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00:25Wow. Thank you so much.
00:32Wow. You're very kind.
00:34Thank you very much for being here.
00:36Our guest tonight, moments ago while you were down here waiting patiently, by God, thanks,
00:42I inadvertently pissed him off.
00:43So I just burst into his dressing room.
00:46Bad manners, by the way.
00:48And the guy is there.
00:49He's not wearing a shirt.
00:50And I'm going to have to apologize when the man comes out here because I thought I was joking.
00:55And this, by the way, is the story of my life.
00:57My mother, David, that's not funny.
01:02Ladies and gentlemen, do me a favor.
01:03Please welcome Michael B. Jordan.
01:06Michael.
01:11How are you doing, man?
01:12Good to see you.
01:13Good to see you.
01:14Good to see you.
01:16Good to see you.
01:17Good to see you.
01:18Good to see you.
01:19Good to see you.
01:20Good to see you.
01:21He is so muscular.
01:25Michael, how are you, sir?
01:26Doing good.
01:27How are you, man?
01:27Well, I'm great now.
01:28And I'm so sorry.
01:29I just got overwhelmed.
01:31I wanted to get this thing going.
01:32And I burst into your room.
01:34No, it was good.
01:34I liked it, man.
01:35Are you sure?
01:35Of course.
01:36Of course.
01:36No, you knew it was me and took your shirt off, right?
01:38No, no, exactly.
01:39I heard you were coming.
01:40I said, you know what?
01:41I got to show him what's what.
01:42You know what I mean?
01:44How are you?
01:44And thank you again.
01:45I'm doing good.
01:46I'm doing great, man.
01:47I love this place.
01:48London has been really good to me.
01:49How long have you been here?
01:50About a year.
01:51A year?
01:52About a year.
01:53I've been in a pre-production on this movie that I'm shooting now.
01:56And so I like to go to a city, go to a country or wherever I'm going to be spending time
02:01and actually live there for a while and kind of take into place.
02:04And I find that helps me inform the story a little bit more in different environments,
02:09different locations and sets.
02:10This seems to be part of what you do as an actor, as a director, and also a producer,
02:15because I've heard this about other of your projects where you're physically invested
02:19in what's going on.
02:20Yeah.
02:21I'm not a just, you know, punch in, punch out type of guy.
02:24So this particular project I've been developing for about a little over a decade.
02:29And it's really, really personal.
02:30A decade?
02:31Yes, a decade.
02:32Yeah, a long time, man.
02:33About 13 years.
02:34And yeah, yeah, so a long time.
02:36Whoa.
02:36Okay, we'll come back to this in a minute.
02:38And I'll just, in all honesty, I am kind of a punch in, punch out guy.
02:41Okay.
02:42Yeah.
02:42I mean.
02:43Forgive me.
02:44I know this is something you've probably talked about endlessly.
02:47Michael B. Jordan.
02:49Yes, sir.
02:49And the B is?
02:51Bakari.
02:52Bakari.
02:52Yeah.
02:53What is the origin of that name?
02:55Swahili.
02:56Swahili.
02:56Swahili, yeah.
02:57It's of Yoruba religion.
03:00And again, it means?
03:02Of noble promise.
03:03Of noble promise.
03:04Well, that's perfect for a brand new kid at birth.
03:07I mean, what child doesn't isn't blessed with noble promise?
03:11I think, you know, I think names are important.
03:13And, you know, I like to live up to that.
03:14That's something that kind of reminds me of my purpose a little bit.
03:17Wow.
03:18That already is delightful.
03:19And the B was to distinguish you from?
03:23Michael Jordan, the other guy.
03:24Did somebody say to you, you've got to put a B, you've got to use your B to get it?
03:27Yeah, sad, because they were tired of, you know, switching up the checks and all that
03:31other stuff.
03:32It was a little tough.
03:33So now, I kind of put you in business.
03:36Yeah, yeah, way back when.
03:39I used to have a nightly talk show, and he was part of a skit or something?
03:44It was a segment, a skit that you did, David Litterman's Kids, and I was just one of
03:48the kids.
03:48When you're first starting out, you know, you get these kind of odd, you know, auditions
04:05or appearances and just opportunities.
04:07Odd.
04:08Odd.
04:09You know what I'm saying?
04:09Odd.
04:10It's just something to put on the resume.
04:12You know, you think, you know, you're getting around the right, your right company.
04:15Something to put on the resume.
04:16I mean, at 12, you don't really know exactly what you're doing, you know?
04:19So how did you get to be 12 and going out and appearing on shows of any variety?
04:24So my mom has lupus, right?
04:27I would go with her to her doctor's appointments all the time, and there was this receptionist
04:30that was there who had two boys around my age.
04:33And, you know, the receptionist and my mom got friendly.
04:35She was like, you know what, Donna?
04:36You should bring your son to these gossies and these auditions.
04:40It's easy to, you know, make some extra money.
04:42You know, he gets a chance to kind of get his, you know, see if it's a hobby that he likes,
04:45et cetera, et cetera.
04:46So I go to these gossies.
04:48Now, had you expressed any interest in this previous to your mom?
04:51Zero.
04:51None.
04:52None whatsoever.
04:53So at this point, what were you, just like a regular kid in sports and school and girls?
04:58All the stuff, you know what I mean?
05:00Cartoons and just regular, regular kid.
05:02And it was just an opportunity for me to try something different.
05:05And I went and didn't have an agent, didn't have any formal representation, didn't have
05:10a clue of what I was doing.
05:11And I pretty much crashed a couple auditions.
05:16When you say crashed, you mean you overwhelmed the people hiring you?
05:19No, I mean I just showed up.
05:21Oh, I see, oh, without an appointment.
05:24You're the kid in the lobby.
05:25Exactly.
05:26And I just kind of like wrote my name down on the list and they would call me in.
05:28And then they found out afterwards I didn't have any, I wasn't really supposed to be there.
05:32But luckily for me, the first three auditions that I went to, I ended up booking.
05:39As a kid, did you enjoy it?
05:41Yeah, it was fun.
05:42And then once I started to realize, okay, I'm getting paid for this.
05:45Oh, this is a job.
05:46Okay, me booking this job, I get money.
05:48I get a chance to, you know, get a toy or at a young age, understand that I'm helping
05:54the house too.
05:55But once you're a child actor, the people say, you know, he'll be fine.
05:59Let him act.
05:59Uh, no.
06:01I mean, my mom was all for it.
06:03My dad wasn't really convinced.
06:05I didn't think he understood or really saw the longevity of entertainment.
06:11You know, it was so far away from, I think, his experience that it was tough for him to
06:14get at a young age.
