, And then they'll talk
to AI in different tones, different energy, so so I
can get their mannerisms so they can recreate them in
this movie that's not going to be real. And then
another thing that's sorry, and another thing that's happening now
with AI as a casting director. So now women or

(01:09:10):
actors are doing I a AI reels. So they're like
in action movies, running, chasing, fighting aliens and stuff, and
they're sending me their reels or something they've done before,
but it's all AI generated and they look incredible, so
I love them.

Speaker 1 (01:09:24):
I have to come up. I have to come into
the cast. Oh my god, come to the cast. And
I'm like, oh my god, who are you guys, gentlemen.

Speaker 8 (01:09:36):
No, I'm Jenny from the I'm like Jenny, and I'm
like Jenny, do you look.

Speaker 1 (01:09:40):
Nothing like that knows a little polish palace. Oh, you
ain't seen the thing with the podcasters.

Speaker 4 (01:09:47):
It's all over Instagram where they show a dude, yeah,
and he shows himself as a as a chick doing.

Speaker 1 (01:09:53):
A podcast or live streaming, and he looks like a chicken.
He sounds like a chick and everything. You know, it's
no yah, this hard cord of them.

Speaker 5 (01:10:01):
And sometimes you'd be like, Yo, come to my acting class,
and like like, let's say we're in a room like this,
and there's a door that opens the acting class, and
he'll put like a hundred chairs like stacked it. Like
if the acting class starts at three pm, three or one,
he puts like a hundred chairs like stacked against the door.
So like I'll be there and I'm like, what are
you doing? Then he'll be like stacking all these chairs

(01:10:22):
and then someone comes in at three or two in
those chairs. I just go there, let's see what the
excuse this person? You were busy? Oh the traffic on
the train.

Speaker 1 (01:10:34):
Did anybody else think the train? It's hard?

Speaker 8 (01:10:37):
Good's acting rehab classes.

Speaker 2 (01:10:43):
I've been doing about that because you have acting classes.
One of my homegirls As soon as I told her,
she was like, yeah, like her friends, go to your
acting classes.

Speaker 1 (01:10:53):
If this is in New York City, No, I do it.

Speaker 8 (01:10:56):
I used to do it in person, and then when
when virtual, when COVID happened, somebody's east side, not just
with the zoom, So then I started zoom things. I've
done it all lover place, New York, for Rico, La whatever, Miami.
But then zoom happened, and then my classes sell out
in two seconds is three people from Queens, they go
from La and that, so.

Speaker 1 (01:11:16):
It's been zoom.

Speaker 8 (01:11:16):
But but then I would cast people and then they
would come to sit and freak out because they were
just great on TV, not in person. So that's one
hundred and fifty people, a crew, lights, camera action, they paniced.
So then I do pop ups every once in a while,
like two months in I would have a pop up
and do an in person, so see what happens or whatever.

Speaker 5 (01:11:37):
But acting rehab was creative. It's a tough tea.

Speaker 1 (01:11:42):
You know, it's not tough. It's that people tell you no, no.

Speaker 5 (01:11:46):
He could be right on the border of Kansabe like
that in a good.

Speaker 1 (01:11:50):
Way, in a good way.

Speaker 5 (01:11:51):
But he's hard because you know what happens is that
like in our culture, and that's why he started acting
class in our culture, everybody just think they now true.

Speaker 1 (01:12:01):
Bring him in the let's go anywhere, let's go. He
was a actor rehead.

Speaker 2 (01:12:08):
I was like, no.

Speaker 5 (01:12:14):
Actor drink.

Speaker 1 (01:12:20):
I don't know what ahead to drink. You had to drink,
you know.

Speaker 5 (01:12:26):
Part of but part of that was was started because
like a lot of times, my brother was the one
that I had to get like Latino actors, and you know,
a lot of people come in and they're just like,
have you study people?

Speaker 1 (01:12:36):
I think I'm natural, you know that, And.

Speaker 5 (01:12:40):
They have like one sentence, they can maybe do one
sentence as their persona, and and they can't go beyond that,
and you know, because they don't have the ability to
don't have the structure to work. So he's tough. I've
been in his act. He's tough on the people, and
I think they like it because he's like, you know,
he four base, he's terrible, you're whack.

Speaker 1 (01:13:02):
It's hard.

Speaker 8 (01:13:03):
I'm just like you got nobody likes it. Everybody hates
me into two years later, I get the focal. Oh
my god, I just got that casting and this happened,
and I did that, and it was so a person.

Speaker 1 (01:13:13):
I got the job, like love you love me, but
you hated me for two years, motherfucker. And I tell everybody, well,
you gotta you gotta love me late that's school. You
hung up the phone this way.

Speaker 5 (01:13:27):
Yeah, I'll tell you the birth of actor Rehab Ahad.

Speaker 1 (01:13:34):
So I did.

Speaker 8 (01:13:35):
We did a casting for a movie called Prison Song.

Speaker 1 (01:13:38):
Prison Song, that's what in nineteen ninety nine, r right,
And it's crazy.

Speaker 8 (01:13:45):
I still have the v A tested okay, and everybody
came in for that eve half.

Speaker 5 (01:13:51):
It's five people did in that in.

Speaker 8 (01:13:53):
That and I was like the videos like six months
ago and it's like five people passed away. Prodigy, Murder, Santana.
Once you go on that anyway, So so that was
they said it was in the eraror that no Mary
direct that movie.

Speaker 1 (01:14:09):
Me.

Speaker 8 (01:14:09):
I was casting and Jesse came in, tell me what Yeah,
so she didn't arcing like that. She brought me, she
gave she filed the studio to let me cast the movie.
They wouldn't let me do it. He said, well I'm
not doing the movie. Then you know, she held me
down like that night. So then Jesse was in the
lad So I was like, Jesse, come to New York prisons.

Speaker 5 (01:14:30):
But side started to jump in when I got so plain, okay,
I told him that my brother was gonna cast it,
and he had mad credits at this point, and they
said the same ship that he couldn't cast it. They
were like, and I was like, you know what, he
wanted to see a different face. So those ladies I
work with, I called Sheila and I said, Yo, Shila,

(01:14:52):
I'm doing this movie. They're trying to hate on my brother.
Can you come in and do it with my brother,
you know, blah blah blah, And she said yeah, got
She said, I got you.

Speaker 8 (01:15:02):
No, we've been fighting for thirty four years, right, you know,
it was still fighting for Latinos to get in the
build anyway, So we do a prison soon, right. So
I saw everybody in New York that was black, that
called themselves an actor, and every rap star, every rap star,

(01:15:22):
anybody that was anybody in New York. Originally it was
New Line Films. It was like it was like fifteen minutes.

Speaker 1 (01:15:30):
That was a big deal for New York.

Speaker 8 (01:15:31):
Right, So I saw everybody, right, and everybody that came in.

Speaker 10 (01:15:35):
Was terrible, right, Sugar Stars. I was big fans and
they were terrible. No, they know right, even by Jovi came.
Oh my god, what I'm saying from.

Speaker 1 (01:15:49):
End up getting cast? No, it was we had no
No Jovi didn't do it.

Speaker 9 (01:15:55):
This didn't do it far Yeah, yeah he got he
got Joey.

Speaker 1 (01:16:02):
Yeah.

Speaker 8 (01:16:02):
You know, it was everybody. Nobody was an actor. This
was in the nineties. Nobody was acting. Nobody knew how
to do it. So then this guy walks in. Okay,
let's talk about it.

Speaker 1 (01:16:10):
I was walking. I don't even know. Tell her. This
is what drink Chems started. Yeah, drink Champs store. Okay.
I came in drunk, No you okay? What he came
in sober?

Speaker 5 (01:16:23):
Okay, came in sober, came in sober, and it didn't
work out, Like the.

Speaker 1 (01:16:28):
Scene didn't agree.

Speaker 8 (01:16:29):
Right, I was so I was like, yeah, man, yeah, no,
I'm not sure if it worked out.

Speaker 1 (01:16:36):
Give me a minute. He left, you.

Speaker 8 (01:16:38):
Left, like, then he comes back in.

Speaker 1 (01:16:51):
He's like, it's like.

Speaker 5 (01:16:52):
Okay, She's like Santa Lights was like, yo, what's up, brother.

Speaker 1 (01:16:56):
What's good. He's like, yeah, what's up, brother, what's good?
You smell me?

Speaker 8 (01:17:01):
You're like, you know, that's not in the script that
come on, you don't smell met And I'm like.

Speaker 1 (01:17:07):
You me and the director they say no, I like that,
smell me. Let me keep doing that.

Speaker 2 (01:17:16):
And we're like cool, cool me so that I've never
read of the script of my life.

Speaker 1 (01:17:22):
Smell me thing right, So she's like, I love to
know me think let's cast them, let me cast them.

Speaker 8 (01:17:27):
He comes to said like a couple of weeks later,
when Lebronch somewhere him in.

Speaker 1 (01:17:31):
The trade, he pulls up, he gets into his trail.
He's like, yo, where the fucks to Hennessey.

Speaker 5 (01:17:36):
I'm like.

Speaker 1 (01:17:38):
You're talking about Remember when.

