November 30, 2024 • 36 mins
he Peanut Man is a biographical drama that chronicles the life of George Washington Carver, a self-taught agricultural scientist who educates farmers on peanuts and its use to revitalize soil for struggling farmers across America. Starring Glenn Plummer, whose breakout role was Bobby Johnson in South Central, The Peanut Man is a powerful biopic of George Washington Carver, tracing his journey from a young boy with a passion for plants to becoming a trailblazing agricultural scientist. Through hardship, perseverance, and groundbreaking discoveries, Carver demonstrates the powerful use of peanuts and creates methods that save American farms and soil. “Fawesome Original’s The Peanut Man brings to life historical moments through the power of storytelling that commemorate diversity, resilience and triumph,” said Vikrant Mathur, Co-Founder of Future Today, Fawesome’s parent company. “We are committed to offering our viewers the representation they seek, delivering content that both inspires and sparks thoughtful engagement.” Returning with their second film on Fawesome, The Peanut Man was directed by Aaron L. Williams, and produced by Williams and Joshua K. Carpenter, alongside Executive Producers, Vikrant Mathur and Alok Ranjan. Members of the cast include Jessica Ambuehl as Susan Carver, Soni Theresa Montgomery as Sarah Hunt, Orlando Eric Street as Cleveland Abbot, and Jerry Boyd as Booker T. Washington. "When we set out to develop The Peanut Man, our goal was to create a story that would showcase the emotional ups and downs of George Washington Carver’s life, a man who sacrificed everything he loved to save others, revealing the true cost of his genius and the toll it took on him," said Aaron L. Williams, director, writer, and producer of the film. "We’re thrilled to partner with Fawesome, a platform that continues to bring Original,untold, character-driven, stories of love, adventure, and sacrifice to a global audience."More about The Peanut Man:The Peanut Man tells the story of George Washington Carver, a man who endured tremendous personal loss, finding solace only in his love for plants. At a time when southern agriculture was on the brink of collapse, Carver sought answers from God and was shown the secrets to save the nation hidden inside a simple peanut. His brilliance not only saved the South but also redefined the future of farming. This film is a journey of love lost, sacrifice, and how greatness can be found in the smallest of things, even in the face of racism, disappointments, and doubt. Viewers will be reminded that, like Carver, they can turn even the smallest seed of hope into something great. View the trailer here.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Good morning you guys.
Speaker 2 (00:00):
How are you doing good?
Speaker 1 (00:02):
How I'm doing absolutely fantastic. And He's right.
Speaker 3 (00:05):
I'm very excited to share a conversation with you because
this movie is an experience. And the reason why it
became an instant experience with me is because I came
from the generation where George Washington Carver's picture was up
in the classroom. We learned about George Washington Carver, but
we didn't get to hear his voice, we didn't get
to hear his real story. And this, this movie put
me in that moment of being in that classroom to
(00:26):
where I could feel where he was coming from.
Speaker 2 (00:31):
Wow, thank you man.
Speaker 4 (00:33):
Yeah, I'm really bad.
Speaker 3 (00:36):
And you make it so authentic because I mean, you
really look like George Washington Carver. I'm away. I was like,
I looked at my wife and said, oh my god.
And because you know, sometimes you know, you'll have actors
come in. But how did you get into that full
essence of George.
Speaker 2 (00:53):
Well, I think basically it was just trying to tell
the truth in the moments that were written on the page,
you know, and I saw a video of him, and
you know, there were things that I wanted to incorporate
that we uh, I guess we weren't incorporating and you know,
(01:17):
it just it just kind of played itself out in
that way. The character development and things like that for
me is basically, you know, like everything I see on
the page, it's it's it's the truth of what's written.
Kind of knowing why your character is saying what he's saying. Uh,
and you know, things of that essence. I don't.
Speaker 5 (01:42):
I mean, you know it, It's very easy for me
to lose myself in words and dialogue in.
Speaker 2 (01:53):
Books, in movies. I'm still a big fan of other
directors of the actors. You know, I watch other actors
do roles and I always ask myself, Wow, would I
have made that choice?
Speaker 6 (02:06):
Or would I have done that?
Speaker 2 (02:07):
You know what I mean? And I still get lost
in it. So it's still a really fun game, has
its awe and its appeal.
Speaker 3 (02:15):
As far as the music is so modern, I mean,
you really pull us in.
Speaker 7 (02:20):
Was one thing I did actually in both films. I
really wanted to kind of attract that modern audience before
it took me into that world. I want to kind
of take some of the old the new. I'm sorry
to introduce us to the old I felt that that
was the best way to kind of hook the viewer,
was the evens that they were used to and then
kind of bringing them into that story.
Speaker 3 (02:38):
And Glenn, one of the things that I learned so
much from this, I didn't realize that southern agriculture was
on the brink of collapse.
Speaker 1 (02:45):
We're kind of almost in that boat again.
Speaker 3 (02:47):
And you serve as a teacher as well as a
leader in the way of saying, hey, I'm tapping you
on the shoulder, pay attention to those that are planting
things in the ground.
Speaker 2 (02:59):
Yeah, how does that relate presently?
Speaker 6 (03:03):
I'm you know, I can only relate it to foresight
of you know, I guess what I know about things
to come. Maybe I don't know. You know, George.
Speaker 2 (03:22):
Washington Carver was a big believer in God, and he
was very much in touch with that little voice on
his shoulder. I kind of listened to that voice all
the time, kind of all the time, and so I
stayed pretty much in tune with the intuition that comes
(03:42):
from I guess, like you say, both being planted on
the ground and kind of never getting involved in details
and just kind of staying outside of the box and
looking at it as a whole thing, you know, and
not getting caught up in the compartmentalized distractions. I guess
one might say, so. Yeah, I mean George Washington Carver
(04:06):
was a teacher, Yeah, and he could see I guess,
things to come, or he had a vision of what
the world would be like if he didn't get his
his act together and developed the things that he developed.
Speaker 6 (04:23):
You know, the question was kind of varue to me.
Speaker 2 (04:25):
I don't know, are you relating that to me as
a person and how I am as a person in
twenty twenty four assumed to be twenty twenty five, or.
Speaker 3 (04:36):
Well, here's the thing. I related to what we're doing
with the soil today as well as what we're doing
with the people, because I believe the soil really does
affect what we're doing, the choices that we make and
how we plant things in our own mind, body, and soul.
And I think that's what I got out of this character,
is that I got to see more than just the teacher,
more than just the man that understood the land. But
(04:57):
there's so many scenes in here that showed me the
human the person.
Speaker 2 (05:02):
Okay, well yeah, yeah, And to make it very relatable
to an audience. I always feel like, you know, you
have to find out what a character loves and what
he doesn't love. And I guess even if you're playing
a bad guy, you know, the bad guys love something,
(05:23):
they love it so much that they're willing to overlook
what other people love to ascertain the things that they're
trying to get. I think George Washington Carver was very
much like that. He knew, you know what touched him deeply,
so he went for that.
Speaker 3 (05:42):
Uh.
Speaker 2 (05:43):
And here, I guess in the situation we're in now,
you know, that's a that's that's a that's a that's
a big question in itself. Mining lithium and cobalt and
things like that, you know, uh, destroying the earth to
ascertain the synthetics that we need to get by, you know,
(06:07):
depleting the urg's minerals to have cell phones and batteries
for electric cars.
Speaker 6 (06:15):
You know, I guess you can relate it that way.
Speaker 3 (06:18):
Aaron, you're the one that sets the scenes when he's
being escorted off the campus because of his color. It's
one of those that that's a conversation starter because it's
one of those moments that you see it in the movie,
you experience it, and now you want to go out
and you want to talk about it. That's what this
movie does. It embraces everything about your emotions so that
you can create the talk.
Speaker 7 (06:39):
Yeah, that was one thing that everybody, including myself, had
to command Glenn's performances on because the way he brought
emotion to that character made you feel that character. Even
I'm not gonna lie. When I was writing a script,
I thought the heart of Congress. But when I saw
how he was able to take such intellectual language and
still bring into the emotion of character on a scene
(07:00):
that could have been so emotionally dry, that was his captivity.
And then to go in that scene to see how
it was the thing, not even the things he said
and that scene that you're talking about and when he
went to college, but the thing he didn't say, just
the looks he gave.
