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00:00Hi, I'm Kori Murray,
00:04Entertainment and Talent Director at Essence
00:06and co-host of Yes Girl Podcast.
00:08And you're watching the Essence Festival of Culture.
00:11And up next is going to be something I love to talk about,
00:15which is entertainment all access.
00:17I mean, celebrities, Black creatives,
00:19everything they've got going on, what's new and next.
00:22So please stick around
00:23because we have a lot in store for you.
00:26I have the new one.
00:27I think she has potential.
00:31Who are you?
00:32I lead a group of fighters.
00:33We're an extremely rare skill set.
00:36So we really never die.
00:39Are you good guys or bad guys?
00:41We fight for what is right.
00:44You're one of us now.
00:48Let's go to work.
00:50Wait for the signal.
00:51How can you even tell?
00:54Oh.
00:57Welcome, everybody.
01:04I'm Danielle Young,
01:05journalist, content creator,
01:07and Blue Ivy's best friend.
01:09So excited to be here at Essence Festival
01:11because we are here with Radha Blank.
01:14If you guys don't know,
01:15she is a director, a writer, an actress,
01:18and just an all-around dope human.
01:20So her film, a 40-year-old version,
01:27it's hit its directorial debut,
01:29and it's all wrapped up in all kinds of Black woman history-making realness.
01:34Radha is the second.
01:37It took me a second to reel this in for myself,
01:40but Radha is only the second Black woman director to win at Sundance.
01:46In the words of Beyonce,
01:48ain't that bad up?
01:52But it's still good because guess what?
01:55Radha was not only,
01:56she was not the only Black woman within this competition at Sundance,
02:00which is also history-making and a beautiful thing
02:03to see other Black women filmmakers
02:05be able to compete at such a high-profile film competition.
02:12So I'm so proud of you, Radha, for that.
02:13Oh, thank you so much.
02:15It's a big deal.
02:17It is a big deal,
02:18and we're definitely going to talk a lot about that, okay?
02:22We're going to try to make it happen.
02:23We're going to try to make it happen in this 15 minute.
02:26Yeah.
02:26But this film, the 40-year-old version,
02:29Radha plays Radha, the lead character,
02:32but she's also the director, the filmmaker.
02:36So let's dig into this a little bit, Radha.
02:40How about her?
02:42Tell me how you found your voice as a director
02:47and especially as a film that feels so personally connected
02:50to also you as an artist.
02:54Yeah.
02:54I mean, here's the thing is,
02:57I hope to have a long-storied career as an auteur,
03:01but I knew in telling this story,
03:05I couldn't play 39 forever.
03:07Yes, I moisturized,
03:08and so, you know, maybe one other 10 years,
03:11but I knew that there was something
03:13about making this my first film.
03:16Just strategically, you know,
03:18you put a name with a face,
03:19and that familiarity might create opportunities
03:22to make a second film.
03:23But really, it's like I,
03:26though I've never directed before,
03:28I feel like everything else I've done in my life
03:31as an artist prepared me for this.
03:32I was a stand-up comic for many years.
03:34I was a public school teacher for many years
03:37and working a lot of times
03:40with non-professional actors,
03:42young people who wanted to tell a story.
03:45And so I feel like that was my training ground,
03:47and now was the time.
03:49It was quite a journey to get here,
03:53a lot of no's.
03:55And the person who said the biggest
03:56and most important yes to me was Lena Waithe.
03:59And so it kind of just affirmed for me
04:02how important it is to gain the support
04:06of another Black woman.
04:07And, you know, her trusting me
04:10with my own vision was a big deal.
04:13But yeah, it's been quite a journey,
04:16and I'm just so happy to finally get to share
04:19this story that I wrote and created
04:23with us in mind as Black women,
04:25where we're centered and we're complex.
04:27And yeah, it's a big deal.
04:30Well, I love, it is a big deal, Radha.
04:33Congratulations, because, you know,
04:35it's all shiny and beautiful when you see,
04:37oh, Radha Blank, she wins Sundance,
04:39history making, it's amazing.
04:41But there's so much work that goes behind that,
04:43to your point.
04:44And then there's also so much work
04:45that goes on beyond that
04:47after you have had the historic win,
04:49and then you become the filmmaker
04:51that everybody gets to have their eye on,
04:54and then now what, right?
04:55So I want to talk about your art
04:58as Black as it is,
05:00as unapologetic as it is,
05:03as Black and white as it is,
05:05this particular thing.
05:07Can you talk a little bit about,
05:09because the time that we find ourselves in
05:11right now
05:11is chaotic,
05:16but we're seeing a lot of things
05:18come because of it.
05:19And one of those things is
05:21the,
05:22all of a sudden realization
05:24of the importance of Black,
05:26Black lives, Blackness,
05:29Black culture.
05:30Right.
05:31And it's, you know,
05:32it's a beautiful thing to watch,
05:33but it's also starting to feel
05:34a little like Blackness
05:36as a trend, almost.
05:38I know that Radha,
05:40the character,
05:41deals with a lot of that
05:43within this film,
05:44especially being a creator
05:45and wanting to get
05:46her Black art out.
05:48So as the creator,
05:50but also as the creation,
05:52how does that feel for you
05:53to dwell within this space
05:55of Blackness
05:56that feels like
05:57it's being looked at
05:58almost as like
05:59it's a trend right now?
06:01Yeah, I mean,
06:02for better or for worse,
06:04there's so much focus
06:05on us right now.
06:06And I think as a person
06:08making art,
06:09I was conflicted about that
06:10because I'm just like,
06:11how am I showing up for us?
06:13You know, like I think filmmaking
06:16and storytelling
06:16is my activism.
06:18You see me confront
06:20white gatekeepers in the film.
06:23But I hope that beyond this,
06:27you know, being a story
06:28where Black women is centered,
06:31you just see this artist
06:32on this journey
06:33because we go through that too.
06:35You know, and I hope
06:36it's an expansion on Black life
06:38in that, you know,
06:40like I'm obsessed with things
06:41like mundanity.
06:42I'm obsessed with things
06:44like silence.
06:45I'm obsessed with things
06:47that show us in ways
06:49we aren't often depicted.
06:51You know, like,
06:52I think a lot of times
06:55when people get behind
06:56Black storytelling,
06:58they think conflict equals drama.
07:02And so there's a certain kind
07:04of Black experience
07:05that gets heralded.
07:07And this to me
07:09is about putting
07:10a Black story
07:12in the context
07:13and the canon
07:14of classic New York films
07:15where people like Spike
07:17and Woody
07:17are just these,
07:19you know,
07:19kind of people
07:20fumbling through life.
07:21And this isn't about
07:23a Black woman
07:23who has her two hands
07:25on her hips
07:26and is all-knowing.
07:27She's just like
07:28approaching 40
07:30and still hasn't figured it out.
07:32And how does that contribute
07:34to this rounder,
07:36you know,
07:37presentation of who we are
07:39and who we can be?
07:41It is a comedy.
07:43It does sometimes well
07:45in a dramatic space.
07:46But really,
07:47it's just that
07:49typical New York
07:52creative,
07:53self-deprecating
07:55artist story
07:56just with us
07:58at the center.
07:59You know,
07:59so I'm not,
08:00I'm not creating
08:01anything new.
08:02I think that the lens
08:03is different.
08:04But I feel like
08:05this film,
08:07the story is familiar
08:08to anyone who knows
08:10about those New York
08:11creative stories.
08:11The story is familiar.
08:12It's just about
08:13inserting us
08:14in a canon of film.
08:15I mean,
08:16there's a reason
08:16why it's shot
08:17in black and white.
08:18It's like
08:18to retrofit
08:19the story
08:20into,
08:22in a style
08:24and in a way,
08:26you know,
08:26a story that
08:27should have been told
08:27maybe 30 years ago.
08:30And also
08:31to speak to
08:32like,
08:34you know,
08:34this hip-hop element
08:36to the story.