Speaker 5 (01:17:43):
He came back.

Speaker 1 (01:17:44):
I'm like, list.

Speaker 5 (01:17:51):
Something like six, yeah.

Speaker 1 (01:17:55):
And you do else.

Speaker 2 (01:17:56):
I remember they tried to get me a car, and
I was like that, use my own car, Use my
own car.

Speaker 1 (01:18:01):
That's my uncle. But you know, let me tell you
a funny story about that. That's funny. Man. When when
they cast cast this this ship, I'm not gonna cast
Excuse me, excuse me.

Speaker 2 (01:18:10):
When they do like a secret a screening premier just
for the actors or whatever, so I don't know, it's
Mary J. Blise right in front of me. So I go,
I go in there and Marry jay Blies and a
couple of other I believe Q Tip is there and
this was like a private screening and you know, I
love myself, so I was.

Speaker 1 (01:18:25):
Like, oh, I killed this ship.

Speaker 2 (01:18:30):
I was like, I'm sitting there and I'm kicking the
chair the whole time, like you know, like you're like,
I'm in the real movie to but I'm not.

Speaker 1 (01:18:38):
Realizing it's someone in this chair. Not only I'm not
realizing someone.

Speaker 2 (01:18:42):
Yeah, I mean this was this is one of those
like I don't think she felt it, but I'm sure
she heard it, and I'm sure it's like something. And
then at the end of the day she was like,
you know what s calling And I was like, oh,
I'm so star stroke. I was like, oh she that's married,
and she was like, and by the way, you didn't
even say hi to be the whole time I was.

Speaker 1 (01:19:03):
Married. I'm sorry. I was so struck. Moments Marry was
the biggest star in that movie.

Speaker 8 (01:19:10):
Since that nobody can talk to her, just just me,
I was.

Speaker 1 (01:19:14):
I was like, this is great, but that is great.
So now moving on.

Speaker 2 (01:19:20):
Now, this is a question, why isn't that the latinos
and soul playing there is the biggest question.

Speaker 5 (01:19:27):
That's a good question. But there's one that's a good question.
I told that we tell this story. So, Okay, when
I was working on the project, you know the movie
Trading Places.

Speaker 2 (01:19:37):
Trading Places, got that girl movie Murray Trading Okay, yeah.

Speaker 1 (01:19:41):
I was working on that for.

Speaker 5 (01:19:46):
I was I wrote a concept.

Speaker 1 (01:19:49):
You saw the.

Speaker 5 (01:19:53):
So I wrote a concept that was like Trading Places
about this kid who like these rich guys were like
the airline was down and they gave them there.

Speaker 1 (01:20:02):
Okay.

Speaker 5 (01:20:03):
So I sent it to my agency.

Speaker 1 (01:20:04):
Because because they had soul playing already, right.

Speaker 5 (01:20:07):
I didn't know it that I wrote this idea and
I sent it and they were like, oh my mom,
we think it's a cool idea. And then as they
talked to people in Hollywood, it was like, oh, there's
a project called soul Plain.

Speaker 1 (01:20:18):
They didn't like.

Speaker 5 (01:20:19):
I didn't like the name. So I was like, yeah,
soul Plaining, like you know, got to be called that
blah blah blah. So they were like, yo, but this
movie is already going that n Gail, So you want
blah blah blah. Take a meeting with them. So I
took a meeting with them and then ended up getting
the movie.

Speaker 1 (01:20:34):
Right, so you wanted up get did you could buy
your movie with that movie? And that's what so playing is.

Speaker 5 (01:20:43):
I tried to a certain extent and yeah, but they
didn't buy your script or anything like that, or they
didn't buy my script, but they might hate me for
this stun.

Speaker 1 (01:20:53):
Sol playing to your script.

Speaker 2 (01:20:54):
Let's go, let's go.

Speaker 5 (01:21:02):
So so, you know, I felt the story needed rewrites.
So I was like, yes, the movie needs rewrites and
rewrites and rewrites. And they had me me with a
bunch of writers. So I met with these two black
writers and the Asian kid. They were like a team,
and I was like, these guys are the guys. You

(01:21:24):
know this is the funniest version of the movie. And
I was, we're going with them. They pictured the movie,
it was fucking great, blah blah blah, and then cut
to like a month later. Cut to like a month later,
and I'm sitting in a room in the conference room
and it's like, dude, that's not them on the other

(01:21:45):
side of the room. And he's like, yeah, we're gonna
do this changes.

Speaker 1 (01:21:49):
The writer Yeah, okay, okay, when do these changes. He's
telling me everything.

Speaker 5 (01:21:54):
These three kids didn't tell you the same thing they
told me. Yeah, So I was like yo. So this
was like like first like Hollywood moment. I was like, yo,
I can't do this like you know these kids. I
was just like, yo, got you you know what I mean.
I gave us the best idea and this dude is
giving me.

Speaker 1 (01:22:14):
All the this.

Speaker 5 (01:22:16):
So I call my agent and I was like, Yo,
this don't feel right. You know what I'm saying, Like
this is not right. This kid just stole their ideas.
So when I went to the studio, they were like,
he's just a better writer like me. Of these kids
were so young then I could writers. So I said,
why the fuck did you have the me with me
to steal that ship?

Speaker 1 (01:22:37):
That the concept here?

Speaker 5 (01:22:39):
So I was like ya, I told my agent and
he stuck by me, you know.

Speaker 1 (01:22:42):
What I mean.

Speaker 5 (01:22:42):
Charles King, you know, Charles King's incredible fucking dude. And
we fought it.

Speaker 1 (01:22:50):
And then they let those kids write the movie. So
the kids came back.

Speaker 5 (01:22:55):
They didn't rewrite, you know what I mean, because I
was like, yo, I can't. I couldn't have stomach this.

Speaker 1 (01:22:59):
I get it.

Speaker 7 (01:23:01):
So we started writing it.

Speaker 5 (01:23:02):
So at some point I was like, before we catch
Kevin or whatever I was. You know, I was working
with Chris Robinson. So let's go back to that story, right.
So I was working with Chris Robinson writing concepts. So
Chris would do like a retreat every year that He's like,
let's do a retreat for the Robot films.

Speaker 1 (01:23:21):
Let's go to Brazil Fire. But but it didn't happen
that way. What happened was.

Speaker 5 (01:23:29):
No, no, no, no, no no no. But that particular story.
What happened was that Chris was like when I saw Snoop,
And this is another story. I met Snoop outside of
the music business on some street ship. I met him
outside of the music business. But I go to the

(01:23:50):
MTV Awards, I'm nominated. I'm fucking with Chris. I see Snoop.
So we were like talking to Snoop's like, YO, I
got you my brother. I'm gonna give you a bag tomorrow,
call me, you know, blah blah blah. Chris was like yo,
like he had never been to Snup's house before. Stud
was like, come to his house tomorrow. We had the
MTV Awards. He was the biggest artist in the world.

(01:24:11):
So Chris was like, damn, I did like four videos
of stud I've never been to his house. So Christ
was like, y'all, I'm I'm a rocket. You go to
the house. So we go to Snoop's house and Snoop
was like, he starts playing a bunch of music and
he gives me a job. Well, where is I going.

Speaker 1 (01:24:28):
To the story that wasn't going He was asking you
about the wife. No, latinos and soul. That's where it
else starts. Yes, so so this is where it's going.
I just wanted to make sure that's good. No, no,
but this is where. This is where it's going.

Speaker 5 (01:24:43):
So so Snoop is like, he plays me a song
that he gives me out of his heart one hundred
and fifty grand in that.

Speaker 1 (01:24:50):
Era, I think I know where you might be going this.

Speaker 5 (01:24:52):
It gives me one hundred and fifty grand in that
era to do a video for him. I was nominated
at the MTV Awards for Joe Scott long Walk and
I and I see Snoop at the TV.

Speaker 1 (01:25:02):
Well he was the biggest rob in the world. He started.

Speaker 5 (01:25:04):
He sees me and me and Snoop like I said,
I met him in the streets. He shows me mad
love and everybody's like, yo, how do you know Snoop?

Speaker 1 (01:25:11):
You know?

Speaker 5 (01:25:12):
And Snoop's like, yo, he says random stories like he
ain't just fuck the same bitches, but it was just
maybe he was fucking some bitches. I didn't know about it,
but he just said that as a joke. But everybody
was confused or how I knew Stoop but I hadn't
met him. They couldn't connect, you guys, they couldn't connected.

(01:25:32):
But when he invited me to his house to take
care of me and Snoop showed me the love. He said, Yo,
I'm going to give you a video. Come to my
house tomorrow. Chris was like, yo, ship, you're going to
Christ's house. So Chris came with me and he played
the song. He wanted me to do the video Snoop
out of his you know, Snoop, I love Snoop Dump.
He gave me the money out of his love and said, Yo,
I'm ana fucking push Jesse throw forward. He gave me

(01:25:54):
a job. I did it, but while we were at
his house, Chris Robinson at that time Damn Martel.

Speaker 7 (01:25:59):
Which I worked at the video.

Speaker 5 (01:26:00):
For that album, and then Chris was like, yo, what's up,
Like you know Chris was working with Snoop and was like, yo, Christmas,
I saved the best ship for you, and he pressed
play it's beautiful Wow.