06:15But once he saw how I conducted myself, I think that was one of the things that kind
06:19of won him over.
06:20That's great.
06:20And what does your dad do?
06:22What did he do then in those days?
06:23My dad's an ex-Marine.
06:25You know, once a Marine, always a Marine.
06:26But he ran a food bank in New Jersey, in Newark.
06:30And right now he's retired.
06:31He lives in Ghana.
06:32He's retired.
06:32Tough guy?
06:33Tough guy.
06:34He's a, you always tell him, you know, you always be serious about something.
06:37You know, you got to find something and be serious about it.
06:39And tell me about growing up in Newark.
06:42It's a tough place.
06:42You know, it was and still is, you know, in certain areas, late 90s, early 2000s.
06:48You know what I mean?
06:48It was the car thief, capital of the world, you know.
06:50Car thief, capital of the world.
06:51Ah, yes, I remember the conventions they would have there.
06:55Yeah, man.
06:56But, I mean, Newark is, I mean, it's a beautiful place, man.
06:58It shaped and molded me for who I was.
07:00And, yeah, it was tough, but it kind of, it gave you that, you know, it gave you a thick skin.
07:03And it made you, you know, be able to adapt and kind of survive in your environment a little bit.
07:09And, you know, you understand what those winters were like when, you know,
07:12you slept in the kitchen with the oven open, you know what I'm saying?
07:14And one of those, you know, it was very extreme, you know, conditions at times.
07:19But I think having amazing parents, they hide the circumstances really well.
07:23I think as a kid, you're not supposed to know, you know, that things are tough, you know.
07:26And I think my mom and dad did a great job at that.
07:29It's a beautiful place, too, man.
07:31Tons of parks, you know, my teachers, my schools.
07:33I think, like, growing up in Newark and being able to see the skyline of New York was a big motivator for me.
07:39Now, here's something I understand, but it sounds different than the understanding of it.
07:44You lived in the home with your parents until you were 32, but not the one in New Jersey.
07:52I mean, the way you word that sounds weird.
07:54But when I moved to L.A., I bought a home and my parents moved in.
08:00So we lived together for quite some time.
08:03And then I moved out.
08:05Oh, then you moved out.
08:06But there's no judgment here. I think that's delightful because I have a son,
08:10and I would wish that he would live with me till I leave.
08:16Leave the house?
08:17Yeah, leave the house.
08:19Leave the big house.
08:21The big house, okay.
08:25Okay, let's go here.
08:26Let's go ahead.
08:27I used to do this when I was drunk.
08:29Oh, that's not a good start.
08:31Now, wait a minute. Let's enjoy that moment.
08:33Mr. Big Shot bounced one off the wall.
08:35Yeah, I'm glad to get a little bored back there.
08:38Sure, okay. Go ahead, sir.
08:39We're going to overlook that.
08:39That didn't count?
08:40No, oddly enough, that was...
08:43Holy shit!
08:44See?
08:45God dang!
08:46I come back.
08:47Come back strong.
08:48Oh, my God.
08:48Yeah, nice going.
08:50Do you have any free time here?
08:51Not so much.
08:53I'm usually just prepping for the next day.
08:54My life is pretty boring outside of this movie.
08:57It keeps me busy.
08:59Yeah, you think it's boring.
09:00You ought to follow me around.
09:01Oh, come on, man.
09:02It sounds like you get out and about.
09:05Yeah, me and the wife are on errands.
09:07You're not married, are you?
09:08No, man.
09:09Here's a day at my house.
09:10Honey?
09:11Yeah, what is it?
09:12We're out of celery.
09:15Okay, then we go buy celery.
09:17No pets?
09:18I am on the edge.
09:19No pets?
09:20Oh, oh.
09:22Two of the best dogs ever gone.
09:25Oh, I'm sorry to hear that.
09:26Pets for you?
09:27No.
09:27I wanted to start off small.
09:29I want children.
09:30I want kids one day.
09:32But I figured I got to start off with, like, plants and dogs.
09:35See if I can, like, you know.
09:36I see.
09:37Plants, dogs, humans.
09:39Humans, that is.
09:39You know what I'm saying?
09:40If I can take care of a plant, I should be able to get a dog.
09:42Yeah, let's take care of the dog.
09:43If the dog's cool, then, you know, I have a shot.
09:45You will love it.
09:46And I'll be wondering what took me so long, right?
09:49No, you're right on schedule.
09:50If I waited too long, you know, I'm 100.
09:54Man, I enjoy kicking it with you, man.
09:56I could have a meal and a drink with you any day.
09:58So if I were to come to your house, I know there's not a chance in hell that's going to happen.
10:02But if you did.
10:04Yeah, if I did.
10:04I would definitely cook you a meal.
10:06Oh, cool.
10:06Yeah, for sure.
10:07Well, that's darn nice of you.
10:07I mean, it's a love language, you know.
10:09It's a, you know, when people come over, you cook them a meal.
10:12Boy, when you get it right, it's thrilling, isn't it?
10:14I've been on sauces lately.
10:16Vodka sauces or pestos, marinara, spicy marinara.
10:19Yeah, I mean, I went through a phase when I cooked, and I loved it.
10:23And I was pretty good at it, and I got the Marcella Hazan, his Italian cookbooks.
10:27It's just, it's A, B, C, bang.
10:29You're sitting down and getting fat.
10:31When somebody tastes your food, and they love it, and they love the way it tastes, it's like,
10:34it's therapeutic.
10:39Going back to the beginning, what was the first significant turning point?
10:44Once you got beyond being on my show.
10:47Once I got past yours, it was, I was out of here.
10:51That lit the fire.
10:52That was it.
10:53I did this movie called Hardball in Chicago in 2001 with Keanu Reeves.
10:57Listen, they know that you changed your birth certificate.
10:59I can't let you play.
11:01Well, my mom said it was okay.
11:02I just want to play.
11:04After I did Hardball and this show called The Wire.
11:08Where's your book bag?
11:09Teach you ain't getting no homework.
11:10All the right people watched that show.
11:12You know, I think all the producers and the executives in Hollywood really, you know, loved the show.
11:17It didn't get a lot of love while it was on the air.
11:20But afterwards, it became a fan favorite and an industry favorite for quite some time.
11:25And I think that was the thing that really pushed me to like, okay, maybe I could do something.
11:32You know, and a lot of the other actors too, Idris and Dominic West, pulled me to decide,
11:36Mike, if you really focus on this thing and you kind of, you know, you take this thing seriously, you can have a career.
11:41And I think just remembering those conversations when I was young kind of motivated me to keep it going a little bit.
