Today on The Breakfast Club, RZA On New Film 'One Spoon Of Chocolate', Overcoming Writer's Block, Paying Homage To ODB. Listen For More!
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Speaker 1 (00:01):
Every day a weak click your ass up the Breakfast Club.
Speaker 2 (00:05):
You don't finish for y'all done?
Speaker 3 (00:09):
Ready got myself Morning everybody, it's the j n V.
Just hilarious. Charlamage the guy. We are the Breakfast Club.
We got a special guest in the building. Indeed, he
has a new movie that comes out this Friday, Ladies
and gentlemen, Rizza in the building.
Speaker 2 (00:26):
Movie is One Spoon of Chocolate, Man.
Speaker 4 (00:28):
One Spoon of Chocolate is my personal opinion, instant classic,
instant classic. I already got it as one of the
best movies I've ever seen, and to me for what
I like in the type of movies I like, it's
one of my all time personal favorites.
Speaker 2 (00:42):
I watched it twice yesterday.
Speaker 5 (00:44):
Man, literally Instagram yelling and all. That's another post like
all r y'all, I calm down now, man, I'm.
Speaker 3 (00:53):
Sixty two minutes in and I would just say I'm
highly impressed.
Speaker 1 (01:00):
You know, you know it's funny.
Speaker 3 (01:01):
I'm watching it and I'm watching the characters play out right,
and I'm talking to charlamagneause you know he got a
live off because he's seen it, right, So I'm watching
it and he's telling me your parents.
Speaker 2 (01:08):
I'm like, that's Michael.
Speaker 3 (01:10):
Jackson's daughter as one of the stars are but you
don't look at her as Paris Jackson. You just look
at her as a good actress. And I was highly impressed.
Speaker 2 (01:18):
Brother. Yeah, she definitely did a thing.
Speaker 1 (01:21):
Out of all the actors that's in the film, she's
she don't need to be there, right. Most people that
that do uh, acting or music, whatever they do it
for they need a bag or they do it for popularity.
She's already one of the most popular persons in the
correct sitting on a you know, a bag of of
of of of accolades and economics. So she came there.
(01:43):
She she came as an artist, and she got up
every morning, no Six in the morning, gotten that makeup chair,
came on set and actually had something that I noticed
by do you notice actors different actresses or actors got
a special quality like shan Meek Moore, he's a sponge, absolutely,
but she's like a motor memory, like you know what
I mean. Like I seen that in Lucy Lou. I've
(02:04):
seen that in Uma Thumb and like people that that
could do it twenty times exactly the same way because
they already did it in their minds, So she definitely
has a she wants to do this.
Speaker 2 (02:15):
She can go as far as she wanted.
Speaker 4 (02:17):
Jackson was want us in the theatis because you know,
last week the movie came out and then this week.
Speaker 2 (02:22):
Chocolate comes up.
Speaker 1 (02:24):
Yeah, which which I think in the culturally is it's
a good one two punch and all reality one is
very you know, the Jackson movies uplift and bring us
our childhood and bring children into that world, right, and
then once boone, it's like for.
Speaker 2 (02:39):
The adults to go, wait a minute, it's very uplifting
to me. Man, I'm still mad right now. You do
a range of emotions for that last thirty minutes. You like,
I'm still bad.
Speaker 3 (02:53):
So let's talk about it for people that haven't seen it,
or explain what what spoon.
Speaker 2 (02:57):
Of chocolate is.
Speaker 1 (02:58):
Well, at the end of the day, the title itself,
it says a lot, right, because one spoon of chocolate
could change the whole glass of milk, you know what
I mean. And sometimes you got to put that in there.
Sometimes you got to be like yo, change the change
the chemistry, change your outcome as an artist. For me,
I put a spoonful of different things into this film,
like even from different genres.
Speaker 2 (03:19):
You watch it.
Speaker 1 (03:20):
One moment you're feeling like angry, next moment you feel like, wait,
is this a fucking romantic comedy going on? Because there's
there's a vibe of that. Uh. Then then of course
there's the there's the action satisfaction. And then to be
quite honest, bro, and since he saw he could vouch
for this, there you guys, you scared for a moment
in that month, absolutely like you're like, hold on, bro,
(03:42):
what's gonna happen? You grab on your seat, like, yo's
that going to happen?
Speaker 2 (03:46):
And so I was ready to be mad at you.
Speaker 4 (03:48):
I'm like, yo, don't don't let that happen, right, No, no,
And then something happened and I'm like, oh, no, he
did it, and I'm like yeah, trying not to give
it away.
Speaker 5 (04:01):
It was interesting to see how you guys will have
the conversation because you were so excited about it without
giving the movie away.
Speaker 1 (04:07):
Well, you know what, I learned something about about filmmaking. Right.
It took me to touch my fourth film, so you know,
and I feel proud of all my work, but I
don't think I ever understood the rubber band effect.
Speaker 2 (04:19):
So the rubber band effect is you pull that motherfucker
right too. It's about the pot. Then you let it go.
Speaker 1 (04:26):
You just keep doing that, you know what I mean.
So now that I understand that, that's the energy you're
feeling when you're watching this film.
Speaker 2 (04:34):
You're like, okay, okay, let me chill.
Speaker 1 (04:36):
Then you know you're looking at the other people in
the audience, and it's definitely an audience film.
Speaker 2 (04:40):
So you saw it by yourself, right.
Speaker 4 (04:41):
I mean I watched it on the plane and my
wife kept tapping me because I.
Speaker 2 (04:45):
Was, yeah, people look at you on the plane. And
then I watched it again at home.
Speaker 1 (04:51):
So when you see it with the audience, it's even
it's like it's even another thing because now you feel
the room, you know.
Speaker 2 (04:58):
What I mean.
Speaker 1 (04:58):
Like when I first saw it in New York City,
you know, our New York is all YO, was yelling
at this when your fuck got sony, do this, do that.
But then in La it seemed like everybody was nervous,
like yo, you know what I mean. Then in San
Francisco I did a quna afterwards it was intellectual, you
know what I mean. Everybody took it intellectually, but in
Chicago at the Beyond Fest cheering standing ovation. So it
(05:24):
gives you, it has the ability to shake you in
different directions.
Speaker 3 (05:28):
Now I know you're an EP and director.
Speaker 2 (05:29):
Did you write the movie as well?
Speaker 3 (05:30):
Yeah, yeah, break down your mind frame with writing through
that these past experiences. Of course that's exaggerated a lot.
Button expressed the.
Speaker 1 (05:39):
Mind frame definitely. I mean well, first of all, started
writing it in twenty eleven.
Speaker 2 (05:43):
Somebody told me that that's wow. Yeah, that's what thirteen
years yeah, wow, fourteen years ago.
Speaker 1 (05:47):
And I tried to but I got stuck bro like
writer's block, Like nothing would come out, Like I just
page forty nothing five years later, nothing really. But then
when we were doing the New York State of Mond tour,
on the back of the tour bus, me and my
wife just you know, you got the star coach but
they're still bouncing, and said, but I'm back there on
my computer, and it just came out like water. Every
(06:09):
every city, every truck stop, Like I get out to
the truck stop sometimes you know, you get off the
bus and you might go in there and whatever.
Speaker 2 (06:15):
I get back on the bus like.
Speaker 1 (06:18):
And all it just came out so so as far
as the mindset of it, you know, it's like it's
really taken. You know, we're from New York, right, so
I know if you were all close to the same age,
do you remember going to the first white castles in
Bay Ridge?
Speaker 2 (06:33):
Bro? Yeah? Yeah, my mom was in Queens Village. But
I know what you mean, Yeah, Bro, you couldn't.
Speaker 1 (06:38):
So if you live on Staten Island you want to
go to White Castle, you had to go across the
Vera Zano right Vincent Hurst, bay.
Speaker 2 (06:43):
Ridge, Bro, and you'll do it for a White Castle burger.