Speaker 1 (01:26:12):
And when he played beautiful, we were like holy ship.
So I was like, yo, let's go to d R.
We were talking about a bunch.

Speaker 5 (01:26:17):
Of places and nobody had ever been to Brazil, so
we were like, fucking, let's go to Brazil. So we
ended up going to Brazil and snow and Chris Robinson
that moment said you know what his retreat for every
year was going to be Brazil.

Speaker 2 (01:26:32):
I would have changed it to that too, Brazil.

Speaker 1 (01:26:36):
So we went to Brazil.

Speaker 5 (01:26:37):
So when I was in Brazil, that's when the news
of Soul playing was coming out, and Snoop was like, yo, Jess.
We was like having a Snoop session and he was like,
I do want to fly the plane Dog. And at
that point we had already cast John Witherspoon with a
spoon was going to.

Speaker 1 (01:26:59):
Box right, You're already it was cast, okay.

Speaker 5 (01:27:03):
So Sup was like, y'all, I want to fly the
plane Dog. So you know, we were so fucked up.
I was like, you know, we were hire a ship.
I was like, you know, I talked to you don't
want to fly the plane, but he was like going
to fly the plane. So I went back to GM
and ILL said yo, and damn gym guys were like

(01:27:24):
there were you know, Mass super Corporated and they were.

Speaker 1 (01:27:26):
Like, oh, he's the gang banger, he's this he d
I was like, have you have.

Speaker 5 (01:27:31):
A mess Snoop dog? Like what are you guys talking about?
Like I was like, look, do me one favor.

Speaker 1 (01:27:36):
Let's go to Snoop's house.

Speaker 5 (01:27:37):
I meeting with Snoop and if you feel different than whatever,
so then I'm Snoop invited us to the church.

Speaker 1 (01:27:43):
You know he has his house here and invite us
to the church.

Speaker 5 (01:27:46):
And you know they were getting searched on the way
and so.

Speaker 1 (01:27:50):
Like, and we went in there and stupid, so funny.

Speaker 5 (01:27:54):
They had an incredible time with Snoop, so they were like, yo,
so they went with Snoop. So after we cast out,
I had a little more strength because it's like now
I got Snoop because Kevin Hardy, you got to think
about it, he wasn't a star at that moment.

Speaker 1 (01:28:07):
I caught for Kevin because I only had paper soldiers.
That's for me too.

Speaker 8 (01:28:18):
Yeah, I was supposed to do people.

Speaker 5 (01:28:20):
So yeah, yeah, yeah no. So when when we ended
up catching Snoopy at John Willerspoon, Monigue a bunch of people,
Kevin was one of the last pieces too, because Kevin
wasn't a star at that time. So I told the studio,
I said hey, And this was crazy because I told him.
I said I was Latino.

Speaker 1 (01:28:42):
Yeah, you had to tell the studio he was Latino. Didn't.

Speaker 5 (01:28:45):
No, let me tell you when I told them, because
why is this over the phone?

Speaker 1 (01:28:49):
No? No, in my meetings I had an office at MGM.

Speaker 5 (01:28:54):
Yes, almost their eyes were like, holy ship.

Speaker 1 (01:29:03):
What you're saying that. I was like, okay, okay.

Speaker 5 (01:29:05):
I can I do a movie if I'm not black,
it's a black movie.

Speaker 7 (01:29:09):
They were like hide me because I was doing hip
hop videos.

Speaker 1 (01:29:11):
They thought I was black. And when I told them
I was luck you know what I like.

Speaker 5 (01:29:14):
And I was like, yo, chill, it's gonna be okay.
But they were so worried, and I was like yo.
But I did tell them because they were like that said, look, man,
I can't do this movie if I don't put Latino.

Speaker 1 (01:29:30):
Characters in it.

Speaker 5 (01:29:30):
Because I got at least show part of my culture
and so I wrote, uh, stewardess that had one line,
and I wrote these two Latino kids that worked like
baggage check and and and they were like fuck that.
They were trying to go on the plane. So they
snuck inside the baggage plane ship. So and Jim was like,

(01:29:50):
you know, we read your changes in the script and
the Latino two male characters. There are no goat but
the hot latinus she's a goat. Oh the one line.
So so I was like, okay.

Speaker 7 (01:30:06):
So, so I told.

Speaker 5 (01:30:08):
The casting director, you know with u Leid. They were like,
what do you want? I say, I sent them a
video with Sophiaba God because she was popping in Colombia.
I said, yo, I wanted so fielverd guy that tight
m And then all of a sudden they worked it
out and and she came into the castle.

Speaker 1 (01:30:25):
Wow. And I'm like, oh, ship fucking so Feaver got it.

Speaker 5 (01:30:29):
And then the real one, the real when she was
you wanted to she wanted, you.

Speaker 1 (01:30:35):
Wanted one life. I just won that cray she was
she was a little red life start. Now she had this.
This is her first twenty years ago, a classic. It
feels like it came out last year every year when.

Speaker 5 (01:30:55):
They when they when she walked into the womb, I
was like, it's so fever got I wanted the field
got it tight. So I was like, you know, you
miss's you know, following time. But they got her to
come in, so I was like wow. And so I
told Sophia, I said, you want to be in this movie?

(01:31:16):
She said, you know, her son had read it, but
she had she you know, I had a son young,
so she had a son that had read and she
she hadn't done American movie. So she was like, I
want to do it. So I said, you know what
you want to be in this movie, I'm gonna put
you in this entire moo now rewrote the movie and.

Speaker 1 (01:31:30):
That's why she's.

Speaker 2 (01:31:37):
I'm looking for like Latino Presidence. And I was like
I didn't even realize that because she was in but
you know, you know, she's so embedded in my brain.

Speaker 1 (01:31:48):
Get up.

Speaker 5 (01:31:48):
Princess wrote.

Speaker 1 (01:31:52):
To the movie my brother because they try to hate
on him. And then.

Speaker 5 (01:31:59):
Right, you're the code signe and she had the studio
comfortable and he ran the whole thing.

Speaker 8 (01:32:03):
And I still have the video of that too. Her audition,
she had like true lines it's a mind blowing below
two lines.

Speaker 5 (01:32:10):
And just she was like, now I tell you, I
mean Sophia because she was a novella star at the time.
She was gigantic, beautiful, fucking you know, she was ready
to be a star. She would come to set and
because maybe in the Spanish television they did whack makeup,

(01:32:31):
you know what I mean, she would do her own
makeup and I would tell her like, yo, there's makeup.

Speaker 1 (01:32:35):
Artist in the trailer.

Speaker 5 (01:32:35):
This is a you know, it's a studio movie, you know,
at and she was just chill and she didn't you know,
she had this thing where it was it was beautiful
because she was like beautiful and hot, but she had
this like force field that made you feel like I
want to.

Speaker 1 (01:32:54):
Be cool and that no stupid respect was she white people?

Speaker 5 (01:33:03):
You know what just saying? Is that an interesting end though,
is that when I worked with Diane, she did Methody
married during the time Diamon and methan Man is in
soul Play.

Speaker 2 (01:33:20):
But let me ask you something about that. Well, I'm
sorry to cut you off. It was a rumor that
medde Man took that role very very serious.

Speaker 5 (01:33:29):
Tell us, so look, we see the way Mathea Man's career.

Speaker 2 (01:33:34):
Is because we have methany on here and we had
Snoop on hair and we both asked them.

Speaker 1 (01:33:39):
So now we got to act. Now, by the way,
this is you, the guys behind the camera. So how
did this come use? Is now like we get really serious.

Speaker 5 (01:33:50):
Let me tell you everything. Metha man is done. He
takes serious. They're both similar in terms of work ethic.
But what happened was that, you know, I was already
fighting for Snoop. So people don't understand the fights for
a methane man, you know what I mean. They just
see like you call the agents. But I'm like on
the other side telling them a methand man could be

(01:34:13):
a star for a comedy, you know, I mean it's tough.
And you know, like I built a fucking platform for
Kevin Hard to walk on so he could be tall
enough to fit in the frames of people because they
didn't see.

Speaker 1 (01:34:26):
Him a leading man. He did tall and so playing
somebody pulled up the post he was he was.

Speaker 2 (01:34:39):
Yeah, he was heidening like that what they let me google.

Speaker 1 (01:34:44):
But so so all right, so the first person who
cast or soul playing, you know, there was different people
we cast, so Okay.

Speaker 5 (01:35:00):
What I'm saying is that when Snoop cons the trip
to Brazil, I thought for Snoop, he got cast.

Speaker 1 (01:35:06):
Okay, but met the man. He put in the work,
so he had the audition.

Speaker 5 (01:35:11):
No, he put yes, he put in the work, met
the man as an actor, And it was about being
serious because you at that time, rappers weren't serious, so
we don't know what we're gonna get. So part of
like what the studio might have asked from like a
method man at that time, was that you can't smoke. No,
we no this or that, because they were like, yeah,

(01:35:31):
we don't want that ship on our set right right,
we want to control it. We want to be cool,
like we want to be pro special or whatever. Snoop
we got for five days and he was one of
the big stars of our movie.

