>> it's interesting to get to do what you love doing for... Decades.
What you love doing for... Decades. Like, who gets to do that?
I mean, it's crazy.
Like, how blessed is that?
People come up, and tell me,
like, how blessed is that? People come up, and tell me, "thank you."
people come up, and tell me, "thank you." and I'm like, "thank you."
I get to do what I love doing.
And I'm like, "thank you." I get to do what I love doing. I play regularly with the other
kids, do something positive,
try to do something that makes
folks think a little bit.
Try to do something that makes folks think a little bit. And, um...And keep in mind
that it's not brain surgery,
and, um...And keep in mind that it's not brain surgery, but it does affect
how we see ourselves,
'cause images do matter.
How we see ourselves, 'cause images do matter. I am surprised because my life
has, in many ways, exceeded
my wildest expectations.
♪
so, I think about places that influenced me as a kid growing up.
And...
I was...
I was lucky
because I was born into a family
that let me live
a fairly unscripted life.
I didn't have to buy into
a lot of social constructs.
My father was changing the game in film, and my mother was a photographer.
In film, and my mother was a photographer. My dad's black, my mom's white.
Was a photographer. My dad's black, my mom's white. So, I grew up kind of having
my dad's black, my mom's white. So, I grew up kind of having a love of the world.
Well, that was important
because, as I traveled as a kid,
well, that was important because, as I traveled as a kid, and I saw, you know,
when we were --
we were in a muslim country,
where people had many wives.
We were in a muslim country, where people had many wives. We were in a different country
where people were open sexually.
We learned that every country
has their own version of truth.
And so, when we got to america,
and, you know, you had black
and so, when we got to america, and, you know, you had black kids here, and white kids here,
and socioeconomics, you know,
saying separating the haves
and have-nots,
I just said "that's kind of more
american bull[bleep]"
that I just didn't buy into.
American bull[bleep]" that I just didn't buy into. It was clearly, to me,
america was a race-ocracy,
it was clearly, to me, america was a race-ocracy, and it made no sense.
My mother demystified whiteness.
I wasn't trying to be white.
And my father showed me that
black man could do anything.
So I was not afraid to be black.
So, I was just coming from
a different place.
And I think the arts became my refuge. There was a point...
Became my refuge. There was a point... Where...
I realized that I had definitely
where... I realized that I had definitely grown up thinking that I could
do anything I wanted to do.
Grown up thinking that I could do anything I wanted to do. And that was partly, of course,
my mom, my dad.
You know, some people say, "if
the mother can show you the
you know, some people say, "if the mother can show you the mountain, and give you that
sense of love."
and my father, who taught me
how to climb that mountain.
And my father, who taught me how to climb that mountain. I got to play make-believe
with all the kids on the block,
'cause we had this huge yard,
and everyone else had
a big house and a small yard.
And everyone else had a big house and a small yard. So, the kids would come down
to my house to see what
so, the kids would come down to my house to see what the project de jour would be.
To my house to see what the project de jour would be. And I was like, "okay,
today we're gonna make
and I was like, "okay, today we're gonna make catacombs."
they would be like,
"okay, what [indistinct] say?"
so, I would have this whole idea
about what we're gonna do, and
the story we were gonna tell.
About what we're gonna do, and the story we were gonna tell. And my mother would say,
"you got to get [bleep] in here,
and my mother would say, "you got to get [bleep] in here, and get get done
with your homework."
and now, I joke
because I do that for a living.
And now, I joke because I do that for a living. I get to play make-believe
with the other kids,
of all races,
pull us together.
Of all races, pull us together. And I always say there are three
loves in life -- love what you
and I always say there are three loves in life -- love what you do, love and enjoy the folks you
do it with, and love
what you say with your work.
Do it with, and love what you say with your work. And I get to do that
professionally now.
So, discipline-wise,
the person that has more to do
so, discipline-wise, the person that has more to do with the trajectory of where
you're gonna end up in your life
is the person you see
in the mirror the most.
Is the person you see in the mirror the most. And so, it's gonna come down,
at some point,
and so, it's gonna come down, at some point, to self-discipline.
At some point, to self-discipline. My father
is a very disciplined cat.
I wouldn't say he was totally
joe jackson,
but he was a tough brother.
I got my discipline early,
but a part of my discipline
early was that
I wanted to get big enough
and knowledgeable enough
to not need [bleep] anything.
Now, when I did finally get there, I realized how much I had learned, and why.
Get there, I realized how much I had learned, and why. And I saw the kids I used to
hang with, and roll with,
and I saw the kids I used to hang with, and roll with, not know how to make
what they loved a reality.
Not know how to make what they loved a reality. My dad and my mom,
but my dad specifically,
my dad and my mom, but my dad specifically, taught me how to make a business
out of what I love,
not just to play ball,
but how to own the team,
not just to sing,
but how to own the label,
not just to direct or act,
but also how to write,
and produce,
and put packages together.
And produce, and put packages together. Because if they can make money
from you,
because if they can make money from you, you can make money from you.
From you, you can make money from you. And to do that takes discipline.
You can make money from you. And to do that takes discipline. My mom and dad separated.
My sister and I and my mom
my mom and dad separated. My sister and I and my mom went back to san francisco.
And I got into --
I started acting.
I did my first professional play
when I was about 11.
It's a really tough role.
When I was about 11. It's a really tough role. And when he came back
it's a really tough role. And when he came back from europe, he had directed
and when he came back from europe, he had directed a film called "three-day pass."
and the -- the american
san francisco film festival
had no idea that the director
of that film
was a brother from chicago.
Of that film was a brother from chicago. So, he had a lot of fun with
that, when he showed up
so, he had a lot of fun with that, when he showed up at the airport.
That, when he showed up at the airport. There's a little lady --
white lady with blue hair,
there's a little lady -- white lady with blue hair, saying, "[speaks french]"
and my dad rolls up
with a long leather coat,
shades on, says,
"yeah, baby, that's me."
and she goes,
"please, please don't bother me.
And she goes, "please, please don't bother me. I'm looking mr. Melvin."
he goes, "ma'am, oui.
C'est moi.
He goes, "ma'am, oui. C'est moi. Je suis van peebles."
c'est moi. Je suis van peebles." and she's like, "what?"
je suis van peebles." and she's like, "what?" he shows her his passport.
And she's like, "what?" he shows her his passport. She's like, "oh, [bleep].
He shows her his passport. She's like, "oh, [bleep]. This is a brother."
she's like, "oh, [bleep]. This is a brother." with a name like
this is a brother." with a name like melvin van peebles,
who would know, right?
Melvin van peebles, who would know, right? So, on the way from the airport
to the festival, in a limo,
so, on the way from the airport to the festival, in a limo, he sees some black panthers
hitching a ride.
He sees some black panthers hitching a ride. So, he says, "oh, stop.
Hitching a ride. So, he says, "oh, stop. Those are my cousins."
so, he says, "oh, stop. Those are my cousins." so, he stops,
those are my cousins." so, he stops, and picks up his cousins.