Speaker 1 (06:46):
Back in those days, naw, bro homies was lined up,
you know what I mean? You know, I mean me
and Dirty got chased out of that White Castle, you
know what I mean. I don't know if you know
Leftis Boulevard or that side of you know, that side
of Queens. Back in those days on Staten Island, there
was a place called Rose Bank, you know, and you
know it had to It's like once you go onto
(07:09):
that bridge, you and Rosebank, but it's set on the bridge.
You know, don't come in here, Bro, I mean you
go and you go though, because you know a MP
was there, so.
Speaker 2 (07:18):
You might go to packed bags or try to get
your hustle on.
Speaker 1 (07:21):
And yeah, homies, homies, homies would a pickup truck with
bats is sending you up out of there. So so
that's just a childhood thing that happened in New York City,
you know, a reality.
Speaker 3 (07:31):
The crazy thing is even with Staten Island and two
WU team came out, that's what we had. Magine, Staten
Island was nothing but white boys in bats and you
better not go over there. Parts of Brooklyn would like
that you better not go. And even in Queens where
John Gotti and them live, like, there were areas where
you just like, you're.
Speaker 2 (07:46):
Not going on on that side of towncause you're gonna
get sucked up, exactly.
Speaker 1 (07:48):
And then and then it evolved, right some of those
like I go to rose It's called Rose Bank.
Speaker 2 (07:54):
I go to Rose Bank.
Speaker 1 (07:55):
Now bro drinks is on our house instead of partying
in the pubs and shit. But that evolution may have
happened in New York City. It may have happened uh
you know and lost sounge, and may have happened in
Philip But this places in the country where it has
not happened yet. There's places in our country where uh,
people are stuck in the stuck in the past. It's
(08:15):
almost like, and I'm gonna say this without trying to
be political, I'm gonna say, you got the you got
the Obama generation, you know what I mean, and then
you got the opposite generation.
Speaker 2 (08:26):
Yeah, yeah, you know.
Speaker 4 (08:28):
It's interesting right that that what you just said, because
what reason would a black person have to want to
be in Karansville?
Speaker 2 (08:34):
Right right?
Speaker 1 (08:34):
But when you you know, so Karensville is based in Ohio,
and I know.
Speaker 2 (08:39):
Why unique went, but I'm talking all the other black
people that well, no.
Speaker 1 (08:42):
Because you know, when Ohio was an industry, still mill
still mill towns, So people went there for work, you
know what I mean. And and the story yourself. You
know when I when I when I got my five
year probation, I had to go to I went to
Ohio myself.
Speaker 2 (08:59):
Oh okay.
Speaker 1 (08:59):
So but down the hill what you call it, is
where all the blacks lived and all the poverty lived.
And that's where the main smoke from the steel mill
to cage your house.
Speaker 2 (09:11):
But up the hill or a little further out.
Speaker 1 (09:13):
Is you know, nice lawns, and this clean cut in
the community is nice. Down the hill, the Basketball Corps
is decrepit, and this glass in the park up the hill,
it's nice and manicured, and you know what I mean,
and you want to play where it's nice. So now
you want to go what up the hill? Keep your
(09:34):
ass down the hill? So so so Ohio in many
Midwest towns because was Magnets, because that's where the steel
mill was at. That's where the opportunity was at, you
know what I mean. So that's how a lot of
us end up there. Now this movie is there's no
place known as Karensville. Let's just be I made that
up right, But the but the gag of it was
(09:56):
that yo a bad turn, you know what I mean,
and you could end up somewhere with everything is going
to go bad, you know. So that was part of
my cinematic magic.
Speaker 5 (10:05):
I saw you saying the movie is a tribute to
ODB two and what it would have been like the
superhero he would have been if he had lived past
you know.
Speaker 1 (10:12):
Yeah, I mean, you know, you know, I'm always, always, always,
always gonna always give homage to a son. I named
the character Unique after him. There's a scene, one of
the scenes when he's driving with his cousin. I did
that for all the wuheads, you know what I mean,
to feel that energy. Uh. And I wouldn't as far
(10:34):
as even naming his cousin Ramsey.
Speaker 2 (10:37):
Which is old Doddy's baskets, older brother.
Speaker 1 (10:40):
And he was the first one to have a pair
of turntables in our in our family, you know what
I mean. He wasn't nice though, you know what I mean.
He was he was he was mixing like this, like
but me and thirties to get on his city. Yeah,
you get mad and shit, you know what I mean.
But still, if he didn't have those turntables, we don't
start making music, you know what I'm so. So it
(11:01):
was my way of paying homage. And then my older
brother government name is Randy. His righte's name is a
universal king, but his government name is Randy. So just
by taking keeping my family engaged energy wise, I named
my characters after my family.
Speaker 2 (11:17):
What time period did this movie take place in? Because
I can't tell.
Speaker 1 (11:20):
I'm glad you said that, bro, because I removed the
clock like when you see this film, I strive technically
to remove the clock.
Speaker 2 (11:28):
So you don't know, Yo, did this happen already?
Speaker 1 (11:31):
Is this gonna happen? Is it happening, now, you know
what I mean. So that was a cinematic choice. But
go ahead.
Speaker 6 (11:38):
You said you had writer's block, right, You've been writing
it since twenty eleven. But something happened with nothing was
coming out. Now, I know you remember when it all.
Speaker 2 (11:47):
Came to you.
Speaker 6 (11:47):
But was there something in particular that happened to finish like, oh,
this is what this is why I'm finishing it.
Speaker 1 (11:54):
Yeah, Well, the LA or Hollywood went on a writer's strike, right,
So now that means nobody he could work, right, And
so of course I'm defiant, and so I'm like, you
know what a writer's like.
Speaker 2 (12:06):
That means I'm going to write.
Speaker 1 (12:07):
And so I started writing some other things, but those
things kept getting blocked, like I get seven pages here,
seven pages here, and then I just kind of went
back to something that had those forty pages, so let
me read this and see what this is about. Then
all of a sudden, it was like, this is where
you belong. So I feel like art sometimes it dictates you,
you don't dictate it. Yeah, you know what I mean,
(12:29):
And I honestly, we'll say this film is one of
those things because like I didn't know to be the
result of it. I just knew I had to do it.
Speaker 2 (12:37):
Yeah, you know what I mean.
Speaker 1 (12:38):
And I and I talked to my wife about it,
you know, and she agreed. She was like yo, she
came on board as a producer. My brother Divine joined
the party, and I needed some help.
Speaker 2 (12:51):
And I need some help.
Speaker 1 (12:52):
Kid. Did you do the casting? Yeah, well we had
a great casting director named Kim Harding who did a
lot of great things. But but shan Meek Moore was
automatically my choice him.
Speaker 2 (13:05):
In mind, Meek.
Speaker 4 (13:07):
Bodied if in a fair world, he'd be up for
every award nomination there.
Speaker 2 (13:13):
Killed it. But something tells me, Hollywood is not gonna
like this one.
Speaker 1 (13:16):
That's okay, I think they I think at the end
of the day, in my opinion, right, it's like it's
almost like thirty six Chambers.
Speaker 2 (13:24):
Motherfuckers don't know what the fuck that shit was. It's like,
what is this? You know what I mean?
Speaker 1 (13:27):
And and the industry itself wasn't ready for that, It
wasn't ready for that energy, but the people were, you
know what I mean.
Speaker 2 (13:35):
And and this movie is for the people.
Speaker 1 (13:38):
It's for the culture, for the it's for the culture,
for the for our culture, for the hip hop culture
and for American culture. You know, there's one scene in
the film that I'll give a spoiler on where our
hero he enters this room and and and the American
flag is painted everywhere, and and and the But the
(14:00):
villains they are desecrating that right because of their their
what they're what they're living is not that right. So
it's like they're using that flag as a shield, uh,
the cover their their wickednesses.
Speaker 2 (14:13):
Call it right.