Speaker 1 (01:35:45):
He smoked every day. So so when we got Snoop.

Speaker 5 (01:35:50):
And I was able to close that deal, we had
to try to figure it out that Snoop had a
big altercation at the time with sug and a bunch
of that happened, so we had a lot of police
and people after us, and so we had to create
this environment. So we built an environment inside the studio
because let's say Snoop was in the in the trailer,

(01:36:12):
he was smoking weed, the cops could maybe enter because
he's doing something illegal.

Speaker 7 (01:36:16):
So we had to build something.

Speaker 5 (01:36:18):
I'm saying, like, it's not what people thought, Like Meta
man might have thought we gave him like extra privilege,
but it wasn't because Snoop was under like a different situation.
So we built inside the studio a room for Snoop
that had fucking ventilators and a bunch of shit because
we know he was gonna smoke, but he couldn't smoke
in the trailer because he had a mad drama and

(01:36:38):
there was this drama. Sugar was a bunch of stuff.
So we shot maybe four or five days with Met.
He was on point, like smoking this today Memphis. For
some motherfucker's discipline was.

Speaker 1 (01:36:52):
That I saw.

Speaker 5 (01:36:57):
When Snoop got there and Met hooked up with Snoop
and he saw this room we built with right, So yeah,
it wasn't about that, But you know, I felt bad
because it wasn't about that, but it was about Snooper

(01:37:17):
was in a tough situation.

Speaker 7 (01:37:18):
We were just trying to make the best situation we could.

Speaker 5 (01:37:21):
Okay, you know, but for me as a director, I
also didn't want the artist to be perceived a certain
way from the studio because I'm trying to protect them too,
because I'm like, we want to.

Speaker 1 (01:37:30):
Make more movies like this, you know, so let me
ask you, right, because you know I don't I don't
want to.

Speaker 2 (01:37:38):
I never claim that I discovered Para because I didn't
discovered Parral, right. I just worked with him on a
come up and he became who he is. But that
was like his first you know right here was with me.
Let me tell you to tell you it was with
him not to cut you out?

Speaker 5 (01:37:55):
Far is incredible, right, I discovered him from this kid,
from that fracticity. So so and then the last story,
the story I just told about.

Speaker 1 (01:38:07):
Snoop, Yeah, who came with us in Brazil. That's around.

Speaker 2 (01:38:14):
Check it right. So I never like kind of like
claim that, but I do claim the fact that you know,
we both took that that journey together. You know what
I'm saying, like like first hit record that he's in
the video like outright, well this arguably like Kevin Hart's
first like hit movie, right, like you know, like he
was in Paper Soldiers before that. And I don't I
don't remember what else, but this is outright. Uh is

(01:38:38):
a cult following right to this day. But so you
got nothing, man, you got snoop? How did you cast
Kevin Harden? And what what made you cast? For lack
of a better term, unknown at that top incomer instead
of you know, you could have got Westy Snipes, you
could have got you know what.

Speaker 5 (01:38:58):
I would say that that it's a gift in the
courage sometimes that you just want to do shit from
your heart, you know, because the studio gets pissed off
and you don't do the shit they asked you to do.

Speaker 1 (01:39:10):
And I had a lot of.

Speaker 5 (01:39:12):
Negative energy around MGM because I cast Kevin Hart. But
I was aggressive in terms of my strength, in terms
of I felt he was a guy. They showed me
a lot of guys and I won't talk about everybody,
but some of the comedians that they showed me at
that time were what they called uninsurable. There's like when

(01:39:35):
you do a movie, it has to be insurable, like
meaning like I put a fifteen million dollars, Who's going
to ensure my fifteen right? So somebody, a company, insurance
company comes and insurance that money.

Speaker 1 (01:39:47):
Wow, Because they're no their liabilities. Oh and like personal
life their liability. Okay, so so let's say, let's use
Noria as an instant.

Speaker 5 (01:39:59):
For my store.

Speaker 1 (01:40:00):
Who you don't want to lose. Mister Lee. Let know
what this story.

Speaker 2 (01:40:09):
Dominic the Dominican. Yeah, that is mister Lee is uninsureable.
He's unsureble Jesus.

Speaker 7 (01:40:20):
Was the star of my movie.

Speaker 1 (01:40:21):
Okay, he is already.

Speaker 5 (01:40:23):
Though let me tell you, mister leeds alradio stuff the
fucking call. Let's imagine mister Lee, right, so imagine miss Lee.
I cast him in the movie. But we have to
raise capital. So the Capitol raising guys like us, it's
corporate motherfuckers. And they going, you see, it's the Capitol people, right,

(01:40:45):
They're like, we're gonna put three four million dows on
mister Lee.

Speaker 1 (01:40:49):
And they checked mister Lee. Miss Lee's out there doing
ship that mister because he's in booby trapped. He's in
Booby trapp.

Speaker 4 (01:41:00):
But let me ask this question, though, isn't this already
a studio film or this is no I'm talking about studio.

Speaker 1 (01:41:04):
The studio has to raise the money like that.

Speaker 5 (01:41:06):
Well no, but what I'm saying is that sometimes they
have insurance against the movie gotcha. So when we were
trying to cast sole playing, there was a lot of
people that I liked.

Speaker 1 (01:41:14):
That were risky. So Kevin Hart was safe.

Speaker 5 (01:41:18):
No, Kevin Hart was no one in the equation. Okay,
there with other people that were popping at that time.

Speaker 1 (01:41:24):
Mike EPs.

Speaker 5 (01:41:25):
I couldn't say Mike's my guy, but I got to
some guys were risky at that time.

Speaker 1 (01:41:33):
I'm trying, thinking it's than three. Yeah, it might be, man,
we don't need to see them. This is the show.
Got that.

Speaker 7 (01:41:44):
So Kevin was new, it was new when he was little.

Speaker 1 (01:41:49):
He's still I mean like little, he's still likewise, That's
what I'm saying. This is the tallest cast of all time.
Makes you tell me? Now you don't. You don't see Kevin.

Speaker 2 (01:42:00):
Every heart is hilarious. He takes pictures on his Instagram
and if you're told, and then it was so funny
about it. He tags the people, so I just click
on the people that he cut off and then never
have the picture like the picture exists. We're doing together perfectly.

(01:42:22):
I'm saying, this is your four being told.

Speaker 1 (01:42:25):
This is crazy, you know, to everybody that was super choy.
Everybody was told to me. Yeah, everybody had to give
Kevi Clint he was He said he built.

Speaker 5 (01:42:35):
Two options right, so that there was one option to.

Speaker 1 (01:42:38):
Do like heels.

Speaker 5 (01:42:40):
Was like, I'm not wearing heels, and there was an
option to do the like. We called it the K board.
And then we bring the board in. He cans stand
on it because the girl, the lead girl was five
nine mental this is like sixty three snoops like six four,
you know, so it's hard to fit them in the
frame one, right, I don't know love Ken Yeah, he

(01:43:02):
sure so I could definitely don'gle him in the basketball game.
He could not be a So the thing is that,
you know, we had to make those adjustments in the studio.
Hated me for so then I was bringing snoop but
it was just so much stuff. But I told him,
I said, I had to have latinos in this fucking movie.

(01:43:22):
And the only person that gave me was Sophiel And.

Speaker 1 (01:43:29):
Because playing I.

Speaker 4 (01:43:32):
Think it's like, how did you were able to actually
finesse him ends of the film though?

Speaker 1 (01:43:39):
You know what it like?

Speaker 7 (01:43:41):
Kevin Hark came to an audition.

Speaker 5 (01:43:43):
My brother brought him in and he was incredible, incredible,
he was the best thing that I saw, incredible, and
I was like, fuck, this guy's so good. And that
one time gam I went to the studio and they
were like, he's not a leading man, he's I did this?

Speaker 1 (01:44:02):
Is that that?

Speaker 5 (01:44:03):
And I'm a short dude. Maybe not a shote Kevin,
but I'm a sure dude. And I said that, like,
am I going to remove his talent because of his height?

Speaker 1 (01:44:14):
So in Hollywood racism very is is it great as
for you? Man? No? No, this is called choices. You

(01:44:35):
have a choice. I made a choice yesterday. I was
like you today.

Speaker 2 (01:44:43):
Time, But there really is like people like cast role form.
I know I'm playing around, but is that something that
really exists? If you're like too small like question, let
me speak for yeah, yeah, yeah, yeah, let's go.

Speaker 5 (01:44:59):
Let's go.

Speaker 1 (01:45:00):
Let go something you said, you.

Speaker 5 (01:45:03):
Have an advantage to say something.

Speaker 8 (01:45:05):
Man casting casting his race, casting his races. So I say,
Tom Cruise, he's little five.

Speaker 1 (01:45:15):
The time? Who's a star?

Speaker 8 (01:45:16):
Anybody five stick and over? They're not cast? They have
to be five six? Oh wait, it's the tea show.

Speaker 2 (01:45:24):
Wait wait, hold on, hold on timeout tomorrow you can
set the cast and show you set the castle.

Speaker 1 (01:45:28):
If he's he's. They gotta cast everybody.