08:36And a lot of times
08:38the hip-hop culture
08:38is presented
08:39through a very
08:40oversaturated,
08:41over-sexualized,
08:43but shooting
08:43in black and white
08:44cools everything down
08:46to a certain level
08:47of sophistication
08:48and vulnerability
08:49where we're not
08:51always seen
08:53in that way.
08:54And so,
08:54you know,
08:55I guess it is,
08:56again,
08:56my version of activism.
08:58At the end of the day,
08:59it's another artist story,
09:01really.
09:01Right.
09:02And it feels that way.
09:03I love the
09:05honest-to-goodness
09:07vibe of the
09:09lead character,
09:10yourself,
09:10Radev,
09:11being this
09:1240-year-old woman
09:13dreaming
09:14and looking for something
09:16that's inside herself
09:17to place herself on,
09:19to place her bet
09:20on herself on.
09:22Right.
09:22And it's really dope
09:23to watch that.
09:24And I know that
09:24we have a clip.
09:26So I hope that we,
09:27yes,
09:28so let's play
09:29that amazing clip
09:30that we have
09:30that's called
09:32Poverty Porn.
09:33Let's get into it.
09:35I just want to be
09:36an artist.
09:41Mommy,
09:42please.
09:44Mommy,
09:45please tell me
09:46what to do.
09:47Tell me.
10:03Let me tell you
10:03tell you.
10:04Tell you still.
10:13Yo,
10:13where my period at?
10:15Oh, shit,
10:16there it go.
10:17Right next to belly
10:18bloating
10:19and this spotty flow.
10:21Yo,
10:21where my damn house keys?
10:23Why my lower legs hurt?
10:25Side Attica lock legs
10:26like Attica World.
10:27Yo,
10:27why my ass
10:28always horny?
10:30Why I always
10:30gotta pee?
10:31Why the young boy
10:32on the bus
10:32offer his seat to me?
10:34Why my skin so dry?
10:36Why am I yawning
10:37right now?
10:38Why them AARP
10:39niggas sending shit
10:40to my house?
10:41So,
10:41Rada.
10:44Yeah.
10:45We got to see
10:46a little bit
10:47of one version
10:49of herself
10:50that Rada
10:51gets to be
10:52at this age.
10:53Can you talk
10:54a little bit
10:54about this clip
10:55that we just saw?
10:57Well,
10:58I think,
10:59you know,
11:00this is a woman
11:01who,
11:01you know,
11:02the idea of somebody
11:03wanting to return
11:04to hip hop
11:05at 39,
11:0640 years old,
11:07I think
11:07people's impulse
11:09may be to laugh
11:10and I think
11:11that this clip
11:11kind of shows
11:12like she does
11:14have the goods
11:15and she did have
11:16them at one time
11:17which kind of
11:18speaks to like
11:19this idea
11:19that you don't
11:20age out of your passion
11:21and,
11:22you know,
11:23women of a certain age
11:25are just expected
11:26to have a certain,
11:29get to a certain place
11:30in their life
11:31that they know
11:32who they are,
11:33they are exploring
11:34things that feel,
11:36you know,
11:36aligned with a certain age
11:38and I think
11:39the clip
11:40is pushing at that,
11:43saying like
11:44maybe people are waiting
11:45for her to mess up
11:46but the clip
11:47kind of affirms
11:48that like,
11:48yo,
11:49she can spit,
11:50you know what I'm saying?
11:51She never lost that
11:52and it becomes
11:55a pivotal moment
11:56in the relationship
11:57between these two characters,
11:59this man now
12:00seeing her
12:00in a different way.
12:02She's not just
12:02a yo lady.
12:03Now it's like
12:04who is this person?
12:06Which speaks to just like
12:07us having different
12:09kinds of beauty.
12:11You know,
12:11I think before this moment
12:12maybe he did not see her,
12:13she was just anybody else
12:14looking for some beats
12:15and this is a pivotal moment
12:17in their relationship.
12:19Yeah.
12:19Well,
12:20listen,
12:20Radha,
12:20I love it so much.
12:22I love the relationship
12:22between the two of them.
12:24I love Radha,
12:25you and your character.
12:28Yeah,
12:28one of the reasons
12:29that I love
12:30and I'm endeared towards her
12:31is she's a dreamer
12:33but she's not packaged
12:35in the typical dreamer package.
12:37You know,
12:37like sometimes
12:38sometimes we might think
12:39especially for Black women
12:40dreaming ages out
12:41at a certain time
12:43or Black women
12:45aren't really given
12:46the space to do so
12:48because we are thinking
12:51that we need safety nets.
12:52We need stuff
12:53that is practical.
12:56So,
12:56as we wrap up
12:57this amazing panel
12:58to talk about
12:59the 40-year-old version,
13:00I'd love to know
13:01what dreaming means to you
13:04and now that you
13:05have accomplished
13:06a dream
13:07of being able
13:08to create
13:08as a filmmaker,
13:10what does remixing
13:12the dream look like
13:12for you
13:13after having hit it?
13:15Wow,
13:15that's a great question.
13:17I think dreaming
13:17just means
13:19remaining open
13:20to what's possible
13:22in your life
13:22whether it's
13:23a new love
13:24or relocating
13:26to a new city,
13:27picking up
13:28a new passion.
13:29It's just
13:30not limiting yourself
13:31in terms of
13:32what's possible.
13:32I created my first film
13:34in my 40s.
13:36I think our business
13:37is often obsessed
13:39with youth
13:39and women
13:41of a certain age
13:42are overlooked
13:42and kind of dismissed
13:44and put out to pasture
13:45and I'm hoping
13:46that this,
13:47when I perform
13:48as Rodimus Prime,
13:49I'm often,
13:51you know,
13:51just,
13:53I'm always so thrilled
13:54by how embraced
13:55I am by women
13:56of a certain age
13:56in the audience.
13:57They'll tell me things
13:58like, wow,
13:59this gave me
13:59the little push
14:01I needed to go
14:02get another degree
14:03or to take on
14:05another lover,
14:06you know what I'm saying?
14:07And so I think
14:08the idea,
14:09hey,
14:09hey,
14:10because I'm a fan
14:11of that.
14:12Ladies,
14:12let's do it
14:132020.
14:16I think
14:17it,
14:18you know,
14:18I'm all about
14:19encouraging that idea
14:20and the thing,
14:22I love this question
14:22about remixing
14:23the dream
14:24is now that
14:25the film is done,
14:26I,
14:27I,
14:28I can't say,
14:29oh,
14:29I wish,
14:30I can't wait
14:31to become a director
14:32because now I am
14:33officially.
14:35And so what does it mean
14:36to walk through the world
14:37having achieved
14:39something like that?
14:39I mean,
14:40I stand differently.
14:41I talk different,
14:42you know,
14:42because I did
14:44not only the hardest thing
14:46I could have ever done,
14:47but I think I
14:48kind of engaged
14:49in what I feel
14:50is the most radical act
14:51of self-care
14:52and self-love.
14:53And in a world
14:54that we're living in now,
14:56like,
14:56self-love is a revolution.
14:58When so many people
14:59devalue our lives
15:01and our stories,
15:02for us to stand up
15:03and say,
15:04in spite of all
15:05of these no's
15:07and people saying
15:08why you,
15:09you choosing yourself
15:10and putting yourself
15:11out there
15:12and then seeing
15:12what's possible,
15:13like,
15:14just the idea
15:14that I've actually
15:15begun a career
15:17as a filmmaker
15:18in my 40s,
15:19I think says a lot
15:20about what's possible
15:21in terms of
15:22remixing dreams.
15:23We just have to
15:23remain open.
15:24We have to
15:27stay human.
15:28We have to
15:28celebrate each other.
15:30We have to,
15:31as Black women,
15:31continue to
15:32stand by each other.
15:34I don't know
15:34that I would have
15:35made this film
15:35if it wasn't Felina
15:36trusting me
15:37with my own vision.
15:39So my hashtag
15:40for 2020
15:41is not just
15:43F Corona.