So, he stops, and picks up his cousins. They weren't his cousins.
And picks up his cousins. They weren't his cousins. And, you know, he came there.
So, um, I started to
and, you know, he came there. So, um, I started to interact with him, 'cause he saw
so, um, I started to interact with him, 'cause he saw that I was already acting,
and interested in the business.
That I was already acting, and interested in the business. But he said, "that's cool,
but it's really important for
but he said, "that's cool, but it's really important for you to get behind the scenes."
so, his next movie -- hollywood
was so embarrassed that he had
to go to France to make it,
that the poor black man
had to go to France to make it,
that they offered him a movie
called "watermelon man."
I was on the set.
Called "watermelon man." I was on the set. My dad said, "come work with me
on that film."
my dad said, "come work with me on that film." and I was what you call a "pa."
I'm one of those dudes you see
running around, and
getting coffee,
plugging in cables.
Getting coffee, plugging in cables. That's a great job to have
because you get to learn
that's a great job to have because you get to learn what to do, and you get
to learn what not to do.
What to do, and you get to learn what not to do. And very quickly, I progressed,
and I saw my dad making changes
and very quickly, I progressed, and I saw my dad making changes behind the scenes.
And I saw my dad making changes behind the scenes. The unions were pretty much all
male and all white at the time.
And my dad did some very clever
moves that allowed other people
and my dad did some very clever moves that allowed other people to get in.
Moves that allowed other people to get in. So, one of the things
my father realized was that
so, one of the things my father realized was that the -- there was no one black
in the makeups union.
The -- there was no one black in the makeups union. And so, he was like, "well,
let's see if we can
and so, he was like, "well, let's see if we can switch that."
so, he had godfrey cambridge
playing a white dude
in "watermelon man" for about,
you know, 10 minutes.
In "watermelon man" for about, you know, 10 minutes. And the rest of the movie,
he's black.
But in that time,
the old white makeup lady had to
but in that time, the old white makeup lady had to put makeup on godfrey cambridge,
all over him, to make him look
like a white man.
All over him, to make him look like a white man. So, he went to the studio.
Like a white man. So, he went to the studio. "you do you know what
so, he went to the studio. "you do you know what you're doing?
Jet magazine's coming down."
he says, "you got a little white
jet magazine's coming down." he says, "you got a little white lady and godfrey cambridge's
trailer putting white makeup
all over his ass."
and they're like, "oh."
"how's that gonna look?"
so, finally, he --
he twisted their arm,
and got them to hire a sister.
He twisted their arm, and got them to hire a sister. So, he got her in the job,
and then he got her husband
so, he got her in the job, and then he got her husband in the job.
And then he got her husband in the job. And I see -- I saw him
slowly integrating the union,
and I see -- I saw him slowly integrating the union, starting to get more women,
people of color, like that.
Starting to get more women, people of color, like that. So, his next movie,
the studio didn't want to do it
so, his next movie, the studio didn't want to do it because they he wanted -- they
wanted him to do another comedy.
Because they he wanted -- they wanted him to do another comedy. And he said, "nah, man,
you know, they've killed king.
They killed malcolm.
You know, they've killed king. They killed malcolm. They killed the kennedys.
America, specifically
they killed the kennedys. America, specifically black america, is not
america, specifically black america, is not in a laughing mood right now.
Black america, is not in a laughing mood right now. I want to do a different
kind of movie."
people ask me about the role
in "sweetback," where I play
sweetback losing his cherry.
In "sweetback," where I play sweetback losing his cherry. I'd like -- I always told --
joke with my dad, and say,
"give me another shot at that
now, I'd do a lot better."
♪
>> sweetback!
But the bigger thing that shook me as a kid was seeing my father get death threats
from the unions, when he broke
the unions, was seeing him
put everything on the line.
The unions, was seeing him put everything on the line. Our family would have been
in a different spot
our family would have been in a different spot if he hadn't have made it.
In a different spot if he hadn't have made it. His whole crew got arrested
because they thought
his whole crew got arrested because they thought they were terrorists.
Because they thought they were terrorists. They'd never seen black people
and hippies together
they'd never seen black people and hippies together with all that expensive
camera equipment.
With all that expensive camera equipment. So, they just got arrested
for being multi-racial,
so, they just got arrested for being multi-racial, and wouldn't bail them
out over the weekend.
And wouldn't bail them out over the weekend. So, arrested them on Friday,
that mean they wouldn't get out
so, arrested them on Friday, that mean they wouldn't get out until Monday.
That mean they wouldn't get out until Monday. So, there were things like that
that he had to go up against
so, there were things like that that he had to go up against all the time.
That he had to go up against all the time. And that's what made
an impression on me growing up.
And I saw that one man
or one woman
and I saw that one man or one woman could make a difference.
>> melvin van peebles, in a crazy way, saved hollywood. It was going down the drain.
In a crazy way, saved hollywood. It was going down the drain. And yet, if you go down
it was going down the drain. And yet, if you go down hollywood boulevard --
and yet, if you go down hollywood boulevard -- no disrespect
to ryan seacrest,
he has a star
on hollywood boulevard.
He has a star on hollywood boulevard. And melvin van peebles does not.
On hollywood boulevard. And melvin van peebles does not. If you were to open the book
and melvin van peebles does not. If you were to open the book on independent cinema, called
if you were to open the book on independent cinema, called "raging bulls and easy rider,"
I think, they write about all
the independent films.
They totally leave melvin out,
even though he had
they totally leave melvin out, even though he had the top-grossing
independent film
up to that time.
Independent film up to that time. So, there's a tendency
to whitewash history.
But we know that.
To whitewash history. But we know that. History is a book
but we know that. History is a book written by the winner.
And if you are not a part
of what the winner wants to see,
and if you are not a part of what the winner wants to see, you will not be left
in that history.
You will not be left in that history. I, as a filmmaker, have decided
to try to...
Show our history,
and not marginalize any people.
>> my father had said, "some dads teach you to play basketball.
I'm gonna try to teach you
how to own the team."
and he said, "I know --
I think, because you've grown up
in our family,
what you should do is consider
taking either business or law,
because america is built
on capitalism
and it's built on democracy.
On capitalism and it's built on democracy. And if you have a sense
of those two universes,
and if you have a sense of those two universes, and you can speak finance,
you'll be able to set up
your own projects.
You'll be able to set up your own projects. You'll be able to make a living,
and monetize
you'll be able to make a living, and monetize that which you love later."
and he said,
"traditionally, people of color
come up short in that way.
So, you get great talented
singers and artists that end up
so, you get great talented singers and artists that end up broken in their later years
because they don't know
the language of finance."
and that sounded boring
as hell to me.
And that sounded boring as hell to me. But I did it.
As hell to me. But I did it. And I went to columbia.
I went to an ivy league school,
and I went to columbia. I went to an ivy league school, got a b.A. In economics.