11:47Are you still pals with these people?
11:49Big time.
11:50We're really tight.
11:50We feel like we're part of a fraternity for sure.
11:52And how old were you when you were on that show?
11:54I was 15.
11:58I mean, and I'm speaking to this because I've recently seen it.
12:01And I was just jaw-dropping stunned.
12:05And I thought this kid had a lot of acting classes.
12:10Did you have any acting classes?
12:11No, I never went to acting school.
12:13No, no, never went to acting school.
12:14No, I went to a high school.
12:15I went to a performing arts high school where I would take drama classes.
12:20But I never went to like acting classes.
12:23You hear actors talk about, I work from experience.
12:27I've seen, I've done, I've been there.
12:29But at 15, you've really, you had done nothing.
12:33You were a 15-year-old kid.
12:35I'm imitating my environment at that point.
12:37Baltimore, inner cities, Newark, you know, inner cities.
12:39I mean, they're all, you know, similar in their own ways, different for sure.
12:43But I think understanding, you know, that culture wasn't, you know, foreign by any means.
12:50Well, then that answers the question.
12:52This comes to you.
12:53This is of you naturally.
12:55So I'm watching the end of your run on The Wire.
13:00Okay.
13:00And you were on, was it the first year?
13:02First season, yeah.
13:03So it's time for you to leave the show.
13:06Yeah, did you, do you have an understanding about what your plot line, what your character and such?
13:10You must have, right?
13:10Yeah, I mean, I think every week you would get a new episode.
13:13So, you know, once, once you realize that people were dying, characters would get killed off every week,
13:20you would just get the script and just skim through to make sure your name was still in there, you know?
13:25And then once you saw your name at the end, you didn't die, you're like, okay, cool, now I can go back and like read it.
13:30And I remember, you know, David Simon came and knocked on my trailer door and was like, listen, we love you.
13:34Everybody loves you.
13:35The fans love you.
13:36And that's why we got to kill you, you know?
13:38Uh, I had to leave the room.
13:42Yeah.
13:42It's so difficult to watch.
13:44You put this on yourself.
13:46Ain't gotta be like this, huh?
13:49Yeah, it was, it was difficult.
13:51That was, that was a tough episode.
13:52We shot that scene for about, man, it's like, it had to be like nine hours, man.
13:57We, you know, the sun was coming up.
13:58They ended up having to black out the windows because we were shooting it for so long.
14:02Is that right?
14:02Yeah, more than that.
14:03We ran out of squibs for the shirt, you know?
14:05We were out, you know, they had to put on the old squibs.
14:08Don't you hate it when they run out of squibs?
14:10I hate it.
14:10You folks have plenty of squibs?
14:13So squibs is basically like the blood packs that are hooked up to a small explosive.
14:17So when the gunshots assimilates to, you know, the blood in the shirt and, and, yeah.
14:21How do you like that?
14:23I mean, I think there's a, I mean, listen, I play video games and watch action movies and
14:28stuff like that.
14:29So I think there's a part of it that's a bit fun.
14:31And, and, and, and, and, and then there's a, you know, there's a, a sadness and a, and
14:40a, an emotional weight that comes with it.
14:43Because of the symbolism, the physical and emotional.
14:47You, it was the first project where I think the lines were blurred for me in a performance.
14:54Um, my mom was on set, funny story, she was on set.
14:57And, uh, in the middle of the scene, I just hear sobbing.
15:02I hear crying.
15:02Oh my God.
15:03You know what I'm saying?
15:03And my, my, my mom is like bawling.
15:05And I'm just like, and at the time, I'm just like, mom, please, please, please, get her,
15:11get her out of here, get her out of here.
15:13So, yeah, I was sad to go.
15:14I was crying when I, when I left because I, I didn't think I was going to act anymore.
15:18I was like, I'm never going to do this again.
15:19You know, we were doing big family stuff.
15:21Now that was, that would have been something.
15:22Yeah.
15:22If you do that performance.
15:24And that was it.
15:24And you're done.
15:25That's it.
15:25Oh man.
15:26It was, uh, it was, that was a real fear at the time.
15:29But, um, I knew, I knew, um, and then I went to All My Children.
15:32I did a soap opera after that.
15:33Yes, why not?
15:34All My Children.
15:35Right?
15:35And what did you do on All My Children?
15:36I was, uh, um, Susan Lucci's, uh, son.
15:40I was Reggie Montgomery.
15:41Find a Reggie.
15:43Bring my baby home.
15:44I would, I would like to say that's probably, that was probably my acting class.
15:51We would do a hundred plus pages a day.
15:54Oh my goodness.
15:55Five, five days a week.
15:57And, and it, just the amount of material and dialogue and professionalism and having to
16:03know your shit.
16:04Was that all live or was that a tape?
16:07It was tape, but it would air the next day.
16:09The next day.
16:09You know what I'm saying?
16:10And so it was, it was like, you know, one after another.
16:12And the first, I don't know, the first time maybe not being prepared and not what, knowing
16:18my stuff as, as well as I should have and seeing that on television the next day and
16:24being like, oh, that's what I look like?
16:25That's crazy.
16:26And I think that fear of, of, of not being on point kind of drove me to always have my
16:34stuff together.
16:35This is ridiculous, but I'm going to do it anyway.
16:38Was, was there a comparable scene to what you did on The Wire?
16:41Uh, no, I mean, maybe.
16:46No, really?
16:48Maybe.
16:48Only because like Reggie was like a troubled youth.
16:50I mean, he was a typical black, you know, thug kid, you know what I'm saying?
16:53That had a heart on like a soap opera at the time.
16:55Listen, my, you're a big, big, all right?
16:57You're in there sobbing your eyes out to your father and making them think you're sorry
17:01when you know you're not.
17:02Listen, you know, those characters, um, you know, were very one dimensional, you know,
17:10at that time.
17:12And, and I think for me, taking stereotypical characters on the page and giving a certain
17:19empathy to them allowed me to not be typecast and like locked into, you know, you know,
17:28what, what was on the page all the time.
17:30And I, and I think making a lot out of a little was something that, that, that took things
17:35to the next level for me.
17:36I'm going to tell a story from my experience, the nascent part of show business for me.
17:42Okay.
17:43Um, I went to California, I was 27 years old.
17:46And in those days, you wanted to get on the tonight show, uh, for five or six minutes.
17:51And then the hope beyond that was you get cast in a situation comedy.
17:55Okay.
17:56So long before I'd been on the tonight show, my manager at the time said, okay, we have
18:02a part.
18:02They, they would like you to go out and read for this part.