Speaker 4 (07:12):
It's it when the spoke to him.
Speaker 7 (07:14):
It's like these little minded looks that Glenn gave that
really just pulled you, like I couldn't wait. I couldn't
wait to see the grown up George in the film,
just because of how much emotion you brought to every
single scene, including that one. You just you felt his pain,
but you also saw his grit at the same time
inside that pain. And that's one thing I really really
enjoyed working with Glenn on this project is the way
(07:35):
you brought the emotions to those scenes and make you
feel those feel those moments and bring it to life.
Speaker 3 (07:40):
You bring up a very good point, and Glenn, how
did you learn that art one of facial expressions? Because that,
to me is an art. To be able to do
that without having to hear words, it's almost like we're
reading your mind.
Speaker 2 (07:52):
Well, I could tell you I learned it somewhere, but
that would be a lie. I I think.
Speaker 6 (08:03):
In essence, I think, I think getting out of the way.
Speaker 2 (08:12):
And allowing, like I said before, words to mean what
they mean if you move. Okay, So in humans that
have intent, and most of us have intention, uh, and
we're constantly trying to get somewhere, you know. When we
(08:33):
write stories like the one that Aaron wrote, Uh, you know,
I think it's a display of ideas and it's not
always like characters aren't always you know, it's just like
they're not always trying to They do have a path,
they do have what is it called objections? But I
(08:55):
think with with with acting, I guess, and trying to
get those small moments.
Speaker 6 (09:02):
You know, one of my acting teachers told me.
Speaker 2 (09:06):
A long time ago, never be afraid to be still
and listen because the power and listening. So the most
minute facial expressions come from no expression at all. And
if you're not intent on your intention and your objection
(09:28):
and you stop to listen to someone talking to you,
you almost become a blank piece of paper, right, You
become blank because you're just taking in information. If you're
taking it in with the intent of saying what you
have to say, then you kind of stay one sided, right,
and your face doesn't get to change. But if you
(09:52):
give over to the information that's being given to you
and then you decipher it and and and then you
make a decision to have intention on what you're getting
ready to put your intent on what you're getting ready
to say, then there's a multitude of emotions and facial
expressions that you can go through right what to say.
(10:15):
And if you don't drag them out, I guess, if
you let them happen naturally, they're very minute and very
fast and very you know, poignant, you know, And I
can't say, that's something that I do intentionally. I just
know how to break it down in a sense of
after because I've worked with a director named Colleen Chero once.
(10:38):
Colleen Sero.
Speaker 6 (10:39):
Yeah, she did Three Men in a Baby. She did
the French version, COLLEENO. Yeah, is that right? I mean
to cool, Yeah, Colleen Tho.
Speaker 2 (10:47):
She did the French version of Three Men and a Baby.
She broke this movie called Mama, There's a Man in
Your Bed and we eventually we're going to do it,
and uh, I guess it was Shirley Ralph and Richard
Dreyfus and myself, and we were having rehearsals and she
kept saying to me she wanted more, like Glenn, can
(11:08):
you give me a little you know, whatever? Something, something
something whatever. She wanted She wanted more expression. I guess
because she couldn't see it. But what I know about
acting is the camera never blinks. It never blinks, and
so if you less is always more in front of
the camera. Anyway, long story short, I did this movie
called Pastime, and I think she went and watched it,
(11:31):
and the next day she came back to rehearsals and
we were doing it and she she just looked at me, Glenn,
I'm not worried about you. It's going to be a
nice when we fail. You know. She said that it's
going to be in your eyes when we film. I
know it is because she went back and watched some
of my other work and then she realized that, you know,
(11:52):
it just comes with what's going on.
Speaker 6 (11:55):
It's you know, the moment happens in the moment.
Speaker 2 (11:57):
It's never just her indor you know whatever. I don't know.
I just do. I do what I do, man, And
you know what, And it's funny because people think people
can teach them how to act, and no one can
teach you how to act. And it's just something you
either know how to do it or you don't know
how to do. You know, you either have the spark
(12:19):
that people want to watch or see or you're either
interested or interesting, you know. And there's a lot of
people acting that you know, are very good, but do
they have that thing who knows? You know? Do I
have that thing?
Speaker 6 (12:30):
Who knows?
Speaker 2 (12:31):
You know? But the only way we find out is
to I guess, like I said before, it get me
out of the way and deliver the words and the
intention of the words, and let the words live and
then when you're not speaking, being present in the moment
of what's being said to you. If that makes sense.
Speaker 3 (12:52):
I wish I could have been a fly on the
wall when this fell onto your computer screen. I've lost everyone.
I feel so alone. That is a language that almost
every person on this planet has lived, but we were
watching it, we experienced it inside this story.
Speaker 7 (13:06):
Yeah, I really wanted to show the human inside of
George at that point. So I wanted to break them
all the way down. I wanted to show, like one
of the songs that we had on that what you're
looking for is inside of you. So I wanted to
break him all the way down.
Speaker 4 (13:21):
Let it.
Speaker 7 (13:22):
Sometimes when you have a call, you have a certain dream,
you're going after your passions. A lot of times that
people around you fall off the more your career goes higher.
People that you used to be best friends would disappear
a lot of times when you're starting to do things
and like people that don't understand it. They try to
show what a purpose to not only save the economy,
but make something as simple as a peanut valuable. Now,
(13:43):
that's a hard fight in the middle of racism, trying
to make people want to plant pain. That's when cotton
is the main thing. So he had this, he really
had this shown drive on him, and I want to
show something. I wanted to show exactly what it feels
like when you shut we have that drive in you
and the world just turns its back and you still
have to keep pushing forward. And so that's what I
was going for when I was writing the line about
(14:04):
everybody I love left me. If you notice that did
a flashback to his sister. Yeah, because his sister and
his mother was taken by Rady's a child, as the
film explorers, So I want to kind of just bring
all these emotions back up to show how he was
dealing with that and how he processed it in those moments.
Speaker 3 (14:20):
Now, Glenn, with with so much hardship in the movie,
how are you emotionally Because I mean, I'm not that
actor that gets to be on that camera, But I mean,
but you bring it to us in a way to
where we feel. So therefore you have to feel it
before we feel it.
Speaker 2 (14:34):
Well, Okay, there's there's sense memory. I guess there's there's uh,
you know, pouring water on your face or blowing uh
eucalyptus in your eucalyptus essence in your eyes. I guess
a peppermint essence in your eyes. It's all kind of
(14:55):
ways people cry for me. It's it's it's just always
been a physical pay you know, like physical in the
sense that our body goes through a physical sensation when
we cry. And if you can somehow manifest that physicality,
(15:19):
you know, being short of breath, uh, there's a there's
a raising of the lower diaphragm. You don't get enough
oxygen in your in your in your lungs. You know,
you you become very syllogistical in the thought process because
there's no oxygen, you know.
Speaker 6 (15:41):
And then there's there's there's like your.
Speaker 2 (15:44):
Upper diaphragm caves in.
Speaker 6 (15:46):
There's a whole lot of you know, your shoulders get tight.
Speaker 2 (15:49):
You know. I remember just being a kid and having that,
and I could do that right now to myself, like
and if I do it, like twenty times, I can.
I can cry just from that physical that physical you know,
it's not a maybe it is a sense memory, but
(16:10):
it's it's very physical for me though, very very physical.
Like if I tightened my chest, if I pull that
diaphragm up into my you know, and I get short
and I cut my hair off, and you know, it
just it just creates the sensation and that's all it is.
Speaker 6 (16:32):
It's very physical.
Speaker 2 (16:33):
Sometimes I I, you know, I'll find somebody that's standing
around and I'll just go look them in the eye
and get a connection. I think I did that on
the set, didn't I An I think that one time. Yeah,
I think I would. I like one of the prop
for people or something, some girl guy was just standing there.
I was like, could you come in for a minute,
(16:53):
and we just made some real serious eye contact and
then you know it, it just you know, it brings
that sensation of of of of I guess one the
thing that makes me cry the most in the world
is the world not understanding my dilemma. I think that
(17:17):
makes me cry more than anything else in the world.