Speaker 1 (14:14):
And he gets into a fight with him, blah blah
blah blah blah blah blah blah blah, and he bangs
one and the blood splatters on the wall and they're
all knocked out, and he picks up their little They
had an answer. They have another flag that they use.
It's more like insidious. He takes their flag and cleans
the American flag bro and salutes it like, yo, I
(14:35):
can't get to that point.
Speaker 2 (14:35):
Yea, yeah, I just killed me. He's he's also a veteran. Yeah,
is a veteran.
Speaker 4 (14:41):
So it's like this tension between you know, the black
veteran and the white locals. Are you saying the war
don't end when a person comes home?
Speaker 1 (14:48):
Definitely that I mean there's a scene where when he
when you know, when we when he first, you know,
tries to manage his own anger.
Speaker 2 (14:56):
He he has to.
Speaker 1 (14:57):
He's in a home where they put just called it
disposed traumatized veterans, people that got PTSD and all that
you just put. You know, a lot of them are
stuck in homes and walking around like, you know what
I mean, drippling milk out their mouth and shit, you
know what I mean.
Speaker 2 (15:11):
And it's almost like, in a way, you.
Speaker 1 (15:15):
Know, our country, don't homage the people that went and
made it easy for me to go to Disneyland and
chill out, get a big presso big fucking golp of whatever,
sixty four hours golp walking around nothing happening to us
because somebody went and fought and secured that for us.
(15:36):
And then you come home and you can't afford that ticket,
You can't even enjoy.
Speaker 2 (15:41):
What you fought for.
Speaker 1 (15:44):
So that was so I wanted to touch on that,
and then touch on it in the black man's way too,
because for us even it's almost like we're not even
appreciated for how many of our sons and daughters went
and fought in God, you know what I mean, So
it was was me paying how much of that but
(16:07):
showing that, and I think we all could agree that,
yo yo, we love this country, bro, you know what
I mean. We here, you know what I mean.
Speaker 2 (16:15):
We you know what I mean.
Speaker 1 (16:16):
We help innovate it to be what it be, and
and and continue in every aspect of it. And so
we don't want to be like, yo, bro, I came
and hooked all this up. Now you can't come back in,
you know what I mean? Nah, bro, yo, boy, don't
you remember me? I'm the one that now I don't
remember your boom closed the door, let in others who
didn't do nothing. So so it was that psychology. I
(16:36):
wanted to get a course in that character.
Speaker 5 (16:38):
It's what you leave one war and go into another.
Like that feeling. But when you were talking about the
time clock and the fact that you removed the time clock,
that's very reminiscent of like how life is in real
life today, Like there's things happening that like my grandma
was telling about when I was growing up, right, And
I'm trying to figure out, okay my niece even want
to experience that. And some days I feel like, oh no,
we'll get to a place and the other days I'm like, nah,
we should prepare her then, like I don't know, Like
(16:59):
it's it's all like evolving. You don't know what time period'reat,
even though we know the year that we are right.
Speaker 1 (17:03):
Now, that's what that's You're right about that, and you
just said the magic world though, prepare. If anything people
should get from this film is that preparation is everything.
Speaker 2 (17:12):
I love that scene everything.
Speaker 1 (17:14):
Oh my god, I love that Preparation is everything, y'all
for whatever, I don't care. You know, we probably some
dudes I don't want to study, study for the test. Now,
prepare yourself for everything, y'all.
Speaker 2 (17:26):
Hold on that. Y'all got to see the movie.
Speaker 4 (17:29):
All that shit makes sense now, Like when he got
when he received the book on the bus and I
got it.
Speaker 1 (17:34):
You see what he saw.
Speaker 4 (17:34):
And when the guy was giving the sermon in the
church about preparation while he's prepared, Oh my.
Speaker 2 (17:39):
God, y'all gotta go see it.
Speaker 3 (17:39):
Man, Quentin Tarantino. What what did he bring out of
this movie that you necessarily didn't see the vision that
he saw Because even from the opening scene when he's
when he's when he's locked up and he's punching. I'm like,
that's a Quittin Tarantino scene. The way it comes through
the bridge. I'm like, that's how it is. But what
was something that he brought out that you necessarily learned
from him?
Speaker 2 (17:56):
I should say, well.
Speaker 1 (17:57):
It wasn't that on it like like on this he
he didn't. He didn't have hands on you know, but
he gave me the green light to allow it to
exist in his world.
Speaker 2 (18:05):
So does that mean?
Speaker 1 (18:06):
So if anybody who watched Clinting Tiantino movies, you know
that all his characters exist in the world. They all
smoke red apple cigarettes, right, all red apple product. Everybody
always want to know what's in that briefcase in pulp
fixing to open that briefcase, that light hits you, what
is that? So in our film it exists in that world.
There's a scene what you just mentioned where our hero
(18:28):
there's a guy who opens.
Speaker 2 (18:29):
A briefcase, but we don't see the briefcase open. All
we see is a book come out.
Speaker 1 (18:34):
And when Homie gets the book, he got the book,
but when he opens the book, there's the light. So
it's playing inside that world like maybe that book was
in that briefcase in pulp fixing. And the idea for
me to do that, and for Quenton even to give
me the green light to play with those toys, is
that the book is the knowledge regardless. If you know,
(18:55):
you can change, you could do something better, you can
add on. So the knowledge has to always be present
and prevalent.
Speaker 3 (19:02):
I gotta watch it again now, I I want.
Speaker 2 (19:04):
To watch it again. I gotta watch it again. What
made you want to address uh organ traffic?
Speaker 4 (19:10):
The only boyson never heard talk about that publicly was
Dick Gregory when he was on Breakfast.
Speaker 1 (19:14):
But did gravity that that brother was step? I mean
for let's say that part for those who see it. Okay, okay, yeah,
let's let's hold that spoiler.
Speaker 2 (19:22):
Got you? Got you, man? I to talk about so much? Done? Man.
Speaker 4 (19:28):
I will say this because this is in the trailer,
like you see you know, unique come to a quiet town, right,
but then he quickly realizes that quiet town is actually dangerous.
Speaker 2 (19:38):
What made you want to tell that version?
Speaker 1 (19:40):
Yeah? Because because because you never looked like I said,
it's the town is dangerous. But more importantly, the town
needs to change.
Speaker 2 (19:50):
Right.
Speaker 1 (19:50):
The town is representing generations where the sheriff and his
his his his mindset, they're stuck in the past. And
we got people Nowaday that's stuck in the past or trying.
Speaker 2 (20:01):
To drag you back to the past.
Speaker 1 (20:03):
Right, And then you got Dollar played by Paris Jackson
and Avita played by Marie Crutchfield. They are already in
the future. They get it already, you know what I mean.
And so but but then there then Ramsey, he's he's
kind of passive about it, you know what I mean.
You know, you got the homie that's like, y'o whatever, y'allah,
(20:23):
mind my business, keep it cool, won't give a fuck.
Nobody ain't really bothering me. I notice it is bullshit.
But it's like when you need comes, it's like, nah, bro,
cool but not cool, you know what I mean. It's
a lot of injustice is going on and who's going
to stand up for the justice? And sometimes you don't
stand up for justice until you totally pushed against the wall,
(20:44):
you know what I mean.
Speaker 4 (20:45):
And so so in your mind, Dirty wouldn't be going
for none of this, right, nah, you.
Speaker 1 (20:49):
Know what I mean, exactly what maybe in the beginning
here he'll do the knowledge and ship once he's see it, Nah, bro,
you know me and Dirty Bro, and this you know,
this is the story once again is uh you know
has fiction, it has that, but has reality inspiration. But Yo,
one day we was walking from Lending Plaza to the
(21:10):
A train to a Grant Avenue. That's that's the stop.