And then, I worked for a couple
of years as a budget analyst
and then, I worked for a couple of years as a budget analyst for the koch administration,
because mom was always
into environmentalism,
and trying to figure out
how human beings could survive
better with the planet.
How human beings could survive better with the planet. And I thought,
"well, let me do that.
You know, work on that budget,
and see if I can help green up
you know, work on that budget, and see if I can help green up new york city."
I did that
for a couple of years.
But I knew I wanted
to get back into the arts.
So, I thought,
"I've been a good son.
I'm the eldest.
I've been a good guy.
I'm gonna go take dad to his
favorite funky-ass
chinese-cuban restaurant,"
which I did,
"and I'll -- and I'll tell him
I'm ready to get in the movies."
so, I met him there.
I had my brooks brothers
gray suit, gray tie,
gray life, gray job.
Gray suit, gray tie, gray life, gray job. Went in there
with my pitch ready for him.
And he said, "son, would you
like me to make you a star?"
and he said, "son, would you like me to make you a star?" and...
Like me to make you a star?" and... I was a little concerned.
And... I was a little concerned. My antenna was up.
And I said, "absolutely."
my antenna was up. And I said, "absolutely." he said, "gotcha."
and I said, "absolutely." he said, "gotcha." he reached down his napkin,
and drew a star,
and handed it to me.
And drew a star, and handed it to me. He said, "there. You a star."
[ laughs ]
he said, "there. You a star." [ laughs ] and he said, "but I'll tell you
what I'll do.
I'll give you some good free advice -- early to bed, early to rise,
work like hell, and advertise.
Early to bed, early to rise, work like hell, and advertise. And me and your mom will come
see you in everything you get."
and me and your mom will come see you in everything you get." and he left me with the bill.
See you in everything you get." and he left me with the bill. And so, I said, "screw that."
I started acting in all these
and so, I said, "screw that." I started acting in all these little funky plays.
I did some really little funky
roles in movies, and --
anything that I could get, man.
Roles in movies, and -- anything that I could get, man. I did one movie that was so bad
it couldn't get released.
I'm not gonna
tell you the name.
And when, later on,
my career started to take off,
and when, later on, my career started to take off, the dude called me up, and said,
"guess what?
The dude called me up, and said, "guess what? 'cause you're blowing up,
I got the movie released."
I'm like, "oh, [bleep]
no.
No, no, no.
No. No, no, no. Buy up the prints."
no, no, no. Buy up the prints." the movie came out.
Me and my dad, and my mom --
and my sister was in it, too.
I convinced her she could act.
And my sister was in it, too. I convinced her she could act. She can't act.
The thing seeing movies
she can't act. The thing seeing movies in times square
the thing seeing movies in times square with a lot of black folks is,
you know, the ghetto
siskel and ebert would tell you
what the hell they thinking
right on the spot.
What the hell they thinking right on the spot. So, there's no -- it's not like
anyone's gonna cushion the blow.
So, people were like,
"damn, this [bleep] sucks."
so, people were like, "damn, this [bleep] sucks." one dude was like, "man,
tell me when they start killing
[bleep] I'll come back."
and by the end of the movie --
people had just kept going out
to other movie theaters.
People had just kept going out to other movie theaters. And by the end of the movie,
my my mom was sitting there,
and by the end of the movie, my my mom was sitting there, and my dad, and my sister.
My my mom was sitting there, and my dad, and my sister. My mother said,
"well, it's not that bad.
At least you didn't kill
any animals."
at least you didn't kill any animals." [ laughs ]
and my dad had his cigar.
He said, "yeah.
And my dad had his cigar. He said, "yeah. The good news is...
Peace of [bleep] like this
the good news is... Peace of [bleep] like this is so bad could be
peace of [bleep] like this is so bad could be in the theater two days."
and he was right.
In the theater two days." and he was right. And I left there going,
"you know, the positive message
and I left there going, "you know, the positive message in this is that I should direct
my own [bleep]."
if he could get that out there,
I can, too.
If he could get that out there, I can, too. Some people will look at things,
and see it as a negative.
You know, I kind of see
rejection as an opportunity
you know, I kind of see rejection as an opportunity in work clothes,
as my daddy would say.
In work clothes, as my daddy would say. You know, just,
I don't look at rejection
you know, just, I don't look at rejection the same way.
I played tarzan --
a black tarzan.
Then I played a psychotic killer
maid who turns out to be a dude,
then I played a psychotic killer maid who turns out to be a dude, and kills everybody.
Maid who turns out to be a dude, and kills everybody. And then I played deadwood dick,
the first black cowboy,
and then I played deadwood dick, the first black cowboy, the legend of deadwood dick,
up in harlem.
The legend of deadwood dick, up in harlem. I auditioned to be a garbage
man, and the dude said,
"nah, man, I don't see you
as a garbage man.
But you could be the villain."
and I was like,
but you could be the villain." and I was like, "you're casting me
as the villain?"
and I talked to my dad.
As the villain?" and I talked to my dad. He said, "yeah,
play the villain,
he said, "yeah, play the villain, go do it."
so I did a villain in this movie
called "exterminator 2."
that took me to l.A.
Called "exterminator 2." that took me to l.A. I started --
I wrote a little film.
I directed that,
and I wrote a script.
And I sold that to motown.
And I wrote a script. And I sold that to motown. So, I was writing,
and I sold that to motown. So, I was writing, and doing stuff
so, I was writing, and doing stuff behind the scenes.
And doing stuff behind the scenes. And then, finally, I got the job
in "heartbreak ridge."
and then, finally, I got the job in "heartbreak ridge." and my brother, who's --
who could be a little bit
of a hater, my younger brother,
who's half french, he said,
"man, if anyone can do it,
you can do it.
Don't give up."
let me tell you how it goes --
don't give up." let me tell you how it goes -- whatever seat you're sitting in,
when you -- when the show
gets hot, is the seat
you get offered more.
Gets hot, is the seat you get offered more. So, if you're directing it,
they'll offer you
so, if you're directing it, they'll offer you more directing jobs.
They'll offer you more directing jobs. If you're acting it, typically
you get more acting jobs.
So, in "heartbreak ridge,"
I -- you know, the movie was
so, in "heartbreak ridge," I -- you know, the movie was good, and people appreciated it.
So, I started getting all these
offers to come to lunch.
And I would usually
get something to go,
and I would usually get something to go, 'cause most of these lunches
didn't amount to anything.
So, I'd get something,
and get a little something
so, I'd get something, and get a little something to go.
And get a little something to go. People would trip out.
To go. People would trip out. And this one dude
people would trip out. And this one dude asked me to come to lunch.
His name was steven cannon.
Asked me to come to lunch. His name was steven cannon. He was talking about doing a tv
his name was steven cannon. He was talking about doing a tv show, or something.
And he said,
"well, if you did a tv show,
and he said, "well, if you did a tv show, you know,
what kind of show would it be?"
and we talked about that.