Like if I mean, and I don't mean cry as
I cry, but that that gives me sorrow, you know,
because and I say my dilemma, but I what I
want to say is is the dilemma of of of
of love, the dilemma of non love in the world
(17:40):
gives me sorrow, you know. So sometimes I can just
think about the you know, the plight of humankind basically,
and and and if I if I forget about my
Dallist learnings, and I don't know that everything is as
it should be. And without white, we wouldn't have black.
(18:03):
You know, if the eaching was it spinning in perfect
harmony each ing, if the what's the thing I'm looking for,
it's not the eat ching? What is it?
Speaker 6 (18:19):
Dang? I'm having a brain for it right now. As
the energy.
Speaker 8 (18:23):
Theyang yin and yang, Yeah, yin and yang wasn't spinning
in perfect harmony, you know, with the with the with
the with the small essence of each energy at the
center of.
Speaker 2 (18:37):
The other energy. You know, I I mean, because that's
what keeps me balanced and keeps me present in life
and things like that. You know, when I when I
have to be conscious, conscious conscious, Yeah, in a in
a situation where otherwise people might panic. Yeah, I often
(19:01):
envision that harmony of balance, and and it stays with me.
But if I don't and I just think about one
side or the other, it causes sorrow and I can cry.
And when I when about you know, in those moments also,
I don't know, it's just you know, it's just what
it is. Man it there's no.
Speaker 6 (19:24):
There's no real rhyme or reason.
Speaker 2 (19:27):
There's no real technique because if it were a technique,
then you would see a technique. And what I try
and do is I just try and keep it very,
very very raw. Sometimes it comes up a little, you know,
over overdone sometimes, you know what I mean.
Speaker 6 (19:46):
Sometimes it's over the top.
Speaker 2 (19:49):
But that's why we have directors, you know, because if
you go somewhere and that's not where they want it,
they just go, hey.
Speaker 6 (19:54):
Could you bring that down a little bit, ease it out.
Speaker 2 (19:58):
I need you to cry two tears out of this
is not that you know, and then you do that,
You go, you want to you want one to come
down halfway and then come all the way down.
Speaker 7 (20:11):
You see why Glenn was a perfect uh person for
George Washington Carver. Just you know how he speaks, right, Glen, Glenn, Actually, Glenn,
can you tell them what you told me about how
you just started messing with the soil maybe weeks before
you actually got this call, this call, how you started
gett connected to the earth.
Speaker 4 (20:28):
You told me that story on set we first.
Speaker 2 (20:30):
Yeah, Well, you know, I was, I was, man, I was,
I was, I was kind of you know, feeling a
certain way about vegetables and stuff, and and how they
weren't uh tasting right and all this kind of weird
that stuff man, And and uh, you know, I actually
talked my daughter into growing lettuce. And if that's the
(20:52):
story you mentioned, uh, but you know, if that's the
one you're talking about. I often say a lot of
things when I'm in a situation, and I don't I
don't have to remember them because you know, they're just
moments in my life.
Speaker 6 (21:07):
Yeah, but yeah, I did.
Speaker 2 (21:11):
I was getting connected to the soil right before Aaron
called me about this project. It's strange that happens for me,
though I don't I don't see. And then again, like
it's that little voice, you know, that that voice, that
(21:33):
God voice that I listened to all the time in
those moments of silence. You know, I'm getting ready to
do another project, and it's all about variance. And you know,
I don't know if you guys remember the six million
dollar man. But they wanted his blood or something, but
it was his blood they wanted six million dollar many No,
that wasn't the one.
Speaker 6 (21:53):
Which one was it?
Speaker 2 (21:56):
It was the same guy, but he was on the
run because the government wanted his blood. Do you know
remember that TV series, wasn't it Lee Majors? Yet didn't
he play the six million dollars may?
Speaker 1 (22:11):
Sure did? Yes, he did?
Speaker 2 (22:13):
And didn't he didn't he do that other one where
he was on the run because they wanted his blood.
Speaker 6 (22:17):
Maybe it was somebody kind of likely major, but the.
Speaker 2 (22:19):
Government wanted his blood because he had this special kind
of blood and he was always running from them. Anyways. Uh,
this thing I'm getting ready to do is quite like that,
because you know, and it's something that I've been you know,
trying to wrap my head around. Now it's like nobody's
and I'm talking about COVID anymore and not talking about
vaccines anymore, And I talked, you know, it's more of
(22:42):
a of a well, they are talking about vaccines, but
they talking about how bad they are now, horrible they are,
whatever things like that, you know. So but yeah, it's
just it's just being in touch with those small parts
of your life or those small things in your life,
and and then it kind of syncret itself into whatever
(23:02):
it is you need to do, you know, like whatever
I need to do. I needed to visit my mom,
and I was thinking man, I need to go up
to her. And then I was wondering when the guy
was gonna call me so we can finish the movie.
And then I had this time to go visit my mom,
and I just a little window, and then I got
a call. It says, hey, man, there's this window when
we need the film and it's this day and this day,
and I was like, wow, that's right in between the
(23:25):
time where I was gonna go visit my mom.
Speaker 6 (23:28):
And so there it was.
Speaker 2 (23:29):
I left La, came up here to open California and
finish the movie, and I'm sitting in my mom's kitchen
right now, you know what I mean? Like it's that
kind of thing that happens to me, man, and I
you know, and then you know, it's like I was wondering, like, Okay,
you know, there's Christmas coming, and what I'm ia? Do
you know what am I gonna do? And you know,
(23:50):
and all these other things have been going on, this
old vaccine situation and then the COVID situation, and then
the presidency and then everybody asking me about all this
political stuff, and now I just signed on to do
another movie kind of like the one we did Aaron,
but it's a pilot, it's only forty five minutes long,
it's not two hours, and we only have eight days
(24:11):
to do it. Wow, So you know I got twice
the time to do this movie that I had to do.
Speaker 4 (24:19):
Yorks wonder More. Actually, I don't listen. It's seven days,
I think, Eric.
Speaker 2 (24:27):
Don't tell that story. We got that seven day wow? Wow?
Seven days.
Speaker 1 (24:33):
Where can people go to get the movie?
Speaker 4 (24:37):
They can watch it on Fossome.
Speaker 7 (24:38):
They can download the Fossome TV appt TV.
Speaker 6 (24:43):
Free Awesome Television network.
Speaker 2 (24:47):
But it's it's uh, it's called it's it's I guess
the acronym is falsome because they take the free out
and they just a W E S O M E
falseesome awesome awesome, free awesome TV, free awesome TV.
Speaker 6 (25:05):
Yeah, free awesome TV, never awesome.
Speaker 2 (25:08):
Yeah. I mean you know, man, hopefully Aaron, you got
another one written, mant written, because I need something to
do in.
Speaker 4 (25:16):
January where we can get another Fossil original going.
Speaker 2 (25:21):
That's all I'm talking about. Man, I'm so ready to
do that. Dude, you have no idea.
Speaker 4 (25:28):
I'll tell you what.
Speaker 7 (25:28):
That performance was polarizing, Man, that performance was. You can
feel it even in the trailer. That performance was polarizing,
the way he broke down over Sarah and then broke
down over Booker. T.
Speaker 2 (25:37):
Dude, I watched that movie. Okay, let's talk about that
for a second. Do we have time?
Speaker 6 (25:42):
Yeah, okay, So.
Speaker 2 (25:44):
I watched that movie, prob And I thought to myself
when I saw the trailer. I watched the trailer and
I was like, Oh, that that might have been.
Speaker 6 (25:54):
Oh that was a little you know, emotionally charged.
Speaker 2 (25:58):
And I kept thinking to myself, this isn't overdone. And
then when I watched the movie and how you cut
it together and how it was edited, bro, all that
stuff fell so well into places. Yeah, you know, the
way you put that performance together. I just wanted to
say thank you for that, man, because you know, you know,
(26:20):
I guess a lot of directors and producers and studios
and stuff. You know, when they get in their mind
they want to see a movie, they make the movie
they want to see, and when you watch it, you
don't see a performance. You see a lot of pieces
of stuff that you did kind of thrown into each other,
you know what I mean, put together Like, but I
(26:42):
really got the essence of that performance when I watched
I mean the performance I gave. It's what I'm trying
to say. I got the essence of what I did,
and I was like, wow, So he used it the
way we did it, like.
Speaker 6 (26:52):
You know, you didn't you didn't get over there and
go oh no, I want.