Speaker 5 (01:45:32):
Like this longs my height. They cast everybody short. Yeah,
the tea is short. Everybody short to make you.

Speaker 1 (01:45:40):
You said, mister t is short because the loan as
my height. Yeah yeah.

Speaker 8 (01:45:45):
Mess the busters alone with him and I was like,
I was, I was like, well, but but but casting,
why as you do this they look like.

Speaker 5 (01:45:54):
To cast accordingly like ben Affleck, guys, I got a
tall so you can't up some guys. You gotta asked,
real ship.

Speaker 1 (01:46:00):
This is where I really could help, just automatically. So
so that to go with casting now right.

Speaker 5 (01:46:10):
Yeah, yeah, the same thing that happened in our fucking house.

Speaker 1 (01:46:14):
Didn't let me have no love to see the move life.
I love to get older them. That's right, that's right, Ad.

Speaker 8 (01:46:24):
So casting casting, right, I started casting.

Speaker 1 (01:46:29):
To change the game.

Speaker 5 (01:46:30):
Right, let me get the sweat.

Speaker 1 (01:46:40):
I want to fight later. Let me do that. You
got sweat, but you don't.

Speaker 5 (01:46:49):
Want to know.

Speaker 1 (01:46:49):
He make up it the way. I just wanted to
know that out there to take care of my brother. Ad,
you're casting because of the like.

Speaker 8 (01:47:02):
So casting is racism, so I said, So I got
in to change the game. So Mike Crossover movies. The
movie called Kids, right, yeah, classic, I did that right,
you can't yeah?

Speaker 1 (01:47:13):
Yeah, wow.

Speaker 8 (01:47:14):
So this was ninety five ninety six. So they cast somebody.
I'm sorry, they cast someone to do the casting. And
she got Telly and she got Chloe, the two leads, right,
and then everybody else was the writer's harmon these friends
Rosario adult and your friends, right, and then I cast
everybody else, you know what I'm saying.

Speaker 1 (01:47:35):
So, Mike, my credit was additional casting.

Speaker 8 (01:47:39):
I cast everybody else, the vibe whatever, So that that
that became a multicultural little because before that it was
white kenon Barbie, that was Louis on TV.

Speaker 1 (01:47:49):
So Kids was so realistic it was everybody's, oh shit,
I want that.

Speaker 8 (01:47:54):
Then they will hire the girl, she'll get the job,
and she couldn't deliver. Then they'll call the director, you know,
so no, was you listening and they'll call me now.
So so that's when things started changing whatever, right, But god,
damn switching to not.

Speaker 1 (01:48:08):
Know what I was saying. What was the direction we
were talking about?

Speaker 9 (01:48:12):
We were talking about Cassie, Yeah, you racism and talked
from racism. So anyway, so let's shure you know.

Speaker 8 (01:48:24):
So then the game started changing and they started putting
real people in there, and nobody had it. And that's
how my birth came about, because they were like, you
need real Cassie, you gotta call me or whatever.

Speaker 5 (01:48:36):
Right, And then I started.

Speaker 11 (01:48:38):
I was on the you know, all the urban films,
all the commercials, all the crazy smoking Lord anyway, so

(01:49:05):
no so.

Speaker 1 (01:49:08):
You want to see sir. So I started doing all baby.

Speaker 8 (01:49:15):
I was working on all the crossover movies that made
the noise. Like I said, Above the Rim, they hired
me the extras casting on it.

Speaker 1 (01:49:24):
They're like, you the Juice did, yeah?

Speaker 8 (01:49:26):
You knowicgo, Yeah, can we pay you to go pick
him up at the airport?

Speaker 1 (01:49:31):
I was like sure, why not?

Speaker 5 (01:49:33):
It was terrified of him, So I paid him at
the airport because he might not tell that. So the
same way, but you know, Tupac doing Above the Rim
caught a bunch of the charges God during that movie
and they would call him like, yo.

Speaker 1 (01:49:49):
You want to go meet him?

Speaker 5 (01:49:50):
And because the studio was better than but it was
a crazy time, you know, it was insane.

Speaker 1 (01:49:58):
Then everybody started getting biggers.

Speaker 8 (01:50:00):
All the hip hop videos started crossing over, and I started.
I got in the commercial space and then that's when
the money started coming.

Speaker 5 (01:50:06):
And that's why he's not talking to me.

Speaker 1 (01:50:10):
I got no one's I've seen this guy. This guy.

Speaker 5 (01:50:18):
The world that doesn't know this guy's already.

Speaker 1 (01:50:22):
Welcome to Drinke Shad, Welcome to Drake James. You got
you guys got a castle right now. No one, no one,
no one see this guy. I'm this guy and he's
doing corporate brother. I'm the one of the I wonder
one of those streets. He's the one of.

Speaker 5 (01:50:39):
Corporate people anyway, So we're not when I talking that ship.
He's been in there, He's been in the tweets. I've
been in the streets.

Speaker 1 (01:50:46):
I got a twist. Oh going got him? No you
got him? No recorded? You got you got record? You
got him that. He's gotta be easy. You gotta not
drink so much, you gotta you know what I'm saying.

(01:51:08):
Don't say what you think.

Speaker 5 (01:51:12):
He's got the time doc.

Speaker 1 (01:51:13):
He said, some crazy ship. Please be easy. You know
what I'm say. It's a big show. People see this ship.
I'm saying, he got the show. We got the show
coming out, so we can't get the show blocks. You
know what I'm saying. No, I was gonna say that stuff.
Don't say this stuff anyway.

Speaker 8 (01:51:28):
The show when we crossed over work and the money
started poinding.

Speaker 5 (01:51:32):
I was five thousand videos on.

Speaker 1 (01:51:34):
Three videos a week. I was doing commercial fifty fifty
dollars video.

Speaker 5 (01:51:38):
I'm a young guy.

Speaker 1 (01:51:39):
All this money is coming.

Speaker 8 (01:51:40):
That got the big office, the big staff man sure,
mad dudes, hell mad things. Of course, yeah, of course.

Speaker 1 (01:51:53):
I don't want to get the job with Norm because
of my office. Not man dudes, no job, not bad
things walking I had. I had to use these angels.
You know that music. It was like the best business
card in the world. I give him that. He was Marke.

(01:52:13):
He was on marketing anyway, so lo shore.

Speaker 8 (01:52:16):
When I got into the big space, start doing the
big jobs, right then that's when it all changed.

Speaker 1 (01:52:21):
But we're like like this is the best actor here
that yeah, but but he's dark skin. What do you mean?

Speaker 8 (01:52:29):
No, No, he's dark skin. So we're talking about you know,
we need more like commercial skin.

Speaker 5 (01:52:38):
Is that.

Speaker 1 (01:52:40):
Was that?

Speaker 2 (01:52:42):
You know?

Speaker 1 (01:52:42):
No, like like him, you know, like not us like
like there, like listen you like my brother Sandy, you

(01:53:04):
know what I mean that you my mother's side, my
mother was like this you you the me exactly exactly, No, no,
you know exactly, show im talk about the black guy.

(01:53:24):
You're the black guy. There wasn't the black guy. He
lost me.

Speaker 5 (01:53:29):
Came out the.

Speaker 1 (01:53:30):
Casting casting you a cat guy casting. I was telling
the morning wanted you to be the lead guy. So
the like they thought he wasn't Latino for so play
like that.

Speaker 8 (01:53:42):
This is exactly right, you know, and I'll tell another
side story, so you move and Belly of course, all right, so.

Speaker 1 (01:53:48):
Our whole life. So I got hired a cast Belly,
you know what I'm saying. I read the script. I like, yeah, Williams,
I was so excited to make a Queens.

Speaker 12 (01:53:56):
I was there for thirty years, right like, yeah, guys
at that time, you there for like six seven years
another years today okay, sorry Jesse seven and a half years.

Speaker 1 (01:54:12):
He's easy.

Speaker 13 (01:54:13):
He who came, Yeah I did that right, he just
dated and games like, yeah, I was trying to be cool.

Speaker 1 (01:54:26):
He said, don't be cool. You deserve your props. You
deserve your props and all this guy, my dad, this
is incredible. This is that's right, no bt, just for
my name, bro, this happened. I swear you. When I
looked at it, I sure it is gonna be wrong. Yeah,

(01:54:47):
I don't mean I play my name wrong.

Speaker 2 (01:54:48):
I'll be honest. I'm gonna be honest. You know what
your name is? Like, your name is like Wistchester Sauce,
Like don't one care, no one, no one knows how
the right Winchester Sauce, Like send somebody to go slow,
like winch Saw. You don't want to say it straight up, Like,

(01:55:11):
how's about your name?

Speaker 1 (01:55:12):
I was like, that's like Winchester saw this shout with
the Paul Paul drink just flower, shout out to the Flowers.

Speaker 8 (01:55:23):
Movie credits that come up, movie credits. My name is wrong,
raising victimage peace South.

Speaker 5 (01:55:29):
I see?

Speaker 1 (01:55:30):
Is that a Dominican names? You know what the Milligans
do is like they try to give their kids.

Speaker 6 (01:55:36):
American name, Yeah, so they can fit in. Like that's
that's like, you know, that's a that's a name. It's
a drink American. Un listens, Jesse Shandy Leslie. That's our
whole family.