What kind of show would it be?" and we talked about that. I didn't really want to do
a tv show because, you know,
again, like I said,
in the '90's, you know,
anyone black on a tv show
got stuck in one role,
playing that police commissioner
cat going, you know,
"do it by the book,
or I'll have your ass,"
or "check the roof,"
or "did you check
the back alley?"
I said, "I don't want to
do that, man."
and he said, "but no --"
but -- I said --
he said, "what would you play?"
I said, "okay.
He said, "what would you play?" I said, "okay. I would play, each week,
a different character.
I'd play someone that
a young brother like myself
would never get to play.
A young brother like myself would never get to play. So, I would break the stereotype
each and every week."
so, I would break the stereotype each and every week." he said, like,
"what kind of characters?"
'cause -- he said,
"you'd play --"
"this would be
a private detective?"
I said, "yeah.
A private detective?" I said, "yeah. He's a private detective,
but to catch the bad guys,
he's a private detective, but to catch the bad guys, 'cause my mom's a hippie
and she don't,
want me using guns,
I would use no gun.
Want me using guns, I would use no gun. I would just use my disguises
to finesse it."
so, he said, "what --
what disguises would you do?"
I said, "well...
What disguises would you do?" I said, "well... I want to play a fat dude.
I want to play a white dude,
a white french dude.
I want to play a church lady."
I just wrote all the characters
that I would love to play.
And he said, "all right."
he wrote it all down.
And the show is called
"sonny spoon."
and the show is called "sonny spoon." and they did it.
I couldn't be--
if I knew that he was legit,
I would have never re--
I'd have been like,
"whatever you say."
but because I didn't think
it was legit, I just was like,
"well, let me just say
whatever I'm feeling," right?
That's what I was feeling.
Whatever I'm feeling," right? That's what I was feeling. Man, let tell you, I played
that's what I was feeling. Man, let tell you, I played a japanese sushi chef.
I played a chinese houseboy.
A japanese sushi chef. I played a chinese houseboy. I played a gospel lady.
I played a fat dude.
I played a french --
and this is the craziest
[bleep].
And this is the craziest [bleep]. I got to tell you this story.
So, jet magazine was so proud
to have, you know,
so, jet magazine was so proud to have, you know, a brother in and hour drama.
To have, you know, a brother in and hour drama. You know, we'd get
the half hour,
you know, we'd get the half hour, happy to be black type shows.
The half hour, happy to be black type shows. And so, this --
"he got a brother in this.
Very serious.
A young black man,
very serious. A young black man, the son of melvin van peebles,
a young black man, the son of melvin van peebles, in a drama.
The son of melvin van peebles, in a drama. That's something
we should go in for.
We'll put him on the cover."
the day they come down to do
we'll put him on the cover." the day they come down to do the cover is what I'm playing
the french white dude.
The cover is what I'm playing the french white dude. [ laughs ]
and my mom was there, right?
So, my mom's blonde --
blonde lady with blue eyes.
With blue eyes
[ stammers ]
with blue eyes [ stammers ] I'm playing a french dude.
So, I'm all white,
with blue -- blue contacts,
so, I'm all white, with blue -- blue contacts, little blond wig.
With blue -- blue contacts, little blond wig. They're like, "oh, snap."
we -- [ laughs ]
they're like, "oh, snap." we -- [ laughs ] and I was like, "yeah.
We -- [ laughs ] and I was like, "yeah. This is what I had to do
to make it in hollywood."
this is what I had to do to make it in hollywood." and they were like,
"oh, [bleep]."
I was just playing with them.
But we did it.
I did it straight 'cause,
but we did it. I did it straight 'cause, you know, I always play first.
I am a pretty confident person,
but I'm also shy.
And my confidence
doesn't come from thinking
and my confidence doesn't come from thinking I'm better than someone.
Doesn't come from thinking I'm better than someone. It comes from thinking
"I'm probably not
it comes from thinking "I'm probably not a whole lot worse."
I think part of the secret
to that confidence
is always be a student.
To that confidence is always be a student. If I've made it as a director,
I'm letting maya teach me
if I've made it as a director, I'm letting maya teach me about...
How to play with my instagram.
About... How to play with my instagram. If I've made it as an actor,
how to play with my instagram. If I've made it as an actor, I'm letting my other son
if I've made it as an actor, I'm letting my other son teach me something else.
Or I'll learn salsa dancing,
and be the awkward dude
or I'll learn salsa dancing, and be the awkward dude on the dance floor
for a couple of years.
On the dance floor for a couple of years. So, you've got to be okay
with being that being the clown,
so, you've got to be okay with being that being the clown, and being a goof.
With being that being the clown, and being a goof. If you're okay
with being a clown,
if you're okay with being a clown, then, you don't have to worry
about a false confidence
that's based on lack of failure.
About a false confidence that's based on lack of failure. 'cause every time
you're learning something new,
you're gonna be failing.
>> you look at "new jack city," right? At that time....
Right? At that time.... In '90 -- 1990.
I was 1990.
If you were a brother
in an -- in an action movie,
if you were a brother in an -- in an action movie, you usually played
the police commissioner.
You usually played the police commissioner. And you're past
your sexual prime.
You had hair a line
way back here.
You weren't on the frontline.
Way back here. You weren't on the frontline. It's like, you know,
you weren't on the frontline. It's like, you know, in an action movie,
it's like, you know, in an action movie, you want to shoot the gun,
save the girl, do that.
You want to shoot the gun, save the girl, do that. But it's kind of like being
in a...
You know, like if you're in
a porno, you're not [bleep],
you know, like if you're in a porno, you're not [bleep], what are you doing?
A porno, you're not [bleep], what are you doing? You're in a musical,
you're not singing,
you're in a musical, you're not singing, what are you doing?
You're not singing, what are you doing? You're in an action movie,
you're not part of the action,
you're in an action movie, you're not part of the action, what are you doing?
You're not part of the action, what are you doing? We would play
the police commissioner role,
we would play the police commissioner role, usually, and we'd say
that stuff like,
"do it by the book,
or I'm gonna have your ass."
you see a lot of great
black actors play that role.
You see a lot of great black actors play that role. So, when I got the chance
to direct "new jack city,"
so, when I got the chance to direct "new jack city," the producers were black,
I'm black, and we laughed,
and they got -- one of them
said, "yo, man,
you should put the guy in
isas the police commissioner,
a white dude,
and have him say,
'do it by the book,
or I'll have your tail.'"
and we laughed.
Or I'll have your tail.'" and we laughed. And I went home,
and I looked at my family wall.
And I got white folks
on the wall.
I got a gay aunt.
On the wall. I got a gay aunt. I got black, brown, indian.
I got everybody
in my family tree.
So, if I throw a boomerang
at anybody, it's gonna hit me
so, if I throw a boomerang at anybody, it's gonna hit me in the back of my big-ass head.
At anybody, it's gonna hit me in the back of my big-ass head. So, I went back, and I said,
"you know what?
That's a funny idea,
but that's just get-even cinema.
That's not doing unto them as
you'd want them to do unto you.
That's just doing unto them
as they've done unto you.