Speaker 2 (26:55):
That I want.
Speaker 7 (27:00):
I had to do in the past, But this one,
this performance didn't require that performance spoke for itself.
Speaker 2 (27:05):
You know. I just I don't know.
Speaker 6 (27:07):
I saw it, and I was.
Speaker 2 (27:10):
Surprisingly pleased that with the with the choices that you kept,
you know, to get your point across, and it just
made me feel good.
Speaker 4 (27:20):
Yeah.
Speaker 2 (27:20):
I just want to.
Speaker 4 (27:21):
Say I didn't want to take those the crime scenes.
I was.
Speaker 7 (27:23):
I was trying to limit the takes because the whole
set was like this, bawling in tears. So I know
some of those takes we did in one takes. I
think maybe once I did a wide shot to kind
of get another perspective of it. But when those moments
were like that, you don't really want to recreate those
moments or really.
Speaker 4 (27:38):
Kind of keep bringing the actor to that that position.
Speaker 2 (27:42):
Tell me about it.
Speaker 7 (27:42):
I try to, I try to do what I need
in that first take and move the cameras and catch
all the angles I can and kind of kind of
dance with the actor in that moment.
Speaker 2 (27:50):
I just did this this movie. I played this pimp
forgive me God sex traffic game down on his luck.
That's why I got all this hair on my face
and I got my hair grown out right. This half
half assed you know, he is gay, Main's so tight
(28:11):
no more, but he's still drugging girls to try to
get him the hook for him and stuff like that.
And the last scene that my last scene in the movie,
my bottom girl or my number one girl turns on me.
My place is being raided, and she turns on me,
and she decides that she's not gonna let me go
to jail. She's she's she's taking it upon herself to
(28:36):
be you know, judge and jury and executioner, and she's
gonna kill me. So the scene starts out with me,
you know, doing these drugs and listening to this music
and drinking this swine it kind of, and she comes
in and tells me the place is being raided, and
I'm so high. I'm like what, it's like whatever, and
(28:56):
then I'm like, what the fuck are you talking about? It?
Speaker 6 (28:58):
Then she explained, you know, she's goes into an explanation.
Speaker 2 (29:01):
I realized, I gotta, you know, okay, let me straighten up,
get my gun whatever I'm getting ready to do.
Speaker 6 (29:06):
I turn around and she has the gun.
Speaker 2 (29:09):
And so in the first half of the scene, I'm
sitting here telling her that you know, I know you
ain't got the heart to do this. You ain't no killer,
use a hole, and you should be putting that gun
and being blass. You're planning on shooting me, and we
both know you ain't finna do that shit, So just
give me the gun, like you know, they said that
whole attitude.
Speaker 6 (29:26):
And then she shoots me in the knee.
Speaker 2 (29:30):
Dang.
Speaker 6 (29:32):
And we had this joke because I had this whole,
you know, like.
Speaker 2 (29:37):
Pimp attitude where I had this whole affected voice and
use a bitch and you.
Speaker 6 (29:44):
Know, bitch, you don't saying you don't run, And.
Speaker 9 (29:47):
When she shot me, it was like okay, okay, wait
a minute, wait a minute. We laughed about it because
she shot all the pimp out this character, right, she
shoots him in the and all the pip leaves it
and he just turns into this begging like.
Speaker 2 (30:05):
Sivilly, come on, please, please please, and you.
Speaker 6 (30:08):
Know me, Aaron, I had to go.
Speaker 2 (30:11):
Right. And the reason I brought it up was because
you said that you didn't want to keep taking me
as an actor to that point of you know, excessive
emotional outputs. And this dude that I just worked with,
this dude had no qualms. We did my side about
(30:36):
fifteen times, okay, and I mean because oh that that
light wasn't right and you didn't take that gunshot right,
and you know, he didn't go in and pick nothing up.
He started from the getting it went all the way
through it. And then the sad part about it was
we had a whole day to film and if we
(31:00):
would have shot my part at like we did at
nine thirty that morning and turned around and shot the
other actress's part, I got there at nine thirty, we
would have been finished around yeah, maybe twelve thirty. Wow, right.
Speaker 6 (31:19):
I was there till two o'clock the next morning.
Speaker 2 (31:23):
Because he decided that he was going to shoot everything
in that direction and then come back and shoot everything
in that direction, and he shot everything in between, you know,
even when he turned the camera around, he shot everything
else in between, and then waited till the end of
(31:45):
the night to shoot her side of the scene we
did that morning.
Speaker 1 (31:50):
Wow.
Speaker 2 (31:51):
Yeah, And it was insane because we turned around and
I had to do it again fifteen times. At the
end of the night, he had no clogs, Like, oh man,
I know, the camera in on you, but you know,
and and me being an actor that I am, you know,
I had to give her the essence of what she
gave me that morning.
Speaker 6 (32:12):
So of course I went there, you know, and.
Speaker 2 (32:15):
At the end of the night it was just sheer
exhaustion and you know, and we were in a warehouse,
low budget, no money, you know, a couple of pizza
bikes from dinner, lunch or whatever it was. But we
were there from like nine to two a, nine am
to two A. Yeah, it was one of those things.
It was.
Speaker 7 (32:36):
It's great to get different angles and things like that,
but I believe the best the best results is focusing
on the performance. The angles is good if I want
to do some pickup shots and some cutaways and things
like that to kind of add to the story. But
sometimes when you push your actor that that much, it
can it can kill the rest of your day, It
can kill your crew, and it can.
Speaker 4 (32:54):
Just wear your actors out. Yeah, I just about like
get the performance.
Speaker 7 (32:58):
You need and make sure because the audience is not
to remember I shot it from a high angle. Yeah,
so what if I want to if I want to
open the scene up like breaking bad for example, like
they'll pull the camera, be underneath the coffee cup in
the car and they'll pull up. You'll see the camera
hitting in crazy spots to start the scene. So yeah,
start the camera in some crazy spots, in with the cameras,
some crazy spots. But when the performance speaks, let the
(33:20):
performance because people are coming to see the performance, not
the camera angle.
Speaker 4 (33:24):
And that's one thing.
Speaker 7 (33:25):
Yeah, when you put telling these stories, that's the emotion
is going to take you away further than the angle
ever will not knocking angles, but the emotions all in
performance always going to take your father.
Speaker 3 (33:35):
Wow, you guys have got to come back to this
show anytime in the future.
Speaker 1 (33:39):
I did.
Speaker 3 (33:39):
This has been a total experience, once in a lifetime
moment to hear you break it down. I thought I
was weird when I broke down movies. You guys totally
understand it and then we get to receive it.
Speaker 6 (33:51):
Now it's just is what it is.
Speaker 2 (33:54):
You know, give that people who live life have experiences
and then and you know, if we had to live
the lives that we lived and had the experiences that
we had, we would be total nerds in the movie business,
you know what I mean if I can say that,
because we would have all the technique, we would have
all the information, you know, and then that's how we
would approach it.
Speaker 6 (34:15):
But I think working with somebody like.
Speaker 2 (34:18):
Aaron who's lived the whole life and myself who's lived
the whole life, you know, and then I think we've
both gone in and got the technical aspect of filmmaking,
you know, we get to do these things. And like
I said, you know, I'm in Oakland, Aaron, I don't
know where you are. I guess, okay, so you and
your home. I'm in my with my mom. Bro. Haven't
(34:41):
talked to you much except about that trailer. But and
uh yeah, just uh if something comes up, man call me.
Speaker 7 (34:53):
Yeah, And I definitely Michael, we need to push on
false and to put this in some type of festival
or something, because I think that was an award performance
and Glenn uh performed on this. I believe that was
really one of those performances of a lifetime. So I
would love to see this, uh, that performance get some
type of an award or recognition.
Speaker 6 (35:11):
Absolutely well, you want to put it in a festival.
Speaker 7 (35:14):
I want to put it somewhere that can get some
type of recognition. I believe that was an award worth
of performance.
Speaker 4 (35:18):
I believe. I believe, I see that everybody sees it
would agree like that. That was one of the best
representations of George Washington.
Speaker 7 (35:23):
Now we did Glenn missioned earlier about how we made
some changes because we talked George Washington actually had a
very high pitched.
Speaker 4 (35:30):
Voice, and we talked about that, should we do it
high pitch like he does?