18:05And I, I said, uh, okay, I don't, don't really act, but okay.
18:10And it was for, um, uh, Saturday Night Fever.
18:13Okay.
18:13Yeah.
18:14They were going to make it into a television show.
18:16Okay.
18:16So I look at it and it's, it's me and I'm, I'm playing the, uh, the, the, the main role,
18:22the, you know, the, uh, uh, you know, and, uh, I'm getting ready to go out on a, on a date.
18:27Okay.
18:28And so they want me combing my hair in front of the mirror, shaving and whatever else.
18:33And the whole time I'm dancing.
18:36Okay.
18:37Yeah.
18:37Okay.
18:38So I read this and I just, uh, I, I folded the script up and I went back up to the, the
18:44audition director, producer.
18:46And I said, you know what?
18:47Uh, I just forgot my car is still running.
18:51You never auditioned for it?
18:52No, this was the John Travolta was the TV part that I was on.
18:56No, of course I didn't audition.
18:57Listen, let me tell you something.
18:59If I had auditioned for it, I would have nailed it.
19:01That's what I'm talking about.
19:02Oh, oh, go ahead.
19:04Uh, that's the confidence you got to have when you walk in there.
19:06But yeah, but the, the, the example is you do say yes to everything.
19:10And I thought, okay, I'll try it.
19:11But oh, for the love of God.
19:14It's tough, man.
19:16It's tough, man.
19:17And that's another like misconception.
19:19You know, when you're, you're, you're first starting out in acting and that you have a lot
19:24of choices, you know, I think you have the, you always have the power of no, the power
19:28of no is great.
19:29I think that comes later.
19:30You do what you got to do until you do what you want to do, you know, for a little bit.
19:35And, and, uh, fortunately enough, the things that I, that I did in the roles that I got
19:39always kind of pushed me to the next level.
19:41Yeah.
19:41I'll say that.
19:42Uh, now, uh, so Friday night lights then comes after days of our lives.
19:46Is that all my children?
19:47Yep.
19:47Right after that.
19:47Oh, I'm sorry.
19:48All my children.
19:48No, it's all good.
19:49Yeah, yeah, yeah.
19:49I simply asked you to keep your mouth shut.
19:52I, I tried, but I'm sorry.
20:00I'm gonna, I'm gonna run.
20:01Okay.
20:01So you have the wire on your resume and now you have the Friday night lights.
20:05These are two of the high, most highly regarded television efforts in the, in the last 20 years.
20:10They're up there.
20:11That's right.
20:11They're up there.
20:12Yeah, they're up there big time.
20:13At some point, uh, I read that you were quoted as saying, do I want to be a television actor?
20:18Do I want to be a film actor?
20:19I do perceive a difference in stage acting.
20:22Television, depending on the, the story and the project to film acting, not certain.
20:27I know that the difference is there.
20:29Yeah, there's, there's a, there's a difference for sure.
20:32TV is people get a chance to tune in every week and see you, you know, they get to grow
20:38with you.
20:38Um, so there's a, there's an attachment to, to a character, to an actor.
20:42Right.
20:42Um, that you, that you have.
20:44And, and then when it comes to film, I feel like we're asking people to get a babysitter,
20:48get dressed, get in the car, drive to a theater, sit down and, and, and watch you in a shared
20:53space, um, that, that on a big screen.
20:56We see examples from time to time.
20:58People see somebody who has a breakout career on television, bang, zoom, we can hardly wait
21:02to put them on the big screen and it doesn't work.
21:04What, is that just bad luck or is that chemistry or something more thoughtful?
21:08I'm, I'm, I'm not quite sure.
21:10I think it's whatever that thing is, whatever it is, um, that some people have.
21:15Well, you and I both have it.
21:16We have to think.
21:17We have to think, you know?
21:18Something else I remember reading about you, you didn't know if you would be capable of
21:22carrying a film.
21:23You were concerned that you wouldn't have that heft to actually do that.
21:26So I've only done ensemble movies up until that point, you know, and, and, and being on
21:30television, that self-confidence, that imposter syndrome, that, that, that self-doubt,
21:35that, that whatever it is of, uh, can I, can I do this thing?
21:39And that fear and that, that, that motivation and that, that healthy fear, I think, and,
21:43and that, I think evolved and fortified and cured into confidence and, and like walking
21:49your path, you know, and it's a job and profession that your success depends on what other people
21:57think of you.
21:58It's not always how good you are or how talented you are.
22:03It's, it's the opportunity and it's the, you know, it's a lot of things that's outside
22:08of your control.
22:09And that's, that's the, that's the.
22:10That's right.
22:11The variables are infinite.
22:12Big time.
22:12Uh, let's talk a little bit about Fruitvale Station.
22:15Girl!
22:18It's a true story.
22:19True story.
22:20True story.
22:21Uh, Oscar Grant, uh, gunned down in a subway or the BART station.
22:26BART train station.
22:27Okay.
22:28So you, I don't know if you still are in touch or part of that family, but you became
22:32part of that experience.
22:34Big time.
22:35In what form?
22:36It was, uh, I had to get to know a guy through, that's no longer with us through his family
22:43and his friends.
22:44And they, they blessed me and even portraying him because they were big fans of the wire,
22:49you know?
22:50So, so that, that.
22:50Oh, so they knew, they knew your work.
22:52They did.
22:52They knew Wallace.
22:54And then you became a surrogate?
22:56Yeah, a little bit, man.
22:57I mean, you know, I took it seriously and, um, and they did too, you know?
23:01And it wasn't like some filmmaker coming from some other place trying to tell the story.
23:06You know, Ryan Coogler was from their own backyard.
23:08Does this go through your mind as you're doing your job daily that I don't want to betray
23:13the relationship that I've created with these people?
23:16Oh, 100%.
23:16So you keep it as honest as possible?
23:19100%.
23:20And I have a director that's always going to keep, make sure I'm, I'm, I'm in that pocket.
23:23He was the first director that wrote a part for me, that wrote a movie specifically for
23:31me, you know?
23:31So we kind of locked arms in, in partnership around that project.
23:35And I didn't know I was getting a brother, you know, as well.
23:38And at the same time, a lot of pride went into that, you know, to shine lights on, on these
23:44stories like Oscar Grant that, you know, seem to happen, you know, too often, too frequently
23:49and for too long.
23:50I mean, that's the power of cinema, you know, is, is to help provoke thought.
23:54Change thought, um, change perspective on things.
23:58And, you know, I'd like to think that Fruitvale Station was a part of that conversation.
24:02And an authentic document.
24:04Big time.
24:05Yeah.