But if you go, if you go two blocks this way,
you're right in the middle of a very very strong
white neighborhood. And this is we're young, like fourteen fifteen
years old. We just got knowledge of self. We got
our flags on and shit, but we didn't even have
the ones with the button. We had to sit hanging
(21:31):
on your neck like the fake one, right, but we
proud of this shit. Bro. We walking and we was,
you know, into break dancing hip hop and Dirty was
pop locking and we had these other Puerto Rican brothers
that would break dance too. They'll come to the plaza.
So now we walk into the train station. We run
into these Puerto Rican brothers and they got beat they've
been they look they got beat up.
Speaker 2 (21:50):
Yo, No, no, they they fucked us up. They fucked
us up.
Speaker 1 (21:54):
It ain't got nothing to do with us.
Speaker 2 (21:55):
But we know these dudes.
Speaker 1 (21:56):
We're like, who hoo know these dudes over there. So
let's go get them. So so we go, you know,
a different direction to go as if we're going to
go fuck up some motherfuckers.
Speaker 2 (22:07):
And we get there.
Speaker 1 (22:08):
We turned into the corner bro into this It was
like a school lot. Well thirty white boys had liquor
bottles and beers lying all on the wall. They was
part drinking and they saw us boat and we walked
in towards we walked into us.
Speaker 2 (22:22):
Walking out was not easy. We got too deep in.
Speaker 1 (22:25):
I was like, oh, ship, and they just came like,
you know, they said everything they had to say, you
know what I mean. They did some physical damage to
us as well.
Speaker 2 (22:33):
You know what I mean.
Speaker 1 (22:35):
We had to get witty to get out of that ship,
you know what I mean. We had to use our
wisdom and negotiate our way out of there. And we
got out of there. You know.
Speaker 2 (22:43):
But as they walked us out, they was like.
Speaker 1 (22:46):
Yeah, yeah, it's Loan forever homie, like that in our homie.
But it was seeing a lot of a lot of
nigga shit go blah blah blah, and uh. We got
to ask Whip that day, did you have to give
up a basketball in the past niggas, We didn't have
to give up. We didn't have to give up shit,
but it was like they could have took whatever they wanted,
you know what I mean. So so I never forgot that.
(23:07):
I was like, well, you know, we was only fourteen fifteen.
I was like, yo, that day was was a date,
you know what I mean. So in our in our film,
you kind of get that energy where you you there
and the motherfuckers come and nothing you could do. But
in this in the film, our hero actually has the
ability man to handle itself.
Speaker 4 (23:25):
I mean, the movie feels very personal. What pain were
you channeling when you when you wrote this.
Speaker 1 (23:31):
Like, like, be honest, charlam Man, I don't think I
was channeling my pain. I think I was channeling pain
that people are feeling. Like like I said, it came
out like like to watery, like like I'm like all places.
Speaker 2 (23:45):
Do you know I've been blessed? You know what I mean?
Speaker 1 (23:49):
You know we all been blessed with you know, you
know you waking up, you know, your your problems are
our problems are small, but people problems ain't small, and
people problems is probably you know, so much fear, so
much different things in their hearts, and so much miscommunication.
You know my composer Tyler Bates, who does big Hollywood
(24:11):
movies like John Wick and Guardian of the Galaxy, et cetera.
And it's the producer of Malan Manson. I needed somebody
to help me with the music, and so my buddy
Mark Abraham.
Speaker 2 (24:23):
Was like, I got a friend who can help.
Speaker 1 (24:26):
I didn't know Tyler, and so he called Tyler, and
Tyler watched the film and then he came and said, Yo,
I'm going to help you with this, bro, right, because
I couldn't afford this guy. So I'm going to help
you because I want people to see this.
Speaker 2 (24:40):
He said.
Speaker 1 (24:42):
The characters in there that's on the villain side him
as a as a white man, basically hoping that none
of those qualities exist.
Speaker 2 (24:54):
In him or his peers. Right.
Speaker 1 (24:57):
So it's the same way like in Django when you
saw Sam Jackson played what they call the I could
see nigga here. I don't like, I don't even say
nigga that much, like two or three times a day.
Speaker 2 (25:09):
I got it. Contain what a cool role. Samuel Jackson
was the cool role uncle Yeah, yeah, yeah, yeah.
Speaker 1 (25:16):
He played the uncle Tom joint right. But when he
played it, you didn't want none of that to be
in you. In fact, Minister fire Con once said I
seen him get interviewed about Django and it was like,
Minister fire Cohn, uh, Spike Lee is boycott and Jango?
What do you think? You know, Minister fire I'm paraphrasing,
(25:38):
he said, did he see it? He said, no, he
won't see it. So what do you think about that?
What do you think about the movie? And minister said,
I haven't seen it, you know, so I can't speak
on it. But the brother Spike, who's a very intelligent brother,
if he wants to boycott it, that's his right. About
two weeks later they interviewed him again, said Minister fire Con,
I needn seen Jingo.
Speaker 2 (25:57):
What do you think it was.
Speaker 1 (25:58):
A marvelous movie? He said, the way they played it,
the depicting Leonardo, Sam Jameson. Sam Jackson played the Uncle
Tom so well that if there was any Tom in you,
you felt uncomfortable.
Speaker 2 (26:14):
That's to me.
Speaker 1 (26:15):
It's the characters of Jimmy and the Sheriff and our movie.
If anybody is watching this and days go, that's me.
They hopefully something shakes them up a little bit and
they get some passion out of them and let go
of that.
Speaker 4 (26:29):
What does one spoony chocolate teach people about life in
two thousand twenty six?
Speaker 2 (26:32):
What do you hope it teaches people?
Speaker 1 (26:33):
Well, the biggest thing, like I said, is preparation, yo,
you gotta you know, and also be prepared or accept
the change, the chance of change. You know. The title
came in twenty eleven and I was writing a dart
and I don't know if this dart ever came out.
Speaker 2 (26:48):
I keep saying that.
Speaker 1 (26:49):
I can't remember if I said it on a song
or not. But it was like, you want a spoonful
of dope or a spoonful of hope, you know what
I mean. And so it's like, okay, that led to
a spoonful of chocolate, because one spoon of chocolate could
change the whole glass of milk.
Speaker 6 (27:07):
Got to go, I know, Okay, real quick, congratulations on
being into the Hall of Fame.
Speaker 2 (27:15):
Let's turn that up a little bit. Congratulations to Wan.
Speaker 1 (27:19):
That's right, inducted into the Rock and Roll Hall of
Fame period.
Speaker 2 (27:23):
That's right right there.
Speaker 1 (27:26):
You know, I'm good with that. Shout out to the
w Tang brothers, man, I appreciate all of us and
this is all accolades.
Speaker 2 (27:36):
Everybody had the.
Speaker 1 (27:36):
Kool Aid smile, you know what I mean, So thank
you for that.
Speaker 2 (27:39):
Yah was that?
Speaker 1 (27:41):
Was that a goal level, unexpected, unexpected, And we'll talk
about it again one day, but definitely make the most
recent thing that made me feel like a child again.
Giddy giddy, giddy, bunk bunk bunk.
Speaker 3 (27:56):
And I don't want to end on the understanding. We
also gotta say rest in peace to the power. So
you know, brother family member, one of the founding fathers.
So we just wanted to say, you know, our condolence
is always with every member of the room.
Speaker 4 (28:05):
For that one spooned chocolate in theaters today.
Speaker 3 (28:09):
That's right, make sure you go check it out. One
spoont of chocolate. I'm sixty two minutes in. But now
after talking to Risk, I got to start over now
because that is different things that I've seen that I
collected that I didn't get before.
Speaker 4 (28:20):
Last thirty minutes and some of the best cinema I've
ever seen in my life.
Speaker 2 (28:23):
The last thirty minutes is like chefs, man, I can't wait.
Speaker 1 (28:27):
Wait, all right, Well, there you have it in the building.
Speaker 2 (28:30):
It's the breakfast Club.