15:44It is
15:44hashtag
15:45trust Black women
15:46and hashtag
15:47continue to trust
15:48Black women
15:49because,
15:50again,
15:50it was six years
15:51of no
15:51and Felina,
15:53it was the easiest,
15:54yes,
15:55she could have given.
15:56So I'm hoping that,
15:58you know,
15:59also when people see
16:00the behind-the-scenes
16:01shots of all the women,
16:02all the queer folks,
16:03all the people of color,
16:05all the feminist men
16:06working on this film,
16:07that they'll be
16:08invigorated
16:10about what's possible,
16:11you know,
16:12since Spike started it
16:14to where we are now,
16:16just really pushing
16:18the envelope around
16:19taking ownership
16:21of our stories.
16:22Right.
16:23Got it.
16:23Amazing.
16:24Thank you for sharing that.
16:26I'm so glad
16:27we got a chance
16:28to have our conversation.
16:29I'm such a fan of you.
16:31Danielle Young,
16:33I'm such a fan.
16:34You better stop.
16:35I'm a fan of you.
16:38I am so in awe
16:40of everything
16:40you've been able to do
16:42and how you
16:43remixed the dream
16:44at all times.
16:45And I'm so,
16:47so thrilled
16:47to see this happen
16:48for you.
16:49I'm excited
16:49to see the world
16:50get a chance
16:51to hold on
16:51to this film
16:52because y'all,
16:53I'm not just,
16:54I'm not gassing it
16:55because I'm partial
16:56and I love her.
16:57She's brilliant
16:57and the film
16:58is brilliant.
16:59Fall in love.
17:00Comes out in the fall
17:01on Netflix.
17:02Thank you to my
17:02Netflix family
17:03for getting behind me
17:05and I can't wait
17:06to share this
17:07with all my sisters
17:08out there.
17:08I'm excited
17:09for you,
17:09Radha.
17:09Congratulations
17:10to you.
17:11Our history-making
17:12Sundance
17:13Black woman director.
17:17Congratulations
17:17to your conversion.
17:19And also,
17:19thank you,
17:20like Radha said,
17:21to Netflix.
17:21Thank you to Essence.
17:22Thank you to Essence Festival.
17:24I'm your girl,
17:25Danielle Young.
17:27I'm Radha Plank.
17:29It's Mama again, baby.
17:35He's been gone
17:36since 8 o'clock last night.
17:37There was an incident.
17:39That is all I can tell you.
17:41Not acceptable.
17:42Where's our son?
17:44I have kids, too.
17:45Any of them black?
17:46Excuse me?
17:47Let me start again.
17:50The world still looks at him
17:52like it looks at me.
17:54I don't know
17:55what you expect me to do.
17:56Find my son.
17:57My club
18:05got everything
18:06that a man need.
18:08What's your name?
18:09Autumn Night.
18:11I need you
18:13to break a hand.
18:14If it's one thing
18:15I know how to sell,
18:17it's the experience.
18:20Life is just
18:21a long day's journey
18:22into tomorrow.
18:23Hold on to the...
18:24You're just gonna make it
18:27through the long, dark nights.
18:39Hey, welcome back.
18:40I'm Corey Murray
18:41and you are in
18:42for a special treat
18:43because I am about
18:45to talk to the creator
18:46and showrunner
18:47of your next favorite show.
18:49And it's on Starz.
18:52It's called P-Valley.
18:53Please welcome
18:54Katori Hall.
18:57Hello.
18:58Hi.
18:59Oh, my God.
19:01I'm good.
19:02I want to confess.
19:04I've only been
19:06to a strip club
19:07once in my life.
19:08Wow.
19:09Okay.
19:10Right.
19:10And it was recently
19:11before corona.
19:14Before corona.
19:15And now watching
19:17P-Valley,
19:18your show,
19:20I have like
19:21a whole new view
19:22of these women.
19:25But I'm talking
19:27as if everyone
19:28that's listening to us
19:29knows what we're
19:30talking about.
19:30So can you please
19:32tell us the premise
19:33of your P-Valley?
19:35So P-Valley
19:36is set down
19:37in the Dirty Delta
19:38in a club
19:40called The Pank.
19:41It centers
19:42on the lives
19:44of the women
19:45who are working
19:46and dancing there.
19:47It's about,
19:48you know,
19:49their relationships
19:50with each other,
19:51their relationships
19:52with themselves,
19:53their relationships
19:54with the customers.
19:56It's all about
19:57that grit and glitter,
19:58that ish
19:59and that shine.
20:01And we enter
20:02the world
20:02through this
20:04mysterious newcomer
20:05named Autumn Knight.
20:07Now,
20:08this series,
20:10there wasn't always
20:11just a series,
20:12correct?
20:12It started on stage.
20:14So it started out
20:15as a play.
20:16And what's crazy
20:18is that it took me
20:20six years
20:21to make it
20:22into a play.
20:24I interviewed
20:25over 40 women.
20:28I visited
20:28like so many clubs
20:30from the north
20:31to the south
20:32because I really
20:33wanted to get,
20:34you know,
20:35the authentic
20:36experience
20:37and I wanted
20:38to, you know,
20:38just research it
20:39so I got
20:40every detail right.
20:41And so I put
20:42all of this
20:43information
20:43up into this play
20:45and I remember
20:46when I watched it,
20:47I was like,
20:48girl,
20:49you ain't wrote
20:49no play.
20:50You done wrote
20:51a TV show
20:51because these characters
20:53got legs for days,
20:54like literally
20:55and figuratively,
20:56you know,
20:56you want to be
20:57inside this world
20:58for a very long time
21:00because there's
21:00just so many
21:01stories to tell,
21:02not only the stories
21:03of the dancers
21:04but the stories
21:05of the people
21:05who come in
21:06and I'm just
21:08so happy
21:08that Stars
21:09gave me this
21:10opportunity
21:10to move into
21:11like a longer
21:12format story
21:13for the show.
21:15Now,
21:16speaking of the six,
21:18going back really
21:19quickly to the six years,
21:21now the reason
21:21also it took six years,
21:22you were doing
21:23some other things,
21:24correct?
21:24Come on now.
21:27Well,
21:27in terms of just
21:28my life.
21:29Your life.
21:30My life,
21:31I had two kids,
21:33you know.
21:35You had a Broadway
21:36play open up.
21:37I was developing
21:38Tina,
21:40the Tina Turner
21:40musical,
21:42you know,
21:42I had an off-Broadway
21:43play,
21:44you know,
21:45it,
21:45you know,
21:45went from the play
21:46to the actual TV show,
21:48it took me even
21:48four years added
21:49on to that six.
21:51So just,
21:51I've been on
21:52an odyssey,
21:53like a real talk
21:55odyssey
21:55when it came
21:56to this show.
21:58But,
21:58you know,
21:59life is what it is.
22:00I think because
22:01I had my own
22:02lived experience,
22:03I was going through
22:04my ups and downs,
22:05it really helped me
22:06just use everything
22:07that I was going through
22:08and infuse the characters,
22:11you know,
22:12just with that artistry
22:13and that realness.
22:15Because,
22:15you know,
22:15these women,
22:16they're just like me and you.
22:17Like,
22:18they're our sisters,
22:19they're our daughters,
22:20they're our mothers,
22:21and I was just
22:22really happy
22:23as a Black woman
22:24who really understands
22:26that long history
22:28of, like,
22:28hyper-sexualized images
22:29to be given
22:30a platform
22:31so that I could,
22:32like,
22:32really humanize them
22:33because,
22:34you know,
22:34they've been stigmatized,
22:36they've been shunned,
22:37and, you know,
22:38the world of
22:38exotic dancing,
22:39it exists,
22:41and I really wanted
22:42to put a human face
22:43on these dancers.
22:46What I love, too,
22:47I mean,
22:47there's so many things
22:48I do love.
22:48I love what you're saying
22:50about the stories
22:50because immediately
22:51you're drawn into,
22:54I believe it's
22:55Autumn's character
22:56who is seemingly
22:58running from
22:59the floods,
23:00correct?