That's reactive cinema.
As they've done unto you. That's reactive cinema. That's getting into that
that's reactive cinema. That's getting into that negative [bleep.]
that's getting into that negative [bleep.] I ain't gonna do that."
I said, "let's make the
prosecutor a dark-skinned
sister."
she's the one
that takes nino down.
She's the one that takes nino down. Let me call up judd nelson,
my jewish brother,
let me call up judd nelson, my jewish brother, who I went to school with --
stella adler acting school --
acting class in new york.
Stella adler acting school -- acting class in new york. Let him play one of my
new jack cops.
Let me call russell wong,
great-looking asian brother.
Let him play one of the cops.
Great-looking asian brother. Let him play one of the cops. Let's get ice-t, who not --
let him play one of the cops. Let's get ice-t, who not -- he's not fond of cops,
let's get ice-t, who not -- he's not fond of cops, wants to play the gangster.
He's not fond of cops, wants to play the gangster. But let's convince ice-t
to bring his street authenticity
but let's convince ice-t to bring his street authenticity to the role of the cop.
To bring his street authenticity to the role of the cop. And let's get wesley snipes,
who's a dope-ass actor.
He'd done
the michael jackson "bad" video.
Really hadn't got to show
his stuff yet.
Let's convince him
not to play the cop,
let's convince him not to play the cop, but to play the gangster,
and play the gangster with all
the authority of the black
panther party for self-defense.
The authority of the black panther party for self-defense. And I will play...
Panther party for self-defense. And I will play... The police commissioner
and I will play... The police commissioner character, and say,
the police commissioner character, and say, "do it by the book,
or I'll have your ass."
and that look at cinema saying,
"you know what?
And that look at cinema saying, "you know what? Let me do unto them as I would
want them to do to me.
Let me fight not for the america
we've been, for the america
let me fight not for the america we've been, for the america I can believe
that we could become."
that's what -- what it's about.
That we could become." that's what -- what it's about. See, people knew me
predominantly as an actor
see, people knew me predominantly as an actor back then.
Predominantly as an actor back then. And I started directing more
and more and more.
And I started doing television.
And more and more. And I started doing television. I did a show with this new kid
and I started doing television. I did a show with this new kid named johnny depp,
called "21 jump street."
and I directed that
a bunch of times.
And I directed that a bunch of times. And I just started directing
quietly.
And I didn't talk about it.
Quietly. And I didn't talk about it. So, I'd been directing.
My grandfather says,
so, I'd been directing. My grandfather says, "oh, you got lucky,
my grandfather says, "oh, you got lucky, but luck is preparation
meets opportunity."
I was really prepared,
as a filmmaker,
and then I got the opportunity
because spike had done
a movie called
"she's got to have it."
and the studios were looking
to do a gangster movie
called "new jack city."
and I happen to have
a lot of credits
a director that people
don't even know about.
A director that people don't even know about. As far as they know, I'm just a,
you know, actor dude
as far as they know, I'm just a, you know, actor dude trying to be out there.
You know, actor dude trying to be out there. And I go in, and they start
looking at my work.
And I met these two producers.
Looking at my work. And I met these two producers. And I got to do "new jack city."
and I met these two producers. And I got to do "new jack city." so, I got new jack city,
and I got to do "new jack city." so, I got new jack city, and I was like, "man."
I call up my dad, and I said,
"dad, I've got a movie
where...
The lead is a drug dealer."
and we talked about that.
And I was like, "oh, [bleep],
this is kind of like..."
and I was like, "oh, [bleep], this is kind of like..." it kind of read a little like
a black "scarface."
and I thought -- I said,
"well, if I'm gonna do that
as a first-time
feature director,
I've got to make sure to balance
the equation, in that I want to
have it, emotionally,
be a film."
think about "new jack,"
where you don't just connect
with the gangster,
but you also connect
with the cops.
But you also connect with the cops. That was very important that,
you know, if you think
that was very important that, you know, if you think of "godfather" or "scarface,"
you really emotionally connect
with the gangster.
You really emotionally connect with the gangster. So, I said, "well,
'new jack city,'
so, I said, "well, 'new jack city,' I want to go more
'untouchables.'"
and like, de niro has the sexy
bad guy role in
"the untouchables."
but against kevin costner,
and sean connery,
and andy garcia,
you had attractive role models
to say "yes" to.
You had attractive role models to say "yes" to. So, if you want folks to say
"no" to drugs, give them
so, if you want folks to say "no" to drugs, give them something to say "yes" to.
But there was one other trick.
Something to say "yes" to. But there was one other trick. In almost no gangster movie
but there was one other trick. In almost no gangster movie can I think of,
in almost no gangster movie can I think of, other than "new jack city"...
Can I think of, other than "new jack city"... Do you put a face on the crime.
Other than "new jack city"... Do you put a face on the crime. So, if there's no crime,
do you put a face on the crime. So, if there's no crime, why not do the crime?
"the godfather,"
you don't see the victim.
You don't spend a lot of time
with the victim.
So, we said,
"what about the victim?
What about if you fall in love
with the victim
what about if you fall in love with the victim of what the gangster is doing,
if you put a face on it?"
so, we said, "who could you
fall in love with?"
and they were two brothers
that we saw was --
one was chris rock.
That we saw was -- one was chris rock. And the other one
was martin lawrence.
Martin had them ears,
and chris had them eyes.
And we wound up --
chris is so smart.
They're both great.
Chris is so smart. They're both great. But we wound up
they're both great. But we wound up going with chris.
When chris rock,
in "new jack city,"
when chris rock, in "new jack city," gets addicted to crack,
and he's in the --
in the crack room,
and he started to act
that crack out.
And he started to act that crack out. People stood up in the audience,
and one brother said,
people stood up in the audience, and one brother said, "just say 'no,' [bleep].
And one brother said, "just say 'no,' [bleep]. Just say 'no.'"
when we had that audience
just say 'no.'" when we had that audience reacting against the drugs,
right, it had such a big effect.
Reacting against the drugs, right, it had such a big effect. When you see chris rock
in that alleyway, with all that
when you see chris rock in that alleyway, with all that white crap around his lips,
and biting on it.
White crap around his lips, and biting on it. People came out of that movie
going, "god[bleep],
people came out of that movie going, "god[bleep], I will never touch that drug
in my life."
and when "new jack city"
came out, the same --
same weekend that they --
they opened the movie,
they had the -- the rodney king
thing airing all the time
on television.
Thing airing all the time on television. And so, a lot of people
came to see the theater,
and so, a lot of people came to see the theater, specifically, in westwood.
Came to see the theater, specifically, in westwood. And you had a lot of people show
up that couldn't get tickets.
So, the police showed up,
and they started, apparently,
so, the police showed up, and they started, apparently, pushing a little bit.
And they started, apparently, pushing a little bit. Someone in line yelled,
"let's get them back
someone in line yelled, "let's get them back for rodney king."
and so, there was
some pushing, and stuff,
that happened in line.