Speaker 3 (28:31):
Good morning, Hold up, every day I wake go, click
your ass up the breakfast club you don't finish for
y'all done
Every day a weak click your ass up the Breakfast Club.
Speaker 2 (00:05):
You don't finish for y'all done?
Speaker 3 (00:09):
Ready got myself Morning everybody, it's the j n V.
Just hilarious. Charlamage the guy. We are the Breakfast Club.
We got a special guest in the building. Indeed, he
has a new movie that comes out this Friday, Ladies
and gentlemen, Rizza in the building.
Speaker 2 (00:26):
Movie is One Spoon of Chocolate, Man.
Speaker 4 (00:28):
One Spoon of Chocolate is my personal opinion, instant classic,
instant classic. I already got it as one of the
best movies I've ever seen, and to me for what
I like in the type of movies I like, it's
one of my all time personal favorites.
Speaker 2 (00:42):
I watched it twice yesterday.
Speaker 5 (00:44):
Man, literally Instagram yelling and all. That's another post like
all r y'all, I calm down now, man, I'm.
Speaker 3 (00:53):
Sixty two minutes in and I would just say I'm
highly impressed.
Speaker 1 (01:00):
You know, you know it's funny.
Speaker 3 (01:01):
I'm watching it and I'm watching the characters play out right,
and I'm talking to charlamagneause you know he got a
live off because he's seen it, right, So I'm watching
it and he's telling me your parents.
Speaker 2 (01:08):
I'm like, that's Michael.
Speaker 3 (01:10):
Jackson's daughter as one of the stars are but you
don't look at her as Paris Jackson. You just look
at her as a good actress. And I was highly impressed.
Speaker 2 (01:18):
Brother. Yeah, she definitely did a thing.
Speaker 1 (01:21):
Out of all the actors that's in the film, she's
she don't need to be there, right. Most people that
that do uh, acting or music, whatever they do it
for they need a bag or they do it for popularity.
She's already one of the most popular persons in the
correct sitting on a you know, a bag of of
of of of accolades and economics. So she came there.
(01:43):
She she came as an artist, and she got up
every morning, no Six in the morning, gotten that makeup chair,
came on set and actually had something that I noticed
by do you notice actors different actresses or actors got
a special quality like shan Meek Moore, he's a sponge, absolutely,
but she's like a motor memory, like you know what
I mean. Like I seen that in Lucy Lou. I've
(02:04):
seen that in Uma Thumb and like people that that
could do it twenty times exactly the same way because
they already did it in their minds, So she definitely
has a she wants to do this.
Speaker 2 (02:15):
She can go as far as she wanted.
Speaker 4 (02:17):
Jackson was want us in the theatis because you know,
last week the movie came out and then this week.
Speaker 2 (02:22):
Chocolate comes up.
Speaker 1 (02:24):
Yeah, which which I think in the culturally is it's
a good one two punch and all reality one is
very you know, the Jackson movies uplift and bring us
our childhood and bring children into that world, right, and
then once boone, it's like for.
Speaker 2 (02:39):
The adults to go, wait a minute, it's very uplifting
to me. Man, I'm still mad right now. You do
a range of emotions for that last thirty minutes. You like,
I'm still bad.
Speaker 3 (02:53):
So let's talk about it for people that haven't seen it,
or explain what what spoon.
Speaker 2 (02:57):
Of chocolate is.
Speaker 1 (02:58):
Well, at the end of the day, the title itself,
it says a lot, right, because one spoon of chocolate
could change the whole glass of milk, you know what
I mean. And sometimes you got to put that in there.
Sometimes you got to be like yo, change the change
the chemistry, change your outcome as an artist. For me,
I put a spoonful of different things into this film,
like even from different genres.
Speaker 2 (03:19):
You watch it.
Speaker 1 (03:20):
One moment you're feeling like angry, next moment you feel like, wait,
is this a fucking romantic comedy going on? Because there's
there's a vibe of that. Uh. Then then of course
there's the there's the action satisfaction. And then to be
quite honest, bro, and since he saw he could vouch
for this, there you guys, you scared for a moment
in that month, absolutely like you're like, hold on, bro,
(03:42):
what's gonna happen? You grab on your seat, like, yo's
that going to happen?
Speaker 2 (03:46):
And so I was ready to be mad at you.
Speaker 4 (03:48):
I'm like, yo, don't don't let that happen, right, No, no,
And then something happened and I'm like, oh, no, he
did it, and I'm like yeah, trying not to give
it away.
Speaker 5 (04:01):
It was interesting to see how you guys will have
the conversation because you were so excited about it without
giving the movie away.
Speaker 1 (04:07):
Well, you know what, I learned something about about filmmaking. Right.
It took me to touch my fourth film, so you know,
and I feel proud of all my work, but I
don't think I ever understood the rubber band effect.
Speaker 2 (04:19):
So the rubber band effect is you pull that motherfucker
right too. It's about the pot. Then you let it go.
Speaker 1 (04:26):
You just keep doing that, you know what I mean.
So now that I understand that, that's the energy you're
feeling when you're watching this film.
Speaker 2 (04:34):
You're like, okay, okay, let me chill.
Speaker 1 (04:36):
Then you know you're looking at the other people in
the audience, and it's definitely an audience film.
Speaker 2 (04:40):
So you saw it by yourself, right.
Speaker 4 (04:41):
I mean I watched it on the plane and my
wife kept tapping me because I.
Speaker 2 (04:45):
Was, yeah, people look at you on the plane. And
then I watched it again at home.
Speaker 1 (04:51):
So when you see it with the audience, it's even
it's like it's even another thing because now you feel
the room, you know.
Speaker 2 (04:58):
What I mean.
Speaker 1 (04:58):
Like when I first saw it in New York City,
you know, our New York is all YO, was yelling
at this when your fuck got sony, do this, do that.
But then in La it seemed like everybody was nervous,
like yo, you know what I mean. Then in San
Francisco I did a quna afterwards it was intellectual, you
know what I mean. Everybody took it intellectually, but in
Chicago at the Beyond Fest cheering standing ovation. So it
(05:24):
gives you, it has the ability to shake you in
different directions.
Speaker 3 (05:28):
Now I know you're an EP and director.
Speaker 2 (05:29):
Did you write the movie as well?
Speaker 3 (05:30):
Yeah, yeah, break down your mind frame with writing through
that these past experiences. Of course that's exaggerated a lot.
Button expressed the.
Speaker 1 (05:39):
Mind frame definitely. I mean well, first of all, started
writing it in twenty eleven.
Speaker 2 (05:43):
Somebody told me that that's wow. Yeah, that's what thirteen
years yeah, wow, fourteen years ago.
Speaker 1 (05:47):
And I tried to but I got stuck bro like
writer's block, Like nothing would come out, Like I just
page forty nothing five years later, nothing really. But then
when we were doing the New York State of Mond tour,
on the back of the tour bus, me and my
wife just you know, you got the star coach but
they're still bouncing, and said, but I'm back there on
my computer, and it just came out like water. Every
(06:09):
every city, every truck stop, Like I get out to
the truck stop sometimes you know, you get off the
bus and you might go in there and whatever.
Speaker 2 (06:15):
I get back on the bus like.
Speaker 1 (06:18):
And all it just came out so so as far
as the mindset of it, you know, it's like it's
really taken. You know, we're from New York, right, so
I know if you were all close to the same age,
do you remember going to the first white castles in
Bay Ridge?
Speaker 2 (06:33):
Bro? Yeah? Yeah, my mom was in Queens Village. But
I know what you mean, Yeah, Bro, you couldn't.
Speaker 1 (06:38):
So if you live on Staten Island you want to
go to White Castle, you had to go across the
Vera Zano right Vincent Hurst, bay.
Speaker 2 (06:43):
Ridge, Bro, and you'll do it for a White Castle burger.