24:05Uh, and, and, and the, the, the scene, the final scene is so faithful to the actual video.
24:11It is.
24:12Talk about another difficult day at work.
24:14Feel me?
24:15We need to try and get home.
24:16We need to try and get home.
24:16We shot that scene at the same train station over the same tile brick that he got, that
24:26he got shot and, and, and, and, and, and, and, and murdered, you know, um, over.
24:32So it was, it was definitely a, a very, you know, spiritual and, and, and, and heavy, you
24:39know, moment, you know.
24:40Many takes for that?
24:41No, we only did like two, I think.
24:43Wow.
24:43You know, it was, you could still, at the time, you could still see the indentation of
24:48the bullet mark on the, on the, on the brick.
24:50So it was like literally the exact same spot.
24:53It was heavy, you know, it was a heavy, heavy situation, you know, and, and, um, something
24:58I'm really, really proud that I got a chance to, to tell that story.
25:01Um, let's talk about, uh, Creed, Sylvester Stallone.
25:05Yeah.
25:05Come on, Creed.
25:06Come on.
25:07Come on.
25:08Come on.
25:08Creed spins, puts the champ in the corner.
25:11Body, body.
25:12Throwing body shots like he's Rocky Balboa.
25:15Go upstairs like he's Apollo Creed.
25:17Closing seconds of the fight.
25:21The information I had was, uh, Ryan Coogler, your director said, you're not ready to fight.
25:27Go find a gym in Philadelphia, move to Philadelphia, go to work each day in a, in a gym and become
25:33a fighter.
25:34Is, is any of that true or is that just publicity for the film?
25:37Uh, that's true.
25:39You know, he's buddies with Andre Ward, champion, retired now.
25:43A fighter.
25:44A fighter.
25:44Yeah, yeah.
25:45And, um, I worked out with him a bunch to kind of...
25:48What is a workout with a guy like that?
25:50I mean, you spend a lot of time looking at the ceiling because you keep getting punched
25:54in your face.
25:55So, I remember vividly what the top of that gym looks like.
25:58But, you know, movie stars are supposed to have fun.
26:01You're not supposed to be hit.
26:02Yeah, but, but I wanted, you know, I'm a glutton for punishment.
26:05I like to do things, you know, I like to, I like to experience it because I, I wanted
26:10the confidence knowing that I got in that ring that, you know, I mean, I got broken knuckles.
26:14I got, I mean, I've, I've, I mean, my hands are permanently swollen sometimes.
26:18It's, it's, it's, it's, uh, you know, I, I, when I stepped on, on set, I wanted to know
26:25within myself that I did the work.
26:29Were you ever in a fist fight in your life?
26:32Yeah.
26:33So, this was not, lost, lost a few too, you know.
26:36I was in three fights and I lost all three.
26:38Okay.
26:39I know by looking at me, you don't believe it.
26:42Again, I don't want to dwell on having seen you without your shirt.
26:47What, have you looked like that all your life?
26:50No.
26:51Was it the boxing films that put you in this kind of shape?
26:54Yeah, Creed was the first time I kind of transformed my body, you know, and I got the
26:57opportunity to really like be seen, you know, as a young man.
27:01Right.
27:01You know, I think a lot of roles has been, you know, teenage, high school, stuff like that.
27:05But let's just say a guy like me wanted to look like that.
27:07What do I, where would that guy start?
27:10Start by, I would say eat more.
27:12Eat more.
27:13Okay, good.
27:13Eat, eat more.
27:14Uh.
27:15Heavy bag or the speed bag?
27:17For you?
27:18Yeah.
27:19Speed, speed bag.
27:20Start with the speed bag.
27:21Now, were you able to get that thing like that?
27:23Yeah.
27:23That's fantastic.
27:24Yeah, yeah, that's fun.
27:25That's fun.
27:25It looks like great fun, but there, it's like,
27:27frustrating.
27:28Yes, I would think so.
27:29You see people work the speed bag and they're very good.
27:31You seldom see that in the ring.
27:35Yeah, I don't think that, that technique will work in the ring.
27:38No, no, not at all.
27:39And this is what you alluded to earlier.
27:41You've been in preparation pre-production for this movie here that you're shooting in London,
27:45which is Thomas Crown Affair.
27:47Correct.
27:47Steve McQueen, the original Thomas Crown Affair.
27:50Pierce Brosnan, a remake of the Crown Affair.
27:53Correct.
27:53Why, why now a third version of the Thomas Crown Affair?
27:56I saw Brosnan's version back when I was 14, 15, and I kind of fell in love with the movie
28:02as a whole.
28:03Updated?
28:04Yeah, mine's more of a, it's a reimagining of it.
28:07Did you rewrite the screenplay?
28:08I did, I did.
28:09I mean, me and, you know, a few other writers, you know, we kind of, uh, trying to find the
28:14right stakes.
28:14I think the other two films, and I love them, you know, a guy that was a little, a little
28:21bored, you know, stealing for fun, and wanted to add a little bit more weight to it, a little
28:25more stakes.
28:26First of all, why do, why do actors want to direct?
28:29Because I think they're getting tired of being told what to do.
28:32Ah!
28:32Here's what I understand about directing, from people who are directors, uh, you're
28:38responsible for everything, including where you park, and what we're having for lunch.
28:42Yeah.
28:43Doesn't that weary a person?
28:45A little bit.
28:46I think, I think for me, I had a point of view.
28:49I've been on enough sets where, you know, you start to see things.
28:53Oh man, what if the shot started over here?
28:55That would be a cool shot.
28:56That's something I would want to see.
28:57I mean, and then you, you, you know the character so well, to have somebody else come in and
29:05tell you how this character should be, or think, or walk, or talk, that, you know, that's,
29:10that, that could be a bit difficult at times.
29:12Ah, so when will we see the Thomas Crown Affair?
29:14Uh, March 2027.
29:16Okay, I'll be there.
29:17Your first directorial effort was Creed III.
29:19Creed III, yeah, yeah, the last installment.
29:21When you're the director and the star, do you ever fight with yourself?
29:31All the time.
29:33All the time.
29:34All the time.
29:35It's, it's, uh, it's difficult.
29:36It's a challenge, but I, but I love it.
29:38And when it comes to directing yourself, at times it could be a cheat code because I can
29:44direct with my performance and save time.
29:47You know, if I need to get a performance out of you or a reaction that I know I need, I'm
29:53going to say a certain thing.
29:55I'm, I'm, I'm going to do something in the scene to get that reaction out of you.
29:58If I know, you know, where your camera's set up, because I know the shot, for whatever
30:04reason, if you're not in the best light, I could just simply walk up stage and you're
30:09going to naturally, you know, turn your, turn your face into the, to the light that I
30:14need.