23:01Of being displaced.
23:03And so that's
23:04a very real thing
23:05and then to see
23:05the outcome,
23:06but one thing
23:07I'm curious about
23:08and I've read you
23:09talk about this
23:10is that you,
23:11just reading the logline,
23:13you think stripper club,
23:14you think the South,
23:16Black women,
23:17you're like,
23:17okay,
23:17this is Players Club
23:18or this is another
23:19take of Hustlers,
23:21but you've said
23:21you don't mind
23:22those comparisons.
23:23Can you talk about
23:24why you don't?
23:25You know,
23:25I definitely feel
23:26as though,
23:27you know,
23:29we descend from
23:30the Players Club
23:31and that,
23:32you know,
23:32that was a movie
23:33that really
23:35moved the culture.
23:37You know,
23:37for a minute,
23:38it was number one
23:39on Netflix.
23:39It was either number one
23:40or number two
23:41during quarantine.
23:42So people were like
23:43going back into the crates
23:44and looking at that movie.
23:46It was like
23:47one of the first movies
23:48that really,
23:49I would say,
23:51visually articulated
23:52a Black Southern strip club,
23:54right?
23:54In terms of Hustlers,
23:56I always say
23:57that we're sisters.
23:58The fact that,
23:59you know,
24:00that particular story
24:00was told from
24:01the female gaze,
24:02which is something
24:03that I think
24:04our show
24:05is extremely successful at.
24:06You know,
24:07we center the stories
24:08of the women.
24:09We experience the world
24:11through the women.
24:12We are up on the pole
24:13with the women.
24:15So I really feel this though.
24:17So my show
24:18is definitely
24:18in conversation
24:19with those pieces.
24:23And I just hope
24:24that we're adding,
24:25you know,
24:26a different,
24:27unique perspective
24:28in that we are
24:30not only dealing
24:31with,
24:31you know,
24:32the lives
24:33of the dancers,
24:34but, you know,
24:35you think of the character
24:35of Uncle Clifford,
24:37this non-binary,
24:38gender-fluid hustler.
24:40Like,
24:40we never get an opportunity
24:41to see Uncle Clifford
24:42on TV.
24:44And like,
24:44the fact that Uncle Clifford
24:45gonna be in people's
24:46living rooms
24:47is like,
24:48mind-blowing to me.
24:49And I'm like,
24:50just so ready
24:51to see how the world
24:52reacts to that character
24:54as well.
24:55Yeah,
24:56I don't mean to rank them,
24:57but I'm already,
24:58if I have favorite
24:59Pea Valley character
25:00right now,
25:00it's Uncle Clifford,
25:01it's Mercedes,
25:02and then it's Autumn.
25:04But I think it's only
25:05because we're just,
25:07I mean,
25:07I've only gotten
25:07to two episodes.
25:08We're only just starting
25:09to see
25:10what Autumn's,
25:12what her real story
25:13of what she's hiding.
25:14But no,
25:15Uncle Clifford
25:15has me in
25:16because also the other thing
25:17is he's a business owner.
25:19Absolutely.
25:19He's a business owner
25:20who is providing a service,
25:22which he loves
25:23to tell people.
25:26But I do,
25:27but I also love
25:29his interactions
25:29with people,
25:30at least what I've seen
25:31so far.
25:31No one questioned,
25:32like you said,
25:33non-binary.
25:33No one's questioning him.
25:35Absolutely.
25:36You know?
25:36Yeah,
25:37Uncle Clifford
25:38embraces the pronoun
25:40she,
25:41but yet,
25:41you know,
25:42will always use
25:43her male privilege
25:45because,
25:45you know,
25:46in the moment,
25:46like Uncle Clifford,
25:47that name ain't gonna change
25:49for Uncle Clifford.
25:50Nope.
25:50Just gonna be
25:51who they are.
25:53And yeah,
25:54I just,
25:55I cannot wait
25:56until audiences
25:58meet,
25:58you know,
25:59Uncle Clifford.
26:00And then,
26:00you know,
26:00just get to know
26:01all of the characters
26:02over the course
26:03of these eight episodes
26:05this first season.
26:06You just gave me a thought.
26:07I think I'm gonna be
26:07Uncle Clifford
26:08for Halloween
26:08if we can go back outside.
26:13I'm like,
26:14are we going outside?
26:15October 31st,
26:172020?
26:18I'm,
26:19I don't know.
26:22It's crazy.
26:23One more thing
26:23I want to talk about
26:24before we,
26:25before we go,
26:26because you are putting
26:26an array of beautiful
26:28Black women,
26:29Black stories,
26:30Black roles
26:31and characters,
26:32new characters
26:32for us to see on screen.
26:33But behind the scenes,
26:35you did something
26:36also incredible.
26:37There's a number
26:37of Black women
26:38behind the scenes.
26:39Can you talk about that?
26:40I mean,
26:40starting with yourself,
26:42you are an award-winning
26:43playwright.
26:44And yeah,
26:44I'm an award-winning
26:45playwright
26:46and I'm a first-time
26:47showrunner.
26:48And I just,
26:49I wasn't ready
26:50for being a showrunner
26:51because there ain't
26:52no school to go to.
26:54There ain't no book
26:55to read about it.
26:56But the fact that
26:58I got the opportunity
26:59to do it now,
27:01I just feel like
27:01I can do anything.
27:03Like,
27:03I myself feel like
27:05a super shero now.
27:06But,
27:07you know,
27:07the Black women
27:08that are on my team
27:10are incredible
27:11from,
27:11you know,
27:12my line producer,
27:14Montez Monroe
27:15to my,
27:17one of my Kalee P's,
27:18Kalia Neal,
27:19Rita,
27:20who does costumes,
27:22Jamaica,
27:23who did the choreography.
27:24We got makeup
27:26by Stevie.
27:27We got hair
27:29by Pam.
27:30It's just,
27:30it's crazy.
27:31Even locations
27:32is run by a Black woman.
27:34We got,
27:35we served,
27:36we showed up
27:37and we showed out
27:38on the P-Valley set.
27:40Like,
27:40and I'm really happy
27:41about that
27:43to have been,
27:43you know,
27:44blessed
27:45and just to be able
27:46to use this platform
27:48to give other people jobs
27:50because that's the thing.
27:51A lot of people
27:52haven't had access.
27:54They're not given opportunities.
27:55And,
27:56you know,
27:56times are changing
27:57and it's time
27:58for us
27:59to step up
28:00into our power.
28:01And so,
28:02I was so thankful
28:03that I was surrounded
28:04by a wonderful sisterhood.
28:07I agree.
28:08Now,
28:09before you go,
28:10let me ask you,
28:10who was your favorite
28:11character to write?
28:13If you had to pick one,
28:14you can just tell us.
28:15You can just tell us.
28:16Now,
28:16you know it's Uncle Clifford
28:18and let me tell you why though.
28:20Uncle Clifford
28:21is like
28:22a mixture of my mama,
28:24my daddy,
28:24and my Uncle Clifford,
28:26right?
28:26Okay.
28:27I love,
28:28something that I love to do
28:30is to give
28:31a living ancestor of mine
28:33to give their name
28:35over to a character
28:36that I've created.
28:38It's a way to kind of,
28:39you know,
28:39honor them
28:40and to make them
28:42almost like
28:44a historical figure,
28:45you know,
28:45through fiction.
28:46And so,
28:47Uncle Clifford,
28:48the sass
28:49and also just
28:50the truth telling
28:51I think
28:53is a beautiful
28:54mixture,
28:55so unique
28:56and I think
28:57people
28:57are going to be
28:59memeing
28:59Uncle Clifford
29:00to them.
29:01Oh,
29:01definitely.
29:02I'm going to start it.
29:03I'm going to start it.
29:04Katori,
29:05thank you so much.
29:06It's been such
29:06a wonderful time
29:07speaking with you
29:08about P-Valley.