Speaker 1 (06:46):
Back in those days, naw, bro homies was lined up,
you know what I mean? You know, I mean me
and Dirty got chased out of that White Castle, you
know what I mean. I don't know if you know
Leftis Boulevard or that side of you know, that side
of Queens. Back in those days on Staten Island, there
was a place called Rose Bank, you know, and you
know it had to It's like once you go onto
(07:09):
that bridge, you and Rosebank, but it's set on the bridge.
You know, don't come in here, Bro, I mean you
go and you go though, because you know a MP
was there, so.
Speaker 2 (07:18):
You might go to packed bags or try to get
your hustle on.
Speaker 1 (07:21):
And yeah, homies, homies, homies would a pickup truck with
bats is sending you up out of there. So so
that's just a childhood thing that happened in New York City,
you know, a reality.
Speaker 3 (07:31):
The crazy thing is even with Staten Island and two
WU team came out, that's what we had. Magine, Staten
Island was nothing but white boys in bats and you
better not go over there. Parts of Brooklyn would like
that you better not go. And even in Queens where
John Gotti and them live, like, there were areas where
you just like, you're.
Speaker 2 (07:46):
Not going on on that side of towncause you're gonna
get sucked up, exactly.
Speaker 1 (07:48):
And then and then it evolved, right some of those
like I go to rose It's called Rose Bank.
Speaker 2 (07:54):
I go to Rose Bank.
Speaker 1 (07:55):
Now bro drinks is on our house instead of partying
in the pubs and shit. But that evolution may have
happened in New York City. It may have happened uh
you know and lost sounge, and may have happened in
Philip But this places in the country where it has
not happened yet. There's places in our country where uh,
people are stuck in the stuck in the past. It's
(08:15):
almost like, and I'm gonna say this without trying to
be political, I'm gonna say, you got the you got
the Obama generation, you know what I mean, and then
you got the opposite generation.
Speaker 2 (08:26):
Yeah, yeah, you know.
Speaker 4 (08:28):
It's interesting right that that what you just said, because
what reason would a black person have to want to
be in Karansville?
Speaker 2 (08:34):
Right right?
Speaker 1 (08:34):
But when you you know, so Karensville is based in Ohio,
and I know.
Speaker 2 (08:39):
Why unique went, but I'm talking all the other black
people that well, no.
Speaker 1 (08:42):
Because you know, when Ohio was an industry, still mill
still mill towns, So people went there for work, you
know what I mean. And and the story yourself. You
know when I when I when I got my five
year probation, I had to go to I went to
Ohio myself.
Speaker 2 (08:59):
Oh okay.
Speaker 1 (08:59):
So but down the hill what you call it, is
where all the blacks lived and all the poverty lived.
And that's where the main smoke from the steel mill
to cage your house.
Speaker 2 (09:11):
But up the hill or a little further out.
Speaker 1 (09:13):
Is you know, nice lawns, and this clean cut in
the community is nice. Down the hill, the Basketball Corps
is decrepit, and this glass in the park up the hill,
it's nice and manicured, and you know what I mean,
and you want to play where it's nice. So now
you want to go what up the hill? Keep your
(09:34):
ass down the hill? So so so Ohio in many
Midwest towns because was Magnets, because that's where the steel
mill was at. That's where the opportunity was at, you
know what I mean. So that's how a lot of
us end up there. Now this movie is there's no
place known as Karensville. Let's just be I made that
up right, But the but the gag of it was
(09:56):
that yo a bad turn, you know what I mean,
and you could end up somewhere with everything is going
to go bad, you know. So that was part of
my cinematic magic.
Speaker 5 (10:05):
I saw you saying the movie is a tribute to
ODB two and what it would have been like the
superhero he would have been if he had lived past
you know.
Speaker 1 (10:12):
Yeah, I mean, you know, you know, I'm always, always, always,
always gonna always give homage to a son. I named
the character Unique after him. There's a scene, one of
the scenes when he's driving with his cousin. I did
that for all the wuheads, you know what I mean,
to feel that energy. Uh. And I wouldn't as far
(10:34):
as even naming his cousin Ramsey.
Speaker 2 (10:37):
Which is old Doddy's baskets, older brother.
Speaker 1 (10:40):
And he was the first one to have a pair
of turntables in our in our family, you know what
I mean. He wasn't nice though, you know what I mean.
He was he was he was mixing like this, like
but me and thirties to get on his city. Yeah,
you get mad and shit, you know what I mean.
But still, if he didn't have those turntables, we don't
start making music, you know what I'm so. So it
(11:01):
was my way of paying homage. And then my older
brother government name is Randy. His righte's name is a
universal king, but his government name is Randy. So just
by taking keeping my family engaged energy wise, I named
my characters after my family.
Speaker 2 (11:17):
What time period did this movie take place in? Because
I can't tell.
Speaker 1 (11:20):
I'm glad you said that, bro, because I removed the
clock like when you see this film, I strive technically
to remove the clock.
Speaker 2 (11:28):
So you don't know, Yo, did this happen already?
Speaker 1 (11:31):
Is this gonna happen? Is it happening, now, you know
what I mean. So that was a cinematic choice. But
go ahead.
Speaker 6 (11:38):
You said you had writer's block, right, You've been writing
it since twenty eleven. But something happened with nothing was
coming out. Now, I know you remember when it all.
Speaker 2 (11:47):
Came to you.
Speaker 6 (11:47):
But was there something in particular that happened to finish like, oh,
this is what this is why I'm finishing it.
Speaker 1 (11:54):
Yeah, Well, the LA or Hollywood went on a writer's strike, right,
So now that means nobody he could work, right, And
so of course I'm defiant, and so I'm like, you
know what a writer's like.
Speaker 2 (12:06):
That means I'm going to write.
Speaker 1 (12:07):
And so I started writing some other things, but those
things kept getting blocked, like I get seven pages here,
seven pages here, and then I just kind of went
back to something that had those forty pages, so let
me read this and see what this is about. Then
all of a sudden, it was like, this is where
you belong. So I feel like art sometimes it dictates you,
you don't dictate it. Yeah, you know what I mean,
(12:29):
And I honestly, we'll say this film is one of
those things because like I didn't know to be the
result of it. I just knew I had to do it.
Speaker 2 (12:37):
Yeah, you know what I mean.
Speaker 1 (12:38):
And I and I talked to my wife about it,
you know, and she agreed. She was like yo, she
came on board as a producer. My brother Divine joined
the party, and I needed some help.
Speaker 2 (12:51):
And I need some help.
Speaker 1 (12:52):
Kid. Did you do the casting? Yeah, well we had
a great casting director named Kim Harding who did a
lot of great things. But but shan Meek Moore was
automatically my choice him.
Speaker 2 (13:05):
In mind, Meek.
Speaker 4 (13:07):
Bodied if in a fair world, he'd be up for
every award nomination there.
Speaker 2 (13:13):
Killed it. But something tells me, Hollywood is not gonna
like this one.
Speaker 1 (13:16):
That's okay, I think they I think at the end
of the day, in my opinion, right, it's like it's
almost like thirty six Chambers.
Speaker 2 (13:24):
Motherfuckers don't know what the fuck that shit was. It's like,
what is this? You know what I mean?
Speaker 1 (13:27):
And and the industry itself wasn't ready for that, It
wasn't ready for that energy, but the people were, you
know what I mean.
Speaker 2 (13:35):
And and this movie is for the people.
Speaker 1 (13:38):
It's for the culture, for the it's for the culture,
for the for our culture, for the hip hop culture
and for American culture. You know, there's one scene in
the film that I'll give a spoiler on where our
hero he enters this room and and and the American
flag is painted everywhere, and and and the But the
(14:00):
villains they are desecrating that right because of their their
what they're what they're living is not that right. So
it's like they're using that flag as a shield, uh,
the cover their their wickednesses.
Speaker 2 (14:13):
Call it right.