Some pushing, and stuff, that happened in line. Now, what happened was the media
picked it up, and they said
now, what happened was the media picked it up, and they said there was a riot in westwood
at the screening
of "new jack city" --
the implication being that
something in "new jack city'
was a call to arms.
Something in "new jack city' was a call to arms. And I got called
by all the networks to go on,
and I got called by all the networks to go on, and speak about it, which I did.
By all the networks to go on, and speak about it, which I did. And I told them, I said,
"wait a second, listen,
and I told them, I said, "wait a second, listen, let's -- let's go through this."
the people that got into
the little fuckus
with the police officers
had not seen "new jack city."
so, unless it was something
about the poster
that was an insight to riot,
it had nothing to do
with the movie.
It had nothing to do with the movie. But if you looked at the movie,
how I portrayed
but if you looked at the movie, how I portrayed the new jack cops that take down
the new jack gangster
was pretty positive.
The new jack gangster was pretty positive. And there's a cover
of the new york times
and there's a cover of the new york times with the new filmmakers
of the '90's.
With the new filmmakers of the '90's. And it's spike lee,
john singleton,
and it's spike lee, john singleton, the hudlin brothers.
John singleton, the hudlin brothers. It's matty rich,
and charles lane,
it's matty rich, and charles lane, and mario van peebles.
And charles lane, and mario van peebles. And I was the one on the cover
that was...
Director and actor.
That was... Director and actor. So, the unique position of that
director and actor. So, the unique position of that was that...
Wesley snipes played
the best friend
wesley snipes played the best friend in "major league"
and "streets of gold"
until I saw him as our pacino
in "new jack city."
and denzel washington
played in a lot of movies,
but spike lee saw brother denzel
as the lead.
But spike lee saw brother denzel as the lead. And laurence fishburne,
we saw him at the best friend.
We saw in "rumble fish."
we saw him in "apocalypse now."
we saw in "rumble fish." we saw him in "apocalypse now." but john singleton saw him
as the lead.
But john singleton saw him as the lead. And it took us, as black men,
to see ourselves as leads,
and it took us, as black men, to see ourselves as leads, to change what we would get.
To see ourselves as leads, to change what we would get. And after wesley made money
in "new jack city,"
and after wesley made money in "new jack city," the studio said,
"oh, well, it's not just about
black or white,
it's about green.
Black or white, it's about green. Let's put wesley snipes
in 'passenger 57.'"
let's put wesley snipes in 'passenger 57.'" not written for a brother.
In 'passenger 57.'" not written for a brother. "let's put denzel
in 'pelican brief.'"
not written for a brother.
In 'pelican brief.'" not written for a brother. "let's put laurence fishburne
in starring roles
that weren't written
for brothers."
it took us to see ourselves
as stars.
It took us to see ourselves as stars. And then, those films
had to make money.
If they didn't make money,
hollywood would say,
if they didn't make money, hollywood would say, "ah, I told you."
but if those films made money
with us starring, boy,
we'd be -- we'd be in the game.
With us starring, boy, we'd be -- we'd be in the game. Sometimes, when those guys
were too busy,
sometimes, when those guys were too busy, I then got the offer
as an actor,
'cause I was the only one
in there who was director
and actor.
In there who was director and actor. You feel me?
And actor. You feel me? So, suddenly, they're like,
you feel me? So, suddenly, they're like, "well, we have a movie.
We need a guy who can
grow some muscles,
we need a guy who can grow some muscles, and walk around,
and whoop some [bleep]."
the movie's called "solo."
and boom, I get the offer
not to direct it,
just to act in a role
that wasn't written
for a brother.
That wasn't written for a brother. I get a western called "posse."
and I got to direct it
and act in it.
And I got to direct it and act in it. As a filmmaker, I said,
"nah, squash that.
I don't want just be
a job seeker as an actor.
That's not a powerful position
to be in.
I want to be a job creator,
as a filmmaker."
but I got to be a part of
creating a job,
and then receiving the job.
Creating a job, and then receiving the job. That's a very unique position.
>> so, I remember, I did woody strode. He's the brother --
when I grew up,
he's the brother -- when I grew up, I remember seeing
"sergeant rutledge" --
if you know film history.
"sergeant rutledge"
and "once upon a time
in the west" with woody strode
was the first brother
I saw in a western.
Was the first brother I saw in a western. I said, "man,
that's a cool-looking cat.
If I ever make a western,
I want to use woody strode."
if I ever make a western, I want to use woody strode." I call up woody strode.
He was 84 when I did "posse."
and I called him up.
I said, "mr. Strode,
I have a western.
I'd love to send it to you."
he said, "yeah,
I've done enough westerns.
He said, "yeah, I've done enough westerns. I'm not really
messing with those anymore."
I said, "sir, this one's
a little different.
Please, just --
just read five pages."
please, just -- just read five pages." "all right, boy.
Just read five pages." "all right, boy. Send it to me."
and I send him "posse."
send it to me." and I send him "posse." I get -- the phone rings.
And I send him "posse." I get -- the phone rings. He's calling back.
In the opening of the script,
he's calling back. In the opening of the script, woody strode's character says,
in the opening of the script, woody strode's character says, "history's a funny thing.
Woody strode's character says, "history's a funny thing. They got us all believing
that columbus
they got us all believing that columbus discovered america,
but we know the native americans
were already here.
But we know the native americans were already here. So, that's like me putting
my flag on your new mercedes,
so, that's like me putting my flag on your new mercedes, and saying, "I'm gonna
discover your car.
And saying, "I'm gonna discover your car. And if you don't get out of your
car quick enough,
and if you don't get out of your car quick enough, I'm gonna call you
an 'evil, red, savage.'"
woody called me back.
An 'evil, red, savage.'" woody called me back. He said, "son, are they gonna
let you say this kind of stuff?"
he said, "son, are they gonna let you say this kind of stuff?" I said, "sir,
in this particular case,
I am the 'they.'"
and it was lovely to say
we traditionally don't see
our history on screen.
We traditionally don't see our history on screen. We're taught that we can't all
make it together.
We can make it together.
Make it together. We can make it together. We can own our own teams.
We could our own studios.
We don't have to compete.
I'm not in competition
we don't have to compete. I'm not in competition with these other cats.
And you look at that
new york times cover.
I'm not in competition
with those other directors.
Those are my brothers.
With those other directors. Those are my brothers. So, when I did "posse,"
those are my brothers. So, when I did "posse," I called up the hudlin brothers,
so, when I did "posse," I called up the hudlin brothers, and I said,
"will you come be in my movie?"
they said, "absolutely."
I called up charles lane, said,
"will you come be in my movie?
'cause it's our movie."
he said, "absolutely."
I called up steven cannon,
my mentor, and said,
"will you come be in my movie?"
republican cat.
He said, "absolutely."
I called up my daddy.
I call up pam grier.
I called up isaac hayes.
I call up daddy kane.
I called up tomo.
I called up sally richardson.
I called up billy zane.
I called up steve baldwin.