Speaker 7 (35:33):
But it's like, you know what, I didn't want to
distract the audience from performance with that high pitched voice, Like, look,
let's just keep it where you have it at, because
I believe the way you did it, it's going to
really take them out of it and be focused on
the voice so much so, even though he had the voice,
we didn't stick to that.
Speaker 4 (35:48):
But I did that more so just for the entertainment.
Speaker 7 (35:51):
I want to make sure they could really really just
tune into performance and I'd be to the voice picked.
Speaker 2 (35:56):
Up of what we were trying to do. Yeah, that's cool.
I'd have a problems. All that was awesome.
Speaker 4 (36:01):
Yeah.
Speaker 3 (36:02):
Wow, Well you guys please come back to this show
anytime in the future. The door is always going to
be open for you that next project, especially Glenn when
he does it for you. You got something to do this
coming January.
Speaker 4 (36:14):
Nice you hear that?
Speaker 2 (36:15):
Awesome?
Speaker 1 (36:17):
Well, you guys have a great day today. Okay, all right?
Speaker 2 (36:20):
Man, man, thank you very much.
Speaker 4 (36:22):
I thank you.
Good morning you guys.
Speaker 2 (00:00):
How are you doing good?
Speaker 1 (00:02):
How I'm doing absolutely fantastic. And He's right.
Speaker 3 (00:05):
I'm very excited to share a conversation with you because
this movie is an experience. And the reason why it
became an instant experience with me is because I came
from the generation where George Washington Carver's picture was up
in the classroom. We learned about George Washington Carver, but
we didn't get to hear his voice, we didn't get
to hear his real story. And this, this movie put
me in that moment of being in that classroom to
(00:26):
where I could feel where he was coming from.
Speaker 2 (00:31):
Wow, thank you man.
Speaker 4 (00:33):
Yeah, I'm really bad.
Speaker 3 (00:36):
And you make it so authentic because I mean, you
really look like George Washington Carver. I'm away. I was like,
I looked at my wife and said, oh my god.
And because you know, sometimes you know, you'll have actors
come in. But how did you get into that full
essence of George.
Speaker 2 (00:53):
Well, I think basically it was just trying to tell
the truth in the moments that were written on the page,
you know, and I saw a video of him, and
you know, there were things that I wanted to incorporate
that we uh, I guess we weren't incorporating and you know,
(01:17):
it just it just kind of played itself out in
that way. The character development and things like that for
me is basically, you know, like everything I see on
the page, it's it's it's the truth of what's written.
Kind of knowing why your character is saying what he's saying. Uh,
and you know, things of that essence. I don't.
Speaker 5 (01:42):
I mean, you know it, It's very easy for me
to lose myself in words and dialogue in.
Speaker 2 (01:53):
Books, in movies. I'm still a big fan of other
directors of the actors. You know, I watch other actors
do roles and I always ask myself, Wow, would I
have made that choice?
Speaker 6 (02:06):
Or would I have done that?
Speaker 2 (02:07):
You know what I mean? And I still get lost
in it. So it's still a really fun game, has
its awe and its appeal.
Speaker 3 (02:15):
As far as the music is so modern, I mean,
you really pull us in.
Speaker 7 (02:20):
Was one thing I did actually in both films. I
really wanted to kind of attract that modern audience before
it took me into that world. I want to kind
of take some of the old the new. I'm sorry
to introduce us to the old I felt that that
was the best way to kind of hook the viewer,
was the evens that they were used to and then
kind of bringing them into that story.
Speaker 3 (02:38):
And Glenn, one of the things that I learned so
much from this, I didn't realize that southern agriculture was
on the brink of collapse.
Speaker 1 (02:45):
We're kind of almost in that boat again.
Speaker 3 (02:47):
And you serve as a teacher as well as a
leader in the way of saying, hey, I'm tapping you
on the shoulder, pay attention to those that are planting
things in the ground.
Speaker 2 (02:59):
Yeah, how does that relate presently?
Speaker 6 (03:03):
I'm you know, I can only relate it to foresight
of you know, I guess what I know about things
to come. Maybe I don't know. You know, George.
Speaker 2 (03:22):
Washington Carver was a big believer in God, and he
was very much in touch with that little voice on
his shoulder. I kind of listened to that voice all
the time, kind of all the time, and so I
stayed pretty much in tune with the intuition that comes
(03:42):
from I guess, like you say, both being planted on
the ground and kind of never getting involved in details
and just kind of staying outside of the box and
looking at it as a whole thing, you know, and
not getting caught up in the compartmentalized distractions. I guess
one might say, so. Yeah, I mean George Washington Carver
(04:06):
was a teacher, Yeah, and he could see I guess,
things to come, or he had a vision of what
the world would be like if he didn't get his
his act together and developed the things that he developed.
Speaker 6 (04:23):
You know, the question was kind of varue to me.
Speaker 2 (04:25):
I don't know, are you relating that to me as
a person and how I am as a person in
twenty twenty four assumed to be twenty twenty five, or.
Speaker 3 (04:36):
Well, here's the thing. I related to what we're doing
with the soil today as well as what we're doing
with the people, because I believe the soil really does
affect what we're doing, the choices that we make and
how we plant things in our own mind, body, and soul.
And I think that's what I got out of this character,
is that I got to see more than just the teacher,
more than just the man that understood the land. But
(04:57):
there's so many scenes in here that showed me the
human the person.
Speaker 2 (05:02):
Okay, well yeah, yeah, And to make it very relatable
to an audience. I always feel like, you know, you
have to find out what a character loves and what
he doesn't love. And I guess even if you're playing
a bad guy, you know, the bad guys love something,
(05:23):
they love it so much that they're willing to overlook
what other people love to ascertain the things that they're
trying to get. I think George Washington Carver was very
much like that. He knew, you know what touched him deeply,
so he went for that.
Speaker 3 (05:42):
Uh.
Speaker 2 (05:43):
And here, I guess in the situation we're in now,
you know, that's a that's that's a that's a that's
a big question in itself. Mining lithium and cobalt and
things like that, you know, uh, destroying the earth to
ascertain the synthetics that we need to get by, you know,
(06:07):
depleting the urg's minerals to have cell phones and batteries
for electric cars.
Speaker 6 (06:15):
You know, I guess you can relate it that way.
Speaker 3 (06:18):
Aaron, you're the one that sets the scenes when he's
being escorted off the campus because of his color. It's
one of those that that's a conversation starter because it's
one of those moments that you see it in the movie,
you experience it, and now you want to go out
and you want to talk about it. That's what this
movie does. It embraces everything about your emotions so that
you can create the talk.
Speaker 7 (06:39):
Yeah, that was one thing that everybody, including myself, had
to command Glenn's performances on because the way he brought
emotion to that character made you feel that character. Even
I'm not gonna lie. When I was writing a script,
I thought the heart of Congress. But when I saw
how he was able to take such intellectual language and
still bring into the emotion of character on a scene
(07:00):
that could have been so emotionally dry, that was his captivity.
And then to go in that scene to see how
it was the thing, not even the things he said
and that scene that you're talking about and when he
went to college, but the thing he didn't say, just
the looks he gave.
Speaker 4 (07:12):
It's it when the spoke to him.
Speaker 7 (07:14):
It's like these little minded looks that Glenn gave that
really just pulled you, like I couldn't wait. I couldn't
wait to see the grown up George in the film,
just because of how much emotion you brought to every
single scene, including that one. You just you felt his pain,
but you also saw his grit at the same time
inside that pain. And that's one thing I really really
enjoyed working with Glenn on this project is the way
(07:35):
you brought the emotions to those scenes and make you
feel those feel those moments and bring it to life.
Speaker 3 (07:40):
You bring up a very good point, and Glenn, how
did you learn that art one of facial expressions? Because that,
to me is an art. To be able to do
that without having to hear words, it's almost like we're
reading your mind.
Speaker 2 (07:52):
Well, I could tell you I learned it somewhere, but
that would be a lie. I I think.
Speaker 6 (08:03):
In essence, I think, I think getting out of the way.