29:09Thank you,
29:10Kori.
29:10Always a pleasure.
29:12Take care.
29:12You too.
29:18My club
29:19got everything
29:20that a man need.
29:22What's your name?
29:23Autumn night.
29:26I need you
29:27to break a hand.
29:28If it's one thing
29:29I know how to sell,
29:31it's a experience.
29:34Life is just
29:35a long day's
29:35journey into tomorrow.
29:37Hold on to the night!
29:40You just got to make it
29:41through the long,
29:42dark nights.
29:42There are not enough
29:49women directors
29:50and there are not enough
29:51women directors
29:51who are women of color.
29:53One of the biggest things
29:54that play
29:55many women of color
29:56is finding a way
29:57to believe in yourself.
29:59As a woman of color
30:00on set,
30:00I feel like
30:01I didn't have a voice.
30:02We want to give people
30:03opportunities
30:04to create careers
30:05and be able to tell
30:06a unique story.
30:07We want to make this
30:08playing field
30:09a little more even.
30:09At B&G,
30:11we feel an obligation
30:12to be able to use
30:12the powers we have
30:13to get equality
30:14behind the camera
30:16that will eliminate bias.
30:17my film follows
30:21representative
30:22at a
30:22senior entertainment editor
30:30and I have
30:31a real treat
30:32for creatives,
30:33for filmmakers,
30:34documentarians,
30:35or just playing
30:36anybody who loves
30:36to see Black women's
30:38stories on screen.
30:40What is it like
30:41to be a creative
30:42during these times?
30:44These very trying times.
30:46And I have
30:47complete royalty
30:48in the building.
30:50She definitely needs
30:52no introduction,
30:53but I'm going to be
30:53professional
30:54and introduce her anyway.
30:56So we have,
30:58she's a critically acclaimed
30:59and award-winning musician,
31:01actor,
31:02label president,
31:03author,
31:04and entrepreneur.
31:06And I just have to say
31:07a point of personal privilege.
31:09Her character
31:10on Living Single,
31:11Khadijah James,
31:11was one of the reasons
31:13why I wanted to be
31:14a journalist
31:15and a woman boss
31:16in journalism.
31:17So shout out
31:18to Living Single.
31:19That's not in the notes.
31:20I just had to say that.
31:21She's the first
31:22hip-hop artist
31:23to be crowned
31:23with a star
31:24on the Hollywood
31:25Walk of Fame.
31:26Queen Latifah,
31:27if you haven't figured out
31:28who I'm talking about,
31:29has had immeasurable success
31:31in music and acting.
31:33She's got a Grammy,
31:34Emmy, Golden Globe
31:35Awards for her work
31:36and is Oscar nominated
31:37for her role
31:38in Chicago.
31:38Hey, Queen!
31:40I'm exhausted
31:40after that introduction.
31:42You've done it all.
31:45My girl,
31:46she was Khadijah,
31:46Yonah, Queen, boom.
31:48You know what I mean?
31:49I feel like,
31:50dang,
31:51I've been working hard,
31:52huh?
31:52All of that.
31:53We appreciate it.
31:56Yes,
31:57we appreciate your work.
31:58It's nice to see you.
31:59Just how are you
32:00during these times
32:01before we get started?
32:03I'm good.
32:04I'm good.
32:05I'm doing much better
32:06than others.
32:07You know,
32:07I'm alive.
32:08And so,
32:09I have breath
32:11and my lungs.
32:12And so,
32:12I'm doing much better
32:13than some
32:14during this time.
32:15And so,
32:15I kind of,
32:16you know,
32:16whenever I start
32:17to get blue
32:18about how crazy
32:19things are
32:20or how tough
32:22things are,
32:23I just have to remember
32:24I'm blessed.
32:25You know what I mean?
32:26And I get very grateful
32:27and I'm grateful
32:27for the help
32:28of my family
32:29and the fact
32:30that I have a roof
32:30over my head
32:31and food on the,
32:32you know,
32:33on the stove
32:34and in the fridge.
32:35And I just get thankful
32:37for basic things.
32:38You know what I mean?
32:38And just how I can,
32:40you know,
32:40be a help
32:41to my family
32:42and friends
32:43and others,
32:44of course.
32:44You know,
32:44so it's just,
32:45you know,
32:46I just have to meditate
32:48in the morning
32:48because my dreams
32:49are crazy.
32:51And,
32:51you know,
32:53your brain is processing
32:54so much
32:54through this time.
32:56So,
32:56I just kind of have
32:57to take a pause
32:57in the morning
32:58when I wake up
32:59and breathe
32:59for a few moments
33:00and just clear
33:02and just settle myself
33:03and then
33:03we go hard again.
33:05to the day.
33:08Yeah,
33:08and you have definitely
33:09not stopped working.
33:11We'll be talking
33:11about your Queen Collective,
33:13how you are mentoring
33:14and ushering in
33:16amazing filmmakers
33:17and films
33:18that we need to see.
33:19And so,
33:19I'm going to introduce
33:20the filmmakers
33:21that you've chosen
33:22for this year's selection.
33:24Samantha Knowles
33:25is a Brooklyn-based filmmaker.
33:27Her New York Times documentary
33:28The Blue Line
33:29premiered at Trikefa
33:30in 2018.
33:31and she is
33:33one of Queen Collective's
33:342020 selection.
33:36She's the director
33:36of Tangled Roots.
33:37Welcome,
33:38Samantha.
33:39Thank you so much.
33:41I'm so excited.
33:42Yes,
33:43and you look great.
33:43I love this pop of color
33:44on the lip.
33:45That's my kind of...
33:47My kind of zhuzh.
33:49And two filmmakers
33:50who were both
33:51co-directed Gloves Off,
33:53which is the second selection,
33:55Nadine Natur
33:56and Yugana Opaloka.
33:58Hi, ladies.
33:59Hi.
34:00Hi.
34:00Nadine was the associate producer
34:04of the Oscar-nominated
34:05Emmy-winning RBG
34:07while Yugana
34:07is an Emmy-nominated
34:08TV producer
34:09who has directed,
34:11written,
34:11and produced features
34:12from all over the world.
34:13So welcome,
34:14all of you.
34:16I want to start
34:17with Queen first.
34:18Why did you start
34:19the Queen Collective,
34:20for those who may not know?
34:22And why were these two films,
34:23Gloves Off
34:24and Tangled Roots,
34:25just sort of emblematic
34:26of the stories
34:26that you thought
34:27needed to be shared?
34:29Well,
34:29as you just introduced
34:31both of these,
34:32or three of these
34:33amazing director,
34:35producers,
34:36they are already
34:37critically acclaimed.
34:38They've already
34:38been putting in work.
34:39They should be directing
34:40their films.
34:42They should have an opportunity
34:43to direct
34:43whatever it is
34:44that they have
34:45creatively conceived
34:46and should be able
34:48to execute that
34:50with full support.
34:51And unfortunately,
34:53it is not the case
34:55for many directors,
34:58female directors.
34:59And so I shouldn't
35:00even have to start
35:00this initiative,
35:01but it's a bunch of stuff
35:02we shouldn't have to do
35:03at this point.
35:05What we did see
35:06was that there was
35:06a major disparity
35:08in the amount of women
35:09who are behind
35:10the camera's lens.
35:12And Mark Pritchard,
35:14who is the head
35:14of brand management
35:15for and branding content
35:17for Procter & Gamble,
35:19did a panel together.
35:20And it was a women's
35:22women's summit in New York.
35:23And we both said afterwards
35:24that we have to do something
35:25to change that disparity.
35:29You know,
35:29less than 10%
35:30of all commercials
35:31and movies
35:31are directed by women.
35:32And so here he is
35:34controlling billions
35:35of dollars
35:36of advertising dollars.
35:37And he wants to put women
35:39behind the camera
35:40because they want to see
35:42a more accurate portrayal.
35:44If nothing else,
35:45they want to see
35:46a more accurate portrayal
35:47of women and girls
35:50in front of the camera
35:51in the media
35:52that you see.