30:15So there's certain elements, instead of me having to cut, go back to the monitors, look
30:20at it, break momentum.
30:21I could just make subtle adjustments with my performance that gives me exactly what I
30:26need.
30:26And I'm looking at it.
30:27Like I'm listening to the performance.
30:29But when you're directing, you're directing Creed.
30:32Yeah.
30:33Three.
30:34And you're fighting in the film, you're boxing in the film.
30:38Who's, who's.
30:39That's the most fun.
30:40Really?
30:41Yeah.
30:41That's the most fun.
30:42I've heard it described as, it's like rehearsing a dance.
30:45Is it that?
30:45Big time.
30:46Accurate?
30:46Yeah, it is for sure.
30:47And you know the dance moves and you know the right moves.
30:50And, but then there's also, there's moments in boxing where there's improv and there's,
30:54and, and, and you can have.
30:56That's where people get hurt.
30:56That's, definitely.
30:58You know what I'm saying?
30:59I was having to see is this delightful footage and the setup of the footage.
31:03You go ahead and set it up.
31:04When did this happen?
31:05What film?
31:06This is Creed 1.
31:07Mm-hmm.
31:07This is Creed 1 and, and it gets to the, the part of the, um, the fight where Creed's
31:13going to get knocked out.
31:14It's a super slow-mo shot.
31:16And in slow-mo, they can't, it can't be a miss.
31:19You know, you can't fake it with camera angles, you know.
31:22That used to be the way it was.
31:24Yeah.
31:24You get close and you're like four inches from a guy.
31:26Yeah, exactly, and it sells and you sell, you know, sound effects and, you know, and
31:29we tried it a couple of times, uh, with, with, with Tony, who, uh, Tony, Tony Bellew, who's
31:35the, who's the, the actual pro fighter.
31:37And he's a pro fighter, right?
31:38And slides in the corner, just kind of shaking his head like, mm-mm, mm-mm, mm-mm.
31:42And everybody's like, what?
31:44You know, he's like, kid's got to take it.
31:45He's like, what do you mean kid's got to take it?
31:47Like, what?
31:47He's got to, he's got to take a real punch.
31:49And, and, and, and to hear him say that, you know, you, you got to step up to the challenge.
31:53So we set up the camera and, and, and I was like, look, Tony, just give me, give me 60%.
31:59Just take a, just take a little bit off it.
32:02And he ends up giving me a, giving me a real punch.
32:03Where did he land?
32:05Yeah, right, right here.
32:07Backgrounds watching and action.
32:11The first time he hit me, I, I, I, they, everybody, because I'm supposed to get knocked out.
32:18And then I'm supposed to be down, down for, like, a little bit of time.
32:23Then I'm supposed to, like, snap out of it.
32:25Sure.
32:26So.
32:26Just shake it off.
32:27Yeah, right?
32:28And then I, you know, the Rocky music starts playing and, you know, he pops up, the whole
32:32shit.
32:33And then I get hit.
32:34I'm out.
32:35I'm acting out.
32:36But I kind of, a little woozy, but I'm out.
32:37So you're not really unconscious.
32:39I'm not really unconscious, but the way I landed, everybody thought I was.
32:44And I can hear them, but I'm supposed to be knocked out, right?
32:46So I can hear everybody whispering and shit, like, oh shit, oh shit, is he good?
32:49Like, should we cut?
32:50Should we cut?
32:51And I'm, in the back of my head, I was like, don't fucking cut.
32:53Don't fucking cut.
32:54Right?
32:55And then they ended up cutting because they thought I was really hurt.
32:57You know what I'm saying?
32:58So then I was like, I'm like, damn, I'm good.
33:00I was fine.
33:00Then it was like, okay, we got to do it again.
33:04So, so we, we ran it back and we, and we, and we, and we did it again.
33:08And, uh, and the next day I felt like I was in a car accident.
33:11It was, it was, yeah, it was, it was, it was some pretty bad.
33:13Uh, when I watch this,
33:15I loved it because it's perfect comedy.
33:18Why are you saying that?
33:19With, with, without respect to the setup.
33:22Yeah.
33:23It connects.
33:24Boom.
33:25You are down.
33:26Down.
33:27Like a tree in the forest.
33:28Down.
33:29Bam.
33:29Down.
33:29And it's, I'm sorry, but it's hilarious.
33:32No, no, no.
33:33When I, when I look at it, I laugh too, because the sound and then like, you know, the next night,
33:37the spits going everywhere.
33:38It was, it was, uh, yeah, it was a moment.
33:43Do you have any fun?
33:44Do you have any time off?
33:45Or the fun is the work?
33:46The fun, the fun is the work on this one.
33:47You know what I mean?
33:48I, I'll watch anime.
33:49I watch anime.
33:50Oh, yeah, yeah, yeah, yeah.
33:51This is a big part of your life.
33:52Anime is.
33:53Now guess what?
33:54I have no idea what that is.
33:56It was animation, like animated movies and television shows and stuff like that.
34:00And I associate this with Japan?
34:02Is it mostly Japanese?
34:02Most Japanese, but you got like a lot of, you know, Korean, Japanese that are coming up,
34:06Chinese, uh, uh, anime.
34:08And why is that a part of your life?
34:09As a kid, you know, it started out like, you know, the Marvel comics and comic books.
34:13Yeah.
34:14Saturday morning cartoons, and that kind of evolved into Japanese animation.
34:18And you carry it with you in the creative process?
34:20Big time.
34:21Really?
34:21Yeah, like Kree 3, and our final fight of the movie was inspired by moments in, in anime.
34:36Now, I'm under the impression that you have something to do with a soccer team.
34:40Yes, uh, Bournemouth Cherries.
34:42I invested in a team out here.
34:43All right.
34:44And, uh, we've actually been doing really, really well the last, last few seasons.
34:48You know, I, uh, part owner on an IndyCar team.
34:50Nice.
34:51600 horsepower.
34:52No, no, I'm not as stupid as I look.
34:54No, come on.
34:55But you like to drive for fun, right?
34:56No?
34:57Eh, I do like to drive for fun.
34:58Fun.
34:59Yeah, but no, I know better than to do that.
35:01Have you ever been in a race car?
35:02I have.
35:03It's, uh, 1,000%.
35:05Lewis Hamilton.
35:06Yes.
35:07Drove me around Silverstone.
35:08Oh, that must be special.
35:09And, and reassembled my skeletal structure.
35:12But at one point, we're in a section of the track, and Lewis is double over in laughter,
35:16so he stops on the track.