There's always
a baldwin for your budget,
there's always a baldwin for your budget, 'cause you could get you alec --
if you can afford him --
you could get your billy.
If you can afford him -- you could get your billy. I could only get --
pay for steven.
So, I called up
all those people to say,
so, I called up all those people to say, "let's be in this together."
and they came.
So, we had the generation of
the '50's, with woody strode,
so, we had the generation of the '50's, with woody strode, the generation of the '70's,
with isaac hayes and pam grier,
richard t. Grant,
so that you could see the
cinematic history of black folks
learning from each other.
Cinematic history of black folks learning from each other. So dope.
Learning from each other. So dope. And then, of course,
so dope. And then, of course, we had nipsey russell.
And when the sheriff rides in --
there was one line
and when the sheriff rides in -- there was one line the studio called me about.
There was one line the studio called me about. They said,
"you got to change
they said, "you got to change this one line, van peebles.
You've gone too far."
and the line was,
you've gone too far." and the line was, the white sheriff
rides into town.
The white sheriff rides into town. Of course, you look out into
l.A. Back here,
of course, you look out into l.A. Back here, during the l.A. Uprisings
in '92.
During the l.A. Uprisings in '92. The chief of police was a man
named daryl gates.
So...
Named daryl gates. So... Our sheriff,
so... Our sheriff, I made him sheriff bates.
So, if you listen to "posse,"
go, "wait a minute.
Sheriff bates."
right?
So, sheriff bates
rides into freemanville.
And he threatens us.
Rides into freemanville. And he threatens us. And my character says,
and he threatens us. And my character says, "listen, if [bleep] goes wrong,
and my character says, "listen, if [bleep] goes wrong, we're not gonna let this town
be destroyed.
We're not gonna let this town be destroyed. And if it is,
we coming to yours."
and if it is, we coming to yours." and the studio called me,
and said,
"man, you got to take that out."
because the l.A. Uprising
had just happened,
and they didn't want us thinking
about, you burn down inglewood,
that's one thing.
About, you burn down inglewood, that's one thing. They don't want you thinking
about going to bel air
they don't want you thinking about going to bel air or beverly hills.
About going to bel air or beverly hills. They said,
"that's too revolutionary."
they said, "that's too revolutionary." so, not only did I keep it in,
but I had poppa joe,
played by sweetback,
blow up the sheriff's office.
Played by sweetback, blow up the sheriff's office. They were like, "wt?"
so. If you look at what's
they were like, "wt?" so. If you look at what's happening in the movie, man,
there's a lot going on
that people knew.
There's a lot going on that people knew. And in the middle of all this
[bleep] going wrong,
and in the middle of all this [bleep] going wrong, nipsey russell stands up,
and goes,
"can't we all just get along?"
[ laughs ]
>> you know, I had done a show with jamie... After I did "posse."
and he was playing
after I did "posse." and he was playing a saloon girl.
And he was playing a saloon girl. I knew he was gonna improv
some stuff, so I improved it.
And I walked into the saloon
as my character, jesse lee.
I had just done posse.
As my character, jesse lee. I had just done posse. And he looked at me,
and his character was like,
and he looked at me, and his character was like, "ooh, look at you."
[ laughs ]
I can't even do it
like jamie does.
I walked in, and -- and --
and I said, "back up."
he said, "why?"
I said "'cause I'm half indian."
he said, "what do you mean?"
I said, "I'm part slap[bleep]."
[ laughs ]
and I could see, with jamie,
he's super smart
and so well trained, musically.
He's super smart and so well trained, musically. He's like a triple threat.
And so well trained, musically. He's like a triple threat. You know, and very humble cat.
You know, a lot of fun.
And so, when I met
you know, a lot of fun. And so, when I met with michael mann to talk about
and so, when I met with michael mann to talk about playing malcolm x in "ali,"
he told me that jamie was gonna
play bandini.
He told me that jamie was gonna play bandini. I was excited.
Play bandini. I was excited. And then, of course, brother
will smith, I had not gotten
and then, of course, brother will smith, I had not gotten to meet meet him yet.
Will smith, I had not gotten to meet meet him yet. And then, malcolm x's daughter
was gonna work with me,
and then, malcolm x's daughter was gonna work with me, and work with me
to humanize her father.
And work with me to humanize her father. Because when playing malcolm,
I didn't want to just play him
because when playing malcolm, I didn't want to just play him as icon.
If you play someone as other,
and this -- sort of this --
if you play someone as other, and this -- sort of this -- in a super straight,
reverential way, what happens
that people, when they watch it,
they think "this person
is so much better than me.
They think "this person is so much better than me. They've probably never felt
these things,
they've probably never felt these things, so I could never be like that."
and that is actually something
that can...
And that is actually something that can... That can be disheartening
to folks.
So, when I played malcolm x
in "ali," and I got to
so, when I played malcolm x in "ali," and I got to to work with will smith --
and he's also a father
and loves being a dad --
and jamie.
And loves being a dad -- and jamie. I got my daughters
to play my daughters.
These are all guys
that have done amazing work.
Will and jamie, and of course,
brother ali.
And it was -- in fact,
ali was the one
and it was -- in fact, ali was the one that suggested I do the movie
on my father, called "badass!"
ali said to me,
"if they can make a movie
on me" -- the studios --
"...About the first overtly
black power athlete that
stood up against the system,
why can't you make a movie
about your dad,
the first black power filmmaker
who stood up
against the system?"
-"street brother." average hustler turns revolutionary.
Average hustler turns revolutionary. -Another comedy?
Turns revolutionary. -Another comedy? -Serious as cancer.
>> who's gonna want to see that?
Black guys always die
in the end.
Can we go now?
In the end. Can we go now? >> that's it.
I'd make a film
about a real brother,
not some bougie or clown,
like they always do.
Not some bougie or clown, like they always do. >> and that's when I got
the idea to do "badass!"
and then michael mann
came forward, and said,
"the first movie I took my wife
to on a date at the state lake
theater in chicago
was 'sweet sweetback's badasssss
song.'
I had never seen people
react to a movie like that.
It was like going to
a boxing match.
And if you make a film
on your dad, I'll produce it."
and if you make a film on your dad, I'll produce it." so, ali thought of it,
michael mann produced it,
and I went out and made
"badass!"
and I got ossie davis --
who was the other great
filmmaker, besides gordon parks,
at the time, with my father --
to play my grandfather.
At the time, with my father -- to play my grandfather. And we made the movie.
To play my grandfather. And we made the movie. I made it for a million bucks
and we made the movie. I made it for a million bucks in 18 days.
I played my father.
In 18 days. I played my father. And then we sold it
to sony classics.
-You's a a big [bleep].
To sony classics. -You's a a big [bleep]. In a fair fight,
-you's a a big [bleep]. In a fair fight, you'd whoop my ass.
I ain't fought fair
in a long time.
And if I was afraid of you,
I wouldn't be the kind of
and if I was afraid of you, I wouldn't be the kind of [bleep] that gets that [bleep]
done in the first
mother[bleep] place.