35:54And so one of the best
35:56ways to do that
35:57is to put women
35:58behind the lens
35:59and give them
35:59the power to create.
36:01And we decided
36:02to start with directors
36:03because not only
36:05would we be able
36:07to see more
36:08of an accurate portrayal,
36:09but we find
36:11that directors,
36:12women directors,
36:13will hire
36:13a much more
36:14diverse crew.
36:16So we're trying
36:17to hit one stone
36:19by being able
36:20to do that.
36:21And it's been the case
36:21that, you know,
36:23the women that you have
36:23today have been able
36:24to hire very diverse crews
36:26and execute their films
36:27in that way
36:28and hopefully give people
36:29another shot
36:30in each department
36:31to move forward
36:32in advance.
36:32And, you know,
36:33that's the whole idea,
36:35you know,
36:35just letting it spread.
36:36I love that.
36:37Before we learn more
36:38about these filmmakers' work,
36:40why don't we check out
36:41a trailer to learn,
36:42to see just what
36:43they've been up to.
37:01Of course,
37:07we can see why
37:07these films were chosen
37:08and why these stories
37:09needed to be told.
37:11Samantha,
37:11I want to start
37:12with Tangled Roots.
37:13Because this story
37:15was birthed
37:16out of a personal
37:17sort of struggle
37:19with your own hair.
37:20Can you tell us
37:21about Tangled Roots
37:21and why you wanted
37:22to tell this particular story?
37:25Yeah.
37:26So Tangled Roots
37:27was really inspired
37:29by an experience
37:31I had in high school
37:32where I was reading
37:32my high school handbook
37:35and I realized
37:36that they discriminated
37:38against Black hair.
37:39They had a rule
37:40that male students
37:41couldn't have cornrows
37:42or dreadlocks.
37:45And even though
37:45I wasn't a male student
37:47and I had braids,
37:48so the rule
37:49didn't directly affect me,
37:50it still felt discriminatory.
37:53It still felt
37:54like it affected me.
37:56And I was really upset
37:58by it.
37:58And I didn't really
37:59have the language
38:00to articulate
38:01why it upset me
38:03so much at the time.
38:04But it really stayed with me.
38:10And then fast forward,
38:12you know,
38:1210, 15 years later,
38:14the Queen Collective
38:15put out this,
38:16you know,
38:17kind of like ask for films
38:19and it felt like
38:20hair discrimination
38:21was something
38:22that I could really
38:23tackle in a film.
38:25And I found
38:27my main character,
38:28Attica Scott,
38:29and she was this woman
38:30who was working
38:31in Kentucky
38:32as its only Black woman
38:34state legislator
38:35to pass a bill
38:38that would, like,
38:38ban that type
38:39of hair discrimination
38:40statewide.
38:42And I was so inspired
38:44by her
38:44and I just knew
38:45that I wanted
38:45to follow her
38:47whole journey.
38:50So, yeah,
38:51so that's how
38:51I kind of stumbled
38:52across the topic
38:53and the characters.
38:55I love that
38:56because it's so important
38:57for Black women
38:58to be able to
38:59express ourselves
39:00authentically
39:01in every single space.
39:03So that's wonderful.
39:04Nadine,
39:05in Uganda,
39:06Gloves Off
39:06centers on this
39:07D.C. police officer.
39:09I'm from the DMV,
39:10so I was hyped already.
39:12Tell us about Gloves Off
39:14and why you chose
39:15this particular
39:16police officer
39:17to follow
39:17because she does
39:18so much more
39:19than policing.
39:22Yeah,
39:22we knew,
39:23we just knew
39:24that when we got
39:24this opportunity
39:25that we didn't have
39:26a story in mind yet,
39:27but we knew
39:28that no matter
39:29what story we told,
39:29we wanted it
39:30to center
39:30around a really
39:32strong,
39:33inspiring woman
39:34and just to extend
39:36the purpose
39:37of the Queens Collective
39:38as Queens said,
39:39not only for people
39:40behind the camera,
39:41but people in front
39:42of the camera
39:42as well too.
39:43So when we came
39:43across Tierra's story
39:44and we found out
39:46she was the first
39:46African-American woman
39:48to be awarded
39:49Officer of the Year
39:50because she's creating
39:52all these new ways
39:53to do community policing,
39:54that was incredible.
39:55And then we found
39:56out by night
39:57she's also an undefeated
39:58boxing champion.
39:59So we were like,
39:59okay,
40:00we don't know
40:01where this story
40:02is going to go yet,
40:03but we think
40:03it's worth a phone call.
40:04And once we talked
40:05to her and got
40:06to meet her
40:06and became friendly
40:07with her,
40:08we knew that
40:09there was something
40:10there to be told.
40:12Yeah.
40:12I want to talk,
40:13Nadine,
40:14this question is for you.
40:15You know,
40:15this is an interesting
40:17moment in history,
40:20in American history,
40:21in Black history.
40:23We're all going
40:24through something
40:25very unique.
40:26First,
40:27there was COVID
40:27that had us all anxious
40:28and in the house.
40:29And then another pandemic
40:31that we've been dealing
40:32with for generations,
40:34racism and racial inequity
40:36has really come to a head.
40:38I wonder,
40:39like,
40:39in this time
40:40of peak activism,
40:42has it changed
40:43the way
40:43that you're approaching art?
40:45You know,
40:46even with shows
40:47like Cops
40:48and other cop shows
40:49being taken off air,
40:51will it change
40:52how you,
40:53you know,
40:53think about
40:54the people
40:54that you are following
40:55in the future
40:56or choose to document
40:57in the future?
41:00I'm really excited
41:01about this moment
41:02and the moment
41:03of activism
41:04that we're all
41:05currently a part of.
41:06It just feels like
41:07people,
41:08brilliant thinkers
41:09have been discussing
41:10some of the theories
41:11that we're hearing now
41:13for decades,
41:14but all of a sudden
41:15we're actually engaging
41:16with them
41:17as a country.
41:18So,
41:19before,
41:20that really wasn't
41:21on the table.
41:22So,
41:22I'm very excited
41:23about all
41:24of the activism.
41:25I'm excited
41:25about the movement.
41:27I just think
41:27that this is
41:28actually giving us
41:31a different future
41:32to envision.
41:34You know,
41:34the status quo,
41:35as you mentioned,
41:36it's just been one
41:38that has been
41:39wracked
41:40by a history
41:41of racism.
41:42So,
41:42now,
41:42all of a sudden,
41:43as a country
41:43we're engaging
41:44with,
41:44where can we go next?
41:45How do we change
41:46the status quo?
41:47And that's definitely
41:48where art comes
41:50into play.
41:51When you see
41:51different representations
41:52of police
41:55or the future
41:56of police
41:56on television,
41:58then you can
41:59wrap your head
42:00around what
42:01could be different.
42:02How can we make
42:02things different?
42:03And I definitely
42:05plan to engage
42:07that way
42:08with future projects.
42:10Yeah,
42:10and Queen,
42:11how about for you,
42:11for even your own
42:12personal projects?
42:13Are you thinking
42:13about it differently
42:15now that there's
42:17so much protest
42:18and so much people
42:19that people just
42:20want to say?
42:24I can't say
42:25I'm 100%
42:26thinking about
42:27things differently
42:28because I've
42:30always thought
42:30like this.
42:31You know,
42:31and when I say
42:33I,
42:34it's me,
42:34my partner,
42:35Shaquem,
42:35Flavio,
42:35and my mom,
42:36we've always
42:37thought with
42:39the intention
42:41in mind
42:43to make sure
42:44that we gave
42:45people opportunities
42:46who would not
42:46get them
42:47if we didn't
42:47do it.
42:48And that was
42:49just from day
42:49one.
42:50And maybe it's
42:51because I'm
42:51from a hip-hop
42:52generation.