Speaker 2 (08:12):
And allowing, like I said before, words to mean what
they mean if you move. Okay, So in humans that
have intent, and most of us have intention, uh, and
we're constantly trying to get somewhere, you know. When we
(08:33):
write stories like the one that Aaron wrote, Uh, you know,
I think it's a display of ideas and it's not
always like characters aren't always you know, it's just like
they're not always trying to They do have a path,
they do have what is it called objections? But I
(08:55):
think with with with acting, I guess, and trying to
get those small moments.
Speaker 6 (09:02):
You know, one of my acting teachers told me.
Speaker 2 (09:06):
A long time ago, never be afraid to be still
and listen because the power and listening. So the most
minute facial expressions come from no expression at all. And
if you're not intent on your intention and your objection
(09:28):
and you stop to listen to someone talking to you,
you almost become a blank piece of paper, right, You
become blank because you're just taking in information. If you're
taking it in with the intent of saying what you
have to say, then you kind of stay one sided, right,
and your face doesn't get to change. But if you
(09:52):
give over to the information that's being given to you
and then you decipher it and and and then you
make a decision to have intention on what you're getting
ready to put your intent on what you're getting ready
to say, then there's a multitude of emotions and facial
expressions that you can go through right what to say.
(10:15):
And if you don't drag them out, I guess, if
you let them happen naturally, they're very minute and very
fast and very you know, poignant, you know, And I
can't say, that's something that I do intentionally. I just
know how to break it down in a sense of
after because I've worked with a director named Colleen Chero once.
(10:38):
Colleen Sero.
Speaker 6 (10:39):
Yeah, she did Three Men in a Baby. She did
the French version, COLLEENO. Yeah, is that right? I mean
to cool, Yeah, Colleen Tho.
Speaker 2 (10:47):
She did the French version of Three Men and a Baby.
She broke this movie called Mama, There's a Man in
Your Bed and we eventually we're going to do it,
and uh, I guess it was Shirley Ralph and Richard
Dreyfus and myself, and we were having rehearsals and she
kept saying to me she wanted more, like Glenn, can
(11:08):
you give me a little you know, whatever? Something, something
something whatever. She wanted She wanted more expression. I guess
because she couldn't see it. But what I know about
acting is the camera never blinks. It never blinks, and
so if you less is always more in front of
the camera. Anyway, long story short, I did this movie
called Pastime, and I think she went and watched it,
(11:31):
and the next day she came back to rehearsals and
we were doing it and she she just looked at me, Glenn,
I'm not worried about you. It's going to be a
nice when we fail. You know. She said that it's
going to be in your eyes when we film. I
know it is because she went back and watched some
of my other work and then she realized that, you know,
(11:52):
it just comes with what's going on.
Speaker 6 (11:55):
It's you know, the moment happens in the moment.
Speaker 2 (11:57):
It's never just her indor you know whatever. I don't know.
I just do. I do what I do, man, And
you know what, And it's funny because people think people
can teach them how to act, and no one can
teach you how to act. And it's just something you
either know how to do it or you don't know
how to do. You know, you either have the spark
(12:19):
that people want to watch or see or you're either
interested or interesting, you know. And there's a lot of
people acting that you know, are very good, but do
they have that thing who knows? You know? Do I
have that thing?
Speaker 6 (12:30):
Who knows?
Speaker 2 (12:31):
You know? But the only way we find out is
to I guess, like I said before, it get me
out of the way and deliver the words and the
intention of the words, and let the words live and
then when you're not speaking, being present in the moment
of what's being said to you. If that makes sense.
Speaker 3 (12:52):
I wish I could have been a fly on the
wall when this fell onto your computer screen. I've lost everyone.
I feel so alone. That is a language that almost
every person on this planet has lived, but we were
watching it, we experienced it inside this story.
Speaker 7 (13:06):
Yeah, I really wanted to show the human inside of
George at that point. So I wanted to break them
all the way down. I wanted to show, like one
of the songs that we had on that what you're
looking for is inside of you. So I wanted to
break him all the way down.
Speaker 4 (13:21):
Let it.
Speaker 7 (13:22):
Sometimes when you have a call, you have a certain dream,
you're going after your passions. A lot of times that
people around you fall off the more your career goes higher.
People that you used to be best friends would disappear
a lot of times when you're starting to do things
and like people that don't understand it. They try to
show what a purpose to not only save the economy,
but make something as simple as a peanut valuable. Now,
(13:43):
that's a hard fight in the middle of racism, trying
to make people want to plant pain. That's when cotton
is the main thing. So he had this, he really
had this shown drive on him, and I want to
show something. I wanted to show exactly what it feels
like when you shut we have that drive in you
and the world just turns its back and you still
have to keep pushing forward. And so that's what I
was going for when I was writing the line about
(14:04):
everybody I love left me. If you notice that did
a flashback to his sister. Yeah, because his sister and
his mother was taken by Rady's a child, as the
film explorers, So I want to kind of just bring
all these emotions back up to show how he was
dealing with that and how he processed it in those moments.
Speaker 3 (14:20):
Now, Glenn, with with so much hardship in the movie,
how are you emotionally Because I mean, I'm not that
actor that gets to be on that camera, But I mean,
but you bring it to us in a way to
where we feel. So therefore you have to feel it
before we feel it.
Speaker 2 (14:34):
Well, Okay, there's there's sense memory. I guess there's there's uh,
you know, pouring water on your face or blowing uh
eucalyptus in your eucalyptus essence in your eyes. I guess
a peppermint essence in your eyes. It's all kind of
(14:55):
ways people cry for me. It's it's it's just always
been a physical pay you know, like physical in the
sense that our body goes through a physical sensation when
we cry. And if you can somehow manifest that physicality,
(15:19):
you know, being short of breath, uh, there's a there's
a raising of the lower diaphragm. You don't get enough
oxygen in your in your in your lungs. You know,
you you become very syllogistical in the thought process because
there's no oxygen, you know.
Speaker 6 (15:41):
And then there's there's there's like your.
Speaker 2 (15:44):
Upper diaphragm caves in.
Speaker 6 (15:46):
There's a whole lot of you know, your shoulders get tight.
Speaker 2 (15:49):
You know. I remember just being a kid and having that,
and I could do that right now to myself, like
and if I do it, like twenty times, I can.
I can cry just from that physical that physical you know,
it's not a maybe it is a sense memory, but
(16:10):
it's it's very physical for me though, very very physical.
Like if I tightened my chest, if I pull that
diaphragm up into my you know, and I get short
and I cut my hair off, and you know, it
just it just creates the sensation and that's all it is.
Speaker 6 (16:32):
It's very physical.
Speaker 2 (16:33):
Sometimes I I, you know, I'll find somebody that's standing
around and I'll just go look them in the eye
and get a connection. I think I did that on
the set, didn't I An I think that one time. Yeah,
I think I would. I like one of the prop
for people or something, some girl guy was just standing there.
I was like, could you come in for a minute,
(16:53):
and we just made some real serious eye contact and
then you know it, it just you know, it brings
that sensation of of of of I guess one the
thing that makes me cry the most in the world
is the world not understanding my dilemma. I think that
(17:17):
makes me cry more than anything else in the world.
Like if I mean, and I don't mean cry as
I cry, but that that gives me sorrow, you know,
because and I say my dilemma, but I what I
want to say is is the dilemma of of of
of love, the dilemma of non love in the world
(17:40):
gives me sorrow, you know. So sometimes I can just
think about the you know, the plight of humankind basically,
and and and if I if I forget about my
Dallist learnings, and I don't know that everything is as
it should be. And without white, we wouldn't have black.
(18:03):
You know, if the eaching was it spinning in perfect
harmony each ing, if the what's the thing I'm looking for,
it's not the eat ching? What is it?
Speaker 6 (18:19):
Dang? I'm having a brain for it right now. As
the energy.
Speaker 8 (18:23):
Theyang yin and yang, Yeah, yin and yang wasn't spinning
in perfect harmony, you know, with the with the with
the with the small essence of each energy at the
center of.
Speaker 2 (18:37):
The other energy. You know, I I mean, because that's
what keeps me balanced and keeps me present in life
and things like that. You know, when I when I
have to be conscious, conscious conscious, Yeah, in a in
a situation where otherwise people might panic. Yeah, I often
(19:01):
envision that harmony of balance, and and it stays with me.
But if I don't and I just think about one
side or the other, it causes sorrow and I can cry.
And when I when about you know, in those moments also,
I don't know, it's just you know, it's just what
it is. Man it there's no.