Done in the first mother[bleep] place. -And I put -- you know, just get
out there, and do it, man.
My dad sold me the rights
to his book,
my dad sold me the rights to his book, "making of sweetback,"
for $1.
And he said, "I have two notes.
For $1. And he said, "I have two notes. One, you play me.
And two...
Don't make me too damn nice."
and two... Don't make me too damn nice." >> mario.
Hey.
♪
hey, come on.
I know you're awake.
♪
look, son,
I want to tell you that...
♪
...You don't have to sleep on the floor. Sleep -- sleep on the bed.
On the floor. Sleep -- sleep on the bed. I'll take the couch.
Mario.
Which was his way of saying,
mario. Which was his way of saying, "tell the truth."
>> your most career-defining
moment.
>> when I had juice from "new jack city," as a director, and juice from "posse"
as an actor.
And juice from "posse" as an actor. And I looked at my father,
and he had written a book
and I looked at my father, and he had written a book about the black panther party
for self defense.
About the black panther party for self defense. And the black panthers had been
so misrepresented,
and the black panthers had been so misrepresented, and my dad had been unable
to get the film made.
And my dad had been unable to get the film made. And I said, "you know what?
To get the film made. And I said, "you know what? I'm gonna use my clout
and I said, "you know what? I'm gonna use my clout to do "panther."
the experience of making
"panther" with my -- with my dad
was...
Such a challenge to get done,
but -- but so rewarding.
And when my dad and I
had to do press on the movie,
and when my dad and I had to do press on the movie, we knew that the press
would come after us,
and, you know,
to some degree,
try to divide us.
To some degree, try to divide us. And we were okay with it.
Try to divide us. And we were okay with it. We just had fun.
So...
My dad said,
so... My dad said, "if you like the film,
my dad said, "if you like the film, it was 'cause of his brilliant
writing overcoming
my lackluster direction,"
and -- 'cause he was the writer.
My lackluster direction," and -- 'cause he was the writer. And I said, "no, is was my
terrific direction
and I said, "no, is was my terrific direction overcoming his mediocre
writing."
and we just had a blast.
Writing." and we just had a blast. We toured all over with it.
And we just had a blast. We toured all over with it. To this day,
we toured all over with it. To this day, it's one of those movies that's,
to this day, it's one of those movies that's, like I said, very hard to get,
but, when you see it,
you'll never forget it.
>> so, my father had later stage dementia, which meant that he was losing
bits of language along the way.
Which meant that he was losing bits of language along the way. And it was interesting to see
that he -- you know, this guy
and it was interesting to see that he -- you know, this guy could speak french, could speak
dutch, could speak a little
spanish, and a lot of ebonics,
losing names, losing his ability
to speak a little bit.
Losing names, losing his ability to speak a little bit. But he could still
remember music.
And I would start to sing to him
bits of music
and I would start to sing to him bits of music that he had written
that had changed my life.
That he had written that had changed my life. He had written these songs.
That had changed my life. He had written these songs. And so, our last conversations,
he had written these songs. And so, our last conversations, when, you know, when --
and so, our last conversations, when, you know, when -- before me dad transitions were,
I would sing some of the songs,
and he would finish it.
So, I could --
he couldn't remember a name,
so, I could -- he couldn't remember a name, or remember this,
but he could remember
the verse in a song.
But he could remember the verse in a song. I think, in my family
specifically,
we try not to confuse people
we love with people who are good
at what they think they love.
We love with people who are good at what they think they love. And that's very important.
So, you may love...
You know, playing basketball,
but you might not be
cut out for it.
Maya, my eldest daughter,
when she was a little girl,
I said, "maya, what do you
want to be?"
she said, "well, it's obvious.
I want to be a hairdresser, a waitress, own a bookstore, have my own tv show,
be a superstar, be an actress,
and most of all, be a singer."
now, maya, when she sings....
And most of all, be a singer." now, maya, when she sings.... [ stammers ]
but she's so smart,
and she's got this personality
that gets things done,
and she's so efficient.
That gets things done, and she's so efficient. You know, I -- would I love her
if I encouraged her
you know, I -- would I love her if I encouraged her to be a singer?
If I encouraged her to be a singer? Yeah.
To be a singer? Yeah. I'd still love her.
But -- but I want to encourage
her to do something that I know
but -- but I want to encourage her to do something that I know she'll kill it at.
Her to do something that I know she'll kill it at. She's one of these chicks
that could apply it to anything.
And so, maya went to howard,
went to fordham, you know,
and so, maya went to howard, went to fordham, you know, worked in campaign finance,
lived in malawi for a while,
setting up girls schools,
and now works with people
with special needs.
And now works with people with special needs. And this is the first job where
I said to maya, "you know what?
My lazy ass aging.
You know, for this one,
my lazy ass aging. You know, for this one, you manage it."
and maya did it.
And so, she's super efficient,
and super bright.
What I've found, as a father,
is that you try to encourage
your child to be the best
version of who they are,
not the best version
of you want them to be.
And they may initially think
they want to sing,
or they want to dance,
or they want to act,
or they want to direct.
So, my dad didn't know with me. I may be a good actor, but maybe I don't have the --
the heart for it.
Maybe I'll look at that
as rejection.
One kid'll see it as rejection.
As rejection. One kid'll see it as rejection. To me, I was like,
one kid'll see it as rejection. To me, I was like, "that's just a challenge.
I'mma step over that [bleep].
I'm about to do this."
but until they show you that,
you don't know.
But until they show you that, you don't know. I've gotten younger
as I've gotten older,
I used to give tougher advice,
and now I give easier advice,
because not everyone fully
understands even the question.
Because not everyone fully understands even the question. You say,
"what do you want to do?"
you say, "what do you want to do?" not everyone's gonna --
you know, you've got to be
careful about that advice.
You know, you've got to be careful about that advice. So, sometimes you just give them
a little shove --
so, sometimes you just give them a little shove -- "well, try this.
A little shove -- "well, try this. Try that."
my dad would do things
try that." my dad would do things that people would go,
"I want to be in show business,
and I want to do this and that."
he go, "really? Okay.
And I want to do this and that." he go, "really? Okay. Uh, well, I want you to write
a story on this.
And meet me at my office
next Friday,
and meet me at my office next Friday, and we're gonna go for a run
together.
And we're gonna go for a run together. Meet me at 6:00 a.M."
most people never show up.
That's the biggest thing.
They were expecting to hear
"no," or this.
He felt that
that's the kind of energy
you need to have to win.
So, when I -- when I --
you know,
he didn't want to hear about
the script I was starting.
He wanted to know how the script
was that I finished.
"don't let perfect be the enemy
of the good," he would say.
"finish it, then you'll
perfect it,
and you'll work on it more."
but most of us start projects,
and we don't complete them.
Most of us have ideas.
We don't follow through.
Melvin van peebles
did all of it.
And so, the advice,
a lot of times,
was very simple --
keep on keeping on.