Speaker 1 (01:55:51):
Grants right here. Apparently it was Americans. We can fit in.

Speaker 5 (01:55:55):
They work there.

Speaker 8 (01:55:56):
You were.

Speaker 1 (01:55:59):
The mother. Let me for the other ship. The name
you the belly, the belly, the name ship.

Speaker 5 (01:56:04):
The main name was the name stuff.

Speaker 1 (01:56:07):
Oh there has to be your name.

Speaker 5 (01:56:09):
No, I say, oh the names to Rick and.

Speaker 1 (01:56:14):
You got them live.

Speaker 5 (01:56:16):
The guys. I'm sorry Jesse again, yea that the gangster
shiped my brother. He was like, yo, b you got
him active out of character yo, Jesse said, say he
does the older brother ship.

Speaker 1 (01:56:35):
He's like, Ya'm the real talking. You don't do that.

Speaker 14 (01:56:41):
He was like, no brother out here, Kurry, he's a
low bro. Yeah you shut him, brother. I'm doing until.

(01:57:02):
It's a just story about reason. It's thirty four years.
But like I said, we grew up the bulls.

Speaker 8 (01:57:12):
We were never blocking up whoever Spanish enough. I was
a white screw, wasn't white enough.

Speaker 1 (01:57:16):
Were owned.

Speaker 8 (01:57:17):
The guys just never accepted. I'm saying a whole life
never accepted. So I was always fighting so Belly. They
hired me to do Belly. I was so excited or whatever. Right,
So these are.

Speaker 5 (01:57:27):
People I've been working for for years. Okay, but yeah,
they just pauses. Sometimes it's like it's assistant just ro
just ain't.

Speaker 1 (01:57:35):
Involved, Williams. Jesse's not involved. It was just me telling
me this ship it's different. That was just me, not Jesse.

Speaker 5 (01:57:43):
Good.

Speaker 1 (01:57:44):
He's repping for the but hey, I thought he was looking.
Actually ship, you should it's just my shoes. I feel
like you're doing it because you want me to take
a cheesecake to Brooklyn. We out here with together, you
know what I mean? We got lord.

Speaker 3 (01:58:00):
It is brother, just the right way. Turned out like Diddy,
and he tried to kill me on here.

Speaker 1 (01:58:13):
Brother. I love him, But everything I've done is because
of this motherfucker, because I goddamn.

Speaker 5 (01:58:18):
You know what I mean. I didn't want to I
want to want to be at that.

Speaker 1 (01:58:21):
He didn't let me.

Speaker 5 (01:58:22):
So I begin a director.

Speaker 1 (01:58:24):
Boom he said, I stopped. I stopped his acting dreams.
I'm just that was fire. You want to fit this belly?
I love you.

Speaker 8 (01:58:44):
I'm just saying this Anottle story about the struggle about
you're saying. Latinos just would never fucking accept it. So
I get hired to do Belly. The cast cast Belly,
the people producing it. I've done their jobs for fifteen years.
I'm there back to so Plain. I'm their black guy. Okay,
so I do all that black ship.

Speaker 1 (01:59:04):
Not much they do. They're a big white company.

Speaker 8 (01:59:06):
But the two three black things they called me right Hey,
you listen, you know Robbie Reed just quit on this movie.

Speaker 5 (01:59:12):
And that's what she showed me.

Speaker 1 (01:59:16):
The facts. You don't know what do want me to do?
I would walk around Paramount get one, might try Paramount.

Speaker 8 (01:59:25):
We're doing the own ship right now. Anyway, we're doing
the own show now. We're creating a new platform right now.
But anyway, so they were like, yo, can you come on?
Boy and dudes what we call belly. They send me
the script whatever. They sent me the budget. It was
fifty bands. I'm like, okay, yeah, fifty mans.

Speaker 5 (01:59:41):
I was nice.

Speaker 1 (01:59:42):
I don't show him like this script. I read the script,
reading the script. I read the script the script. He
still thinks I don't read scripts anyway. So I read
the script. I I was feeling it to make.

Speaker 5 (01:59:56):
The queensls according to the bands, Yo, I say, what
made a reading for it?

Speaker 8 (02:00:02):
Okay, good squid, that's the fact. Listen, two thousand dollars.
I ain't reading no script. Things like this fun out
of here, That's what I'm saying.

Speaker 1 (02:00:11):
I even reading that.

Speaker 8 (02:00:12):
It's like it was a joke today with these cats
talking about I won't say their names.

Speaker 1 (02:00:17):
They were like, they called me from my movie, and
I was like, you can't afford me, and you know
who they are. But anyway, so let me story be short.
So I took the job.

Speaker 8 (02:00:24):
I was excited, so I started preparing or whatever. Then
they called me two days later. It's like listen man
was shard man, but please don't don't force us with
a cancelation fee, because you know.

Speaker 1 (02:00:35):
We got you. We hold you down.

Speaker 8 (02:00:36):
But then I have to release you from this project.
They said from the start, we have to release you
from this project.

Speaker 1 (02:00:43):
So if you get hired, you start working, and they
fire you, you gotta.

Speaker 8 (02:00:47):
You get a cancelation fee. So they're like, man, that's
what I'm saying. That's what I said told them. I
would have told him I'm not unreleasable.

Speaker 1 (02:00:54):
That's what I told him.

Speaker 14 (02:00:56):
Anybody say that the fuck he talks about your you're responsible.

Speaker 1 (02:01:06):
They would see that He's just say I'm unreleasing.

Speaker 5 (02:01:10):
For many they.

Speaker 8 (02:01:12):
Fed me for many years. I loved them to this day.
I still work with them. But anyway, they were like,
please don't was a cancelation fee.

Speaker 1 (02:01:18):
He's a good guy, my brother, you see him.

Speaker 5 (02:01:21):
The people down.

Speaker 1 (02:01:22):
He wasn't shipting on them because.

Speaker 5 (02:01:23):
Of me, what are you talking about that? You you
want to shipping in your people? You know, I mean
it's real talk. I says, Yo, you love me, but
you just was holding it down for your people. I
was showing you love.

Speaker 1 (02:01:37):
Nobody's even saying that story.

Speaker 5 (02:01:39):
What do you know that in the story.

Speaker 1 (02:01:42):
What I'm saying is got released.

Speaker 8 (02:01:44):
It told me not to give him a cancelation fee,
and then I was like, why are you releasing me for?
They were like because when they told the director who
is casting a movie, he was like, Torrero, where is
he from?

Speaker 5 (02:01:58):
And they were like, he's Latino? And then he was
like Latino. We need a fucking black casting director.

Speaker 8 (02:02:04):
The fucker Latino know about fucking Jamaica queens, like he
lives there, he's been there for there for twenty years.
We thought he'd be a great choice. Yo, yo, I
need a black casting director. Wow, fuck that ship.

Speaker 1 (02:02:17):
You know what I'm saying. And then is that a
white dude saying that too? No, this is Hype Williams
telling that.

Speaker 8 (02:02:23):
Oh yeah, yeah, there's a facts like like Hype we
just met last year I think or two years ago.

Speaker 1 (02:02:29):
We hit it off.

Speaker 8 (02:02:30):
But anyway, so long story short, that's a tough one
because I like hype. I don't I love hype. I'm
a big hype fan. So long, soy short.

Speaker 1 (02:02:37):
They they released me, They released me.

Speaker 8 (02:02:41):
Then they called me back the next day, Hey, do
you have any recommendations, like for what to cast the movie?

Speaker 1 (02:02:46):
You're like, what do you mean?

Speaker 5 (02:02:47):
He was like, you're our black guy.

Speaker 1 (02:02:50):
There's a white company. They're like, we don't know how
many people that do black stuff. So I was like,
you know what, the fact they talk like that is crazy.
These are my friends.

Speaker 5 (02:02:58):
I worked them.

Speaker 1 (02:02:59):
I worked the fact that they talking in those terms.
Do you recommend Wisdom Sinclair? So she gets to cast
the credit she's doing the hide Us and Juice.

Speaker 8 (02:03:08):
So I said, you know what, I know somebody and
I and I wis Wisdom gets the casting credit of Belly.

Speaker 1 (02:03:15):
Yeah yeah yeah.

Speaker 8 (02:03:16):
So I'm just saying, but like I can tell you
eight hundred stories, eight hundred stories of like being Latino
just Saint the waves, you know what I'm saying, like saying,
when the whole black lives matters, like we were the
Kings in Atlanta and say, dude, all the cheesy I did.
I did trap and Dye. Then he did the many
fresh joint. Then I did, uh, the what did I do?

Speaker 5 (02:03:37):
Though? The there's a big one. I did the big
one that he did. Stop.

Speaker 1 (02:03:48):
I'm just saying I'm making a point. I got you.
I'm making a point. Was j chs.

Speaker 5 (02:03:54):
Baby the boy don't tell them her messages. She said, Yo,
listen the show fucking a line with the ship that
we do.

Speaker 8 (02:04:08):
Okay, I don't know what's happening show shot shout out.

Speaker 1 (02:04:13):
Just didn't want the brothers fighting. Let me let me
a woman this. I gotta fix this. I gotta fix that.
We're good with Chance.