42:53My mother loved
42:53hip-hop as well
42:54and she was a
42:55high school art
42:56teacher who was
42:57that cool teacher
42:58that you would go
42:59to if you had
43:00a problem
43:00or you go to
43:01if it was
43:02going wrong
43:02in your household
43:03or, you know,
43:04so I have like
43:05a lot of extended
43:06family just from
43:07my mother being
43:07a safe haven
43:09for so many
43:11hundreds and
43:11hundreds of
43:12students.
43:12Um, but she
43:14also sneakily
43:15showed them
43:17how to become
43:18activists by
43:19expressing themselves
43:20and maybe it
43:21was a sit-in in
43:22school.
43:22If there was no
43:23heat in the
43:23school, you
43:24know, she
43:25maybe quietly
43:26told them,
43:26well, one
43:27should not have
43:28to tolerate
43:29not having
43:29heat in the
43:30school, but
43:31perhaps one
43:32should sit in
43:33one's auditorium
43:34and not attend
43:35class, you know
43:36what I mean?
43:36But she would
43:37kind of like,
43:38you know, let
43:38them know that
43:39they had power
43:40and they needed
43:41to use their
43:42power and they
43:43needed to use
43:43their voice.
43:44So rather than
43:44just walking out
43:45of school and
43:46saying, forget
43:46this, joining
43:48together to
43:49create more of
43:50a movement, to
43:51be of one
43:51voice.
43:52Yeah, for sure.
43:53And I can't
43:54believe we're
43:54running, we
43:55have literally
43:55ran out of
43:56time.
43:56So Nadine,
43:57before they
43:58kill me,
43:58really quick,
43:59just one quick
44:00one minute about
44:01before they kill
44:03me, before they
44:03cut us off.
44:04Okay, it's,
44:05my film is about
44:06my Palestinian
44:07Muslim family
44:08running a
44:08grocery store in
44:09the rural South
44:10and I talked
44:11to our customers
44:12after the 2016
44:13election about
44:14Islamophobic
44:15political rhetoric
44:16and how they
44:16reconcile it with
44:17visiting our store.
44:19Oh, wow.
44:19Look at that
44:20elevator change.
44:22Cook and dirty.
44:23And then Queen,
44:24how do people
44:25see these films
44:26support Queen
44:27Collective?
44:29All these films
44:29are streaming
44:30on BET.com
44:31so you can
44:32just, you can
44:32stream them now.
44:33Everything is
44:34available and
44:35yeah, check them
44:36out.
44:36They're going
44:36to be amazing.
44:38Yes, check them
44:38out and thank
44:39you so much
44:40for joining
44:40us at the
44:41Essence
44:41Festival of
44:42Culture,
44:43Entertainment,
44:44All Access.
44:45I'm Joy
44:45Maureen McKenzie.
44:46See you guys.
44:54My film follows
44:55Representative
44:55Attica Scott
44:56as she files
44:57a bill to
44:58battle Black
44:58hair discrimination.
45:00Hair is
45:01political because
45:01society has
45:02deemed that
45:03it's political.
45:04She's defining
45:05and rewriting
45:06the rules.
45:09Our film follows
45:10Tiara Brown,
45:11police officer
45:12by day,
45:13a boxer
45:13by night.
45:14People in my
45:14life have told
45:15me I couldn't
45:16do things.
45:16I find her
45:17inspiring.
45:18She's succeeding
45:19in spaces that
45:20were set up for
45:21her to succeed.
45:22She's fearless
45:22to face anything.
45:24Hamilton rated PG-13
45:53streaming July 3rd
45:54on Disney+.
45:55My sisters,
46:01my brothers,
46:03my siblings all,
46:05warm and hearty
46:06greetings to each
46:07of you.
46:09I'm Dr.
46:10Johnetta
46:10Betch-Cole.
46:11It's quite an
46:13honor and a
46:14joy for me to
46:15participate in
46:16this virtual
46:18festival of
46:19our culture.
46:20I want to
46:22extend a huge
46:23thank you to
46:25the Essence
46:25family for
46:26this opportunity
46:27for me to
46:29share a little
46:30bit about
46:31something that
46:32is very near
46:34and dear to
46:35my heart.
46:37So,
46:38Disney and
46:39Pixar's
46:39upcoming
46:40animation
46:41feature film.
46:42Like everyone
46:43who loves
46:44incredible
46:45storytelling,
46:47terrific art,
46:49and bustling
46:50creativity,
46:52I'm a big
46:54fan of
46:55Pixar films.
46:57So,
46:58imagine my
46:59excitement
47:00when I was
47:01invited to
47:02speak at
47:03Pixar's
47:04Inclusion
47:05Summit.
47:05That was
47:07a couple
47:07of years
47:07ago.
47:09But I
47:10still remember
47:11being genuinely
47:13impressed by
47:15the stated
47:16commitment of
47:17Pixar colleagues
47:19to stay on
47:20their journey
47:21toward a more
47:22diverse and
47:23inclusive culture.
47:25I can
47:26testify that
47:28the colleagues
47:29at that
47:30studio own
47:32their responsibility
47:33to make sure
47:35that their
47:36films tell
47:37the stories
47:38of all of
47:39us.
47:39We're the
47:40diverse people
47:41and cultures
47:42of our
47:43country and
47:44our world.
47:45It's been an
47:46experience of
47:47sharing my
47:48knowledge as
47:48an anthropologist,
47:51sharing my
47:51understanding of
47:53those things
47:55that we
47:57as African
47:58Americans
47:58hold in
47:59common,
48:00and those
48:01things that
48:01are very
48:02specific to
48:03particular
48:04groups of
48:04us.
48:05I've been
48:06able to
48:07share my
48:08experience as
48:10a devoted
48:11lover of
48:13Black
48:14improvisational
48:16music called
48:18jazz.
48:21Soul is the
48:21first Pixar
48:22film that
48:24highlights our
48:25community, and
48:26as we know
48:27so well, my
48:29sisters and
48:29my brothers
48:30all,
48:31representation
48:32matters.
48:34That is, when
48:37it's thoughtful
48:38and respectful.
48:40So I'm beyond
48:42excited and
48:43proud to
48:45share this
48:46sneak peek
48:48into
48:49Brother
48:50Joe
48:51Gardner's
48:53story.
48:54Yes!
48:55Woohoo!
48:56It really
48:57is our
48:57story, and
48:59in an amazing
49:01way, it is
49:02a story that
49:04belongs to
49:06everyone.
49:08Hi, everyone.
49:09Thanks so much
49:09for having us
49:10today.
49:11We're really
49:12excited to tell
49:13you a little bit
49:13about Soul, which
49:14comes out in
49:15theaters November
49:1620th.
49:17And we've been
49:17working on this
49:17film for a little
49:18over four years,
49:19and it's just
49:20been quite a
49:20journey of discovery
49:21and learning about
49:22jazz music, about
49:23Black culture, and
49:25about ourselves.
49:27Like all our
49:27movies, it started
49:28with a simple
49:29idea.
49:30Yeah, it was
49:302015.
49:31I had just
49:32finished directing
49:33Inside Out, which
49:34was by almost any
49:35definition a really
49:36successful film.
49:37It connected with
49:38people.
49:39We won an Oscar.
49:40It did great at the
49:41box office, but when
49:42the high wore off, I
49:43found myself
49:43wondering.
49:44I just felt
49:45incomplete.
49:46I felt like I've
49:48worked my whole
49:49life to make
49:49animated films, yet
49:51I found myself
49:52wondering, is
49:53this really what
49:53I'm born to do?
49:56I thought about
49:57my son.
49:58I took this
49:58picture just
49:59moments after he
49:59was born, and I
50:01swear the moment
50:01he arrived, we
50:02could already see
50:03him in there.
50:04And I was
50:05thinking, how did
50:06that happen?
50:07Where did that
50:07come from?
50:08Well, it's because
50:08each of us is
50:09born with a soul.
50:11Our soul is
50:12really the center
50:13of who we are.
50:14It's the essence
50:15of us.