Speaker 1 (14:14):
And he gets into a fight with him, blah blah
blah blah blah blah blah blah blah, and he bangs
one and the blood splatters on the wall and they're
all knocked out, and he picks up their little They
had an answer. They have another flag that they use.
It's more like insidious. He takes their flag and cleans
the American flag bro and salutes it like, yo, I
(14:35):
can't get to that point.
Speaker 2 (14:35):
Yea, yeah, I just killed me. He's he's also a veteran. Yeah,
is a veteran.
Speaker 4 (14:41):
So it's like this tension between you know, the black
veteran and the white locals. Are you saying the war
don't end when a person comes home?
Speaker 1 (14:48):
Definitely that I mean there's a scene where when he
when you know, when we when he first, you know,
tries to manage his own anger.
Speaker 2 (14:56):
He he has to.
Speaker 1 (14:57):
He's in a home where they put just called it
disposed traumatized veterans, people that got PTSD and all that
you just put. You know, a lot of them are
stuck in homes and walking around like, you know what
I mean, drippling milk out their mouth and shit, you
know what I mean.
Speaker 2 (15:11):
And it's almost like, in a way, you.
Speaker 1 (15:15):
Know, our country, don't homage the people that went and
made it easy for me to go to Disneyland and
chill out, get a big presso big fucking golp of whatever,
sixty four hours golp walking around nothing happening to us
because somebody went and fought and secured that for us.
(15:36):
And then you come home and you can't afford that ticket,
You can't even enjoy.
Speaker 2 (15:41):
What you fought for.
Speaker 1 (15:44):
So that was so I wanted to touch on that,
and then touch on it in the black man's way too,
because for us even it's almost like we're not even
appreciated for how many of our sons and daughters went
and fought in God, you know what I mean, So
it was was me paying how much of that but
(16:07):
showing that, and I think we all could agree that,
yo yo, we love this country, bro, you know what
I mean. We here, you know what I mean.
Speaker 2 (16:15):
We you know what I mean.
Speaker 1 (16:16):
We help innovate it to be what it be, and
and and continue in every aspect of it. And so
we don't want to be like, yo, bro, I came
and hooked all this up. Now you can't come back in,
you know what I mean? Nah, bro, yo, boy, don't
you remember me? I'm the one that now I don't
remember your boom closed the door, let in others who
didn't do nothing. So so it was that psychology. I
(16:36):
wanted to get a course in that character.
Speaker 5 (16:38):
It's what you leave one war and go into another.
Like that feeling. But when you were talking about the
time clock and the fact that you removed the time clock,
that's very reminiscent of like how life is in real
life today, Like there's things happening that like my grandma
was telling about when I was growing up, right, And
I'm trying to figure out, okay my niece even want
to experience that. And some days I feel like, oh no,
we'll get to a place and the other days I'm like, nah,
we should prepare her then, like I don't know, Like
(16:59):
it's it's all like evolving. You don't know what time period'reat,
even though we know the year that we are right.
Speaker 1 (17:03):
Now, that's what that's You're right about that, and you
just said the magic world though, prepare. If anything people
should get from this film is that preparation is everything.
Speaker 2 (17:12):
I love that scene everything.
Speaker 1 (17:14):
Oh my god, I love that Preparation is everything, y'all
for whatever, I don't care. You know, we probably some
dudes I don't want to study, study for the test. Now,
prepare yourself for everything, y'all.
Speaker 2 (17:26):
Hold on that. Y'all got to see the movie.
Speaker 4 (17:29):
All that shit makes sense now, Like when he got
when he received the book on the bus and I
got it.
Speaker 1 (17:34):
You see what he saw.
Speaker 4 (17:34):
And when the guy was giving the sermon in the
church about preparation while he's prepared, Oh my.
Speaker 2 (17:39):
God, y'all gotta go see it.
Speaker 3 (17:39):
Man, Quentin Tarantino. What what did he bring out of
this movie that you necessarily didn't see the vision that
he saw Because even from the opening scene when he's
when he's when he's locked up and he's punching. I'm like,
that's a Quittin Tarantino scene. The way it comes through
the bridge. I'm like, that's how it is. But what
was something that he brought out that you necessarily learned
from him?
Speaker 2 (17:56):
I should say, well.
Speaker 1 (17:57):
It wasn't that on it like like on this he
he didn't. He didn't have hands on you know, but
he gave me the green light to allow it to
exist in his world.
Speaker 2 (18:05):
So does that mean?
Speaker 1 (18:06):
So if anybody who watched Clinting Tiantino movies, you know
that all his characters exist in the world. They all
smoke red apple cigarettes, right, all red apple product. Everybody
always want to know what's in that briefcase in pulp
fixing to open that briefcase, that light hits you, what
is that? So in our film it exists in that world.
There's a scene what you just mentioned where our hero
(18:28):
there's a guy who opens.
Speaker 2 (18:29):
A briefcase, but we don't see the briefcase open. All
we see is a book come out.
Speaker 1 (18:34):
And when Homie gets the book, he got the book,
but when he opens the book, there's the light. So
it's playing inside that world like maybe that book was
in that briefcase in pulp fixing. And the idea for
me to do that, and for Quenton even to give
me the green light to play with those toys, is
that the book is the knowledge regardless. If you know,
(18:55):
you can change, you could do something better, you can
add on. So the knowledge has to always be present
and prevalent.
Speaker 3 (19:02):
I gotta watch it again now, I I want.
Speaker 2 (19:04):
To watch it again. I gotta watch it again. What
made you want to address uh organ traffic?
Speaker 4 (19:10):
The only boyson never heard talk about that publicly was
Dick Gregory when he was on Breakfast.
Speaker 1 (19:14):
But did gravity that that brother was step? I mean
for let's say that part for those who see it. Okay, okay, yeah,
let's let's hold that spoiler.
Speaker 2 (19:22):
Got you? Got you, man? I to talk about so much? Done? Man.
Speaker 4 (19:28):
I will say this because this is in the trailer,
like you see you know, unique come to a quiet town, right,
but then he quickly realizes that quiet town is actually dangerous.
Speaker 2 (19:38):
What made you want to tell that version?
Speaker 1 (19:40):
Yeah? Because because because you never looked like I said,
it's the town is dangerous. But more importantly, the town
needs to change.
Speaker 2 (19:50):
Right.
Speaker 1 (19:50):
The town is representing generations where the sheriff and his
his his his mindset, they're stuck in the past. And
we got people Nowaday that's stuck in the past or trying.
Speaker 2 (20:01):
To drag you back to the past.
Speaker 1 (20:03):
Right, And then you got Dollar played by Paris Jackson
and Avita played by Marie Crutchfield. They are already in
the future. They get it already, you know what I mean.
And so but but then there then Ramsey, he's he's
kind of passive about it, you know what I mean.
You know, you got the homie that's like, y'o whatever, y'allah,
(20:23):
mind my business, keep it cool, won't give a fuck.
Nobody ain't really bothering me. I notice it is bullshit.
But it's like when you need comes, it's like, nah, bro,
cool but not cool, you know what I mean. It's
a lot of injustice is going on and who's going
to stand up for the justice? And sometimes you don't
stand up for justice until you totally pushed against the wall,
(20:44):
you know what I mean.
Speaker 4 (20:45):
And so so in your mind, Dirty wouldn't be going
for none of this, right, nah, you.
Speaker 1 (20:49):
Know what I mean, exactly what maybe in the beginning
here he'll do the knowledge and ship once he's see it, Nah, bro,
you know me and Dirty Bro, and this you know,
this is the story once again is uh you know
has fiction, it has that, but has reality inspiration. But Yo,
one day we was walking from Lending Plaza to the
(21:10):
A train to a Grant Avenue. That's that's the stop.