Speaker 5 (02:04:20):
Let me tell you, let me tell you you're going
what do you do?

Speaker 1 (02:04:26):
Let me tell you.

Speaker 5 (02:04:28):
Let me tell you you don't have a top level
show like this. You don't have control of the edit.
This motherfuck got seven cameras stopped you Like, yall, we're
fucking around. Yeah, but who's sucking drink chan Chance ship

(02:04:49):
you saw says like showing the stories.

Speaker 1 (02:04:54):
Don't want to sit through ship.

Speaker 5 (02:04:56):
Okay, Shot, I got.

Speaker 1 (02:05:00):
I got just I'm just wrapping up, I said, Jeezy,
I'm wanting just finish it. Everyone was.

Speaker 5 (02:05:07):
I trying to tell you what the kid look get to,
you know, I didn't.

Speaker 1 (02:05:10):
I'm no, just my brothers and ain't get touchy like
I'm just shouldn't tech you give me the rules before
the rules. Yeah, yeah, we're together.

Speaker 5 (02:05:20):
Yeah, we're together.

Speaker 1 (02:05:22):
I was just saying. I was just saying, there's a
new show family matters. Like I tried to do a podcast.
He was hating on me. You don't want to do it.

Speaker 7 (02:05:34):
We should do it here, man, I'm out here every day.
I told her, But I gotta.

Speaker 1 (02:05:40):
Finish this statement. I mentioned G's name. We love Gez.
But what I'm saying, like the point was, we were
in Atlanta doing a lot of stuff. T I man.
Then a c l out there. You know we're out
there early early the movie.

Speaker 8 (02:05:53):
Yeah, I cast statue my title, get additional castie, but
I can't.

Speaker 1 (02:05:59):
What's here's the story. Here's a catting story. Here's a
cat story. So killer Mike right?

Speaker 3 (02:06:06):
Uh?

Speaker 8 (02:06:07):
Emanuel Panico used to be a video commissioner at Atlantic Records.

Speaker 1 (02:06:11):
Yeah, she hit me up.

Speaker 8 (02:06:12):
I was like, yo, you that's why I directed the video.
He said, Yo, you should direct this guy killing Mike's video.
Whatever And if she mentioned the number was and I
was just like at that time, I was like you
know that don't make sense for me right now? She said, Yo,
this guy's the godfather, right should you know? I'm telling
you should funk with him? And I was really do
a rap. I was making the transition to when he
was on his mixtape run. It was the atl whatever

(02:06:35):
that year was like two thousand and five, and think
something like.

Speaker 4 (02:06:38):
That, because this is when he came out with a Deers.
He was on the record label and then he had
the crazy mixtape Run.

Speaker 5 (02:06:44):
Yeah, I don't remember.

Speaker 8 (02:06:45):
But so anyway, so she's like, yo, look, trust me,
you should meet this guy and you should do his video.

Speaker 1 (02:06:52):
So I meet with him or whatever. He takes me
around in Atlanta.

Speaker 8 (02:06:54):
I don't know who he was, but this guy where
he went, they rolled the red carpet out right, I'm like,
who the fuck is this guy?

Speaker 1 (02:07:00):
He got mad jewelry. It's just me and him, yeah something, Hey,
you're not scared they might take your change?

Speaker 5 (02:07:06):
And shit, I don't.

Speaker 8 (02:07:09):
Remember, because if I tell the end of the story,
you understand why.

Speaker 5 (02:07:11):
But so we go.

Speaker 1 (02:07:13):
We get every club.

Speaker 8 (02:07:14):
Every club was like the Master's here, red carpet love
and I'm like, who the fuck is this guy?

Speaker 7 (02:07:19):
Then we at five in the morning.

Speaker 8 (02:07:21):
We go to this place called body Tap, right, and
we sit down with these pools uh floid Atlanta, Atlanta.

Speaker 1 (02:07:28):
It's called Body Tap.

Speaker 8 (02:07:29):
And we walk in there and then we were these
grool dudes and somebody gives me a stack of money
and they're like.

Speaker 15 (02:07:35):
Just throw it in the air, and I was like, why,
I don't want to do that. A lot of money
it's doing the air. So I'm like, okay, I'm so upset.
There was a strip club those.

Speaker 1 (02:07:48):
A little body Tap.

Speaker 8 (02:07:49):
Now everybody knows the body Tap, so you know, I'm
upset throwing in the air whatever. There's money everywhere. I
went to the bathroom, I fell because I trimped on money.
It was insane. It was insane. What the fuck is
that ship? He was insane. That was like, hey, guys,
just give me some of it. There's just so much money.

(02:08:11):
I was just I couldn't stand it anyway. So so
then when we leave, asked Killer Mike, I'm like, yo,
who is that good?

Speaker 1 (02:08:18):
He's like, oh, that was Big Boy, like from Outcast.
He's like yeah. I was like, oh ship.

Speaker 5 (02:08:26):
They passed on him for at L because they thought
he was like the happy rapper guy.

Speaker 1 (02:08:30):
So then he dropped me off at the Georgia.

Speaker 8 (02:08:32):
Tell ain't tell the movie, so let me tell you
the story. Guy.

Speaker 1 (02:08:38):
He was no, he was nobody. He got who said
for the drug dealer? Dude, okay, so.

Speaker 8 (02:08:46):
Let me finish the story. You know, tell me this
was the icing on the cake. Thank you for sting
the story anyway. So so so he dropped me off
and tell me I gotta go so long the story. Okay,
sorry guys.

Speaker 1 (02:08:59):
So long story. Sure the table.

Speaker 8 (02:09:03):
He drops me in the george ter cugarettes, spoken sing
as I passed out.

Speaker 1 (02:09:08):
It's seventy a m. Somebody wakes me up, as Chris Robbinson.

Speaker 8 (02:09:11):
He's like, you, what's going on? I was like, I
got to the drug jailer. It's it's it's fucking big boy.
It was you know, it's a gangster.

Speaker 1 (02:09:19):
Do I like I was yesterday? It's gangster? Trust me,
I said at the meeting big boys, and.

Speaker 2 (02:09:31):
Probably should have asked you this earlier, but I'm gonna
ask you it to you now.

Speaker 1 (02:09:36):
That was the perfect time.

Speaker 2 (02:09:40):
You're known of this hip hop director. But you get
an opportunity to work with Roberts and Narrow right, and
I even read somewhere that he even told you to
call him Bob on the set. You got so personal?
How was that, like, you know, on working with a
prestigious acted like that coming from you know, hip hop
where people you know, No, you usually get a chance
to be in the same let a known director.

Speaker 5 (02:10:03):
I think what's interesting is that m at some moment,
like you don't expect us to be on a certain
level on the filmmaking game. They don't expect us to
be like on that high level for us to have
like a guy like that, like how many Dominicans shot

(02:10:24):
Robert de Niro? Probably any? And you know, I'm not
trying to make it up, and you're trying to be honest.

Speaker 1 (02:10:34):
Like you No, you don't get that real talk. Now
you get that real talk. They didn't take directions? Do
you take direction from you will? Okay, let me say,
tell him about the meeting, Tell him about the meeting,
about the consolection that that's a good way.

Speaker 5 (02:10:51):
Outside to whatever the direction you were going. I'm sorry,
I go back to that direction. I don't believe you
were fucking the ship. Yeah, this is the best person
in my life.

Speaker 1 (02:11:03):
Man.

Speaker 5 (02:11:10):
Know what it's like, you know, we out here for like,
if you want to judge your life and who is
there the entire time, there's people that are in sections
that they're fucking were there at the sections where your
life was needed that person, so you can't deny them
as being the fucking guy that rolled you to the
fucking pain, right.

Speaker 1 (02:11:30):
But.

Speaker 8 (02:11:32):
There's probably when you look at that section, different sections
of people that are engulfed in your life. And maybe,
if you're lucky, you have one person, one person that
maybe took the whole journey, two three people, and this motherfucker.

Speaker 1 (02:11:47):
Took the journey. How about robbing the narrow Doome journey?
How's that? Working?

Speaker 5 (02:12:02):
This ship was crazy because it was you want I
don't know, bro, I think you're good. I need the
drinks at least having something.

Speaker 1 (02:12:16):
Said, we don't give no more dreams. I heard that
champ a drink can.

Speaker 2 (02:12:29):
Cancel, kid, but have an opportunity to even be in
the same room with Robert and he's the director himself.

Speaker 1 (02:12:37):
So that was that intimidating.

Speaker 5 (02:12:40):
It's tough, you know, I think it's a it's a
different situation. It's imagine I was like someone that wasn't
Latina all right, Sometimes you should up in front.

Speaker 1 (02:12:51):
Of Robert de Niro.

Speaker 5 (02:12:52):
If people judge you because of the way that you look,
the way that you dress, the way that who you are,
you know, they think that that who you are and
put them in the same level on the film level
and the conversations about film.

Speaker 1 (02:13:04):
It doesn't matter if you study film. You know, fucking broke.