50:16It is our
50:17makeup of what
50:18passions and
50:19inspirations we
50:20have.
50:21We wanted our
50:22main character in
50:23the film to have
50:24those passions born
50:25into him as well.
50:27We wanted something
50:27we could all relate
50:28to and root for,
50:29like an animator.
50:30All right, maybe
50:31not everybody can
50:31relate to that.
50:32Maybe it's a
50:33scientist, a
50:34doctor.
50:35We hit on
50:35musician.
50:36We thought, that's
50:37going to be fun to
50:38see on screen.
50:39Jazz was really
50:39the perfect
50:40representation of
50:41what we were
50:41trying to say in
50:42the film.
50:43And if our main
50:43character plays
50:44jazz, or as
50:45Dr. Cole calls it,
50:46Black improvisational
50:47music, we felt our
50:48main character needed
50:49to be Black.
50:50We were lucky to
50:51find Camp Powers,
50:53acclaimed screenwriter
50:54and playwright.
50:55Thanks, Pete.
50:56When I came onto the
50:57film a few years ago,
50:58as Pete mentioned,
50:59everything hadn't been
51:00worked out yet.
51:01Obviously, the film
51:02hadn't been cast.
51:03We were still working
51:03out the story.
51:05So immediately, I
51:06wanted to try to come
51:07on board and try to
51:09help flesh out the
51:10characters, particularly
51:11Joe Gardner, our main
51:12character.
51:12I realized in many
51:13ways, Joe was just
51:14like me.
51:15I used a lot of my
51:16own personal experiences
51:17to inform me as I was
51:18writing the character.
51:19Joe Gardner is 45, 46
51:21years old.
51:22What a coincidence.
51:22That's the same age I
51:23am.
51:24Joe was born and raised
51:25in New York City, just
51:26like me.
51:26But as specific as Joe's
51:28story was to me, it had
51:29to transcend my own
51:30experience.
51:31Because while people
51:32who are from my
51:33background ethnically and
51:34from my city might
51:36recognize a lot of the
51:37elements of Joe's life
51:39and my life, I don't
51:41represent every single
51:42Black man's experience.
51:44And for the process of
51:45making Soul, it was
51:46really important that we
51:48invited a lot of other
51:49Black voices into the
51:50fold in the creation of
51:52not just Joe, but all the
51:53characters in the film.
51:54So we partnered with a
51:55number of consultants on
51:56the film who we kept
51:57really close throughout the
51:59entire process.
52:00First, we turned to a
52:01group of African-American
52:02Pixar employees who became
52:03our internal culture
52:05trust, and they helped
52:06guide us along the way to
52:07make the film culturally
52:08authentic and truthful.
52:09We also turned to all
52:11kinds of different Black
52:12craftspeople, from
52:14Rapper Young, the
52:15incredible filmmakers, to
52:16wonderful musicians like
52:18Herbie Hancock, Terry
52:19Lynn Carrington, John
52:20Batiste, and even Quest
52:22Love and Daveed Diggs, two
52:23of the performers in the
52:24film who also serve as
52:25consultants.
52:26This group watched our
52:28story reels, gave us
52:29story notes, they looked
52:30at the character designs
52:31and the sets, all as they
52:33were being built.
52:34They even helped us
52:34review the animation.
52:36It was really important to
52:37us that we didn't just
52:38invite people in to rubber
52:39stamp the work that we
52:40were doing.
52:41These folks came in to be
52:43a huge part of everything
52:44we did and go with us on
52:46the full journey of
52:47creating this film and
52:48making it as authentic and
52:49truthful as possible.
52:50Of course, the film is
52:51anchored by our two great
52:53leads, Jamie Foxx, who's
52:54the voice of Joe Gardner,
52:55and Tina Fey, who's the
52:56voice of 22.
52:57This is one of the most
52:58international, diverse
53:00cast we've ever seen in a
53:02Pixar animated film.
53:03Wonderful actresses like the
53:04great Felicia Rashad and the
53:06amazing Angela Bassett leading
53:08this incredible crew of
53:10actors and actresses.
53:11Music is also central to the
53:13film, and we've been really
53:14lucky to partner with two
53:15teams for our score.
53:17First, Trent Reznor and
53:18Amethyst Ross have composed
53:19all of the music in the
53:21soul world, and the amazing
53:22John Batiste, who you all
53:24know, the pianist from the
53:25Colbert Show, composed all the
53:26jazz music in New York City.
53:28And to tell you more about
53:29that, I would like to
53:30introduce the amazing musician
53:31and equally amazing human,
53:33Mr. John Batiste.
53:34Yes, indeed.
53:37Thank you, Pete.
53:38Thank you, Kemp.
53:39Thank you, everyone at
53:40Pixar.
53:41I'm thrilled to be here to
53:43share my experience writing
53:44music for Soul, which was a
53:47great balance going between
53:49two different worlds, you
53:50know, the great beyond where
53:52souls are born and the jazz
53:55realm of New York City and the
53:56clubs and in the scene in the
53:58jazz world where Joe is cutting
54:00his teeth and trying to get
54:01into the band with Dorothea.
54:03And he finally makes it into
54:04the band.
54:05And there's so many great
54:06moments of music that
54:08happened that my goal was
54:10really to create something
54:11that felt authentic as if it
54:13were a real jazz band while
54:15also being accessible to all
54:17ages.
54:18I wanted to make some themes
54:19that tied into the ethereal
54:21nature of the other world
54:22while still being in the earth
54:23realm and vice versa when they
54:25would meet Trent and Atticus and
54:27I would sometimes even blend the
54:29two worlds musically.
54:30But there are themes that have
54:31this celestial optimism that I
54:33really love, like this other
54:35theme.
54:47It was a joy.
54:50It was a privilege and an honor
54:51to do.
54:52And how about you take a look
54:54now?
54:55Here's an exclusive clip of
54:57Pixar's Soul.
54:58Music moves people.
55:05I'm Joe.
55:07I teach middle school band.
55:11Music is life.
55:13You just need to know where to
55:15look.
55:15Though we are parting ways,
55:21we shall come around to touch
55:24eyes again if love is the
55:27foundation.
55:28If the purpose be to recycle
55:30life, I promise you'll bring
55:32us to one.
55:33Spend your precious hours doing
55:35what will bring out the real
55:36you.
55:36Love.
55:37Love.
55:37The brilliant, passionate
55:39you.
55:40Love.
55:40Love.
55:41Love.
55:41That's ready to contribute
55:43something meaningful into this
55:45world.
55:45Love.
55:46Love.
55:47Love.
55:47Love.
55:48Love.
55:49Love.
55:49Get ready.
55:50Love.
55:51Love.
55:52Love.
55:52Love.
55:53Love.
55:53Love.
55:54Love.
55:54Love.
55:55Love.
55:55Love.
55:56Love.
55:56Love.
55:57Love.
55:57Love.
55:58Love.
55:58Love.
55:59Love.
55:59Love.
56:00Love.
56:00Love.
56:01Love.
56:01Love.
56:02Love.
56:02Love.
56:03Love.
56:03Love.
56:04Love.
56:04Love.
56:05Love.
56:05Love.
56:06Love.
56:06Love.
56:07Love.
56:07Love.
56:08Love.
56:08Love.
56:09Love.
56:09Love.
56:10Love.
56:10Love.
56:11Love.
56:11Love.
56:12Love.
56:12Love.
56:13Love.
56:13Love.
56:14Love.
56:14Love.
56:15Love.
56:15Love.
56:16Love.
56:16Love.
56:17Love.
56:17Love.
56:18Love.
56:19May you always, always, be satisfied.
56:28I'm a Tampa Hamilton.
56:30Hamilton, rated PG-13, streaming July 3rd on Disney+.
56:34I hope you've enjoyed getting a sneak peek of some of the creatives that your favorite black creatives have been working on.
56:41But up next is something I really love, and that's seeing a good artist show.
56:45So please stick around for the evening concerts of the Essence Festival of Culture, presented by Coca-Cola.
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