35:18Yeah.
35:18We get out, and he's like a kid jumping up and down.
35:20The brakes are on fire!
35:22You've cooked the brakes!
35:24Yes!
35:25Yes!
35:26They're on fire!
35:28Oh crap, they're on fire!
35:29Yeah, you can't, uh, duplicate life experiences like that.
35:32Lewis is a special driver, man.
35:34He's a, he's a, he's incredible.
35:35Have you spent time with a kid?
35:36I have, I have, I have.
35:37We actually, we play, we play, uh, Call of Duty every once in a while when we're online
35:40together.
35:40Oh, is that right?
35:41Yeah, yeah, yeah.
35:42Whoa!
35:42Yeah.
35:42Pretty cool.
35:44That's one of those things where, like, you have friends that are doing a lot of different
35:48things, and you're never in the same place.
35:49Like, video games, weirdly enough, brings people together.
35:53You know, I've never played a video game in my life.
35:56Pac-Man?
35:57Okay, Pac-Man.
35:58See, I knew I was gonna catch you on something.
36:00I knew I was gonna catch you on something.
36:01That's right.
36:01I was, I was probably 20 years old.
36:05Let's talk about Black Panther.
36:07Only reason I don't kill you or how you stand is because I know who you are.
36:12Now what do you want?
36:15I want the throne.
36:16Who, uh, Chad was, uh, you know, a huge, huge, uh, impact on me and, and, and something
36:26that, you know, I, I wish I cherished more of when he was here.
36:32Funny story was, and I didn't really realize this until years later, it kind of hit me and
36:38dawned on me that on All My Children, he played Reggie Montgomery before me.
36:43No kidding.
36:44No kidding.
36:44Damn right.
36:45I can take care of myself.
36:46Yeah, we can all see that.
36:47But that'll need your charity.
36:48I remember the day that I, the first day on set, you know, he was leaving and I was walking
36:56in and, and actually had the same dressing room as him.
37:00As we, and I, and I didn't realize that until years later.
37:04And that was a, that's just a weird thing that, that we have.
37:08I always wonder about things like that, you know, because how does that happen?
37:13Why does it happen?
37:14It, it can't all just be pointless coincidence, can it?
37:18I don't believe so.
37:20Yeah.
37:20We're tied together, you know, forever.
37:23Yeah.
37:24You know, and I, and I think, I think, um, you know, even, even back then when you didn't
37:30know it, those threads were intertwined.
37:33It's fascinating.
37:34Yeah.
37:34It's one of the things that made me smile.
37:36You know, it's thinking back at it.
37:37It was like, wow, it was crazy.
37:38And, and, uh, you know, you wish you had more time, you know, with, with someone and more
37:42opportunities.
37:43And the one that really spoke to me was Jackie Robinson, 42.
37:47Give me something I can hit.
37:49You want it?
37:50What are you afraid of?
37:51What a role, what a part.
37:53Uh, talk, talk about a document.
37:55Yeah, that, that's so funny.
37:57It's another, another, another, another moment between the two of us because, you know, I
38:01was, I auditioned for that one as well, you know, and, I mean, that speaks to a bigger
38:06thing, you know, of, there's not a lot of roles that come around for the amount of talent
38:12that exists, you know, um, of, of, uh, black actors.
38:16And usually, you know, when the, when a good role comes out or around, everybody's gunning
38:22for it and it creates a competition that at times could be, you know, unhealthy, but
38:27during those years when there's not as, as many rich characters to play, you know, it
38:32could create a, I don't know, a tension.
38:35And that was something that, you know, I always was aware of, but always tried to water down,
38:43which also sparked the need of creation and, and entrepreneurship and build, and building
38:49more of the things that, and opportunities.
38:51I, my sense from you, the craft is the thing that drives you.
38:55Yes.
38:55I enjoy having an idea and bringing that to life, no matter what that is.
39:00Yeah.
39:00Whether it's in form of a business or a role or a product, whatever it may be, I like making
39:07something out of nothing.
39:09Yeah.
39:09I, I am now at a point that I've been looking forward to for months.
39:12Okay.
39:13Uh, a discussion of sinners.
39:14Okay.
39:15Oh my goodness.
39:17Uh, you and Ryan have unleashed quite something here.
39:21It's the kind of thing where you enjoy it and it's frightening, but yet you, like me,
39:34I'm still thinking about it because I want to make sure I understand everything I need
39:38to understand about the movie.
39:39And I can't believe the, the glorious, vivid depiction, uh, of, of life in the 1930s and
39:46the Southern part of, in Mississippi.
39:50Hey, Cumbria!
39:52Stack!
39:53Boy, a long time no see.
39:55Like there was always the specter of evil.
39:58Definitely.
39:59Everything that we, you know, in that, in that film, um, historically, we tried to be as
40:03accurate as, as possible, maybe outside of the vampires.
40:07But, see, there was no shortage of blood in that film.
40:10No, no, and I, I'm not, I'm not a blood guy.
40:12I don't know.
40:13You're not a blood guy.
40:13Nah, nah, I, it's the, it's so uncomfortable and it's, and it's sticky and it's like, it's,
40:19it's just, ah, it's like having a, like a wet t-shirt but with syrup and it's just,
40:25it's, it's, it's, ugh, I, I, yeah.
40:27I've had a wet t-shirt with syrup.
40:28Yeah, yeah, I've been.
40:29Years ago on spring break.
40:31Spring break, huh?
40:32First of all, you play twins.
40:33Correct.
40:34Uh, shoe and sock.
40:35No, it's a stack and smoke.
40:37Smoke, smoke and stack.
40:38Smoke and stack.
40:39Yeah.
40:39Yeah.
40:39Shoe and sock.
40:40Yeah.
40:41I'm gonna use that.
40:41I'm gonna use that somewhere.
40:42That's great.
40:43You, you studied twins.
40:44You, you went to work.
40:46Uh, you wore different shoes for one so there would be a physiological difference from the
40:51other.
40:51Mm-hmm.
40:51Uh, the two of you are in, in a fight scene.
40:54Mm-hmm.
40:54And, and so I'm thinking, do you get two paychecks?
40:58That's a good question.
40:59I, I gotta, I gotta, I gotta ask Ryan that.
41:00I think you know the answer to that.
41:01No, no, no, no, no, no.
41:03I wish.
41:04Now, how do you, how do you act with yourself when you're not there?
41:07You're, you're there.
41:08I, I don't know, what, uh, how often were you, were you the same amount of time one or
41:12the other?
41:14It was very technical.
41:16So, sometimes I had a, uh, a twin double that I would, um, have to kind of direct in the
41:23performance that I was going to do.