Speaker 6 (19:24):
There's no real rhyme or reason.
Speaker 2 (19:27):
There's no real technique because if it were a technique,
then you would see a technique. And what I try
and do is I just try and keep it very,
very very raw. Sometimes it comes up a little, you know,
over overdone sometimes, you know what I mean.
Speaker 6 (19:46):
Sometimes it's over the top.
Speaker 2 (19:49):
But that's why we have directors, you know, because if
you go somewhere and that's not where they want it,
they just go, hey.
Speaker 6 (19:54):
Could you bring that down a little bit, ease it out.
Speaker 2 (19:58):
I need you to cry two tears out of this
is not that you know, and then you do that,
You go, you want to you want one to come
down halfway and then come all the way down.
Speaker 7 (20:11):
You see why Glenn was a perfect uh person for
George Washington Carver. Just you know how he speaks, right, Glen, Glenn, Actually, Glenn,
can you tell them what you told me about how
you just started messing with the soil maybe weeks before
you actually got this call, this call, how you started
gett connected to the earth.
Speaker 4 (20:28):
You told me that story on set we first.
Speaker 2 (20:30):
Yeah, Well, you know, I was, I was, man, I was,
I was, I was kind of you know, feeling a
certain way about vegetables and stuff, and and how they
weren't uh tasting right and all this kind of weird
that stuff man, And and uh, you know, I actually
talked my daughter into growing lettuce. And if that's the
(20:52):
story you mentioned, uh, but you know, if that's the
one you're talking about. I often say a lot of
things when I'm in a situation, and I don't I
don't have to remember them because you know, they're just
moments in my life.
Speaker 6 (21:07):
Yeah, but yeah, I did.
Speaker 2 (21:11):
I was getting connected to the soil right before Aaron
called me about this project. It's strange that happens for me,
though I don't I don't see. And then again, like
it's that little voice, you know, that that voice, that
(21:33):
God voice that I listened to all the time in
those moments of silence. You know, I'm getting ready to
do another project, and it's all about variance. And you know,
I don't know if you guys remember the six million
dollar man. But they wanted his blood or something, but
it was his blood they wanted six million dollar many No,
that wasn't the one.
Speaker 6 (21:53):
Which one was it?
Speaker 2 (21:56):
It was the same guy, but he was on the
run because the government wanted his blood. Do you know
remember that TV series, wasn't it Lee Majors? Yet didn't
he play the six million dollars may?
Speaker 1 (22:11):
Sure did? Yes, he did?
Speaker 2 (22:13):
And didn't he didn't he do that other one where
he was on the run because they wanted his blood.
Speaker 6 (22:17):
Maybe it was somebody kind of likely major, but the.
Speaker 2 (22:19):
Government wanted his blood because he had this special kind
of blood and he was always running from them. Anyways. Uh,
this thing I'm getting ready to do is quite like that,
because you know, and it's something that I've been you know,
trying to wrap my head around. Now it's like nobody's
and I'm talking about COVID anymore and not talking about
vaccines anymore, And I talked, you know, it's more of
(22:42):
a of a well, they are talking about vaccines, but
they talking about how bad they are now, horrible they are,
whatever things like that, you know. So but yeah, it's
just it's just being in touch with those small parts
of your life or those small things in your life,
and and then it kind of syncret itself into whatever
(23:02):
it is you need to do, you know, like whatever
I need to do. I needed to visit my mom,
and I was thinking man, I need to go up
to her. And then I was wondering when the guy
was gonna call me so we can finish the movie.
And then I had this time to go visit my mom,
and I just a little window, and then I got
a call. It says, hey, man, there's this window when
we need the film and it's this day and this day,
and I was like, wow, that's right in between the
(23:25):
time where I was gonna go visit my mom.
Speaker 6 (23:28):
And so there it was.
Speaker 2 (23:29):
I left La, came up here to open California and
finish the movie, and I'm sitting in my mom's kitchen
right now, you know what I mean? Like it's that
kind of thing that happens to me, man, and I
you know, and then you know, it's like I was wondering, like, Okay,
you know, there's Christmas coming, and what I'm ia? Do
you know what am I gonna do? And you know,
(23:50):
and all these other things have been going on, this
old vaccine situation and then the COVID situation, and then
the presidency and then everybody asking me about all this
political stuff, and now I just signed on to do
another movie kind of like the one we did Aaron,
but it's a pilot, it's only forty five minutes long,
it's not two hours, and we only have eight days
(24:11):
to do it. Wow, So you know I got twice
the time to do this movie that I had to do.
Speaker 4 (24:19):
Yorks wonder More. Actually, I don't listen. It's seven days,
I think, Eric.
Speaker 2 (24:27):
Don't tell that story. We got that seven day wow? Wow?
Seven days.
Speaker 1 (24:33):
Where can people go to get the movie?
Speaker 4 (24:37):
They can watch it on Fossome.
Speaker 7 (24:38):
They can download the Fossome TV appt TV.
Speaker 6 (24:43):
Free Awesome Television network.
Speaker 2 (24:47):
But it's it's uh, it's called it's it's I guess
the acronym is falsome because they take the free out
and they just a W E S O M E
falseesome awesome awesome, free awesome TV, free awesome TV.
Speaker 6 (25:05):
Yeah, free awesome TV, never awesome.
Speaker 2 (25:08):
Yeah. I mean you know, man, hopefully Aaron, you got
another one written, mant written, because I need something to
do in.
Speaker 4 (25:16):
January where we can get another Fossil original going.
Speaker 2 (25:21):
That's all I'm talking about. Man, I'm so ready to
do that. Dude, you have no idea.
Speaker 4 (25:28):
I'll tell you what.
Speaker 7 (25:28):
That performance was polarizing, Man, that performance was. You can
feel it even in the trailer. That performance was polarizing,
the way he broke down over Sarah and then broke
down over Booker. T.
Speaker 2 (25:37):
Dude, I watched that movie. Okay, let's talk about that
for a second. Do we have time?
Speaker 6 (25:42):
Yeah, okay, So.
Speaker 2 (25:44):
I watched that movie, prob And I thought to myself
when I saw the trailer. I watched the trailer and
I was like, Oh, that that might have been.
Speaker 6 (25:54):
Oh that was a little you know, emotionally charged.
Speaker 2 (25:58):
And I kept thinking to myself, this isn't overdone. And
then when I watched the movie and how you cut
it together and how it was edited, bro, all that
stuff fell so well into places. Yeah, you know, the
way you put that performance together. I just wanted to
say thank you for that, man, because you know, you know,
(26:20):
I guess a lot of directors and producers and studios
and stuff. You know, when they get in their mind
they want to see a movie, they make the movie
they want to see, and when you watch it, you
don't see a performance. You see a lot of pieces
of stuff that you did kind of thrown into each other,
you know what I mean, put together Like, but I
(26:42):
really got the essence of that performance when I watched
I mean the performance I gave. It's what I'm trying
to say. I got the essence of what I did,
and I was like, wow, So he used it the
way we did it, like.
Speaker 6 (26:52):
You know, you didn't you didn't get over there and
go oh no, I want.
Speaker 2 (26:55):
That I want.
Speaker 7 (27:00):
I had to do in the past, But this one,
this performance didn't require that performance spoke for itself.
Speaker 2 (27:05):
You know. I just I don't know.
Speaker 6 (27:07):
I saw it, and I was.
Speaker 2 (27:10):
Surprisingly pleased that with the with the choices that you kept,
you know, to get your point across, and it just
made me feel good.
Speaker 4 (27:20):
Yeah.
Speaker 2 (27:20):
I just want to.
Speaker 4 (27:21):
Say I didn't want to take those the crime scenes.
I was.
Speaker 7 (27:23):
I was trying to limit the takes because the whole
set was like this, bawling in tears. So I know
some of those takes we did in one takes. I
think maybe once I did a wide shot to kind
of get another perspective of it. But when those moments
were like that, you don't really want to recreate those
moments or really.
Speaker 4 (27:38):
Kind of keep bringing the actor to that that position.
Speaker 2 (27:42):
Tell me about it.
Speaker 7 (27:42):
I try to, I try to do what I need
in that first take and move the cameras and catch
all the angles I can and kind of kind of
dance with the actor in that moment.