But if you go, if you go two blocks this way,
you're right in the middle of a very very strong
white neighborhood. And this is we're young, like fourteen fifteen
years old. We just got knowledge of self. We got
our flags on and shit, but we didn't even have
the ones with the button. We had to sit hanging
(21:31):
on your neck like the fake one, right, but we
proud of this shit. Bro. We walking and we was,
you know, into break dancing hip hop and Dirty was
pop locking and we had these other Puerto Rican brothers
that would break dance too. They'll come to the plaza.
So now we walk into the train station. We run
into these Puerto Rican brothers and they got beat they've
been they look they got beat up.
Speaker 2 (21:50):
Yo, No, no, they they fucked us up. They fucked
us up.
Speaker 1 (21:54):
It ain't got nothing to do with us.
Speaker 2 (21:55):
But we know these dudes.
Speaker 1 (21:56):
We're like, who hoo know these dudes over there. So
let's go get them. So so we go, you know,
a different direction to go as if we're going to
go fuck up some motherfuckers.
Speaker 2 (22:07):
And we get there.
Speaker 1 (22:08):
We turned into the corner bro into this It was
like a school lot. Well thirty white boys had liquor
bottles and beers lying all on the wall. They was
part drinking and they saw us boat and we walked
in towards we walked into us.
Speaker 2 (22:22):
Walking out was not easy. We got too deep in.
Speaker 1 (22:25):
I was like, oh, ship, and they just came like,
you know, they said everything they had to say, you
know what I mean. They did some physical damage to
us as well.
Speaker 2 (22:33):
You know what I mean.
Speaker 1 (22:35):
We had to get witty to get out of that ship,
you know what I mean. We had to use our
wisdom and negotiate our way out of there. And we
got out of there. You know.
Speaker 2 (22:43):
But as they walked us out, they was like.
Speaker 1 (22:46):
Yeah, yeah, it's Loan forever homie, like that in our homie.
But it was seeing a lot of a lot of
nigga shit go blah blah blah, and uh. We got
to ask Whip that day, did you have to give
up a basketball in the past niggas, We didn't have
to give up. We didn't have to give up shit,
but it was like they could have took whatever they wanted,
you know what I mean. So so I never forgot that.
(23:07):
I was like, well, you know, we was only fourteen fifteen.
I was like, yo, that day was was a date,
you know what I mean. So in our in our film,
you kind of get that energy where you you there
and the motherfuckers come and nothing you could do. But
in this in the film, our hero actually has the
ability man to handle itself.
Speaker 4 (23:25):
I mean, the movie feels very personal. What pain were
you channeling when you when you wrote this.
Speaker 1 (23:31):
Like, like, be honest, charlam Man, I don't think I
was channeling my pain. I think I was channeling pain
that people are feeling. Like like I said, it came
out like like to watery, like like I'm like all places.
Speaker 2 (23:45):
Do you know I've been blessed? You know what I mean?
Speaker 1 (23:49):
You know we all been blessed with you know, you
know you waking up, you know, your your problems are
our problems are small, but people problems ain't small, and
people problems is probably you know, so much fear, so
much different things in their hearts, and so much miscommunication.
You know my composer Tyler Bates, who does big Hollywood
(24:11):
movies like John Wick and Guardian of the Galaxy, et cetera.
And it's the producer of Malan Manson. I needed somebody
to help me with the music, and so my buddy
Mark Abraham.
Speaker 2 (24:23):
Was like, I got a friend who can help.
Speaker 1 (24:26):
I didn't know Tyler, and so he called Tyler, and
Tyler watched the film and then he came and said, Yo,
I'm going to help you with this, bro, right, because
I couldn't afford this guy. So I'm going to help
you because I want people to see this.
Speaker 2 (24:40):
He said.
Speaker 1 (24:42):
The characters in there that's on the villain side him
as a as a white man, basically hoping that none
of those qualities exist.
Speaker 2 (24:54):
In him or his peers. Right.
Speaker 1 (24:57):
So it's the same way like in Django when you
saw Sam Jackson played what they call the I could
see nigga here. I don't like, I don't even say
nigga that much, like two or three times a day.
Speaker 2 (25:09):
I got it. Contain what a cool role. Samuel Jackson
was the cool role uncle Yeah, yeah, yeah, yeah.
Speaker 1 (25:16):
He played the uncle Tom joint right. But when he
played it, you didn't want none of that to be
in you. In fact, Minister fire Con once said I
seen him get interviewed about Django and it was like,
Minister fire Cohn, uh, Spike Lee is boycott and Jango?
What do you think? You know, Minister fire I'm paraphrasing,
(25:38):
he said, did he see it? He said, no, he
won't see it. So what do you think about that?
What do you think about the movie? And minister said,
I haven't seen it, you know, so I can't speak
on it. But the brother Spike, who's a very intelligent brother,
if he wants to boycott it, that's his right. About
two weeks later they interviewed him again, said Minister fire Con,
I needn seen Jingo.
Speaker 2 (25:57):
What do you think it was.
Speaker 1 (25:58):
A marvelous movie? He said, the way they played it,
the depicting Leonardo, Sam Jameson. Sam Jackson played the Uncle
Tom so well that if there was any Tom in you,
you felt uncomfortable.
Speaker 2 (26:14):
That's to me.
Speaker 1 (26:15):
It's the characters of Jimmy and the Sheriff and our movie.
If anybody is watching this and days go, that's me.
They hopefully something shakes them up a little bit and
they get some passion out of them and let go
of that.
Speaker 4 (26:29):
What does one spoony chocolate teach people about life in
two thousand twenty six?
Speaker 2 (26:32):
What do you hope it teaches people?
Speaker 1 (26:33):
Well, the biggest thing, like I said, is preparation, yo,
you gotta you know, and also be prepared or accept
the change, the chance of change. You know. The title
came in twenty eleven and I was writing a dart
and I don't know if this dart ever came out.
Speaker 2 (26:48):
I keep saying that.
Speaker 1 (26:49):
I can't remember if I said it on a song
or not. But it was like, you want a spoonful
of dope or a spoonful of hope, you know what
I mean. And so it's like, okay, that led to
a spoonful of chocolate, because one spoon of chocolate could
change the whole glass of milk.
Speaker 6 (27:07):
Got to go, I know, Okay, real quick, congratulations on
being into the Hall of Fame.
Speaker 2 (27:15):
Let's turn that up a little bit. Congratulations to Wan.
Speaker 1 (27:19):
That's right, inducted into the Rock and Roll Hall of
Fame period.
Speaker 2 (27:23):
That's right right there.
Speaker 1 (27:26):
You know, I'm good with that. Shout out to the
w Tang brothers, man, I appreciate all of us and
this is all accolades.
Speaker 2 (27:36):
Everybody had the.
Speaker 1 (27:36):
Kool Aid smile, you know what I mean, So thank
you for that.
Speaker 2 (27:39):
Yah was that?
Speaker 1 (27:41):
Was that a goal level, unexpected, unexpected, And we'll talk
about it again one day, but definitely make the most
recent thing that made me feel like a child again.
Giddy giddy, giddy, bunk bunk bunk.
Speaker 3 (27:56):
And I don't want to end on the understanding. We
also gotta say rest in peace to the power. So
you know, brother family member, one of the founding fathers.
So we just wanted to say, you know, our condolence
is always with every member of the room.
Speaker 4 (28:05):
For that one spooned chocolate in theaters today.
Speaker 3 (28:09):
That's right, make sure you go check it out. One
spoont of chocolate. I'm sixty two minutes in. But now
after talking to Risk, I got to start over now
because that is different things that I've seen that I
collected that I didn't get before.
Speaker 4 (28:20):
Last thirty minutes and some of the best cinema I've
ever seen in my life.
Speaker 2 (28:23):
The last thirty minutes is like chefs, man, I can't wait.
Speaker 1 (28:27):
Wait, all right, Well, there you have it in the building.
Speaker 2 (28:30):
It's the breakfast Club.
Speaker 3 (28:31):
Good morning, Hold up, every day I wake go, click
your ass up the breakfast club you don't finish for
y'all done
The Breakfast Club News
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