00:00For your movie, the women, Lupita, they're the James Bond, they're not the Bond girl, but the James Bond.
00:11Yeah, they're all kind of a little bit of James Bond in that scene, which is like, you know, because it can't be a remake, you know what I mean?
00:21Like, it's a homage, you know, but it's got to be our version of it, you know, and it's got to be true to the characters.
00:30And that was where the fun came from for me, because Lupita is the most James Bond of all the characters.
00:36Like, she's the actual spy, you know.
00:38She's protected.
00:39Yeah, exactly.
00:40But she's there with her military superiors, you know, like T'Challa outranks her, you know, Okoye outranks her.
00:48So it's conflict there, because she's saying, yo, you know, I'm getting this in.
00:53My instinct is saying, we got to do this, you know, and they're saying, no, we can't yet.
00:56You know, she's like, yo, no, we can't yet.
00:58You know, and that gave us a dynamic to play with, because, you know, nine times out of ten when Bond is in the field, you know, he's in the field on his own, you know.
01:06And, you know, Smyke might be on comms or something, you know what I'm saying?
01:10But, you know, that was an interesting dynamic for us to play.
01:13And then we got to really cut loose, like, in the middle of that casino.
01:19So the contrast, I think, there was something interesting for us to play with as well.
01:24So this movie is a blockbuster with the casting crew of black talents.
01:29And I think it's the first time in the history, something like that.
01:33How do you expect people to react?
01:36Um, I mean, I try not to look at things in a historical context right now, because I feel like it gets tricky then.
01:43Because, you know, you don't want to miss, I don't ever want to misspeak and discredit, like, you know, other superhero films that have black people in them as well.
01:52You know, and I can, you know, I've seen that happen before.
01:55You know, we've had Blade, and Blade 1, 2, and 3, and Hancock's, and these different things.
02:01I think that the dearth of African characters in this film is very unique, you know.
02:10I think, and I think that the skill of it, you know, like, literally just the budget that we had, you know, that the money and muscle that the studio, you know, both Marvel Studios and, you know, and Disney, you know, over it.
02:22That willing to put behind a project also makes it feel a little different.
02:27How did you find yourself working with the studios?
02:29I enjoyed it.
02:30Yeah?
02:30You know, yeah, it's a learning process, like, with any relationship, and that's what it is.
02:35You, you was free for your decision, your idea about the movies.
02:39Oh, yeah, man, yeah, yeah.
02:41Look, like, look, they own the character, you know what I mean?
02:44It, you know, and it, so for me, it's about relationship.
02:52I don't want to make the Black Panther movie when I go off into a corner and it's just me and I'm making all the decisions, you know what I mean?
02:57I don't think that that, one, I don't think that I'd produce the best movie, you know what I mean?
03:01And, and, and, and two, I, I don't think that I would be respectful to the studio, you know?
03:06I think that, that for me, it was about us, us, us partnering, you know, and, and, and a, and a collaboration, you know?
03:12And, and, and I, and I, I like, I like art.
03:15I like art that comes out of, like, a single-minded creator, but I also like art that comes out of very intense collaborations as well, you know?
03:21I think you get something different from both, from both things, and, um, I was very interested in the collaborative, collaborative process on this film, you know?
03:28I was interested to see how the studio works, you know, and, and, and to meet the folks, and I was, I wasn't disappointed, I mean, I had a, I had a great time.
03:35Yeah, but usually when you work with a big studio, it's, that, that's, that's the interesting part about Marvel, is that not really a big studio, you know, um, they, they're actually, they're actually, like a, they're more like a small production company, to be honest, like, you know, um, Disney's a big studio, for sure, you know, and Disney owns Marvel, but, but the, the way that the studio works, you know, um, they work, they work fairly independently, you know?
03:58And, and, and, and it's really, you know, you find yourself on these films, working with just a few people, you know, and, and, and they, and they work, uh, collectively, you know what I mean?
04:08So it's not like one person's telling you this, another person's telling you that, you know, and then you got somebody who runs the studio you never even meet, you know what I'm saying?
04:14It's, it's not that process at all, you know?
04:16And, and even when, when you, when you deal with Disney, it's still, it's collectively, you know what I mean?
04:21You know, and, and, and it's, and it's, and it's, it's collaborative, and it's very well led.
04:25It's like, it's good leaders in, in, in both, in both places, and, and, and, you know, in Bob Iger, Alan Horn, Alan Bergman at Disney, and, and, and, and, you know, Kevin Feige, you know, Ludi Esposito, Victoria Alonso at Marvel, you know, um, so you find yourself, you find yourself, uh, it would feel like I did when I was in film school, and I was working with my, with my friends, you know, honestly.
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