41:25Depending on the day would determine what twin I would start.
41:29See, that's something I didn't consider.
41:31I'll bet it is draining having to do a great job of one version and then do a similarly
41:36great job of a different version.
41:39Yeah, it's, it's, uh, it's, it's, it's, it's, it was tough.
41:42It was tough.
41:42I think, you know, Smoke was the older one, well, by a little bit, and, but it felt older
41:48in responsibility.
41:49He was more of the guy that was always cleaning up after Stack's mess.
41:52Stack was a little bit of the entrepreneur, the daydreamer, the, the, the more, more.
41:56And that is sort of typical with siblings, perhaps even more so with twins.
42:00I don't, I don't know.
42:01What I found with identical twins is that one's usually really, really good at something
42:07and the other one is not because they're always around their identical twin who usually does
42:11the thing.
42:12So they really are codependent.
42:14I, now, now you and your brother, the story is they're big shots.
42:17They're coming back to their, their community of origin.
42:20Yeah.
42:20I think they were, they were just looking for, you know, they're, they're looking for, um,
42:23independence and freedom, you know, and, and safety.
42:26But I want to know more about what they were up to in Chicago.
42:29Now that's going to be another movie, right?
42:31Please tell me it is.
42:32It's not up to me.
42:34You got to talk to Coog, man.
42:36You got to talk to Coog.
42:37But I think, I think Coog, Coog looks at this as a, as a, as a whole thing.
42:40I think after Fruitvale, he jumped into two franchises, you know, when it came to Creed
42:46and, and Black Panther.
42:47I think for him, he wanted something to be just a, one singular thing.
42:53When the idea was pitched to you, when you read the script, when you and Ryan would talk
42:57about it, did you get exactly what it was?
43:00Yeah.
43:01You know, I, I think, I think me and Ryan, I mean, listen, he's one of the few people
43:04that can call my phone and, and I'll say yes to pretty much whatever he's asking me to do.
43:09Well, that'll be me now, too, right?
43:10That'll be, you got it, got it.
43:11Yes, yes, yes.
43:12Got you.
43:13Well, it's, it's one of those things where you, it's, it's a quilt of stuff and you want
43:16to see it more than once.
43:17It has been tremendously successful.
43:19It has been.
43:20Yeah, I have, I'm, I'm extremely lucky to, to be a part of this one.
43:23And, and, and by the way, I am desperate to be an extra in one of these movies.
43:27Hey, you know what?
43:28I'm going to try to find something.
43:30Well, make it happen.
43:32Okay.
43:32I don't want this, I'm going to try to find something.
43:34Because look at me.
43:36I'm ready to go.
43:37I'm camera ready.
43:38I'm going, I'm going to, I'm going to try to figure something out.
43:40Geez, I've had a good time here.
43:41I hope you have fun.
43:42Same, man.
43:42Thanks for having me.
43:43Yes, sir.
43:44Michael B. Jordan, ladies and gentlemen.
43:46What do you think?
43:48You all right here?
43:49I appreciate it, man.
43:50I love this.
43:51Nice job.
43:53Okay, you got two more.
43:55Let's see, we got, uh.
44:00Ow!
44:03That almost hit me.
44:05Jiminy.
44:05God, that was close.
44:07Woo!
44:07This must be the hat store.
44:14Whenever I come to London, I like to come in here.
44:17This is like the oldest hat store in the world.
44:20Yes, so we're actually the oldest shop in London.
44:22Oldest shop in London.
44:23Indeed, yeah.
44:23So I want to try on every, every hat in the place.
44:26This makes me want to play Monopoly.
44:30You want to put a little bit of mustard on it.
44:31Of course you do.
44:32Put mustard on your hat.
44:35Call me later.
44:35And do I have it on correctly, or should it be like that?
44:39You can wear it either way.
44:40Or maybe it's this way.
44:42Did you get this out of Pee Wee Herman's closet?
44:48I'm really, I would love to try your hat.
44:50Go for it.
44:55So let's try a bowler.
44:56If you want to try a bowler on, it won't be comfortable unless we fit it for you.
45:00My head is in your hands.
45:02Oh, Jesus Christ, Max.
45:07Wow.
45:07That's the fit.
45:07Go ahead.
45:09This is my head.
45:11It's badly misshapen.
45:13I should call my parents.
45:15Okay.
45:16There you go.
45:16Turn that into a hat.
45:17Right.
45:18Okay.
45:19There you go.
45:19The simple insert.
45:23There you go.
45:24Max, the fit is perfect.
45:25Now, do I look stupid in this one?
45:26No, you look great.
45:27See, I look like a regular guy.
45:31The other is just, I look like a dork trying on hats.
45:38Oh, my goodness.
45:39Look at this.
45:4021 years ago, I had my, her son, and I was still smoking cigars all the time.
45:45So my wife said, all right, you can't come near the infant because you smell like cigars.
45:50So that's when I quit.
45:52It's 21 years since I've had one of these, but I still love the idea of it.
45:56You know, a lot of people say they come here to London just to visit this door.
46:00Yep, I believe it.
46:01And see Churchill's chair.
46:03Oh, you have Churchill's chair here.
46:04We have Winston Churchill's smoking chair, where he would actually come and sit, smoke his cigars.
46:09Now, what do you know about the American state of Connecticut?
46:11They apparently grow great cigar wrappers.
46:14Yes.
46:14So in Connecticut, they grow a wrapper, which is, it's called a Connecticut wrapper, obviously,
46:18because it's in Connecticut, but it's grown under shade.
46:20Speaking of wrappers, what about that Kanye West?
46:25We should be away in a second.
46:28Now we're going to go downstairs and look at where Churchill would sit and have a cigar.
46:34I don't know, do I do this or not?
46:36I should do it, right?
46:37Yeah.
46:41Still fits.
46:48Bringing back memories?
46:50It's not memories.
46:51It's a visceral transformation of my neuroelectric system.
46:58Whoa.
46:59Hi.
47:00Suddenly, I have a personality.
47:02This is great.
47:03Throw in the screen.
47:04Okay.
47:05Ow!
47:07God!
47:09Oh, my God!
47:10Okay, now the cutaway?
47:12Yeah, yeah.
47:12Okay, where do you want me?
47:13Oh, somewhere here.
47:14Okay.
47:14Okay.
47:14Okay.
47:14Okay.
47:14Okay.
47:14Okay.
47:14Okay.
47:14Okay.
47:15Okay.
47:20Okay.
47:21Okay.
47:21Okay.
47:22Okay.
47:22Okay.
47:22You
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