Speaker 5 (02:13:06):
Down film, you cut the ship when you were shooting
your short film. It doesn't matter anything you did. But
you just Latino and they look at you and they say,
you know, fuck this motherfucker. You don't know shit about film.
When I was there cutting this motherfucking film, doing this
shit that I needed to do. But they see you
sometimes and they fucking judge you for that, you know
what I'm saying. And they don't show us the love.

(02:13:26):
And they're like, yo, what are you gonna do. We're
gonna do this, we can do that, We're gonna do
all these different kinds of things. But they don't do anything,
you know what I mean?

Speaker 1 (02:13:34):
And Robert dear felt that way.

Speaker 5 (02:13:36):
No, So when sometimes they make you feel a certain way.
And Robert de Niro, even though they offered him a deal,
they were like, unless he says yes, he has to
meet the director and they call me and they you know, no,
come on, man, It's like, I'm not a dude who
likes just like losing an imagine a world like Jesse

(02:14:00):
Churl's dope, Like I know I'm ill. So while I'm here,
it's dring Chines. Maybe it's the number one show. I
know why I'm fucking here because it's string Chinese.

Speaker 2 (02:14:10):
But you didn't want to wear a suit because you
didn't want him to think you a corporate when you
was being Yes.

Speaker 5 (02:14:15):
That's what I'm saying, it's Robert de Niroal, I never
never in my journey, in my life that I think
by you had me Robert de Niro moment killing it
and that was out there like like suffering on Big
Ship the game like we did ship.

Speaker 1 (02:14:31):
That was dope. I walked you to that meeting. No.
But the crazy thing is.

Speaker 5 (02:14:42):
Like, let's say I was a white American person or
white I wouldn't worry about nothing but meeting Robert de Niro.
But when you're like Tina, you gotta worry about the
way you look, the way you dress, the way you
know what I'm saying, because people judge you on that,
like and then they just don't give you the respect.
So I told my brother, I said, what am I
supposed to do here? I caught you, you know, I

(02:15:08):
mean like I'm doing this shit for real, Like we
affect this ship.

Speaker 1 (02:15:13):
So I told him, I say, you know, but you're
like holy ship. Get to the point into the point.
We lost him? He lost it, I tell him here
so anyway, so and you can pick it up what
you want to, right, So so you know.

Speaker 5 (02:15:32):
Where I was here.

Speaker 8 (02:15:33):
So I try to come with him and like to director, no, brother,
not like that woman that was with him.

Speaker 1 (02:15:42):
You gotta fall back. It's one on one, okay, But
I got a spot walk or watch his watch.

Speaker 8 (02:15:48):
I was excited anyway, just went in there and to
tell him how Robert de Niro came at you with
the optionals.

Speaker 5 (02:15:57):
No what it was interesting because it's like all of
a sudden, you come into a position like that, and
you know, you got to sit with someone that he
might see the world different. So you started talking to
him about different things. And the one interesting about Roberts
and all is that because most of his marriages, the wives.

Speaker 1 (02:16:17):
Have been African American kids is black too, right.

Speaker 5 (02:16:22):
So I think he understands that he knows what's.

Speaker 1 (02:16:24):
Uping with a chocolate box. For a long time, I said, what.

Speaker 5 (02:16:36):
Was that?

Speaker 1 (02:16:36):
Like a dream come true? Like that dream come true?
Let me tell you there was one point.

Speaker 5 (02:16:46):
It was a different actor and the way that business works.
Sometimes it doesn't work like us, like we love something
and we just love it, and then the money tried
to like make us think different.

Speaker 1 (02:16:58):
But with him, it was something different because it was
like we had the money. No, I liked him.

Speaker 5 (02:17:03):
He was part of the money.

Speaker 1 (02:17:07):
He had the money. He had the money already. He
didn't need the money for it, he didn't need the role.
So he's just doing this out of love.

Speaker 5 (02:17:13):
That's what I'm saying. But sometimes for us, just like
we want the priject that makes sense, and sometimes it
doesn't make sense.

Speaker 1 (02:17:18):
It just like about to break. Oh yeah, I get
it now.

Speaker 8 (02:17:24):
You know this. It's just he said, even though he's
feeling nice, he's still corporate and safe. And you don't
want to shet sartain information.

Speaker 1 (02:17:36):
It's a big movement.

Speaker 5 (02:17:37):
See what I'm saying, and say, Bobby, here's it.

Speaker 1 (02:17:41):
Bobby, you know what I'm saying. They might hear it,
and you know, he's cool. I'm not saying anything.

Speaker 5 (02:17:46):
You know, they know what it is.

Speaker 1 (02:17:47):
So what what what's next? Because we see DNA right
and and my b y'all doctor narrow and five bits
post of y'all. So that's that's We just wrapped yes today.

Speaker 2 (02:18:00):
What is that?

Speaker 5 (02:18:01):
So it's called Spanish Fly.

Speaker 1 (02:18:05):
That was like Bins Drinks. That's what it was back
in the day. Was back in the days. That was
the original. It's called the Pill Cosy. It's a comedy
that Dundee Netto wrote. He did, he rode in, he produced.

Speaker 8 (02:18:29):
He put the money off him and his nephew and
we just wrapped yesterday. It's it's like a it's like
a Friday teaching chunk, you know what I'm saying.

Speaker 1 (02:18:39):
So we just finished that and I said, it was
me jokes bly something, jokes man, but he was. He
was the main horse on that. He was he was
like the ghost director man jokes just no, that's homie.

Speaker 8 (02:18:55):
But but like I said, you know, this could be
the first thing we see for the first time. I said,
it's a Dominican and a porter.

Speaker 1 (02:19:06):
And a Cuban a Cuban and yeah, Cuban Cuban. Bet
you a whole bunch of.

Speaker 8 (02:19:13):
Diversity in it, Like it's pretty funny, Like we think
we might do something with this, and that might be
the first time you see the culture.

Speaker 5 (02:19:21):
Don he really enforces the culture.

Speaker 1 (02:19:24):
He deserves his process for sure. Before we get ub
out of here, I got a movie for y'all that
we're gonna do together. We're gonna do that, We're gonna
do together. Guess what it's called? Handballs? What's that? The
movie about handball? Handballs? Handballs?

Speaker 2 (02:19:46):
The title gets you off top of it, but it's
about a god named Gotam Queens.

Speaker 1 (02:19:53):
He plays handball.

Speaker 2 (02:19:54):
He becomes the ills handball guard in the world, and
he goes to Turks and Caicos.

Speaker 1 (02:19:59):
He it's you. I'm the handball guy, I know, said
the moment. Yeah, yeah, I'm from Coliseum. I'm fro to
Coliseum and you know what I mean.

Speaker 2 (02:20:18):
And then he goes away, and then there's these guys,
the LA guys come in because you know, because you
know New York, we have our certain style of handball.
Then you then Miami has a certain style of handball
where they play on racket courts and tennis ball of course.
Then they have the l A style where they played
on a totally different thing. But I want to migrated.
Noel g will play the people in l A how

(02:20:40):
they do it, and then they give me back. Coming
from church and K goes, I have to beard on
like about hundred pounds and then I get in the gym,
I start jogging and then I come back to win
my hands back.

Speaker 1 (02:20:54):
That's what it's cool. Hands you know what I'm saying.

Speaker 5 (02:20:56):
O God.

Speaker 1 (02:21:05):
Going besides that? Because did we talk about the documentary
that I'm in for y'all? Oh the hems temper. That's right,
you ain't talking about that? Yeah? Where was it at Amazon?

Speaker 8 (02:21:20):
Prime? Yeah? Okay Prime here I'm gonna say, but thank
you for give me?

Speaker 5 (02:21:24):
That so fun?

Speaker 1 (02:21:25):
It was so fun. You know, we got to roll
the stones.

Speaker 5 (02:21:27):
It was right.

Speaker 1 (02:21:28):
Oh no, hell no, welcome. I'm gonna started walking me
a little one. He gave me one. Everybody was like photos.

Speaker 5 (02:21:39):
Then can I go from my brother life fifteen hundred dollars,
you can have mine.

Speaker 1 (02:21:46):
I don't even have anything else coming out you want
to promote? Yeah, So for me, active rehad the future.
We have the future.

Speaker 16 (02:22:00):
We have Like I said, we we we make. They
don't give. We don't give diplomas, we give jobs. Drink
Champs is a drink Champs LLC.

Speaker 4 (02:22:16):
Production hosts and executive producers n O r E and
dj e f N.

Speaker 1 (02:22:22):
Listen to drink.

Speaker 4 (02:22:23):
Champs on Apple Podcast, Amazon Music, Spotify, or wherever you
get your podcasts. Thanks for joining us for another episode
of drink Champs hosted by Yours truly, dj e f
N and n O r E. Please make sure to
follow us on all our socials that's at drink Champs
across all platforms, at the.

Speaker 1 (02:22:41):
Real Noriagon, I g at Noriaga on.

Speaker 4 (02:22:43):
Twitter, mine is at Who's Crazy on I g at
dj e f N on Twitter, and most.

Speaker 1 (02:22:49):
Importantly, stay up to date with the latest

Speaker 4 (02:22:51):
Releases, news and merch by going to drink champs dot
com

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Episode Transcript

Hosts And Creators

DJ EFN

N.O.R.E

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