Speaker 2 (27:50):
I just did this this movie. I played this pimp
forgive me God sex traffic game down on his luck.
That's why I got all this hair on my face
and I got my hair grown out right. This half
half assed you know, he is gay, Main's so tight
(28:11):
no more, but he's still drugging girls to try to
get him the hook for him and stuff like that.
And the last scene that my last scene in the movie,
my bottom girl or my number one girl turns on me.
My place is being raided, and she turns on me,
and she decides that she's not gonna let me go
to jail. She's she's she's taking it upon herself to
(28:36):
be you know, judge and jury and executioner, and she's
gonna kill me. So the scene starts out with me,
you know, doing these drugs and listening to this music
and drinking this swine it kind of, and she comes
in and tells me the place is being raided, and
I'm so high. I'm like what, it's like whatever, and
(28:56):
then I'm like, what the fuck are you talking about? It?
Speaker 6 (28:58):
Then she explained, you know, she's goes into an explanation.
Speaker 2 (29:01):
I realized, I gotta, you know, okay, let me straighten up,
get my gun whatever I'm getting ready to do.
Speaker 6 (29:06):
I turn around and she has the gun.
Speaker 2 (29:09):
And so in the first half of the scene, I'm
sitting here telling her that you know, I know you
ain't got the heart to do this. You ain't no killer,
use a hole, and you should be putting that gun
and being blass. You're planning on shooting me, and we
both know you ain't finna do that shit, So just
give me the gun, like you know, they said that
whole attitude.
Speaker 6 (29:26):
And then she shoots me in the knee.
Speaker 2 (29:30):
Dang.
Speaker 6 (29:32):
And we had this joke because I had this whole,
you know, like.
Speaker 2 (29:37):
Pimp attitude where I had this whole affected voice and
use a bitch and you.
Speaker 6 (29:44):
Know, bitch, you don't saying you don't run, And.
Speaker 9 (29:47):
When she shot me, it was like okay, okay, wait
a minute, wait a minute. We laughed about it because
she shot all the pimp out this character, right, she
shoots him in the and all the pip leaves it
and he just turns into this begging like.
Speaker 2 (30:05):
Sivilly, come on, please, please please, and you.
Speaker 6 (30:08):
Know me, Aaron, I had to go.
Speaker 2 (30:11):
Right. And the reason I brought it up was because
you said that you didn't want to keep taking me
as an actor to that point of you know, excessive
emotional outputs. And this dude that I just worked with,
this dude had no qualms. We did my side about
(30:36):
fifteen times, okay, and I mean because oh that that
light wasn't right and you didn't take that gunshot right,
and you know, he didn't go in and pick nothing up.
He started from the getting it went all the way
through it. And then the sad part about it was
we had a whole day to film and if we
(31:00):
would have shot my part at like we did at
nine thirty that morning and turned around and shot the
other actress's part, I got there at nine thirty, we
would have been finished around yeah, maybe twelve thirty. Wow, right.
Speaker 6 (31:19):
I was there till two o'clock the next morning.
Speaker 2 (31:23):
Because he decided that he was going to shoot everything
in that direction and then come back and shoot everything
in that direction, and he shot everything in between, you know,
even when he turned the camera around, he shot everything
else in between, and then waited till the end of
(31:45):
the night to shoot her side of the scene we
did that morning.
Speaker 1 (31:50):
Wow.
Speaker 2 (31:51):
Yeah, And it was insane because we turned around and
I had to do it again fifteen times. At the
end of the night, he had no clogs, Like, oh man,
I know, the camera in on you, but you know,
and and me being an actor that I am, you know,
I had to give her the essence of what she
gave me that morning.
Speaker 6 (32:12):
So of course I went there, you know, and.
Speaker 2 (32:15):
At the end of the night it was just sheer
exhaustion and you know, and we were in a warehouse,
low budget, no money, you know, a couple of pizza
bikes from dinner, lunch or whatever it was. But we
were there from like nine to two a, nine am
to two A. Yeah, it was one of those things.
It was.
Speaker 7 (32:36):
It's great to get different angles and things like that,
but I believe the best the best results is focusing
on the performance. The angles is good if I want
to do some pickup shots and some cutaways and things
like that to kind of add to the story. But
sometimes when you push your actor that that much, it
can it can kill the rest of your day, It
can kill your crew, and it can.
Speaker 4 (32:54):
Just wear your actors out. Yeah, I just about like
get the performance.
Speaker 7 (32:58):
You need and make sure because the audience is not
to remember I shot it from a high angle. Yeah,
so what if I want to if I want to
open the scene up like breaking bad for example, like
they'll pull the camera, be underneath the coffee cup in
the car and they'll pull up. You'll see the camera
hitting in crazy spots to start the scene. So yeah,
start the camera in some crazy spots, in with the cameras,
some crazy spots. But when the performance speaks, let the
(33:20):
performance because people are coming to see the performance, not
the camera angle.
Speaker 4 (33:24):
And that's one thing.
Speaker 7 (33:25):
Yeah, when you put telling these stories, that's the emotion
is going to take you away further than the angle
ever will not knocking angles, but the emotions all in
performance always going to take your father.
Speaker 3 (33:35):
Wow, you guys have got to come back to this
show anytime in the future.
Speaker 1 (33:39):
I did.
Speaker 3 (33:39):
This has been a total experience, once in a lifetime
moment to hear you break it down. I thought I
was weird when I broke down movies. You guys totally
understand it and then we get to receive it.
Speaker 6 (33:51):
Now it's just is what it is.
Speaker 2 (33:54):
You know, give that people who live life have experiences
and then and you know, if we had to live
the lives that we lived and had the experiences that
we had, we would be total nerds in the movie business,
you know what I mean if I can say that,
because we would have all the technique, we would have
all the information, you know, and then that's how we
would approach it.
Speaker 6 (34:15):
But I think working with somebody like.
Speaker 2 (34:18):
Aaron who's lived the whole life and myself who's lived
the whole life, you know, and then I think we've
both gone in and got the technical aspect of filmmaking,
you know, we get to do these things. And like
I said, you know, I'm in Oakland, Aaron, I don't
know where you are. I guess, okay, so you and
your home. I'm in my with my mom. Bro. Haven't
(34:41):
talked to you much except about that trailer. But and
uh yeah, just uh if something comes up, man call me.
Speaker 7 (34:53):
Yeah, And I definitely Michael, we need to push on
false and to put this in some type of festival
or something, because I think that was an award performance
and Glenn uh performed on this. I believe that was
really one of those performances of a lifetime. So I
would love to see this, uh, that performance get some
type of an award or recognition.
Speaker 6 (35:11):
Absolutely well, you want to put it in a festival.
Speaker 7 (35:14):
I want to put it somewhere that can get some
type of recognition. I believe that was an award worth
of performance.
Speaker 4 (35:18):
I believe. I believe, I see that everybody sees it
would agree like that. That was one of the best
representations of George Washington.
Speaker 7 (35:23):
Now we did Glenn missioned earlier about how we made
some changes because we talked George Washington actually had a
very high pitched.
Speaker 4 (35:30):
Voice, and we talked about that, should we do it
high pitch like he does?
Speaker 7 (35:33):
But it's like, you know what, I didn't want to
distract the audience from performance with that high pitched voice, Like, look,
let's just keep it where you have it at, because
I believe the way you did it, it's going to
really take them out of it and be focused on
the voice so much so, even though he had the voice,
we didn't stick to that.
Speaker 4 (35:48):
But I did that more so just for the entertainment.
Speaker 7 (35:51):
I want to make sure they could really really just
tune into performance and I'd be to the voice picked.
Speaker 2 (35:56):
Up of what we were trying to do. Yeah, that's cool.
I'd have a problems. All that was awesome.
Speaker 4 (36:01):
Yeah.
Speaker 3 (36:02):
Wow, Well you guys please come back to this show
anytime in the future. The door is always going to
be open for you that next project, especially Glenn when
he does it for you. You got something to do this
coming January.
Speaker 4 (36:14):
Nice you hear that?
Speaker 2 (36:15):
Awesome?
Speaker 1 (36:17):
Well, you guys have a great day today. Okay, all right?
Speaker 2 (36:20):
Man, man, thank you very much.
Speaker 4 (36:22):
I thank you.
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